10 Rock Songs About Wanting Someone You Can't Have

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This article takes a close look at ten rock songs that dig into these varied experiences. In some cases, the yearning is innocent—perhaps due to distance or timing. In others, the desire crosses into obsession or a deep-seated heartbreak. These songs explore every avenue of wanting what feels unattainable, from unrequited love to emotional longing. There’s also a complexity to these stories, whether it’s about feeling like you’re not in the same league as someone, being separated by social or economic barriers, or grappling with deeper issues that keep two people apart. And at its core, the message of each track hits on the emotional truth that all of us, at one time or another, have felt this burning desire for something, or someone, we can’t have.

While we’ve certainly included some expected, timeless songs in this list, we wanted to surprise our readers with a selection that dives deeper. Sure, some tracks are well-known anthems, but the heart of this list is about uncovering songs that make people think, “Oh wow, I hadn’t considered this one, but it’s perfect.” We wanted to step beyond the typical choices and highlight songs that have that raw emotional intensity but may not always make other lists. It’s that originality that fuels this site, and it’s why we pride ourselves on doing more than just scratching the surface. This list is about finding those gems and bringing them to the forefront for those who crave rock music that truly resonates.

At the end of the day, rock and roll has always been about digging deep into emotions—whether it’s the elation of being in love or the agony of not getting the person you want. This list is a testament to that. We’ve done the research, we’ve curated something fresh, and, above all, we’ve stayed true to our passion for showcasing the music that hits hardest when you feel the most. So dive into this list with an open mind, and you might just find that perfect song that speaks to your own experiences of longing and desire. After all, that’s what rock and roll is about—expressing the truth, even when it hurts.

# 10 – I Want the One I Can’t Have – The Smiths

I Want the One I Can’t Have by The Smiths is a standout track from Meat Is Murder, their second studio album released in 1985. The song epitomizes the themes of unrequited love and desire, which are common in The Smiths’ music. In this song, Morrissey, with his melancholic and emotive vocal delivery, conveys a yearning for someone out of reach. The frustration of wanting someone you can’t have is captured in the repeated lyric “It’s driving me mad,” which is layered over Johnny Marr’s jangly, upbeat guitar riff. The contrast between the upbeat instrumentals and the darker lyrical content adds complexity to the song’s emotional pull, making it a quintessential Smiths track.

Recorded in the autumn of 1984, Meat Is Murder was produced by The Smiths themselves alongside Stephen Street. The album was recorded primarily at Amazon Studios in Liverpool and Ridge Farm Studio in Surrey. The song features Morrissey on vocals, Johnny Marr on guitar, Andy Rourke on bass, and Mike Joyce on drums. “I Want the One I Can’t Have” fits seamlessly within the album’s soundscape, characterized by Marr’s distinctive guitar work and Morrissey’s introspective lyricism. The track’s mix of post-punk and indie rock styles captures the essence of 1980s alternative music while maintaining the emotional depth that would come to define The Smiths’ legacy.

In terms of its lyrical content, “I Want the One I Can’t Have” tackles the universal theme of unfulfilled desire. The lyrics explore the internal conflict between the heart’s longing and the mind’s logic, most notably with the line “On the day that your mentality / Decides to try to catch up with your biology.” Morrissey’s lyrical style blends wit with emotional vulnerability, which has always resonated with fans who relate to feelings of inadequacy and frustration in romantic pursuits. The juxtaposition of love, desire, and societal norms is emphasized when Morrissey sings about admiring a tough kid raised on “prisoner’s aid,” showing how even morally questionable characters can seem ideal when caught in a web of desire.

Musically, the song’s energetic pace contrasts with its darker themes, making it an excellent example of The Smiths’ ability to blend upbeat rock with melancholic content. The inclusion of lines like “A double bed and a stalwart lover for sure / These are the riches of the poor” encapsulates Morrissey’s critique of traditional values and societal expectations, further enriching the narrative of longing and unfulfilled dreams. While “I Want the One I Can’t Have” didn’t become a major single for the band, its place on Meat Is Murder helped solidify the album’s reputation as one of The Smiths’ most important releases, ultimately becoming their only number one album in the UK.

This track sets the tone for the rest of this list, encapsulating the frustration and emotional complexity of wanting someone who remains out of reach. With its memorable chorus and Morrissey’s iconic lyricism, “I Want the One I Can’t Have” is an essential song about obsession, desire, and the unattainable, paving the way for more explorations into similar themes by other artists.

Read More: Our 10 Favorite Smiths Songs

# 9 – I Want You Around – The Ramones

The Ramones’ song “I Want You Around” is a significant track from the Rock ‘n’ Roll High School soundtrack, a 1979 movie that prominently features the band both musically and in cameo roles. The song, written by Joey Ramone, delves into the familiar Ramones territory of youthful yearning, expressing the frustrations of wanting someone who might be just out of reach. Its inclusion in the film ties directly into the movie’s rebellious spirit and themes of teenage desire and defiance, perfectly capturing the Ramones’ punk ethos.

Recorded during a transitional period for the band, I Want You Around is a mid-tempo track that maintains the band’s signature sound—a mix of punk rock rawness and pop sensibility. The soundtrack was produced by Ed Stasium and Phil Spector, though the latter’s involvement in the Ramones’ sound would not fully take hold until their End of the Century album in 1980. The song was likely recorded in Los Angeles around 1978, during the band’s Road to Ruin sessions, reflecting the more polished, radio-friendly direction the Ramones were experimenting with at the time.

The song’s lyrics deal with wanting someone despite the obstacles. The simple, direct lines—”I want you around”—convey the universal feeling of unrequited or complicated love. The repetition of the phrase emphasizes the frustration and helplessness of the situation, much like the other songs on this list about wanting someone you can’t have. The Ramones keep it straightforward, pairing the emotional weight of longing with a catchy, upbeat melody that contrasts with the more intense desperation of other songs like I Want The One I Can’t Have by The Smiths.

Though “I Want You Around” wasn’t a chart-topping hit, its inclusion in Rock ‘n’ Roll High School secured its place in Ramones history. The film became a cult classic, and so did the song, resonating with fans who found themselves in similar situations of wanting someone but being unable to have them. The Ramones’ ability to package those emotions into short, punchy songs became a hallmark of their career. The track itself stands out as a unique blend of the band’s punk rock roots and their ability to craft relatable love songs, making it an enduring favorite in the Ramones’ catalog.

# 8 – To Be With You – Mr. Big

“To Be with You” is an iconic soft rock ballad by American rock band Mr. Big, released as the second single from their 1991 album Lean into It. Written by lead vocalist Eric Martin and David Grahame, the song became Mr. Big’s most successful single, topping the Billboard Hot 100 for three weeks and charting at number one in eleven other countries. The track was recorded at Rumbo Studios in Los Angeles and Cherokee Studios in Hollywood, with Kevin Elson as the producer, shaping it into a timeless hit that defined the band’s career.

The song tells the story of unrequited love, where the narrator longs to be with someone who is heartbroken by another relationship. The lyrics are filled with empathy and the desire to offer comfort, as the singer hopes to be the one to show the person what real love is like. Lines like “I’m the one who wants to be with you” and “Waited on a line of greens and blues just to be the next to be with you” encapsulate the depth of yearning that comes with wanting someone who is unavailable, making this song a perfect addition to the list of 10 Rock Songs About Wanting Someone You Can’t Have.

Musically, “To Be with You” stands apart from the more intense rock energy typical of Mr. Big’s catalog. Instead of featuring flashy solos and heavy guitar riffs, it is a primarily acoustic-driven ballad that highlights the band’s softer side, with its catchy chorus and gentle harmonies contributing to its massive commercial appeal. While the band is often associated with the glam metal genre, this track showcases their ability to craft heartfelt, mainstream pop rock, much like the juxtaposition between the rockier sound of I Want You Around by The Ramones and its more tender lyrical message.

The success of “To Be with You” catapulted Mr. Big into the global spotlight. Although the band released many songs throughout their career, none captured the same level of chart dominance or emotional resonance as this one. The song’s central theme of patiently waiting for the opportunity to be with someone you can’t have is relatable, making it a staple on lists about unrequited love and emotional longing. This song, alongside others in this article, explores the emotional complexities of desire and how love can often feel just out of reach.

# 7 – Fade Away – Bruce Springsteen

“Fade Away” is a deeply emotional ballad by Bruce Springsteen, released in 1980 on The River, his fifth studio album. The River was recorded at The Power Station in New York City, with production led by Springsteen, Jon Landau, and Steven Van Zandt. The album marked a stylistic expansion for Springsteen, blending rock anthems with introspective ballads. “Fade Away,” one of the standout tracks on the album, captures the heartache and frustration of wanting someone who is slipping away. Released as a single in 1981, it reached number 20 on the Billboard Hot 100, further solidifying Springsteen’s status as a master of narrative-driven songwriting.

In “Fade Away,” Springsteen’s narrator laments a romantic relationship that is coming to an end, despite his desperate attempts to hold on. The lyrics describe a man who cannot accept that his partner has found someone new, nor can he reconcile the reality that the love they once shared has faded. He pleads, “I don’t want to fade away,” repeatedly asking what he can do to fix things, knowing deep down that the situation is slipping beyond his control. The song’s slow, bluesy tempo, combined with Springsteen’s raw, emotive vocal delivery, makes it a powerful meditation on loss and longing. Like I Want the One I Can’t Have by The Smiths, it explores the pain of wanting to be with someone who is no longer emotionally available.

Musically, “Fade Away” reflects the stripped-down, reflective tone of many of Springsteen’s slower songs. The E Street Band, known for their energetic performances, take a more subdued approach here, allowing the melancholy lyrics and Springsteen’s voice to take center stage. Roy Bittan’s piano and Van Zandt’s guitar create a plaintive backdrop that enhances the sense of inevitable loss. The track stands out on The River as one of Springsteen’s most vulnerable songs, contrasting with some of the more upbeat rock tracks on the double album.

“Fade Away” fits perfectly into this list of 10 Rock Songs About Wanting Someone You Can’t Have. It explores a theme that resonates deeply with listeners—the desperation and heartache of wanting to hold on to something that is already gone. Much like Mr. Big’s “To Be with You,” which also deals with the longing to be with someone who seems out of reach, “Fade Away” captures the emotional complexity of love slipping through one’s fingers. Both songs explore the theme of unrequited love in different ways, with Springsteen focusing on the painful process of acceptance and the emotional aftermath of a fading relationship.

# 6 – Heartbeat – The Runaways

“Heartbeat” is a track from Queens of Noise, the second studio album by American rock band The Runaways, released on January 7, 1977, through Mercury Records. The Runaways were pioneers in the all-female rock band scene, and Queens of Noise further solidified their place in rock history with its powerful blend of punk, glam, and hard rock. Recorded in the midst of the band’s rise to fame, Queens of Noise was produced by Earle Mankey, with the album being recorded in Los Angeles in 1976. Featuring Cherie Currie on lead vocals, Joan Jett on rhythm guitar, Lita Ford on lead guitar, Jackie Fox on bass, and Sandy West on drums, the album showcased the raw energy and rebellious spirit that made The Runaways a trailblazing act.

“Heartbeat,” co-written by Currie, Ford, Kim Fowley, and Fox, is a quintessential example of unfulfilled longing and obsession, making it a perfect fit for this list of 10 Rock Songs About Wanting Someone You Can’t Have. The lyrics tell the story of a young fan who becomes enamored with a rock star, willing to lie about her age and stay backstage just to be near him. The song’s refrain, “Stop look listen to my heartbeat,” captures the youthful intensity of wanting someone who seems unattainable, driven by the excitement of proximity and the thrill of stardom. Despite the fan’s devotion, the relationship remains fleeting as the star leaves, making the song a bittersweet tale of desire and missed opportunities.

Musically, “Heartbeat” is propelled by Lita Ford’s driving guitar riffs and Joan Jett’s gritty rhythm work, which create a pulsating backdrop for Currie’s powerful vocals. Sandy West’s drumming adds a steady beat that mirrors the urgency of the lyrics. The song is a standout track on Queens of Noise, with its infectious energy and rock anthem appeal. As with other songs on this list, such as Bruce Springsteen’s “Fade Away,” “Heartbeat” explores the theme of longing for someone who is out of reach, but while Springsteen’s track deals with a deteriorating relationship, “Heartbeat” is centered around the thrill of infatuation with someone just beyond one’s grasp.

“Heartbeat” exemplifies The Runaways’ ability to capture raw emotion and youthful energy, blending hard rock and punk influences with a personal, relatable narrative. This track, like many from Queens of Noise, resonated with young listeners who identified with the feelings of yearning and desire for someone who remains just out of reach. It remains an essential part of The Runaways’ legacy, showcasing the band’s ability to tap into universal themes while delivering high-energy rock music.

# 5 – I May Not Be Your Kind – Garland Jeffreys

“I May Not Be Your Kind” is a standout track from Ghost Writer, the second solo album by Garland Jeffreys, released in 1977. The album, recorded with an impressive roster of session musicians, showcases Jeffreys’ blend of rock, reggae, and soul, and his ability to explore complex social and personal themes with subtlety and insight. Ghost Writer was recorded at A&R Studios in New York City, with Jeffreys producing alongside Roy Cicala. Musicians such as Dr. John, The Brecker Brothers, and Steve Gadd contributed to the album’s sound, cementing Jeffreys’ reputation as a versatile and socially-conscious artist.

“I May Not Be Your Kind” delves into the themes of rejection, longing, and feeling like an outsider in relationships. The song’s lyrics reflect the deep yearning of someone who feels they don’t fit societal expectations or the desires of a romantic partner. Lines like “I may not be your kind, baby” and “I may not be your kind, mama” emphasize the struggle of being perceived as different and not meeting certain standards. The song’s haunting undertone is a perfect example of how desire for someone can be intensified by the knowledge that the connection may never be fully realized due to social or racial barriers.

The song’s narrative is rooted in the experiences of people from different racial backgrounds. Jeffreys introduces the imagery of a “little white girl on a downtown street” and a “little black boy,” highlighting interracial attraction and the challenges it faces. This mirrors broader societal tensions, but Jeffreys frames it in the context of personal longing and rejection. Musically, “I May Not Be Your Kind” leans on a bluesy and soulful arrangement, with Dr. John’s organ playing adding a rich layer of emotion. As the song progresses, the depth of emotion intensifies, aligning with the feeling of unrequited desire.

Comparisons can be drawn between “I May Not Be Your Kind” and other songs on this list, such as The Smiths’ “I Want the One I Can’t Have,” as both explore the frustration of wanting someone who remains just out of reach. However, where Morrissey’s delivery is marked by angst and bitterness, Jeffreys’ approach carries a resigned acceptance and a reflection on the societal reasons that may keep lovers apart. The song stands as a poignant commentary not only on personal relationships but also on the broader social implications of race and identity.

Ghost Writer peaked at No. 140 on the Billboard 200, and though it didn’t reach major commercial success, it has since gained critical recognition as one of Jeffreys’ finest works. “I May Not Be Your Kind” remains a key track, showcasing his lyrical depth and ability to address difficult topics through the lens of deeply personal emotions.

# 4 – Wedding Bell Blues – Laura Nyro

“Wedding Bell Blues,” written and recorded by Laura Nyro in 1966, tells the story of a woman deeply in love with her boyfriend but frustrated by his reluctance to propose. The song’s title became a popular phrase in American culture, representing the longing for marriage that many people experience when a relationship stalls short of commitment. The track was part of Nyro’s debut album More Than a New Discovery, which was released through Verve Folkways. However, the song gained widespread fame with the 5th Dimension’s 1969 cover, which reached number one on the Billboard Hot 100 chart.

Nyro originally wrote the song at the age of eighteen, and its lyrics reflect both adoring love and frustrated lament. The song’s narrator, using the name “Bill” to address her lover, questions whether she will ever “see her wedding day” and pleads for a deeper commitment. The song is a “mini-suite,” featuring multiple shifts in rhythm and tempo, a hallmark of Nyro’s distinctive songwriting style. However, the original recording saw Nyro’s creative vision compromised, as arranger Herb Bernstein didn’t allow her to record the version she had envisioned, which led to some personal dissatisfaction on her part. Despite this, Nyro’s passionate and soulful vocal performance shines through, particularly in lines like, “Bill, I love you so, I always will,” underscoring the intensity of her longing.

Although the song only reached No. 103 on Billboard’s “Bubbling Under” chart in its original release, “Wedding Bell Blues” gained significant attention when it was covered by the 5th Dimension in 1969. Their version achieved a more polished, radio-friendly sound, and became a major hit. Nyro’s original recording, in contrast, carried a more raw and soulful tone, reflecting her emotional depth and unique arrangement style. The song’s success with the 5th Dimension helped bring greater attention to Nyro’s songwriting talents and cemented her status as an influential artist in the 1960s and 1970s.

In the context of this list of songs about unrequited or unfulfilled desire, “Wedding Bell Blues” stands out because it captures the experience of wanting a relationship to move to the next stage, yet feeling stuck. The sentiment of frustration expressed in this song is echoed in others on this list, such as The Smiths’ “I Want the One I Can’t Have,” though Nyro’s track has a particularly poignant emphasis on commitment. The song’s gentle blend of soul, pop, and folk influences makes it a timeless exploration of love, yearning, and the fear of being left behind.

Read More: Top 10 Laura Nyro Songs

# 3 – Love On The Phone – Suzanne Fellini

“Love On The Phone” by Suzanne Fellini, from her self-titled album Suzanne Fellini, released in 1980, offers a poignant look at desire and longing through the lens of a distant relationship. Casablanca Records, which released the album, was best known for its diverse roster of artists, from disco sensation Donna Summer to rockers like Kiss. Suzanne Fellini’s single represents a unique blend of rock and pop, offering a reflection on how distance can intensify yearning, especially in romantic relationships that rely on technology to keep the connection alive. The song’s release in 1980 places it squarely in an era when telephone communication was a lifeline for long-distance lovers, further heightening its emotional impact.

The track’s lyrics delve into the frustration and yearning that comes from a romantic relationship maintained through telephone calls. The opening lines, “Miles and miles away from you / You know I’d fly there if you told me to,” immediately set the tone of desire mixed with helplessness. The physical separation, symbolized by the “telephone wire,” emphasizes the longing for the physical presence of the other person. Fellini captures the frustration of emotional connection that lacks physical intimacy, describing how difficult it is to feel close to someone when all they can rely on is their voice on the phone. This sentiment echoes the feelings of wanting someone you can’t have, which resonates deeply with other songs in this article, such as Bruce Springsteen’s “Fade Away,” where love slips further away despite the narrator’s desperation.

Musically, the song reflects the pop-rock style of its time, featuring a rhythmic beat that underscores the song’s emotional tension. The repetitive chorus—“Makin’ love on the phone / Love on the phone”—gives a sense of being trapped in a cycle of longing, underscored by the physical distance. Suzanne Fellini’s vocals carry a sense of sensuality and frustration, perfectly capturing the push-and-pull of wanting someone who is unreachable. The song’s climactic moment, “Hang on a minute I’ll get undressed / Yes Yes Yes Yes Yes No!” reflects the rollercoaster of emotions that come with such a relationship—hope, desire, and the inevitable disappointment of not being able to fulfill that longing.

In comparison to other tracks in this list of rock songs about unfulfilled desire, “Love On The Phone” takes a modern, technological approach to the theme of wanting someone you can’t have. While many other songs reflect emotional distance or the inability to get close to someone emotionally, Fellini’s song centers on physical separation and the frustration that comes with it. This twist on the concept of unrequited or unattainable love sets “Love On The Phone” apart from tracks like The Smiths’ “I Want The One I Can’t Have,” while still delivering an exploration of longing that hits just as deeply.

# 3 – If Loving You Is Wrong (I Don’t Wanna Be Right) – Rod Stewart

Rod Stewart’s cover of “If Loving You Is Wrong (I Don’t Wanna Be Right)” offers a powerful rendition of a classic soul track that explores the complexities of forbidden love and the emotional turmoil that comes with it. Originally written by Homer Banks, Carl Hampton, and Raymond Jackson, and first popularized by Luther Ingram in 1972, Stewart included his own version of the song on his 1977 album Foot Loose & Fancy Free. The album, which marked Stewart’s transition from his early rock sound into more pop-oriented material, showcases his ability to bring a raw, emotional delivery to a track that deals with complicated themes of morality, love, and guilt.

The song’s lyrics delve into the internal conflict of a person caught in an illicit affair. Lines like “If loving you is wrong, I don’t wanna be right” capture the essence of a relationship that is frowned upon by society and, perhaps, by the person’s own moral standards, yet the emotional pull is too strong to resist. Rod Stewart’s raspy, emotive voice brings a new level of vulnerability and intensity to the song, making the listener feel the weight of the emotional conflict. The song fits perfectly into this article’s theme of wanting someone you can’t have, as it explores not only the longing for someone outside of what’s acceptable but the willingness to sacrifice everything for that person. This is echoed in other songs from the list, like Suzanne Fellini’s “Love on the Phone,” where the singer is willing to do whatever it takes to keep the connection alive.

Musically, Stewart’s version maintains the slow, soulful rhythm of the original but infuses it with his signature rock edge, giving the track a different kind of emotional intensity. The guitar work on Foot Loose & Fancy Free adds a sense of tension, which complements the lyrical theme of the song. The production is slicker than previous versions, reflecting Stewart’s growing popularity in the late ’70s and his shift towards more mainstream rock and pop influences. Stewart’s interpretation brings out a sense of defiance—almost as if he’s daring society to judge him for the choices he’s made.

In the context of this list, “If Loving You Is Wrong (I Don’t Wanna Be Right)” explores a different aspect of unrequited or forbidden love. Where other songs on the list might focus on longing for someone from afar or yearning for someone unattainable, Stewart’s take on this classic song is about the moral conflict that comes with a love that’s already established but is viewed as wrong. The raw emotion and the idea of forbidden love make it stand out among other tracks, giving it a place as one of the more soulful and introspective songs about wanting someone you can’t have.

# 2 – Love The One You’re With – Stephen Stills

Stephen Stills’ “Love the One You’re With” is a landmark song in the folk rock genre and stands as his biggest solo hit. Released in November 1970 as the lead single from his debut solo album Stephen Stills, the song quickly gained popularity, reaching No. 14 on the Billboard Hot 100 in early 1971. The song was inspired by a line Stills heard from fellow musician Billy Preston: “If you can’t be with the one you love, love the one you’re with.” This phrase would go on to become the foundation for a song that captures a carefree, ‘seize-the-moment’ attitude. The song’s lighthearted, easygoing message resonated with audiences at the time, contributing to its chart success and cultural impact.

Recording sessions for the song took place in 1970, with Stills acting as both the performer and producer. The track features a notable collaboration with his Crosby, Stills & Nash bandmates David Crosby and Graham Nash, who provided background vocals. Other famous contributors include Rita Coolidge, her sister Priscilla Jones, and John Sebastian, all of whom participated in the harmonized “Do Dos” that add to the song’s catchy, sing-along quality. Musically, “Love the One You’re With” merges folk rock with upbeat rhythms, enhanced by the use of steel drums, which give the song a unique sonic texture that sets it apart from other folk tracks of its era. Stills himself praised the inclusion of the steel drums, which he played after experimenting with them until he found the right notes.

Lyrically, the song explores the theme of finding solace in the present moment, even when the person you truly desire is out of reach. Lines like “If you can’t be with the one you love, honey, love the one you’re with” reflect a philosophy of acceptance and making the best of current circumstances. Stills’ vocals, combined with the soulful backing harmonies, convey a sense of playful liberation. In comparison to other tracks in this article’s list, such as Bruce Springsteen’s “Fade Away”, which dives deeply into the emotional pain of losing someone, “Love the One You’re With” adopts a more casual, carefree approach to unrequited love, focusing on moving forward rather than dwelling on longing.

Stills’ song remains one of the most famous tracks of his career and has been covered by several artists across various genres, from the Isley Brothers to Luther Vandross. Its broad appeal lies in its simple but universally relatable message, coupled with a melody that evokes joy and celebration. As the first song in this list, “Love the One You’re With” sets the tone for exploring different interpretations of longing and unrequited love, showing that, sometimes, the best response to unattainable love is to live in the present.

# 1 – Layla – Derek & The Dominoes

As the closing track on this list of 10 Rock Songs About Wanting Someone You Can’t Have, “Layla” by Derek and the Dominos stands as one of the most iconic songs in rock history. Written by Eric Clapton and Jim Gordon and released in 1970 on the album Layla and Other Assorted Love Songs, the song epitomizes the anguish and obsession that comes with unrequited love. The inspiration behind “Layla” is as legendary as the song itself, drawing from both ancient Persian literature and Clapton’s real-life infatuation with Pattie Boyd, the wife of his close friend and fellow musician George Harrison. Clapton’s pained yearning is evident in every lyric, transforming the song into a profound expression of desire and emotional torment.

The recording of “Layla” took place at Criteria Studios in Miami between August and September of 1970, with Tom Dowd as producer. The song features contributions from an all-star lineup, including Clapton on lead guitar and vocals, Jim Gordon on drums, Bobby Whitlock on keyboards and vocals, and Carl Radle on bass. Duane Allman of the Allman Brothers Band also played a pivotal role, adding the iconic slide guitar riff that drives the first part of the song. This collaboration between Clapton and Allman is often regarded as one of the greatest guitar pairings in rock history. The song’s structure is divided into two distinct sections: the first, a fast-paced, bluesy rock anthem driven by Clapton’s plea for love; the second, a slower, melancholic piano coda that Jim Gordon composed, although it has been debated that Rita Coolidge, Gordon’s girlfriend at the time, also contributed to the piano section.

Thematically, “Layla” explores the agony of wanting someone who is seemingly unattainable. Clapton’s lyrics reflect his desperation, as he sings, “Layla, you’ve got me on my knees / Layla, I’m begging, darling please.” The song’s narrative closely mirrors Clapton’s real-life longing for Pattie Boyd, making it one of rock’s most poignant examples of personal emotion captured in music. In comparison to other tracks in this article, such as “I Want the One I Can’t Have” by The Smiths, “Layla” is far more visceral and raw, driven by both Clapton’s soulful vocals and the heart-wrenching intensity of the guitar work. Whereas The Smiths’ song conveys a more cerebral, detached sense of longing, “Layla” fully immerses the listener in the agony of desire.

“Layla” was initially released in 1971 but did not become a major hit until 1972, when it reached number 10 on the Billboard Hot 100 in the U.S. and number seven in the U.K. A second, acoustic version of the song, released on Clapton’s Unplugged album in 1992, achieved even greater commercial success, winning the Grammy Award for Best Rock Song in 1993. Both versions of the song remain iconic, with the original electric version widely regarded as one of the greatest rock songs of all time.

As the final song on this list, “Layla” represents the ultimate expression of unattainable love. Its blend of powerful guitar riffs, soul-baring lyrics, and emotional depth makes it a fitting conclusion to this exploration of rock songs about obsession and desire. Few songs in rock history so perfectly encapsulate the turmoil of wanting someone you cannot have, cementing “Layla” as a timeless classic that resonates with listeners across generations.