Stuck in the Middle With You
We have done Liverpool, London, Manchester and now Ireland. This one is a slightly different list, though. This list is for a specific region, the Midlands. Think Birmingham, Coventry, Leicester, Nottingham.
Here goes. My favourite songs by bands/artists from the Midlands.
Peace- From Under a Liquid Glass
Released as the lead single from the band's third album, 'Kindness is the New Rock n Roll.' The song tackles the frontman Harry Koisser's battles with mental health, but is a universal anthem about how to deal with these things that most of us face.
When discussing the song, Koisser stated, “Although this song is deeply personal, it’s really for everyone as most people have had, come into contact with, or will have some degree of mental health issue in their lives."
'From Under a Liquid Glass' was a stark departure for some, for a band that had been famed for writing indie pop bangers. This was the band's most personal track to date, but it shouldn't have come as a surprise. Peace always had something to say. On second album ‘Happy People’, they spoke out about issues relevant to their fans’ lives, like grappling with physical insecurities (“I wish I had perfect skin/I wish I was tall and thin” on ‘Perfect Skin’) and society’s accepted ideas of gendered behaviour (“If you’re not macho then try to be funny/If you can’t fuck or fight then I hope that you’re hungry” on ‘I’m A Girl’).
Whereas that album sometimes hid messages behind great songs, 'Kindness is the New Rock n Roll' puts the message front and centre. Despite the message, '‘From Under Liquid Glass’ is still weirdly euphoric, with Harry's voice soaring to new heights, especially in the song's heartbreaking chorus. The skeletal accompaniment lets the lyrics and vocals shine. All of the band members show their vulnerable side on this record. At the end of the song, there's a huge lift, proving to us all that no matter how dark things may get, there's always light at the end of the tunnel. That sense of hope is always there.
Peace are one of this country's most underrated bands; this won't be the first time they are on this list.
The Specials- Ghost Town
The Specials for man are one of Britain's greatest and most important bands. A band that broke down barriers, both musically and within society. Combining different ideas, cultures and personalties to create music that had never been heard before, and it's hard to think of something as original as what they did, since.
A band that gave us some of the greatest songs of the late 1970s and early 1980s. From ‘Gangsters’, a slice of brilliant SKA punk, to the snarling attack of ‘Do the Dog’ and the reggae-fuelled ‘Nite Klub’. They were a band that combined the angst of punk with the swing of the '60s. A multi-cultural outfit that embraced music from different genres.
They were a band never afraid to comment on social issues and the world they found themselves in. Songs like ‘Too Much Too Young’ and ‘Blank Expression’ were comments on young lives and the racism that was rife in the UK at the time. Alongside commenting on the state of the country, the band would form a label, Two Tone, which gave other British bands, The Selector and Madness in particular, a platform to make music. It was more than a band making music; it was seven extremely talented individuals starting a moment.
In 1981, the UK was going through a time of civil unrest, poverty, and major unemployment. Margaret Thatcher and the Tory Government were in power, and this meant that life for the vast majority of people was not great. People were living hand to mouth.
Just as they had done on previous records, the band began to write about what they could see. ‘Ghost Town’ was born. Written predominantly by Dammers, who had been working on the song for over a year. He had seen the state of the country and began to write down what he was seeing. As well as the country being in turmoil, the band too was struggling.
Overworked and surrounded by chaos. National Front members began to come to gigs and cause trouble. This chaos was threatening to engulf the band, and a couple of incidents made them announce they would stop touring. Guitarist Lynval Golding was seriously attacked at a gig in London. Both Hall and Dammers were later arrested at a gig in Cambridge for trying to stop fighting.
This trouble would be noted in the song. “Bands won't play no more, too much fighting on the dance floor.” Those words resonated with the ban, after the experiences of those gigs.
Away from the personal experiences, Ghost Town was a culmination of a number of factors. Mass unemployment, racism, the cuts to enjoyment, and the sacrifices made by the working class. It was written and recorded at a time of mass tension. A time of mass despair and anger from the working class.
Now the song is seen as a snapshot of Thatcherism and the early 1980s; at the time, it was seen as almost a call to arms. When released, the band played a benefit gig in Coventry to half the audience due to National Front marchers in the city.
The country's biggest band played to a half-empty venue.
The song hit the number one spot and stayed there for three weeks. On the day before the song reached Number One, a wave of rioting began in a number of UK cities, from Brixton to Birmingham, Portsmouth to Preston. Sparked by new powers by the police to stop and search individuals. Many felt there were racial undertones to these searches.
After three weeks at number one, the band played the song on Top of the Pops, a moment that should have been a defining one for the band. Just before they went on stage, however, Hall, Staples and Golding announced they were leaving the band. The infighting and constant pressure had gotten too much for them. 'Ghost Town' is The Specials at their best; it was the best-selling single of 1981 and perhaps the most important song to ever hit the top spot.
Kasabian- Underdog
We've had Birmingham and Coventry. Let's head to Leicester.
Released as the third single from the band's third studio album 'West Ryder Pauper Lunatic Asylum', 'Underdog' has gone on to become a live classic, featuring in Kasabian's setlists virtually since its release.
It takes elements of everything that makes Kasabian great, combining rock, hip hop, and electronic textures to create an absolute monster track. From the crunching guitars to the pounding rhythms, it's a song that grabs you by the collar and refuses to let go.
The song makes you feel 10 feet tall, with lyrics about punching above your weight and proving the doubters wrong. Sergio Pizzorno has described it as "like a boxer in a fight sizing it all up," with a breakdown inspired by 'Silver Apples'.
At its core, it’s about embracing your outsider status and gaining a sense of empowerment from it, a rallying cry for anyone who's ever been underestimated. It’s the kind of song that makes you want to stand taller, push harder, and prove the naysayers wrong. Not through brute force, but through sheer confidence and determination. There’s a universal appeal to its message: no matter the odds, no matter the obstacles, you can carve out your own space and make your mark.
'Underdog' truly shines in a live setting. Performances at Victoria Park in 2014, Glastonbury the same year, and the King Power Stadium shows in 2016 highlight not only the sheer anthemic power of the track but also the band’s ability to command a stage. These shows are a testament to Kasabian at their peak—a band that could turn any venue into a party of thousands.
Even though the new-look Kasabian just isn't doing it for me, songs like 'Underdog' remain timeless. They capture the energy, the swagger, and the sheer audacity of what Kasabian were capable of, and for that reason, they will always have a place in my listening habits.
The Enemy- You're Not Alone
The Enemy released one of the very best debut albums of the 2000s, a record bursting with wit, defiance, and aggression. From the opening chords, it’s clear that Tom, Andy, and Liam Watts were writing from a place of urgency; this album being a success was the band’s only option. Otherwise, it was back to the mundane, back-breaking work that inspired so many of these songs. The album captures a sense of restlessness and determination, a snapshot of youth confronting economic hardship and societal pressures, but doing so with energy, melody, and anthemic swagger.
'You're Not Alone' was released as the third single from the debut album, and it encapsulates everything the band does best. Written in direct response to the closure of the Peugeot factory at Ryton, near Coventry, ‘You’re Not Alone’ is steeped in the band’s own local history. In 2006, Peugeot announced the plant’s closure, and by January 200,7 the final cars had rolled off the line. Over 2,300 people lost their jobs, with thousands more affected across the local supply chain. For Coventry, once a proud centre of car manufacturing, this was a massive blow; politicians, unions, and local families alike called it the end of an era. Against this backdrop of economic despair, The Enemy gave voice to their community through this song.
It holds no punches, with lyrics that are brutal but carefully crafted, channelling anger into something defiant and anthemic. While it is undeniably an attack on the circumstances that forced so many into unemployment, it is equally a celebration of the working class and their resilience. Lines such as “There’s just too many dreams in this wasteland for you to leave us all behind” sum up the stubborn hope running through the track, an insistence that no matter what the powers that be try, they cannot extinguish people's hopes and dreams.
Fans and many reviewers praised its raw honesty and working-class voice, with some calling it a modern anthem of resilience. Coming from three young lads in Coventry, it felt authentic, and it connected deeply with audiences who saw their own struggles reflected in it.
More than just a single, ‘You’re Not Alone’ stands as a working-class anthem that captured the mood of a city in decline and the determination of its people to fight on. Written in 2007, it remains just as applicable today, a song with true staying power.
Ocean Colour Scene- The Circle
Released as the final single from the band’s second album, 'Moseley Shoals', 'The Circle' stands as one of the classic Britpop moments, a masterpiece that reveals a vulnerable, introspective side of Ocean Colour Scene. Britpop wasn’t all about the big anthems and swaggering choruses; there was always room for the reflective, and 'The Circle' is proof of that.
The song was written by frontman Simon Fowler in the mid-1990s and carries a wealth of layered meanings. On one level, it touches on Fowler’s own sense of being an outsider, with some interpreting it as reflecting his sexuality and identity. On another, it may simply reference a bus route in the Birmingham suburb of Moseley that literally travelled in a circle. This ambiguity gives the song a timeless quality, personal yet universally relatable.
Fowler has described 'The Circle' as the quickest song he’s ever written. At the time, the world around him was shifting: bandmates had temporarily stepped away, Steve Cradock had joined Paul Weller’s touring band, and Fowler was grappling with uncertainty about the future of Ocean Colour Scene. All of these emotions coalesced almost instantly into the song, written and recorded in a near-improvised burst of creativity.
This wasn’t the sound of a man with all the answers; quite the opposite. Fowler was coming to terms with not having any. He feared Ocean Colour Scene might be over, but Cradock’s reassurance that his work with Weller was temporary kept the door open. The band reunited to record Fowler’s songs, including 'The Circle', with Weller’s producer Brendan Lynch taking the helm in the studio.
The result was 'Moseley Shoals', an album that captured the band at a crossroads, yet full of ambition. Alongside 'The Circle', the record featured some of Ocean Colour Scene’s most memorable songs, including the anthemic 'The Day We Caught the Train', the upbeat 'The Riverboat Song', and the soulful 'You've Got It Bad'. Each track showcased the band’s ability to balance melodic sensibility with Britpop swagger, making 'Moseley Shoals' a definitive statement of their sound and a highlight of the era.
With the help of Paul Weller and later endorsements from the Gallagher brothers, Ocean Colour Scene became one of the shining sparks of the Britpop era. 'The Circle', along with the other songs on the album, documents a band without the world at their feet but determined to make it work. Every lyric, every melody carries an authenticity that resonates decades later.
Often overlooked when discussing the 1990s Britpop scene, the band from Birmingham quietly produced some of the era’s finest songs. 'The Circle' deserves pride of place alongside the best work of Jarvis Cocker, Damon Albarn, Noel Gallagher, and Richard Ashcroft, a song that proves Ocean Colour Scene were not just part of the scene but among its most enduring voices.
The Clause- Weekend Millionaire
A fairly recent release, 'Weekend Millionaire' was the lead single from an EP of the same name. Which The Clause released in September 2024. Ever since its release, it has been a mainstay in my playlist.
Definitely the band's best effort to date. With references to the past, but a sound firmly fitting of 2024. The band are not imitating anyone here; it is firmly The Clause. Tackling the idea of being young and ambitious, but also with the fear of falling behind in the modern world. An indie classic that is relatable to us all. A song that tackles the universal nature of being young in the UK. Whether that is in Birmingham or Bolton.
The song talks about the escapism that comes with going at the weekend. Whatever that may be. Musically, the song is a massive jump. Each member has their moment in the sun, and it knits together perfectly. It's been the most I've been gripped by a new song in a very, very long time. I cannot stop playing it; it has that infectious feel that makes you want to keep listening. A catchy chorus and verses that are so relatable.
Its relatability alongside the sing-along nature of 'Weekend Millionaire' makes it one of the best songs of recent memory. It's something we can all relate to, tackling friendships falling apart, the nature of the world at the moment, young lust, young love, the ecstasy and agony that comes with a heavy weekend. A song that will go on to soundtrack plenty more heavy weekends, and lead the indie faithful to the dancefloor. A battle cry for the youth of today.
The Clause are proving that Birmingham and the Midlands still have something to offer, of course, there are the bands of the past. Black Sabbath, ELO, and the more recent B Town scene, but The Clause are the here and now. Just because this song hasn't been around for years or the band isn't selling out stadiums does not make it any less important. This is the sound of a band at the start, and it's absolutely brilliant.
Electric Light Orchestra- Sweet Talkin' Woman
There are numerous tracks I could have chosen from ELO's 1977 album 'Out of the Blue'. All of them hold a special place in my heart, but after some serious deliberation, 'Sweet Talkin' Woman' came out on top. It's a string-laden pop song that also embraces the disco sound of the time, creating one of the most unique records not only of the decade but of all time.
The band were among the first to make use of a new piece of equipment: the vocoder, a vocal-synthesising instrument. 'Sweet Talkin' Woman' is perhaps the best example of this, providing numerous different vocal textures throughout the song that give it an almost futuristic edge while still feeling irresistibly catchy.
One of the biggest compliments I can give this song is that it stands brilliantly on its own, yet within the wider context of 'Out of the Blue', it truly shines. The album represents ELO at the height of their creative powers, a testament to Jeff Lynne’s vision and ambition. It’s a record where every element, from the lush orchestration to the tight rock grooves, feels meticulously crafted, yet never overbearing.
'Sweet Talkin' Woman' is one of the album’s standout hits, alongside the legendary 'Mr. Blue Sky' and the shimmering, catchy 'Turn to Stone'. But even beyond the singles, 'Out of the Blue' is a masterclass in genre-blending, seamlessly fusing rock, pop, classical, and disco into a sound that was uniquely ELO’s. The album feels like a celebration of sonic possibilities, bold, experimental, yet endlessly accessible.
Ultimately, 'Out of the Blue' is more than just a record; it’s a statement. It captures the thrill of a band at the peak of their powers, embracing both the old and the new. In many ways, it is the definitive sound of psychedelic disco, a genre-bending journey that still feels fresh, exhilarating, and entirely timeless.
Swim Deep- King City
Over 10 years ago, Birmingham was the centre of indie music in Britain, giving rise to a small but influential scene dubbed B-Town. Four bands emerged as its flagbearers: Peace, Swim Deep, Jaws, and Superfood. We’ve already heard from Peace. Now it’s Swim Deep’s turn.
They kicked things off with their debut single 'King City', originally released in 2012 and then re-released a year later to coincide with their debut album 'Where the Heaven Are We', which also featured the singles 'Honey' and 'She Changes the Weather'.
From the very first note, 'King City' was a statement of intent, a cocky, effervescent anthem backed by sharp instrumentation and quick-witted lyrics. The song buzzes with self-belief and pounds with powerful drums, instantly marking Swim Deep as a band to watch.
Describing the track, the band’s frontman said it “was about fleeing the small towns and cities I was raised in, yet keeping love and admiration for the precious youth I spent there. It was a cocky teenage coming-of-age anthem with a 4/4 beat, which I stole from MGMT’s ‘Kids’.” That blend of nostalgia, ambition, and swagger became the blueprint for the band’s early sound.
For a debut single, it certainly kicked open the door. Swim Deep, alongside Peace, proved that B-Town was more than a passing trend; it was a serious scene with its own identity.
Despite this, the band’s debut album didn’t quite capture the same magic. The NME wrote at the time:
"If B-Town didn’t exist, you wouldn’t bet money on any of the bands involved being arsed to invent it. We’d say nonchalance courses through the scene’s veins like quicksilver, but it’s really more like a slow, viscous swirl. The dreamy, detached sneer of the vocals, the lolloping XXL basslines, all that unwashed hair… Some scenes come roaring out of the traps; B-Town seemed to roll out of bed, insular and uncontrived, smirking at its own in-jokes, smelling faintly of K cider and intent on nothing loftier than the pursuit of a laugh. And if Swim Deep truly want to become a fixed point of reference for future generations, they’ll need to work harder to transcend their own inspirations."
They listened. Swim Deep are still making music today, but nothing they’ve released since matches the raw, ramshackle charm of this debut single. And let’s be honest, how could they top a lyric like:
"Fuck your romance, I wanna pretend / That Jenny Lee Lindberg is my girlfriend"?
Even all these years later, 'King City' remains arguably the best song to emerge from the B-Town movement. On 'Where the Heaven Are We', Swim Deep don’t just pay tribute to their influences synthesise them into something entirely their own, a sound that is unmistakably theirs.
For anyone wanting to understand what made B-Town special, or just to hear indie music brimming with youthful audacity, 'King City' is essential listening. Give it a listen, you might still find yourself hooked after all these years.
Jaws- Just a Boy
Jaws were another band to explode out of the B-Town scene, and 'Just a Boy' shows a darker, more introspective side than the playful swagger of Peace or Swim Deep. It’s self-reflective, and the lyrics hit hard: “I’m just a boy, but I’ll be a better man,” the band’s frontman Connor Schofield promises, owning up to his mistakes and shortcomings with a rare honesty.
This sense of accountability gives the song a menacing undertone, layering depth onto an already emotional track. The sound is hazy, shoegaze-infused, and occasionally grungy, with the drums and guitars weaving around Schofield’s confessions, giving the track a sense of both intimacy and expansiveness.
'Just a Boy' appears on the band’s second album, 'Simplicity', and reflects how much Jaws had matured. The frontman himself had grown, becoming more willing to explore self-reflection and criticism in his songwriting. The song marks a turning point where the band fully embraces their identity, balancing vulnerability with a confident, assured sound.
They really hit their stride here. 'Just a Boy' wraps the listener up, encasing them in a swirl of emotion, texture, and atmosphere. Everything about it is deliberate and brilliant—the interplay of instrumentation, the lyrical honesty, the haunting yet beautiful melodies. Not only is it a standout within the B-Town movement, but it’s also one of the very best songs of the 2010s: raw and visceral, rich and rewarding, heartfelt and harrowing.
This is the sound of a band confident in themselves, creating music that pushes their boundaries while remaining deeply human. With 'Just a Boy', Jaws prove that they are not just part of a scene, they are a band capable of crafting timeless, emotionally resonant music.
Peace- Follow Baby
I said Peace would feature on this list again. They are some of Birmingham's most famous sons, and their debut album 'In Love' is still held in such high regard. The songs on that record have really stood the test of time. NME described the album as "a headrush of love and romance," and it's easy to see why. Peace crafted an album for themselves and their mates, a record that feels timeless because its themes are universally relatable to young people. They didn’t try to force anything, which is exactly why it resonates so deeply.
As Eve Barlow from NME so aptly put it, "If you don’t think Peace are as rejuvenating as a wash of zesty orange juice over a crushing hangover, then you’re beyond help. As Britain suffers from youth unemployment and economic crisis, our greatest currency is the chime of a golden tune. Peace have delivered 10 of them. So what if they’re a bunch of pirates and not pioneers?"
'Follow Baby' sees the band embrace the 90s, the guitars and drums take fans to Seattle and Grunge, but the chorus is firmly in the wheelhouse of the Brothers Gallagher with the lyric “We gon’ live for-evaaah”.
It's an all-out assault that even in its more mellow moments does not let up. The song is full of contrasts; it's bitter and raw with moments of tranquillity and then moments of unrestrained carnage. Within the song's structure, the elements collide and crash; the song really comes into life. Within its three-minute run time, the listener is taken through a lot.
The lyrics really shine to. After every listen, I often have to stop myself from randomly singing “follow baby/we’re gonna live forever”; it's a real earworm.
Peace are one of the most important bands within my listening habits, a band I found just too late. A band that reminds me of that young reckless abandon, where my only worries were my Business Studies homework. What were the 7 P's again?
Give it a listen; in fact, give the whole album a listen. Ask me tomorrow, and it's not 'Follow Baby' on this list, it's 'Wraith' or 'Bloodshake'.
Jake Bugg- Seen it All
Birmingham has had quite a run, but now let’s head to Nottingham and focus on a single from Jake Bugg’s self-titled debut record.
A folk-country story song, it recounts a party at a local gangster’s house that ends badly, with a stabbing. It perfectly encapsulates everything that made Bugg great: a knack for storytelling, an eye for gritty detail, and a voice that carries both youthful defiance and weary reflection. His debut album is full of these working-class tales of heartache, heartbreak, broken promises, and even more broken dreams.
Seen It All' is arguably one of the darkest tracks on the album. While it tells a fictional story, it tackles events that were never far removed from the reality of Bugg’s upbringing. He grew up on a council housing estate in Clifton, Nottingham, once referred to as the largest council estate in Europe, a setting that inevitably shaped both the themes and mood of his songs. His working-class roots provided the raw material for his music, grounding it in authenticity and giving his narratives a tangible weight.
Bugg was a songwriter with something to say. He had lived through experiences that mirrored the stories he told, which made his songs resonate deeply with listeners. The public responded in kind: his debut album was adored by fans and critics alike, selling over a million copies, winning a Brit Award, and earning a Mercury Prize nomination.
For many, he never bettered that debut. While his more recent records may lack the consistency of his first, Bugg continues to craft brilliant tunes that showcase his storytelling gift and melodic sensibility.
'Seen It All' makes the list, though, standing as a quintessential Jake Bugg track: evocative, raw, and hauntingly memorable. It’s the sound of a young songwriter who knew how to capture the pulse of his environment and translate it into music that sticks with you long after the song ends.
Kasabian- L.S.F
Released as the band’s second single, 'L.S.F (Lost Souls Forever)' proved to be a defining moment for Kasabian. It earned them their first Top 10 hit in the UK and also broke into the Top 40 on Billboard’s Alternative Songs chart in the United States, signalling their arrival on the international stage.
Originally released in October 2003 to coincide with FIFA Football 2004, the single was re-released in August 2004, helping to cement its status as one of the standout tracks from their self-titled debut album.
According to the band’s bass player, Chris Edwards, the song was inspired by the headlines they were seeing at the time: “The first LP had military imagery because we were writing it as shit was happening abroad with the army. You’d go down the shops and see ‘THE TROOPS ARE ON FIRE’ in the paper, and Serge wrote the lyrics and took influence from this. We weren’t for it or against. We just wrote about what was going on.”
Frontman Sergio Pizzorno, however, frames it more as an anthem of defiance and unity: “The message is to enjoy your life while you've got it. The world is insane, and music’s maybe the last pure thing we've got, the one thing that can bring people together. When we play that song in the set, you can hear that chant coming from the crowd, and it’s louder than us. It’s hands in the air, and it’s like we’re all in it together. It doesn’t matter if you’re the President of the United States or Jim from Sunderland, we’re all at risk, so while you’re here, sing a song.”
Kasabian have always kept 'L.S.F' firmly in their setlist, often positioning it in the encore or even as the closing track. Live, the song takes on an almost mythical energy, a communal experience where the audience becomes part of the performance. Since the summer of 2012, the band has often opened 'L.S.F' with an impromptu rendition of Fatboy Slim’s 'Praise You', a tradition best witnessed at their Summer Solstice and King Power shows.
For many fans, this is more than just a single; it’s a ritual, a highlight of any gig or festival. While it may not be Kasabian’s most famous track, its power lies in the live experience: the sheer pandemonium, the mass sing-alongs, the unifying energy that only a song like this can create. If push comes to shove, this is my favourite Kasabian song. It’s a song for the fans, and one that proves, above all else, the band’s ability to turn music into a shared, unforgettable moment.
Duran Duran- Rio
One of the very best songs of the 1980s, and I won’t hear any different. 'Rio' was a hit at the time, peaking at Number 9 in the UK Singles Chart in December 1982. It also made waves internationally, reaching the Top 20 in the US and peaking at number 14.
The song originated from an idea by John Taylor, inspired by the allure of Rio de Janeiro, "the truly foreign, the exotic, a cornucopia of earthly delights, a party that would never stop," yet Simon Le Bon chose not to write literally about the city. Instead, he wrote the lyrics about a girl named Rio, blending fantasy and desire into a story as vibrant as the city itself.
The music video for 'Rio' is one of the most iconic of the era. Featuring the band in Antony Price suits, it shows them singing and playing around on a yacht speeding over the crystal-blue Caribbean Sea. Shot over three days in May 1982 on the island of Antigua, the video included yacht scenes at English Harbour, beach scenes at Miller’s Beach, and a segment with a raft at Shirley Heights. Director Mulcahy had originally planned a dramatic scene with the band chased off the island by people wielding guns, but ran out of film stock before filming it. A tourist’s camera was even borrowed to capture John Taylor playing a saxophone atop a mountaintop. The shoot wasn’t without its dangers. After filming, Mulcahy, Le Bon, and Taylor went for a swim and were inches away from sharks when the yacht captain yelled for them to get out of the water. Keyboardist Nick Rhodes was reportedly seasick throughout, later commenting, “I hate boats unless they’re tied up and you’re having cocktails on them.”
Musically, 'Rio' fuses new wave with disco and funk, a combination Duran Duran mastered throughout the 1982 album of the same name. The album, which also included hits like 'Hungry Like the Wolf' and 'Save a Prayer', charted at Number Two in the UK Albums Chart. At the time, it received mixed-to-negative reviews from critics, who praised the melodies but criticised the lyrics. Retrospectively, however, 'Rio' is considered timeless and widely recognised as the band’s best work, celebrated for its inventive instrumentation, production, and the band’s dynamic performances.
With this album, Duran Duran became forerunners in the Second British Invasion of the 1980s, helping pave the way for other English artists to find success in the US and around the world. As a band, they fused styles effortlessly, creating some of the most influential and enduring pop music of the decade. Both the song 'Rio' and the album itself remain cultural touchstones, representing a period when music, fashion, and film converged to define the sound and style of a generation.
In short, 'Rio' isn’t just one of the best songs of the 1980s. It’s a perfect encapsulation of everything that made Duran Duran great.
The Enemy- We'll Live and Die in These Towns
'Well, Live and Die in These Towns' is, for many, The Enemy’s defining moment, the title track from their debut album. It’s an enormous, anthemic track that sees frontman Tom Clarke detailing life in Coventry, painting a vivid portrait of the city he knows so well and the life he has lived.
“Spending time in smoky rooms while haggard old women wearing cheap perfume say, ‘It never happens for people like u,’” he laments over an escalating backdrop of acoustic guitars and soaring string sections, before sweetly concluding, “Don’t let it drag you down.” The track is both a personal reflection and a collective statement, resonating with anyone familiar with the limitations and frustrations of working-class life.
The band celebrate the reality for most of those living on the other side of society’s invisible barriers. Life can be mundane, repetitive, and at times oppressive. People work jobs they hate, for bosses they hate even more. In 2007, these struggles were already acute, and in 2025, those challenges have only intensified. Clarke’s lyrics acknowledge this without despair, instead offering a sense of solidarity and quiet resilience.
It’s a defining moment on one of the best albums of the 2000s. The song serves as a modern-day tribute to the great anthems of The Jam and Oasis, yet it does not merely imitate. It swells, soars, and resonates with a contemporary energy, remaining inspiring and blisteringly frank. The Enemy may lack the playful nuance or quirkiness of their contemporaries, but in doing so, they deliver something purer, sharper, and undeniably powerful.
The honesty of Clarke’s vocal delivery, paired with the understated acoustic guitars and sweeping strings, makes this song special. It’s raw yet uplifting, personal yet universal, a track that captures the essence of its time while remaining timeless. 'Well, Live and Die in These Towns' is more than just a song; it’s a statement of identity, place, and persistence. One of the very best.
Black Sabbath- Iron Man
One of the most iconic songs in heavy metal history, Black Sabbath’s 'Iron Man' is a defining track from their 1970 album 'Paranoid'. Instantly recognisable by its crushing, chugging riff, the song showcases the band at the peak of their dark, pioneering creativity. Tony Iommi’s guitar tone, thick, menacing, and utterly distinctive, sets the stage for a story that is both epic and tragic.
Lyrically, 'Iron Man' tells the story of a man who travels to the future and witnesses the apocalypse, only to return too late to prevent it, ultimately being transformed into a metal giant bent on vengeance. Ozzy Osbourne’s haunting, otherworldly vocals bring a sense of foreboding to the narrative, perfectly complementing the ominous power of the instrumentation.
The song’s structure is deceptively simple, but it’s the precision of the band’s performance that gives it lasting impact. Geezer Butler’s bass lines drive the riff with a sense of urgency, while Bill Ward’s drumming is both deliberate and explosive, punctuating the song’s climactic moments with thunderous force.
‘Iron Man’ is not just a heavy metal anthem; it’s a cultural touchstone. Its riff has become instantly recognisable to anyone with even a passing knowledge of rock music, and the track has appeared in countless films, video games, and pop culture references, cementing its legacy. It perfectly embodies the combination of storytelling, doom-laden riffs, and sonic innovation that defined early heavy metal.
The song also held a special place in Black Sabbath’s live shows, culminating in their final performance at the “The End” tour in 2017. During the Back to the Beginning set, 'Iron Man' was played as part of the band’s farewell to their fans, a fitting tribute that showcased the song’s enduring power and the legacy of the band itself.
At its core, 'Iron Man' is a masterclass in tension, atmosphere, and musical craftsmanship. It’s dark, heavy, and unforgettable. A song that doesn’t just introduce the listener to a metal titan, but also serves as a reminder of why Black Sabbath remains one of the most influential bands in music history.
Ozzy Osbourne- Mama I'm Coming Home
One of Ozzy Osbourne’s most heartfelt songs, 'Mama I’m Coming Home' is a standout track from his 1991 album 'No More Tears'. Written by Osbourne, Zakk Wylde, and Lemmy Kilmister, the song showcases a deeply personal side of the Prince of Darkness, combining his signature vocal power with a tender, melodic sensibility.
Lyrically, the song is a love letter and a plea for connection, written as a tribute to Osbourne’s wife, Sharon. From the very first lines—“Times have changed and times are strange / Here I come, but I ain't the same / Mama, I'm coming home”
Osbourne frames the song as a journey of reflection and reconciliation. These opening lines set the emotional tone, revealing vulnerability and the sense of a long, transformative path that has brought him back to someone important in his life.
The pre-chorus and chorus reinforce this emotional intensity: “You took me in and you drove me out / Yeah, you had me hypnotised / Lost and found and turned around / By the fire in your eyes” and “I've seen your face a hundred times / Every day we've been apart / I don't care about the sunshine / 'Cause mama, mama, I'm coming home.” These lines capture the push and pull of a complicated but enduring relationship, acknowledging past pain while affirming commitment and connection. The repeated refrain, “I’m coming home”, becomes almost a mantra, symbolising return, reconciliation, and emotional grounding.
Verse 2 adds layers of complexity and self-reflection: “You made me cry, you told me lies / But I can't stand to say goodbye / Mama, I'm coming home / Selfish love, yeah, we're both alone / The ride before the fall, yeah / But I'm gonna take this heart of stone / I've just got to have it all.” Here, Osbourne confronts both his own flaws and the imperfections of love, showing that acceptance and persistence are part of the journey.
Musically, 'Mama I’m Coming Home' balances classic hard rock elements with a slow, anthemic structure. Zakk Wylde’s expressive guitar work underscores the lyrical intimacy, while the production allows every note of Ozzy’s emotive vocals to shine. The song’s melodic swell mirrors the emotional arcs in the lyrics: conflict, reflection, and ultimate resolution.
The track became one of Ozzy’s biggest solo hits, reaching number 28 on the Billboard Hot 100, and remains a fan favourite in live performances. Played during farewell tours and later concerts, it often brings the audience to a reflective hush before erupting into a sing-along, demonstrating the universal resonance of its emotional honesty.
At its heart, 'Mama I’m Coming Home' is a masterclass in balancing rock power with heartfelt sentiment. Through key lines like “Times have changed and times are strange” and the repeated, emphatic “I’m coming home”, the song captures longing, reflection, and redemption. It is tender yet powerful, personal yet universal, a timeless testament to Ozzy Osbourne’s ability to channel vulnerability into unforgettable music.
Slade- How Does it Feel
The last song on this list is by one of the most prolific bands of the 1970s, a band with 16 Top 10 singles and 6 Number 1's. A band with one of the greatest Christmas songs ever. The song I have chosen was released in 1975 and was featured on the band’s first soundtrack album, 'Slade in Flame'.
By 1974, Slade had become a massive success in the UK, Europe, and beyond; however, the band felt that continuing to provide 'more of the same' was not what they wanted to do. Their manager, Chas Chandler, suggested they do a movie, to which the band agreed. To accompany the film, Noddy Holder and Jim Lea began writing material for a soundtrack album, which would see the band break out of their successful formula and experiment with different musical ideas.
It became a Top 20 hit for Slade; however, it was the first single not to reach the UK Top 5 since their 1971 breakthrough with 'Get Down and Get with It'.
The melody of 'How Does It Feel' was the first Lea had ever written, while he was still in school. He came up with the idea on an old piano, which he later described as having half the keys missing. Although the tune never developed any further at that time, Lea later revisited it. Holder wrote the song's lyrics, and it became "How Does It Feel". The song featured a brass section, performed by members of Gonzalez, adding a rich texture that was uncommon for Slade’s earlier work.
Despite not being as commercially dominant as some of the band’s other hits, it remains one of their finest pieces of work. Very different from anything they had done before, it showcased their willingness to experiment and push creative boundaries, with results that are nothing short of spectacular. In 1999, Noel Gallagher of Oasis said the song was "one of the best songs written in the history of pop, ever," emphasising its lasting impact on future generations of musicians.
Gallagher also stated that without Slade, Oasis would have never formed. Writing in Slade guitarist Dave Hill’s autobiography, Gallagher said: “No Slade = No Oasis. It’s as devastating and as simple as that.” This acknowledgement highlights just how influential Slade’s music was beyond their immediate chart success; they weren’t just a product of their era; they helped shape the sound of British rock for decades to come.
I think Slade sometimes gets overlooked as a band. They are often dismissed as a novelty act, but a closer look at who they influenced and their chart success paints a very different picture. Six Number 1 singles and consistent Top 10 hits don’t come by accident. The British Hit Singles & Albums names them the most successful British group of the 1970s based on singles sales. They were also the first act to have three singles enter the charts at number one.
Slade are anything but a joke. They were innovators, hitmakers, and trailblazers, balancing commercial success with genuine musical ambition. 'How Does It Feel' is a perfect example of that duality: a song that may not have topped the charts but stands as a timeless testament to their artistry, proving that Slade’s legacy deserves far more recognition than the "novelty" label they are sometimes given.
So that brings the list to an end, we've had B-Town, Glam, Britpop, Two-Tone, and a whole lot more. The Midlands has given us some of the very best and most important songs in British history. Here's to many more.