10 Best Songs With The Word 'Call' In The Title

10 Best Songs With The Word 'Me' In The Titles

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Our list of the top 10 best rock songs with the word “call” in the title showcases an incredible lineup of artists, each using this simple word to create something unforgettable. As we’ve said before, one of the reasons we put together articles like this is to introduce readers to songs they may not have heard or bands they might not know much about. Sure, old-school rock fans will recognize these groups and songs, but this page is meant for everyone—both younger audiences just discovering this music and lifelong fans celebrating legendary bands. So here we go: a tribute to ten tracks that prove a single word can carry a world of meaning, power, and timeless energy.

# 10 – Call Me – Blondie

“Call Me” is the opening track on this list of the 10 Best Songs With the Word ‘Call’ in the Title, showcasing Blondie’s fusion of new wave, punk, and disco sounds with a driving, danceable beat. Created as the theme song for the 1980 film American Gigolo, the song is the product of a unique collaboration between Blondie’s lead singer, Debbie Harry, and iconic Italian producer Giorgio Moroder. “Call Me” became Blondie’s biggest commercial success, holding the No. 1 spot on the Billboard Hot 100 for six consecutive weeks and topping the charts in the UK and Canada. This single was also named Billboard’s No. 1 song of the year in 1980, solidifying its place in music history as both a Blondie classic and an emblematic anthem of the era.

The song’s production stands out with Moroder’s signature electronic touch, which pairs with Harry’s edgy vocals to create a song that feels both seductive and rebellious. From the pulsating opening to the energetic choruses, Moroder’s influence is unmistakable, blending a synthesizer-heavy soundscape with Blondie’s rock attitude. Harry’s lyrics add to the allure, as she sings, “Color me your color, baby / Color me your car,” with a tone that mixes desire and independence. Lines like “Call me on the line / Call me, call me any, anytime” emphasize the song’s underlying theme of spontaneous passion and availability, which resonated widely at the time of its release.

Lyrically, “Call Me” embodies a sense of freedom and allure, weaving in foreign phrases like “Amore, chiamami, chiamami” and “Appelle-moi mon cheri,” adding a cosmopolitan flair that echoes the film’s glamorous settings. This dynamic quality is central to the song’s rocking essence—it doesn’t just create a beat but invites listeners into a cinematic, high-energy world. Harry’s performance, especially with her delivery of “Call me, call me for a ride,” captures a mix of confidence and mystery, characteristics that would become Blondie’s trademark

Read More: Top 10 Blondie Songs

# 9 – Calling Dr Love – Kiss

This iconic track by Kiss, first released on their 1976 album Rock and Roll Over, perfectly showcases the band’s characteristic blend of hard rock and provocative swagger. Written by bassist Gene Simmons, who also sings lead vocals, “Calling Dr. Love” became a staple for the band and remains one of their defining songs. Inspired by a line from the Three Stooges film Men in Black, Simmons created the character of “Dr. Love” as a metaphorical doctor who promises to cure romantic woes—a role Kiss fans eagerly embraced. The song later appeared in various live and compilation albums, including Alive II in 1977 and Kiss Symphony: Alive IV in 2003, cementing its place in Kiss’s legacy.

Musically, “Calling Dr. Love” is a potent example of Kiss’s rock formula, driven by a punchy guitar riff and a steady, almost hypnotic beat. Paul Stanley’s powerful guitar work and Peter Criss’s drumming provide a solid foundation, while Ace Frehley’s solo injects an electrifying edge that brings the song to life. This track is a quintessential Kiss tune, oozing confidence and raw energy. The production, overseen by Eddie Kramer, captures the rough intensity of Kiss’s live sound, ensuring that the song’s energy translates through the speakers. This hard-hitting style, combined with Simmons’s playful yet assertive lyrics, ensures the song’s impact and keeps fans coming back for more.

The lyrics exude confidence, with Simmons declaring, “They call me Dr. Love / I’ve got the cure you’re thinkin’ of.” The lyrics suggest a bold, unapologetic character, someone with an air of mystery and allure, which fits Kiss’s rebellious image. The playful call-and-response structure (“They call me Dr. Love / Calling Dr. Love”) amplifies the track’s infectious energy, and the lines “In the end, you’ll let me in / You’ll let me through, there’s nothin’ you can do” highlight the irresistibility that Simmons is projecting. This mix of humor, attitude, and charisma helped make the song unforgettable and contributed to its staying power in the Kiss catalog.

# 8 – Call My Name – Prince

Prince’s “Call My Name” from his 2004 album Musicology captures an emotional intensity and romantic devotion that only he could deliver. This Grammy-winning track, which took the award for Best Male R&B Vocal Performance, showcases Prince’s deft ability to blend vulnerability with his signature sensuality, drawing listeners into a space that feels deeply personal. The smooth rhythms and layered vocals create a soulful backdrop against which Prince sings with a captivating warmth, as he professes, “I just can’t stop writing songs about you / I love you so much.” His lyrics convey a sense of urgency and reverence, underscoring the timeless appeal of a love song steeped in genuine sentiment.

The production on “Call My Name” features Prince at the helm, infusing the track with soft synths, a gently rolling bassline, and minimalistic beats that let his vocals shine. Recorded during a period of renewed creative energy for Prince, Musicology saw him reconnecting with his fans, and “Call My Name” was a major contributor to this connection. The song’s seamless combination of Prince’s falsetto and passionate lyricism transports the listener, particularly in lines like “If I don’t see you real soon baby girl, I might go insane,” where he reveals the depth of his longing.

Lyrically, “Call My Name” explores both romantic and philosophical themes, as Prince touches upon universal truths and social issues, as he sings, “Heard a voice on the news saying people want to stop the war / If they had a love as sweet as you, they’d forget what they were fighting for.” Here, he not only elevates the song’s narrative but also positions love as a remedy to the world’s turmoil, adding another layer of meaning to an already powerful piece.

Read More: 10 Most Rocking Prince Songs

# 7 – You Can Call Me Al – Paul Simon

As the opening track and lead single from Graceland, “You Can Call Me Al” captures Paul Simon at one of his most innovative and introspective moments. Released in July 1986, the song was crafted with inspiration from Simon’s journey to South Africa, where he immersed himself in local culture and sounds that would come to define the Graceland album. This exposure to African music deeply influenced Simon’s approach to this track, and the resulting fusion of Western pop with African rhythms created a global hit, cementing it as one of Simon’s most recognized songs. Chart-wise, “You Can Call Me Al” was highly successful, climbing into the top five in seven countries and becoming a defining single of Simon’s solo career.

The song’s lyrics offer a glimpse into the psyche of a man grappling with the dilemmas of midlife, exploring themes of identity, purpose, and alienation. The lines “A man walks down the street / He says, ‘Why am I soft in the middle now?’” introduce the character’s self-reflective journey as he searches for meaning amidst life’s challenges. As the song progresses, he confronts his disillusionment, singing about wanting “a shot at redemption” and pondering his sense of isolation, symbolized by the recurring chorus, “If you’d be my bodyguard / I can be your long-lost pal.” This memorable refrain invites a sense of camaraderie and connection that contrasts with the character’s internal struggles, giving the song both a melancholy depth and an upbeat, universal appeal.

Musically, “You Can Call Me Al” showcases intricate production under Simon’s guidance. The recording sessions brought together a rich array of musicians, blending South African instrumentation with Western pop sensibilities. The infectious bass line, performed by Bakithi Kumalo, features an iconic slap bass solo that includes a reverse playback effect, making it one of the song’s signature elements. This innovation in sound is part of what made the track stand out and brought a sense of freshness to pop music at the time. Simon’s collaboration with South African artists played a significant role in expanding the song’s cultural footprint, bringing African music into mainstream pop and encouraging similar collaborations.

Read More: Top 10 Paul Simon Songs

# 6 – Calling All Angels – Train

Train’s “Calling All Angels” emerges as a poignant call for hope amid societal challenges and personal struggles. Featured on My Private Nation, the band’s third studio album, this track was released as its lead single on April 14, 2003. Produced by Brendan O’Brien, a celebrated name known for his work with Pearl Jam and Bruce Springsteen, the song showcases a polished rock sound that balances emotive lyrics with memorable, soaring melodies. “Calling All Angels” achieved significant chart success, reaching number nineteen on the US Billboard Hot 100 and claiming the top spot on the Adult Contemporary, Adult Top 40, and Triple-A charts. The recording features Train’s core lineup, including lead vocalist Pat Monahan, guitarist Jimmy Stafford, bassist Charlie Colin, and drummer Scott Underwood, with each member contributing to the song’s layered texture.

Lyrically, “Calling All Angels” reflects a yearning for reassurance in turbulent times. Monahan’s opening line, “I need a sign to let me know you’re here,” sets a tone of vulnerability that resonates throughout the song. As he sings about feeling “drowning in a sea spilled from a cup,” Monahan captures the sense of being overwhelmed by seemingly insurmountable issues. The repetition of the line “I won’t give up if you don’t give up” becomes an anthem of resilience, urging listeners to hold onto hope and solidarity. This thematic focus on communal hope aligns with the underlying messages in other tracks on this list, drawing a parallel to the strength found in the sense of unity and calling out to higher powers or collective resilience in difficult times.

Read More: Top 10 Train Songs Of All Time

# 5 – Calling All Girls – Queen

Queen’s “Calling All Girls” offers a rare glimpse into Roger Taylor’s songwriting prowess within the band, marking the first time one of his compositions was released as a single. Featured on Hot Space, Queen’s 1982 album known for its experimental blend of rock and funk, this track stands out with its raw, guitar-driven edge amidst the record’s dance-influenced sound. Produced by Queen and Reinhold Mack, Hot Space was recorded at Mountain Studios in Montreux, Switzerland, and Musicland Studios in Munich, Germany, both sites known for their high-quality equipment and association with legendary acts. On “Calling All Girls,” Taylor contributed more than just the lyrics and melody; he played guitar feedback noises, showcasing his creative approach to instrumentation. Alongside Taylor, Freddie Mercury provided vocals with his signature intensity, Brian May added guitar elements, and John Deacon played bass, each band member bringing their unique flair to the song’s minimalist but impactful arrangement.

Thematically, “Calling All Girls” diverges from Queen’s usual grandiose style, opting instead for a direct, almost rebellious tone. Taylor’s lyrics capture a call for freedom and individualism, making it a fitting piece within Hot Space, an album already pushing the band’s stylistic boundaries. Lines like “calling all girls” and “get up and scream” serve as a rallying cry, inviting listeners to break away from societal expectations—a sentiment that adds an air of defiance akin to the urgency in Train’s “Calling All Angels,” where the call is more about resilience and hope in troubled times. While Train’s song channels a collective plea for assistance in the face of hardship, Queen’s track instead appeals to personal empowerment and autonomy, showing the varied dimensions of what it means to ‘call out’ in music.

“Calling All Girls” achieved modest chart success, peaking at number sixty on the US Billboard charts and number thirty-three in Canada. Although it didn’t reach the same commercial heights as other Queen singles, it remains a cult favorite, particularly among fans of Taylor’s work. The song’s video, directed by Brian Grant, draws inspiration from George Orwell’s 1984, reinforcing its anti-establishment themes with a futuristic setting where individuals break free from oppressive control.

# 4 – Call Me Lightning – The Who

The Who’s “Call Me Lightning” captures the band’s raw energy and playful bravado, showcasing a different side of Pete Townshend’s songwriting with its infectious rhythm and lighthearted tone. Originally penned by Townshend in 1964, the song didn’t see a formal release until 1968 as a single in the United States, where it followed their hit “I Can See for Miles” and climbed to number forty on the Billboard Hot 100. It was eventually included on Magic Bus: The Who on Tour, the band’s fourth American album. Produced by Kit Lambert and recorded with the classic lineup of Roger Daltrey on vocals, Townshend on guitar, John Entwistle on bass, and Keith Moon on drums, “Call Me Lightning” highlights The Who’s knack for combining wit and rock intensity. The song also gained additional attention with its promotional film, later featured in the 1979 documentary The Kids Are Alright.

Musically, “Call Me Lightning” is driven by a memorable bass solo from John Entwistle, whose intricate playing added depth to the song’s otherwise straightforward rock structure. The lyrics center on a self-assured, fast-driving protagonist, adding a cheeky twist to the album’s varied content. Townshend’s lyrics, particularly lines like “You can’t catch me, I’m as fast as can be / Call me lightning, I’m as fast as can be,” bring a playful swagger that stands in contrast to the more introspective tone of tracks like Train’s “Calling All Angels,” which is also featured on this list. While Train’s song reaches out for resilience and support, The Who’s “Call Me Lightning” projects a sense of unbridled confidence, its protagonist reveling in speed and escapism.

Critical reception to “Call Me Lightning” was mixed; some fans and critics viewed it as a lighter, almost whimsical addition to The Who’s catalog, with biographer John Atkins suggesting that the song’s original B-side, “Dr. Jekyll and Mr. Hyde,” might have offered more substance despite its eerie imagery. Nevertheless, “Call Me Lightning” holds its place as a spirited example of The Who’s versatility, blending humor and rock bravado with the band’s signature energy. The song’s lively vibe and its bold sense of individuality align it with other tracks on this list that explore themes of calling out for something—whether it’s inner strength, connection, or, in this case, speed and freedom. Through its catchy riffs and Entwistle’s standout bass, “Call Me Lightning” remains a memorable piece in The Who’s dynamic discography.

# 3 – Call Any Vegetable – Frank Zappa

Frank Zappa’s “Call Any Vegetable” is an offbeat blend of satire and musical ingenuity, exemplifying the eclectic style that defined Absolutely Free, The Mothers of Invention’s second album, released on May 26, 1967. Recorded under the meticulous production of Zappa himself, this track unfolds in a theatrical suite-like structure, blending rock, jazz, and avant-garde elements with Zappa’s signature humor and biting social critique. The song’s musicianship is notable for its complexity, featuring Zappa on guitar and vocals, Jimmy Carl Black on drums, Roy Estrada on bass, Ray Collins on tambourine and vocals, and Don Preston on keyboards, with Bunk Gardner adding a vibrant woodwind texture. Though uncredited, Jim Fielder also contributed guitar and piano parts. “Call Any Vegetable” captures The Mothers of Invention’s unconventional spirit, using food imagery to mask a deeper commentary on societal apathy.

Lyrically, “Call Any Vegetable” mixes absurdist humor with an allegorical edge, as Zappa encourages listeners to “Call any vegetable” and “Call it by name,” inviting a dialogue with seemingly inanimate things. However, Zappa clarified that these “vegetables” are metaphorical, representing people who remain inactive or disengaged until prompted into awareness or action. This message aligns with Zappa’s tendency to challenge his audience to think critically about societal norms and behavior, an approach that resonates with Train’s “Calling All Angels” on this list, albeit in a markedly different tone. While Train’s song is a heartfelt plea for guidance and connection, Zappa’s call is a playful nudge toward personal awakening and responsibility. His use of repetitive, whimsical phrases like “Rutabaga, rutabaga” juxtaposed with serious undertones brings a unique charm, encouraging listeners to look beyond the absurd and find meaning.

Critics have long appreciated the innovative structure and thematic depth of “Call Any Vegetable,” which showcases Zappa’s ability to marry humor with complex composition. This track, alongside others on Absolutely Free, is recognized as an early precursor to progressive rock, with its intricate orchestration and conceptual daring. The song’s unconventional narrative and Zappa’s eccentric performance style underscore the inventive spirit that pervades this list of songs that “call” out to listeners, whether through satire, support, or self-reflection. With its surreal lyrics and theatrical presentation, “Call Any Vegetable” remains a distinctive entry in Zappa’s discography, challenging audiences to question the boundaries of rock music and the messages it conveys.

Read More: Discovering Frank Zappa

# 2 – Call Me The Breeze – Lynyrd Skynyrd

Lynyrd Skynyrd’s rendition of “Call Me the Breeze” is an invigorating blend of Southern rock and blues, capturing the free-spirited essence that defines much of the band’s work. Originally penned by JJ Cale, the song found a new life when Skynyrd recorded it for their 1974 album Second Helping, produced by Al Kooper. Recorded in January 1974, this track reflects the musical prowess of Skynyrd’s lineup, including Ronnie Van Zant’s gritty vocals, Gary Rossington and Allen Collins on guitar, Ed King on guitar and bass, Billy Powell on piano, and Bob Burns on drums. Together, these musicians bring an electrifying energy to the song, transforming Cale’s laid-back original into a driving, boogie-infused anthem that resonates with the bold, rebellious tone of Southern rock.

Lyrically, “Call Me the Breeze” exudes a carefree attitude, with lines like “I keep blowing down the road” and “Ain’t no change in the weather, ain’t no changes in me” underscoring a sense of freedom and independence. The protagonist’s determination to keep moving forward without any attachments aligns with the nomadic spirit present in other tracks on this list, such as The Who’s “Call Me Lightning,” which also conveys a character reveling in speed and escape. However, while “Call Me Lightning” leans toward a playful swagger, “Call Me the Breeze” is rooted in a more introspective take on autonomy, presenting an image of a person who avoids attachments and constraints, choosing instead to follow the open road with no ties or burdens.

Read More: Top 10 Lynyrd Skynyrd Songs

# 1 – London Calling – The Clash

“London Calling” by The Clash resonates as a powerful, politically charged anthem of resilience and defiance. Released as the title track of the band’s 1979 double album London Calling, the song is a product of Joe Strummer and Mick Jones’s collaborative songwriting, shaped by the band’s concerns about political and social issues of the time. The track was recorded at Wessex Studios in North London, a venue famed for producing work by other iconic bands such as the Sex Pistols and the Pretenders. Produced by Guy Stevens, “London Calling” combines punk’s raw energy with elements of reggae and rock, achieving an unmistakable, genre-crossing sound that critics hailed as revolutionary. The lineup includes Strummer on lead vocals and rhythm guitar, Jones on lead guitar and backing vocals, Paul Simonon on bass and backing vocals, and Topper Headon on drums, each member contributing to the song’s anthemic intensity.

Lyrically, “London Calling” captures a sense of impending crisis and disillusionment, reflecting the anxieties of late 1970s Britain. Lines such as “The ice age is coming, the sun’s zooming in” and “A nuclear error, but I have no fear” convey fears of environmental catastrophe and nuclear disaster, influenced in part by the 1979 meltdown at Three Mile Island. Strummer’s line, “London is drowning, and I live by the river,” alludes to the constant risk of Thames flooding, a fear that led to the eventual construction of the Thames Barrier. These urgent warnings are contrasted with a refusal to succumb to despair, mirroring the tenacious call for unity seen in Train’s “Calling All Angels,” another track on this list that invokes collective action and resilience. However, while Train’s song offers hope in the face of personal struggles, The Clash’s “London Calling” extends this call to an entire society on the brink.

Read More: Top 10 Clash Songs