Author: LRussell

Styx guitarist Tommy Shaw has explained how he was able to let go of lingering resentment towards the band’s previous singer, Dennis DeYoung.

The frontman’s penchant for bombastic, rock opera-style tunes clashed with his bandmates, and contributed to Styx’s hiatus from 1984 to 1990. The group reformed, but DeYoung, who had a reputation for being creatively controlling, continued to bristle with the other musicians. In 1999, the singer was dismissed from the band. Shaw has assumed some of the vocal duties ever since.

The split from DeYoung was contentious, though in recent years the singer has expressed interest in performing with the band once more. Styx has not reciprocated the feeling, but in a conversation with Cleveland.com, Shaw revealed that he’s been able to let go of lingering animosity towards DeYoung as part of a broader effort to improve his own mental health.

READ MORE: Styx Manager: Band Hasn’t Talked to Dennis DeYoung Since Firing

“So, I used to have a lot of things bugging me,” the rocker explained. “After a while, I was like, ‘Why are all these people in my head?’ I’m carrying them around, talking to them – and I finally decided, ‘Okay, everybody who’s up there gather around! I’m letting you all go! I hate to tell you, but you’re all released and I’m afraid we’re not ever gonna talk to each other again. And I wish you the best.’ I meant it, and I mean it. By doing that, all [the noise] went away.”

“Most people have a ‘resentment list’ they’re walking around with,” Shaw continued. “And I just put mine down, one by one.”

Tommy Shaw Has ‘No Hard Feelings’ Towards Dennis DeYoung

Part of Shaw’s list was the baggage he still held regarding DeYoung. With that weight removed, the guitarist feels more at peace with Styx’s past.

READ MORE: The Styx Song That Felt ‘Ripped Off’

“I felt lighter. And it’s never bugged me again,” he noted. “We’re playing [DeYoung’s] songs. We’re gonna play ‘The Best of Times,’ I played the solo on that, sang, played Vocoder and it’s a brilliant song that he wrote. We’re proud to play it. We give him credit for that, you know? Bravo! I’m honored to play it. The fans are gonna love it.”

In closing, Shaw declared that he has “no hard feelings” towards DeYoung.

If the first six months of 2024 have proven anything, it’s that rock ‘n’ roll isn’t just alive and well — it’s taken on plenty of different forms.

The first half of the year has seen triumphant releases from stalwart headbangers like Judas Priest, Bruce Dickinson and Sebastian Bach, along with confident new albums from ’90s rock giants such as Pearl Jam, Green Day and the Black Crowes. Billy Joel returned to popular music after three decades away, and glam rock icon Ian Hunter showed he’s still got gas left in the tank. Meanwhile, Slash paid long-overdue tribute to the blues with a star-studded covers album, and Robert Plant put a captivating spin on a classic from his former band.

See all of these and more in our list of the 20 Best Rock Songs of 2024 (So Far).

20. Slash feat. Brian Johnson and Steven Tyler, “Killing Floor”

From: Orgy of the Damned

Twenty-five years after retiring Slash’s Blues Ball, the guitarist finally committed his love of the genre to record with his all-star covers album Orgy of the Damned. He’s squarely in his comfort zone on this cover of Howlin’ Wolf’s electric blues staple, ripping fast-and-loose solos and locking into an effortless groove with his bandmates. Brian Johnson delights with a soulful vocal showcasing his husky low register, and a guest harmonica performance from Steven Tyler adds extra grit and gravitas.

 

19. Mike Campbell & the Dirty Knobs feat. Graham Nash, “Dare to Dream”

From: Vagabonds, Virgins & Misfits

After decades of serving as Tom Petty‘s right-hand man, former Heartbreakers guitarist Mike Campbell has spent his past three solo albums finding his own voice as a singer and bandleader. He sounds confident in his new role on “Dare to Dream,” a languid, quasi-psychedelic rocker full of droning guitar licks and Campbell’s nasally sneer, which sounds more than a little bit like his late partner’s. A guest vocal from Graham Nash further solidifies the song’s ’60s pop-rock bonafides.

 

18. Melvins, “Working the Ditch”

From: Tarantula Heart

“Working the Ditch,” the lead single off Melvins’ 27th studio album Tarantula Heart, finds the group working in a mode that’s familiar if not exactly accessible. The band’s sludge-metal cacophony reaches new long-form, experimental heights across the LP, and “Ditch” is anchored by grinding, hypnotic riffs and Buzz Osborne’s gruff, repetitive chants. The dual-drum assault of Dale Crover and Roy Mayorga simultaneously adds density and looseness to their gurgling sonic stew.

 

17. Ian Hunter feat. Joe Elliott, Brian May and Taylor Hawkins, “Precious”

From: Defiance Part 2: Fiction

Ian Hunter has been a glam-rock kingpin for more than half a century, and on “Precious,” the octogenarian proves he’s still more than capable of commanding a rock ‘n’ roll band — and corralling top-shelf cameos in the form of acolytes Joe Elliott, Brian May and Taylor Hawkins. Crunchy guitar riffs encase fizzy pop hooks as Hunter gleefully confesses, “If you’re looking for genius, there ain’t nothin’ there.” Hawkins’ cool, unhurried performance offers yet another testament to the late drummer’s talent and ability to play well with others.

 

16. Bruce Dickinson, “Rain on the Graves”

From: The Mandrake Project

Far be it from Bruce Dickinson to take the path of least resistance. The Iron Maiden frontman’s first solo album in 19 years, The Mandrake Project, is another high-concept epic about abuse, identity, power struggles and the occult. Pre-release single “Rain on the Graves” combines Dickinson’s operatic vocals and tongue-in-cheek theatrics with muscular riffs and propulsive grooves. After all this time, he still sounds out for blood.

 

15. Sheryl Crow feat. Tom Morello, “Evolution”

From: Evolution

Sheryl Crow is still capable of the same effortless cool that shot her to stardom in the ’90s, but she tackles headier subject matter on “Evolution,” a moody rocker about the dangers of artificial intelligence left unchecked. As a 30-year music industry veteran, Crow’s confusion and dismay over hearing “a song that sounded like something I wrote” on the radio ring especially poignant. A futuristic solo from Tom Morello drives home the point that some eccentricities can’t be manufactured.

 

14. Billy Joel, “Turn the Lights Back On”

Non-album single

Billy Joel abandoned pop music after 1993’s River of Dreams, convinced he had nothing left to say. Thirty-one years later, he returned with “Turn the Lights Back On,” a reflective piano ballad in which he openly wonders if he’s missed his window of opportunity. The song captures Joel in classic ’70s balladeering mode, his voice weathered but still robust. The rapturous reception to the song’s live debut at the 2024 Grammys squashed any doubts whether the public would still embrace him.

 

13. Ozzy Osbourne, Billy Morrison and Steve Stevens, “Crack Cocaine”

From: The Morrison Project

Sure, you can take Billy Morrison at his word and read the lyrics to “Crack Cocaine” as a metaphor for a toxic love affair — but only if you can divorce the track from Ozzy Osbourne’s legendarily debauched history. However you interpret it, the song is a classic Ozzman stomper, full of chugging, Zakk Wylde-approved riffs and a furious solo from Morrison’s Billy Idol bandmate Steve Stevens. Osbourne sounds fierce and lucid as he bellows about a pastime that often made him behave in a less-than-dignified manner.

 

12. David Gilmour, “The Piper’s Call”

From: Luck and Strange

“The Piper’s Call” is a cautionary tale about the perils of fame from somebody who’s spent more than half a century keeping the hounds at bay. The contemplative track begins with delicate acoustic guitar strums and a hushed vocal from David Gilmour, who warns that you “can’t undo the voodoo that you do” and implores listeners to “steer clear of snakes.” The song builds gradually and climaxes with a smoldering guitar solo — the proverbial North Star that’s always righted Gilmour when the industry threatened to lead him astray.

 

11. Mark Knopfler, “Ahead of the Game”

From: One Deep River

Mark Knopfler conquered the globe decades ago with Dire Straits, but on “Ahead of the Game,” he makes playing in the noisy back room of the neighborhood pub sound like the most glorious endeavor in the world. The singer and guitarist delivers his tried-and-true strand of laidback pop-rock, slick but far from sterile, as he sprinkles in blues and country licks with effortless panache. “We’re worn out and weary, all of us / But we know why we came,” Knopfler croons, sounding like a man who knows some cosmic secret the rest of us are still trying to figure out.

 

10. Ace Frehley, “Walkin’ on the Moon”

From: 10,000 Volts

On 10,000 Volts, Ace Frehley sticks largely to what he knows best: catchy, three-chord hard rock with a chewy pop center. “Walkin’ on the Moon” exemplifies this formula with its swaggering cowbell groove, gigantic power chords and a confident vocal performance from the Spaceman. Is this part of Frehley’s personal UFO testimony, or just a love letter to old-fashioned rock ‘n’ roll? Either way, it soars.

 

9. Kings of Leon, “Mustang”

From: Can We Please Have Fun

“If you’re free tomorrow, don’t make any plans / We can go to Sylvan Park and kick over trash cans,” Kings of Leon frontman Caleb Followill croons at the beginning of “Mustang,” the lead single off Can We Please Have Fun. The rest of the band matches his impish excitement with stabbing guitar riffs and a propulsive beat. By the time Followill cuts loose and unleashes his whiskey-and-honey growl on the chorus, Kings of Leon sound very much like they’re having fun.

 

8. Robert Plant and Alison Krauss, “When the Levee Breaks”

Non-album single

Few classic rock titans have figured out how to reinvent their old songs as effectively as Robert Plant. Together with Alison Krauss, the former Led Zeppelin frontman offers another take on the Memphis Minnie blues tune, reimagining it as an exotic, elemental dirge. Plant’s husky vocals lend an air of desperation to the performance, while Krauss’ evocative violin work nods briefly to Zeppelin’s “Friends” before propelling the song to a climactic rootsy stomp.

 

7. Sebastian Bach, “Everybody Bleeds”

From: Child Within the Man

The titles of “Everybody Bleeds” and accompanying album Child Within the Man suggest that Sebastian Bach has gained some hard-earned wisdom and a fresh perspective. But don’t think for a second that the former Skid Row frontman has softened with age. “Everybody Bleeds” is a bludgeoning metal anthem, packed with catchy riffs, titanic drums and Bach’s full-throttle screams. If everybody bleeds, burns and drowns in the end, Bach sounds determined to go down swinging.

 

6. Green Day, “1981”

From: Saviors

Ever since 2004’s American Idiot revitalized their career, Green Day has fought (and often succumbed to) the temptation to turn every project into a massively ambitious undertaking. Even Saviors was touted as their long-awaited reunion with longtime producer Rob Cavallo, and the third installment in a spiritual trilogy also comprising Dookie and American Idiot. Thankfully, Green Day tamps down these outsize urges on the brash “1981,” a back-to-basics punk anthem full of blunt-force power chords and singalong choruses. It’s Green Day just like you remember them — one version, at least.

 

5. The Black Keys, “Beautiful People (Stay High)”

From: Ohio Players

The Black Keys’ Dan Auerbach and Patrick Carney long ago dropped the pretense of operating as a duo, and “Beautiful People (Stay High)” sounds like a big-budget alt-rock anthem befitting its seven credited co-writers, most notably Beck. That’s not necessarily a bad thing: The “na na na” backing vocals and auxiliary brass and keyboard contributions elevate the song’s funky blues-rock strut. It may not be a literal arena-sized banger, but it’s the work of a band that proudly busted out of the garage a long time ago.

 

4. Pearl Jam, “Dark Matter”

From: Dark Matter

The title track to Pearl Jam’s 12th album goes straight for the jugular with martial percussion, fist-pumping riffs and savage call-and-response vocals from Eddie Vedder. It’s a sweaty, breathless performance that harks back to the band’s mid-’90s heyday. Producer Andrew Watt gives the song a modern, gut-punching sheen, and Mike McCready’s scorching guitar solo proves the alt-rock giants have lost none of their bite.

 

3. Judas Priest, “The Serpent and the King”

From: Invincible Shield

If you want progressive grandeur or epic balladry, there are plenty of songs in Judas Priest’s catalog to satiate your appetite. “The Serpent and the King” is not one of them. The Metal Gods serve four-and-a-half minutes of unadulterated, ass-kicking heavy metal, anchored by rapid-fire riffs, double-kick drum commotion and Rob Halford‘s siren-like wail. It’s an epic story of good versus evil, delivered with the venom of the serpent and the authority of the king.

 

2. The Smile, “Friend of a Friend”

From: Wall of Eyes

Is it a copout to say “Friend of a Friend” sounds positively Beatlesque? The Radiohead offshoot did record its sophomore album at Abbey Road Studios, and the album’s third single is a twisting art-rock odyssey, anchored by Tom Skinner’s lithe drumming and Thom Yorke’s lilting vocals. The lyrics were inspired by footage of Italian people singing on their balconies during the COVID-19 lockdowns; the climactic string swells offer a cathartic rebuke to the fear and isolation wrought by the pandemic. Yet “Friend of a Friend” ends on a note of uncertainty — a warning against complacency and an interrogation of who benefits in times of global crisis.

 

1. The Black Crowes, “Wanting and Waiting”

From: Happiness Bastards

There’s something exhilarating about a couple of seasoned professionals picking up right where they left off and sounding no worse for wear. That’s the case on “Wanting and Waiting,” the lead single off Happiness Bastards, the Black Crowes’ first studio album in 15 years. Brothers Chris and Rich Robinson serve up their patented blues-rock boogie with soul and swagger, combining sassy vocals and sizzling riffs with smoky keyboard flourishes and poppy hand claps. Fellas, we beg you: Don’t leave us wanting and waiting for another 15 years.

Bon Jovi’s record label has been accused of selling copies of new album Forever as signed editions when the signatures are fake.

Some fans have said that the Jon Bon Jovi autographs on the sleeves were created using an autopen technique, meaning they were produced using a mechanical template and weren’t physically signed by the singer himself.

The band’s record label, UMG, was the subject of angry social media posts after some who’d purchased autographed editions in North America looked closely at the signature.

READ MORE: The Best Song From Every Bon Jovi Album

While the special editions of Forever don’t cost more than the standard ones, some buyers argued that wasn’t the point, while others objected to the fact that the signature appeared on an insert rather than the album itself, and that some versions were printed against a dark background and were difficult to see.

“Buyers beware,” wrote one fan (via the Daily Mail). “Bon Jovi store is sending out autopen signatures. Talk Shop Live is also sending out the same ones. The UK signatures appear to be hand signed.”

Another wrote: “Dear UMG, It’s costing you a lot of money to lie about your products. How many people are getting a refund on this? I know, your time is so precious, but lying to fans ain’t the win. Nobody wants autopenned.”

Another said: “I don’t care if it wasn’t super expensive, it’s the principle of the thing. Disappointing.”

Autograph Live – a website that helps collectors identify real and fake signatures – contained a thread in which at least six autopen templates had been spotted, each slightly different but all of them mechanically reproduced.

Does Jon Bon Jovi Know About ‘Autopenned’ Albums?

Opinions were divided on whether Bon Jovi himself knew about the situation, with some noting that the singer had been photographed adding signatures to albums.

“Jon… your fans don’t want to believe that you had knowledge that your people knowingly sent out fake autographs of yours to boost record sales,” a supporter said. “We would like to hear it from you and maybe have the shot at legit signatures since it was under that premise these were purchased.”

Another observed that the limited-edition versions – many of which are now on eBay, with the seller perhaps unaware that the signature is a print – were on sale “for a very long time,” and theorized: “[T]hey kept adding more once sold out… Would not surprise me one bit if somebody in the Jovi camp said, ‘Hey, let’s sell more with an autopen machine! I guess we see the greediness in today’s world.”

It was also reported that the outlets selling the limited editions are accepting returns.

Tommy Shaw believes Styx deserves to be in the Rock & Roll Hall of Fame, and he hopes he and his bandmates are alive if they finally get the call.

During a conversation Cleveland.com, Shaw was asked why Styx has yet to be inducted into the Hall despite being eligible since 1998.

“I hope we all live long enough to find the answer to that question,” the rocker responded. “But that’s not for me to decide.”

READ MORE: Tommy Shaw: Styx Is ‘Powerless’ Regarding Rock Hall Consideration

A look at the Hall’s track record shows that Shaw’s concerns are valid. The institution has inducted many artists posthumously who could have received the honor while they were still alive. The most recent example is MC5, who will finally get inducted this October after being eligible since 1992. The group was nominated six previous times before getting selected for enshrinement, and all of the band’s classic members have since passed away.

Tommy Shaw Jokes That the Rock Hall ‘Looks Good on Television’

Shaw went on to share his further thoughts about the Hall, noting that Bad Company is another acts he’d personally like to see get honored.

“I don’t know the process [for selection] and it’s really none of my business,” the guitarist explained. “It’s a nice thing to have people rally around artists they like, but we have zero influence [over the decision].”

READ MORE: Styx Albums Ranked Worst to Best

Shaw clarified that he’s not against the Hall of Fame, and even expressed enthusiasm for previous inductees.

“I’m glad when artists are recognized. It’s a great thing for everyone,” the rocker admitted. “Like when Rush was in inducted? Appreciated. Deserved. It’s an honor for anybody who is inducted, but it doesn’t help write that next song. We all know the reality: it looks good on television.”

It’s not uncommon nowadays for rock acts to go long periods of time without releasing albums. In a very different era, however, they would routinely release a pair of albums in a single year.

The Beatles did it a trio of times over their first three years alone. The Rolling Stones followed suit in 1965 and again in 1967, just as the Beatles released two more LPs in the same year. Paul McCartney liked the idea so much that he carried it over to his solo career, issuing two albums in 1971 and 1973.

Bob Dylan issued two in 1964 and 1965, the same years the Beatles did. Creedence Clearwater Revival put out two in 1970, after they released a mind-boggling three LPs in 1969. Elton John then picked up the baton, issuing twin recordings in 1970, 1973 and 1975. David Bowie did it in 1973 and 1977.

Of course, producing so many songs increases the risk that some won’t be all that great. That’s why we’re ranking pairs of rock albums from a single year. Unfortunately, some of rock’s most important recordings arrived just before or after some of rock’s more forgettable ones.

Still, there’s something to be said for those who try. It takes no small amount of ambition to follow your muse into multiple studio projects over such a short timeframe. The following 35 pairs of albums didn’t always meet expectations, but they sometimes succeeded beyond anything imagined. That’s the reward to balance out the risk.

Here’s our ranking of the best same-year album releases in rock history.

They Hated Their Own Albums

Phish‘s Trey Anastasio paid tribute to Steely Dan on Thursday at the band’s Songwriters Hall of Fame induction, taking the lead on a medley of two of their beloved hits.

You can watch the performance below.

Anastasio handled guitar and vocal duties on a funky rendition of “Kid Charlemagne,” which was cut short after the solo and segued into “Reelin’ in the Years.” The Phish bandleader took an extended solo on the outro to the latter song.

READ MORE: The Night Steely Dan Performed Under a Different Name

Who Was in the Songwriters Hall of Fame 2024 Class?

Along with Steely Dan, the Songwriters Hall of Fame 2024 class included Hillary Lindsey, Timbaland, Dean Pitchford and R.E.M. The Georgia alt-rockers’ complete original lineup delivered their first public performance since 2007 to mark the occasion, playing their 1991 hit “Losing My Religion.” Diane Warren also received the evening’s Johnny Mercer Award, and R&B star SZA received the Hal David Starlight Award.

High-profile music manager Irving Azoff kicked off the honors for Steely Dan, calling them “among the best bands ever” and saying “their records will be recognized as iconic for the rest of time.” He also relayed a story about the famously sardonic band submitting a blank glossy image as their promo artwork and quipped, “To say they had a great sense of humor would be an understatement.”

Anastasio also sang Steely Dan’s praises, stating that Donald Fagen and Walter Becker “created a body of work that defied categorization — masterful, thought-provoking, elegantly melodic songs filled with beautifully flawed, deeply human and believable characters.”

Fagen acknowledged his late bandmate in his acceptance speech, saying, “I’d like to thank my partner Walter Becker, wherever he may be.”

Other performers from the evening included Kevin and Michael Bacon (the Bacon Brothers), Missy Elliott, Jason Isbell, Nile Rodgers and Carrie Underwood.

The Rolling Stones are not gathering moss.

Mick Jagger, Keith Richards (both 80 years old) and Ronnie Wood (a spry 77) are currently traveling North America on their Hackney Diamonds tour, which began in April and is scheduled to last until July.

Not only are they promoting the Hackney Diamonds album, playing several songs from the recently released LP, but they’re also pulling out tracks they haven’t played live in years.

Below, we’ve compiled a roundup of all the songs the Stones have debuted on tour — some brand new, others from decades gone by – organized by date and the city they were played in, complete with videos.

1. Houston, Texas (April 28): “Out of Time,” “Mess It Up” and “Little T&A”

Technically speaking, every song on the Stones’ opening show in Houston, Texas was a “tour debut.” But let us clarify: these are the songs that have either never been played live before — in this case “Mess It Up” from Hackney Diamonds — or had not been played for some time. “This next song is pretty old and ancient, but we’ve never done it in Houston before, in fact I don’t think we’ve ever done it in the U.S.A. before,” Jagger said before launching into “Out of Time.” (It was last played in 2022, but Jagger was right, it had never been played before in North America.) There was also “Little “T&A” with Richards on lead vocals, which had not been played since 2016.

 

2. New Orleans (May 2): “Let It Bleed,” “Time Is on My Side” and “Whole Wide World”

The Stones really pulled out the stops at this year’s New Orleans Jazz Festival. First, they brought up guest accordionist Dwayne Dopsie for the debut of “Let It Bleed.” This was followed by singer Irma Thomas joining Jagger for “Time Is on My Side,” which they’d not played since 1988. “We heard this song on the radio, and we recorded it, and it became our first kind of hit in America,” Jagger said from the stage. “And the lady that did the song first [Irma Thomas], she’s the soul queen of New Orleans!” And then there was the debut of Hackney Diamonds‘ “Whole Wide World.”

 

3. Glendale, Arizona (May 7): “It’s Only Rock ‘n’ Roll (But I Like It),” “She’s So Cold” and “Monkey Man”

Three more tour debuts followed in Glendale, Arizona, starting with “It’s Only Rock ‘n’ Roll (But I Like It),” which was immediately followed by “She’s So Cold.” A few songs later came  “Monkey Man,” the fan-voted song of the evening. “Try and remember this one, haven’t done this in a long time,” Jagger said before the Let It Bleed track began. (As in previous years, the Stones offer fans a handful of songs to vote on pre-show, with the winner landing in the set list.)

 

4. Las Vegas (May 11): “Let’s Spend the Night Together,” “Like a Rolling Stone,” “You Got Me Rocking” and “You Got the Silver”

If you thought three tour debuts in one show was a lot, try four, which is what happened when the Stones played Las Vegas. The first was a major throwback to 1967: “Let’s Spend the Night Together.” Next was Bob Dylan‘s “Like a Rolling Stone,” which the band has been covering off and on since 1995. “We didn’t write this song. This was specially written for us by a Nobel Prize laureate,” Jagger joked. Immediately after that was “You Got Me Rocking,” as voted by the fans, and last but not least was “You Got the Silver” with Richards handling lead vocals.

 

5. Seattle (May 15): “Wild Horses”

The Stones played just one tour debut in Seattle, but it was an awfully iconic one. The Sticky Fingers ballad “Wild Horses” wound up the fan-voted song of the evening. “There’s an even more important vote in November,” Jagger reminded the crowd, referencing the upcoming U.S. presidential election, “so don’t forget to get involved in that, too.”

 

6. East Rutherford, New Jersey (May 23): “Shattered”

It just makes plain sense that the Stones would bust out “Shattered” from 1978’s Some Girls at their tour stop in East Rutherford, New Jersey, a stone’s throw from New York City. “Hi, New Jersey! Hi, New York! Manhattan, this one’s for you!” Jagger declared before launching into lyrics like “Go ahead, bite the Big Apple, don’t mind the maggots.”

 

7. East Rutherford, New Jersey (May 26): “Bitch,” “Doo Doo Doo Doo Doo (Heartbreaker),” “Tell Me Straight,” and “Midnight Rambler”

One show simply wasn’t enough in New Jersey, especially considering how many people likely traveled over from the biggest city in America. The Stones brought out a whopping four more tour debuts on May 26 at the same venue, starting with “Bitch” from Sticky Fingers. Then came the fan choice, “Doo Doo Doo Doo Doo (Heartbreaker),” notable because it’s only been played live 13 times in the last two decades. Next was the first ever performance of “Tell Me Straight” from Hackney Diamonds, sung by Richards. And finally: “Midnight Rambler,” with a little snippet of Robert Johnson’s “Come On in My Kitchen” thrown in.

 

8. Foxborough, Massachusetts (May 30): “Emotional Rescue”

In Foxborough, Massachusetts, the fan choice once again provided a new tour debut, this time in the form of “Emotional Rescue,” a song the Stones had last played live an entire decade ago. And once again, Jagger reminded the crowd that there is more voting coming down the line: “More importantly…there’s a presidential election in November; don’t forget to vote in that. Don’t take anything for granted!”

 

9. Orlando, Florida (June 3): “She’s a Rainbow” and “Dead Flowers”

“A few of [the voted song options] are banned in Florida,” Jagger quipped at the Stones’ Orlando show at which the winner was 1967’s “She’s a Rainbow.” “Oh dear…I don’t know if I remember it. “I’ll give it a go!” And then there was “Dead Flowers,” which featured a guest, country musician Tyler Childers.

 

10. Atlanta (June 7): “Sweet Virginia” and “Happy”

The Stones played “Sweet Virginia” a total of 10 times in 2019, and then it only made one appearance in 2022. They brought the song back around again at their Atlanta show this year, with Jagger joking that “Wild Horses” would have been the song vote winner had it received another 11,000 votes. (This was a reference to former President Donald Trump, who, in January of 2021, was recorded on the phone pressuring Georgia Secretary of State Brad Raffensperger to help him “find 11,780 votes” in order to overturn the election results in that state.) There was also another Richards-sung song, “Happy.”

Rolling Stones Albums Ranked

Ready to journey through the past (darkly)? Check out Rolling Stones Albums Ranked Worst to Best.

Gallery Credit: Bryan Wawzenek