Disco dominated the airwaves in the 1970s, spawning a parade of unforgettable anthems like “You Should Be Dancing,” “Rock The Boat,” “Never Can Say Goodbye,” and “Le Freak.” Over the decades, artists from every corner of the music world have put their own spin on these timeless tracks, delivering fresh versions that still make you want to tap your foot. Below are ten (plus one bonus) foot‑tapping covers that prove the disco spirit never truly died.

11 Steps

ABBA blended Euro‑pop, rock, and disco to create a global phenomenon, and their catalog has been re‑imagined countless times. “Dancing Queen,” the Swedish group’s sole U.S. number‑one hit, first dazzled listeners in 1976 with its shimmering blend of disco‑era sparkle and pop‑catchiness. In 1999, the British pop outfit S Club 7 took a nostalgic 1990s spin on the classic, delivering a version that, while not flawless, certainly gets any dance floor moving.

The original track remains a staple at parties worldwide, and this playful rendition adds a dash of ’90s flair that keeps the groove alive for a new generation of listeners.

10 Foo Fighters

The Bee Gees earned the moniker “Disco Kings,” penning hits such as “Night Fever,” “Stayin’ Alive,” and “Tragedy.” Released in 1979, “Tragedy” vaulted to the top of the charts in both the United Kingdom and the United States, even displacing Gloria Gaynor’s “I Will Survive” from the American summit. Remarkably, the song’s lyrics were crafted in a single afternoon, alongside the companion piece “Too Much Heaven.”

Fast forward to 2021, when rock veterans Foo Fighters launched a disco‑infused side project called the Dee Gees. Their album “Hail Satin” features a bold cover of “Tragedy,” with frontman Dave Grohl soaring in falsetto, paying homage to the original while injecting a modern rock energy.

10 Foot Tapping Energy

9 Blondie

Donna Summer, hailed as the “Queen of Disco,” amassed 42 Billboard Hot 100 hits, sold over 100 million records, and collected five Grammy Awards during her illustrious career. One of her most iconic tracks, “I Feel Love,” is credited with laying the groundwork for electronic dance music and is frequently cited as one of the most influential recordings ever made. Its futuristic synth‑driven sound inspired acts ranging from the Human League to David Bowie and, of course, Blondie.

Blondie, famous for the 1979 smash “Heart of Glass,” followed up that success by delivering a live rendition of “I Feel Love” at London’s Hammersmith Apollo in 1990. The performance later appeared on the re‑issued single “Union City Blue” in 1995, cementing the band’s ability to reinterpret disco classics through a new‑wave lens.

The cover showcases Debbie Harry’s unmistakable vocals over a sleek, synth‑laden arrangement, proving that the song’s hypnotic pulse transcends genre boundaries.

8 Kirk Franklin

Maurice White and Allee Willis penned “September” for Earth, Wind & Fire in just one month, creating a timeless hit that cracked the top ten across multiple charts. A 1999 remix, “September 99,” revived the groove for a new wave of club‑goers.

In 2007, gospel powerhouse Kirk Franklin re‑imagined the track, delivering a foot‑stomping rendition that landed on both the Billboard Adult R&B Songs and Hot Gospel Songs charts. Franklin rewrote the lyrics to reflect his Christian faith and included the version on the tribute compilation “Interpretations: Celebrating the Music of Earth, Wind & Fire.”

7 CAKE

Gloria Gaynor’s “I Will Survive” remains a definitive 1970s disco anthem, preserved in the National Recording Registry and honored with a Grammy for Best Disco Recording in 1980. The track topped the list of the 100 Greatest Dance Songs in 2000, cementing its place in musical history.

Countless artists have tackled the classic, from Diana Ross to Demi Lovato. In 1996, alternative rock outfit CAKE recorded a sardonic version for their “Fashion Nugget” album, after years of performing it live. Gaynor later expressed that she disliked CAKE’s take, citing the added profanity as a point of contention.

6 Alex Chilton

K C and the Sunshine Band delivered “Boogie Shoes” in 1975, a catchy anthem that surged to fame after appearing on the “Saturday Night Fever” soundtrack. The track also popped up in movies such as “Boogie Nights,” “The Wedding Date,” “No Escape,” and “Mallrats.”

Alex Chilton, known for his work with the Box Tops and Big Star, earned a reputation as an influential figure for alternative bands like the Posies and R E M. In 1979, he released the limited‑edition album “Like Flies on Sherbert,” which featured an eclectic mix of covers—including a distinctive rendition of “Boogie Shoes.”

5 Tina Turner

The Trammps only broke into mainstream consciousness when “Disco Inferno” landed on the “Saturday Night Fever” soundtrack, propelling the song to number eleven on the Billboard Hot 100 in 1978.

Tina Turner began incorporating the track into her live sets early on and eventually laid down a studio version for her 1993 soundtrack album “What’s Love Got to Do With It.” Turner’s take stands alongside Cyndi Lauper’s 1998 version as one of the most notable covers of the fiery anthem.

4 Hideki Saijo

Village People’s 1978 smash “Y.M.C.A.” remains one of the most instantly recognizable disco songs, a staple at sporting events across Europe and America, and a Grammy Hall of Fame inductee. Its ubiquitous chorus still fuels karaoke nights worldwide.

Japanese pop sensation Hideki Saijo seized the moment, releasing a localized version titled “Young Man (Y.M.C.A.)” in 1979. The single dominated Japan’s Oricon chart for five weeks and secured a spot among the year’s top‑ten best‑selling singles.

3 RuPaul

Donna Summer was originally offered “It’s Raining Men” in 1979 but declined, citing concerns over the lyrical content. Songwriters Paul Jabara and Paul Shaffer then pitched the tune to Diana Ross, Cher, and Barbra Streisand, all of whom passed. In 1982, the duo convinced The Two Tons (later the Weather Girls) to record it, and the track exploded onto U.S. dance‑club playlists, eventually earning a Grammy nomination in 1983.

The Weather Girls’ Martha Wash teamed up with drag icon RuPaul in 1998 to release “It’s Raining Men, The Sequel,” which peaked at number 22 on the Billboard chart, adding a fresh, flamboyant twist to the classic anthem.

2 Pseudo Echo

Lipps Inc.’s 1980 hit “Funkytown” topped charts worldwide, cementing its status as a disco staple and finding its way onto numerous film and TV soundtracks.

Australian synth‑pop outfit Pseudo Echo covered the track in the mid‑80s, propelling it to number one in Australia, number six in the United States, and number one in Canada. Though the single marked their biggest international success, replicating that level of fame proved elusive for both Lipps Inc. and Pseudo Echo.

1 Gloria Trevi

Laura Branigan’s 1982 rendition of “Gloria” dominated the U.S. Billboard Hot 100 for 36 weeks, peaking at No. 2. The original Italian love song, crafted by Umberto Tozzi and Giancarlo Bigazzi in 1979, was later translated into English by Jonathan King.

Mexican pop powerhouse Gloria Trevi, dubbed “The Supreme Diva of Mexican Pop,” recorded a vibrant Spanish version for her 2012 “Gloria Live” album, delivering a lively performance that captivated fans worldwide.

Trevi’s spirited take on “Gloria” showcases her dynamic vocal style and reaffirmed her status as an international pop icon.

Before music streaming, even before CDs, there was vinyl. Vinyl records came in albums and singles. The singles, in a 45 rpm format, had an A-side and a B-side. It was the song on the record’s front, the A-side, which was intended to be the hit. The A-side got the record label marketing. The B-side was just the flip side, typically a throwaway song. But some B-side songs—often through luck, good and bad—still managed to become far more successful than their A-side “hits.”

10 “Rock Around the Clock”—Bill Haley and His Comets (1954)

This might just be the song that started it all. Before “Rock Around the Clock,” the term “rock and roll” was so unknown that the tune was labeled a “novelty foxtrot.”

Expectations for “Rock around the Clock’s” success were so minimal that it was the B-side to a song called “Thirteen Women (and Only One Man).” “Thirteen Women” was about a nuclear bomb leaving fourteen survivors, only one of them male. Not surprisingly, that song went nowhere. The B-side of the record, “Rock Around the Clock,” also seemed destined for obscurity.

But then the rock era started when “Rock Around the Clock” found its way into the opening credits of the film Blackboard Jungle. Bill Haley and His Comets laid claim to the first-ever rock #1 song in the United States.^[1]

9 “Green Onions”—Booker T. and the MGs (1962)

Booker T. and the MG’s were the house band for the Memphis, Tennessee, soul label Stax Records. They had never released an album when they recorded “Green Onions.”

The only reason “Green Onions” happened was that the group was waiting in the studio for a rockabilly singer one night. The singer was late for the recording session. The group filled the time fooling around with the instrumental that became “Green Onions.”

The next morning, guitarist Steve Cropper brought a copy of the song to a Memphis radio station. The DJ liked the song so much that he played it four or five times in a row. The response from listeners was so enthusiastic the A-side song “Behave Yourself” was forgotten.

“Green Onions” has been part of the soundtrack in movies like American Graffiti and television shows like The Sopranos and Miami Vice. It was even in a commercial for adult diapers.^[2]

8 “Good Riddance (Time of Your Life)”—Green Day (1997)

This has to be the most paradoxical song on our list. The title “Good Riddance” is a kiss-off; the subtitle, “time of your life,” sounds so very encouraging.

Green Day lead singer Billie Joe Armstrong wrote this song after his girlfriend moved to Ecuador. To show his anger and his appreciation, he called the song both “Good Riddance” and “Time of Your Life.”

The group had no expectations of popular success with the song. It initially appeared as the B-side to a song that was not even sung in English. Then fate intervened in the form of the television show Seinfeld. “Good Riddance (Time of Your Life)” was used on the second to last Seinfeld episode. In this episode, the cast takes a nostalgic look back at all the laughs they enjoyed over the years of the show. “The Good Riddance” part of the song has been forgotten.^[3]

7 “Na Na Hey Hey Kiss Him Goodbye”—Steam (1969)

This song’s place in American pop culture is secure. It’s often sung by the crowd at sporting events. When the home team is about to win, “Na Na Hey Hey Kiss Him Goodbye” often rings out. But the song’s path to a stadium-pleasing anthem was anything but ordinary.

The song was started but not finished in the early ’60s. At the time, the song’s title was “Kiss Him Goodbye.” Eight years later, the group, then known as the Glenwoods, recorded a ballad called “Sweet Laura Lee.”

Needing a B-side, they resurrected their old song. That song didn’t have a chorus, so one musician in the group improvised the “na na na na, goodbye” part. His bandmate added the “hey hey hey,” which they repeated over and over. An executive at Fontana Records heard the song and preferred it to the A-side. The group had a hit.

What they didn’t have was a new name for the group. One of the musicians got the name Steam from watching steam rising from a manhole cover in the street outside the studio.^[4]

6 “Maggie May”—Rod Stewart (1971)

The A-side of “Maggie May” was “Reason to Believe.” That song enjoyed some success, reaching #62 on the charts. But the B-side became an international #1 song.

There are competing claims about who was the first to play “Maggie May” on the radio. Rod Stewart has said it was a Cleveland DJ; the music director of a Chicago radio station says he was the one. Either way, radio stations flipped the record over and played “Maggie May.”

The song was inspired by the woman who deflowered Stewart at 16 at a jazz festival. Oddly enough, the name “Maggie May” does not appear in the song. Rod Stewart borrowed the title from “Maggie Mae,” a folk song about a prostitute.^[5]

5 “Gloria”—Them (1964)

Gloria was written by Van Morrison, lead singer of Them, an Irish garage band. The song is about a girl who stops by his house for sex. The record label for “Gloria” thought so little of the song that it was relegated to the flip side of the band’s cover of “Baby, Please Don’t Go,” a blues song from the 1930s.

The song got little airplay in England but found a following in America. Today, Rolling Stone magazine considers “Gloria” to be one of the 500 greatest songs of all time.^[6]

4 “Beth”—Kiss (1976)

Typically, it’s the record company that selects a song as the B-side of a record. Here’s a hit that the band wanted to be buried on the B-side. The band preferred the high-octane “Detroit Rock City.”

“Beth” is a piano ballad. The song was wildly out of character for Kiss, one of the hardest-rocking bands of the 1970s. But then Rosalie Trombley’s daughter fell in love with the ballad. Rosalie Trombley was the music director at a rock station in Ontario, Canada. At her daughter’s urging, she gave “Beth” heavy airplay at the station.

The song eventually became Kiss’s highest-charting single ever. Today—perhaps to the dismay of the band’s hard-rocking band members—the song is played on adult contemporary radio stations.^[7]

3 “La Bamba”—Ritchie Valens (1958)

“La Bamba” has the most tragic story of any song on our list. “La Bamba” started out as a Mexican folk song. It was originally released as the B-side to Ritchie Valens’s (born Richard Valenzuela) single “Donna.” This was a hit in its own right.

Then Ritchie Valens was killed at 17 in a plane crash. He died, along with Buddy Holly and the Big Bopper, on February 3, 1959. “La Bamba” became hugely popular when the Ritchie Valens biopic La Bamba was released nearly thirty years later in 1987.

The movie was the first mainstream Hollywood film with a Hispanic subject. It starred Lou Diamond Phillips as Ritchie. Musician and songwriter Marshall Crenshaw played Buddy Holly.^[8]

2 “Into the Groove”—Madonna (1985)

Here’s another B-side hit caused by a movie. This club favorite by Madonna became popular because of its inclusion in the comedy-drama Desperately Seeking Susan.

“Into the Groove” was the B-side to the release of Madonna’s forgettable “Angel.” Strangely, despite its success in America, the song was never released elsewhere as a single. “Into the Groove” was voted Song of the 1980s by Billboard readers.^[9]

1 “Ruby Tuesday”—Rolling Stones (1967)

This is the only song on our list—maybe the only song in rock history—to give its name to a string of restaurants. Yes, the Ruby Tuesday restaurants are named after this Rolling Stones B-side hit.

The hit only happened because radio stations preferred “Ruby Tuesday” to its then scandalous A-side, “Let’s Spend the Night Together.” Because of its sexual implications, “Let’s Spend the Night Together” was censored on the Ed Sullivan television show. Mick Jagger was required to sing the less provocative “let’s spend some time together” instead. From there, “Let’s Spend the Night Together” stalled at #55 in the U.S.

But the B-side, “Ruby Tuesday,” became the fourth #1 hit for the Rolling Stones. Ironically, for all the concern about the suggestive nature of “Let’s Spend the Night Together,” “Ruby Tuesday” is about a groupie.^[10]

Rock and roll has its roots in blues, country, and other musical traditions. It has evolved over the years to include a wide variety of styles and themes. One common theme that appears in rock is the use of biblical themes and references. Many famous songs contain references to the Bible and Christian themes. These nods can be found in lyrics, music, and imagery. Some songs contain lyrics that reference specific stories from the Bible, such as the story of Adam and Eve or the story of Jesus’ temptation in the wilderness. Other songs explore broader themes from the Bible, such as the idea of salvation or the role of faith in one’s life.

In addition to lyrics, rock and roll often incorporates musical elements inspired by Christian traditions. For example, many rock and roll songs feature hymn-like melodies and chord progressions reminiscent of traditional hymns. Additionally, some rock songs feature gospel-style vocals and harmonies, which are often associated with Christian music. Plus, many rock bands and artists use symbols and imagery that reference specific stories or themes from the Bible. Plenty of bands use crosses or other Christian symbols in their album artwork or stage sets, while others use biblical imagery in music videos or live performances. (LINK 2)

Today, you’ll learn all about ten world-famous rock songs directly inspired by the Bible. In these ten tracks, gnarly, renegade rock singers took unlikely inspiration from the Christian world’s most famous piece of literature. The end result is a set of timeless musical classics.

10 “Sympathy for the Devil” (The Rolling Stones)

The Rolling Stones first released “Sympathy for the Devil” on their 1968 album Beggars Banquet. Penned by Mick Jagger and Keith Richards, it has since become one of the band’s most iconic and well-known hits. The song is written from Satan’s perspective. It tells the tale of the Devil’s role as a tempter and deceiver. The lyrics contain several references to the Bible, including the story of Adam and Eve and the temptation of Jesus in the wilderness.

In fact, the song’s opening lines are a direct reference to the Bible’s portrayal of Satan as a tempter and deceiver. “Please allow me to introduce myself,” the track begins, “I’m a man of wealth and taste.” In the book of Genesis, Satan tempts Eve to eat the forbidden fruit by promising her knowledge and power, and in the Gospels of Matthew, Mark, and Luke, Satan tempts Jesus in the wilderness by offering him the kingdoms of the world. Jagger and Richards know quite well what they sing in that regard!

Throughout the song, the narrator describes his actions in terms that are reminiscent of the Bible’s portrayal of Satan. In one verse, the Stones wail, “I was ’round when Jesus Christ had his moment of doubt and pain.” That’s a pretty literal nod to being present at the time of Jesus’ temptation, and playing a role in Jesus’ suffering. Plus, the song’s aforementioned and titular chorus is a direct reference to the Bible’s portrayal of Satan as a tempter and deceiver who seeks to ensnare people with his wealth and charm.

In a world where many lyrics are metaphorical, the Stones hit this one right on the head. The song’s lyrics contain explicit references to the Bible and Christian themes and explore the idea of temptation and the role that Satan plays in the lives of people.^[1]

9 “Stairway to Heaven” (Led Zeppelin)

World-renowned British rock band Led Zeppelin released “Stairway to Heaven” on their 1971 album Led Zeppelin IV. The song has become one of the most well-known and widely-loved rock songs of all time. It has also been the subject of much debate and speculation over its meaning and inspiration. Its metaphorical bent has left fans wondering about its meaning for five decades.

One popular interpretation of the song is entirely biblical. Specifically, the lyrics of the song include references to “a stairway to heaven” and “a tune that will come to you at last.” They translate roughly to the Christian concept of heaven and the idea that one’s ultimate destiny will be revealed in the end. The lyrics also mention “a lady who’s sure all that glitters is gold” and “a ring that doesn’t fade away,” which are viewed as themes of faith and eternal life.

There are also some musical elements in the song that have been interpreted as references to the Bible and Christianity. The song’s intro features a solo violin playing a melody reminiscent of a hymn. Then, the song’s main melody features a chord progression similar to that of a traditional praise song. And the song’s structure follows a traditional verse-chorus-verse format identical to the structure of many hymns.

Other interpretations of the song claim it is about a journey of self-discovery and spiritual enlightenment. The lyrics describe a person who is searching for meaning and understanding and who is trying to find their place in the world. The “stairway to heaven” could thus be a metaphor for this journey. And the “tune that will come to you at last” is interpreted by some as the realization or understanding that one is seeking.

Outwardly biblical or simply metaphorical, Led Zeppelin was clearly dealing with significant, deep themes in this song. So perhaps it’s no wonder the song has become one of rock’s most famous tracks of all time.^[2]

8 “Turn! Turn! Turn!” (The Byrds)

The Byrds released “Turn! Turn! Turn!” on their 1965 album of the same name. The song is based on the book of Ecclesiastes in the Bible. In fact, the song’s lyrics are taken almost verbatim from the book. The sole exception comes in the opening lines, where the lyrics go, “to everything (turn, turn, turn), there is a season (turn, turn, turn), and a time to every purpose, under heaven.” So even when it’s not quoting the Bible, it’s still pretty biblical!

Like the book of Ecclesiastes, the rest of the track explores the theme of the cyclical nature of life and the idea that everything has its time and place. The “turn” lines repeated throughout encapsulate the theme of the cyclical nature of life and the idea that everything has its time and place. The rest of the lyrics, which are taken directly from the book of Ecclesiastes, explore this theme in more detail with different times and purposes that refer back to the opening.

The song’s music is characterized by its simple, upbeat folk-rock style, which is driven by the interplay between the guitar, bass, and drums. The Byrds were talented at creating catchy, sing-along melodies. Not just entertaining, that repetitive structure makes it easy to remember “Turn! Turn! Turn!” and sing along with it. The Byrds’ version of the track quickly became a hit. It reached the top of the Billboard Hot 100 chart in December 1965.

The song has since been covered by numerous other artists, and it has turned into a classic of the folk-rock genre. In the years since, it has become a popular choice for sing-alongs and group performances. All the way through, its easy-to-grasp biblical themes have helped it spread across the music world.^[3]

7 “Highway 61 Revisited” (Bob Dylan)

Bob Dylan released “Highway 61 Revisited” on his 1965 album of the same name. The song is known for its bluesy, rock and roll sound. Its haunting lyrics are full of vivid imagery and cultural references. One popular interpretation of the song is that it is inspired by Christian themes. The song’s title, “Highway 61 Revisited,” is a reference to the Bible’s book of Revelation. It describes a “highway” or path that leads to the “new Jerusalem,” which is a city described as being made of gold and other precious materials. The lyrics include references to this highway and to the “new Jerusalem,” suggesting that the song is exploring the theme of spiritual enlightenment or salvation.

Dylan’s lyrics in the song also contain references to other biblical ideas, such as the story of the Tower of Babel and the idea of the apocalypse. The lyrics describe a world in chaos and turmoil, with people “crying in the dead of night” and “trying to get to heaven before they close the door.” These lyrics could be interpreted as references to the biblical stories of the Tower of Babel and the apocalypse, which both depict a world that is in disarray and in need of redemption.

Interestingly, “Highway 61 Revisited” is also known for its cultural references and vivid imagery. The song describes a journey down Highway 61, a real-life road that runs through the southern U.S. Along the way, it includes references to various landmarks and cities. The song’s lyrics are full of colorful descriptions of the people and places the narrator encounters on his journey, painting a vivid picture of life along the highway.

Still, the biblical ideas have stuck. Six decades after it was first released, Christians and Jews alike still cite Dylan’s impactful song as a nod to the story of God and his creation.^[4]

6 “Creeping Death” (Metallica)

Metallica released “Creeping Death” on their 1984 album Ride the Lightning. The heavy metal song is known for its aggressive sound and lyrics, which explore themes of death and destruction. There’s little question that the track is inspired by the Bible and the story of the tenth plague in the book of Exodus. The song’s lyrics describe a creeping death that is coming to destroy the narrator’s enemies. They include references to the biblical story of the tenth plague, in which God sent a series of plagues to afflict the ancient Egyptians in order to free the Israelites from slavery.

The lyrics describe the plagues as “creeping death,” and note the narrator’s enemies as “pharaoh’s slaves,” further suggesting a connection to the biblical story. In one verse, singer James Hetfield writes: “Slaves, Hebrews, born to serve the pharaoh / Heed to his every word, live in fear / So let it be written, let it be done / To kill the first-born pharaoh son / I’m Creeping Death.”

When Hetfield wrote the song, the band had just watched the 1956 movie The Ten Commandments, starring Charlton Heston. In that film, a memorable scene shows a fog sending in the tenth plague on screen. That fog was a theatrical choice for the film, but the imagery stuck with the rock group. They took note of the “creeping death” that devastated Egypt and put it to music.

The song’s lyrics also explore themes of death and destruction, noting “death is creeping its way in” and “hell is coming for you.” These are references to the biblical concept of death as a punishment for sin, as well as the idea of hell as a place of eternal punishment. In addition to its biblical themes, “Creeping Death” is also loved for its strong melodies and fast-paced guitar riffs. The rock sound is fast, powerful, and aggressive. In the years since its release, it has become a classic of the heavy metal genre.^[5]

5 “Take Up Thy Stethoscope and Walk” (Pink Floyd)

“Take Up Thy Stethoscope and Walk” is a song Pink Floyd released on their 1967 debut album, The Piper at the Gates of Dawn. It’s a surreal, psychedelic track, and its lyrics are full of imagery and cultural references, including some to Christianity. The song’s title is a reference to a line from the book of Genesis in which God tells Adam to “take up thy staff, and walk.” This line is often interpreted as a metaphor for the human journey through life. But it hits the note even harder with its direct quote from the good book.

In the album notes, it’s credited to bassist Roger Waters. And it features subtle references to the book of John, Chapter 5, Verse 8, in which Jesus heals a paralyzed man who spent years sitting on a mat. “Take up thy staff and walk,” Jesus tells the man—and Waters’s words carry over in the well-received rock song. Like the book of John, the narrator notes the idea of taking responsibility for one’s actions and making one’s own way in the world.

The song, and much of Pink Floyd’s work of this period, demonstrates the band’s fascination with the Bible. Plus, it showcases some of Roger Waters’s later-developed obsession with medical and biological subjects. These themes are further explored in the band’s later songs, such as those released in a 1970 collaboration with Ron Geesin.

Throughout his musical career, Waters and Pink Floyd frequently drew inspiration from the Bible. Much of that was evident in the use of material from the book of Ecclesiastes on the album Dark Side of the Moon. So it’s no wonder the band wanted to go for a religious reference with “Take Up Thy Stethoscope and Walk” when it popped up on their debut album.^[6]

4 “Adam Raised a Cain” (Bruce Springsteen)

The story of Cain and Abel in Genesis is one of the most unsettling stories in the Old Testament. It highlights the complex dynamics of relationships and family. Then, it ends in tragedy when Cain kills Abel. While this story is often discussed in relation to the actions and motivations of the brothers, it is also worth considering the role of Adam in the events that unfold. Thankfully for us, Bruce Springsteen did just that.

His song “Adam Raised a Cain,” from the album Darkness on the Edge of Town, uses the biblical story to delve into the theme of father-son relationships and the influence of parental figures. The song suggests we cannot escape the influence of our parents, just as Cain was a product of Adam. The song is a dark and thought-provoking exploration of the complex nature of the human condition.

Springsteen has said as much in interviews too. In 1978, Creem Magazine asked him about how he had used the Bible as inspiration. The Boss directly referenced that exact parable and noted how its themes seemed to be universal. “I was thinking of writing that particular song, and I went back trying to get a feeling for it,” Springsteen said of using the Bible to find inspiration for meaningful music. Of course, the New Jersey-born superstar is one of the best rockers to ever write about the workingman’s condition. But as it turns out here, Springsteen also has quite the feel for opening up about ancient religious tales, too.^[7]

3 “Rock of Ages” (Def Leppard)

In 1983, the English rock band Def Leppard released the album Pyromania, featuring the hit song “Rock of Ages.” The song is known for its energetic and over-the-top rock sound and its use of the cowbell. According to an interview with lead singer Joe Elliott, the music for the song was already written, but the band needed lyrics. They turned to the Bible for inspiration, using it as a source for the lyrics of the song.

“We let somebody use the studio the night before, and they held a Bible study session,” Elliott recalled years later. “A Bible was left in the studio open to the hymn ‘Rock of Ages.’ So, I picked it up and started singing.” Suddenly, the tune came together. The band almost immediately realized they had a hit on their hands. As they lined up music and lyrics, one of the hair metal era’s greatest rock songs quickly came together.

The biblical inspiration isn’t the only memorable part of the song, though. Rock fans can never forget its enigmatic intro, which consists of the words “gunter, glieben, glauten, globen.” The meaning of this phrase has always been a mystery to fans. We now know what it is—but it’s not biblical!

According to drummer Rick Allen, producer Mutt Lange had long since grown tired of using the traditional “one, two, three, four” countdown for songs in studio sessions. So he chose a meaningless phrase instead. As a result, the weird, random intro to “Rock of Ages” became one of the most memorable memes of headbanger music.^[8]

2 “Get out of Your Own Way” (U2)

Given their Irish and Roman Catholic background, it is not surprising that the Bible has influenced U2. In the song “Get out of Your Own Way,” the band draws on the Beatitudes, a set of verses from the Sermon on the Mount in the New Testament. These verses instruct people to be compassionate and understanding toward each other. They also offer comfort to those struggling, like the poor, humble, and grieving.

But U2 wasn’t content to do something straightforward. They took the Beatitudes from the Bible and reinterpreted them in a way that critiques contemporary life. The song’s lyrics invert the original message of the Beatitudes and offer a rebuke of modern values. For example, the song’s verse notes: “Blessed are the arrogant, for theirs is the kingdom of their own company / Blessed are the superstars, for in the magnificence of their light we understand better our own insignificance / Blessed are the filthy rich, for you can only truly own what you give away, like your pain.” These lines go very strongly against the spirit of the original Beatitudes and offer a harsh take on modern priorities.

That U2 collaborated with Kendrick Lamar on the track makes that critique all the more poignant. The rapper’s voice can be heard speaking the “anti-Beatitudes” as the song’s outro. Unlike his usual rap style, Lamar chose to speak the lines plainly. The decision gave the verse a preacher-like quality. The metaphor is thick there as a critique of the negative aspects of contemporary material culture. Beware the glorification of wealth, fame, and arrogance, U2 and Lamar warn in the powerful piece of music. But will society heed their advice?^[9]

1 “The Devil Went Down to Georgia” (Charlie Daniels Band)

This one seems pretty obvious, doesn’t it? The Charlie Daniels Band released “The Devil Went Down to Georgia” way back in 1979. The bluegrass-inspired song has been a hit ever since, thanks to its fast-paced tempo. Its memorable lyrics tell a fascinating story, too, about a fiddle-playing contest between the devil and a boy named Johnny. And the verses are chock-full of biblical allusions. After all, the song is a thinly-veiled reference to the story of the temptation of Jesus in the wilderness as described in the book of Matthew.

In this story, the devil attracts Jesus by offering him the kingdoms of the world. However, Jesus resists and ultimately defeats the devil. The song’s lyrics contain several references to that story, with the devil challenging Johnny to a fiddle-playing contest and offering him a “gold fiddle” as a prize. The devil is a tempter here, just as he is in the Bible, but Jesus—and, in the song, Johnny—resist the urge to give in and instead stay strong in their beliefs.

Biblical themes and stories are rampant throughout the fiddle-powered track. The idea of good versus evil and the power of faith both shine through. In CDB’s lyrics, Johnny is described as a “Christian” who is able to defeat the devil through his faith and skill with the fiddle. In his own way, Johnny was able to overcome the temptation of mortal sin with the power of his perseverance. Just like Jesus, Johnny refused to relinquish his soul to receive material gains. Thus, the 1979 track has long-term implications for how Christians counsel each other to live their lives. So it’s really no wonder it has long been popular with conservative southern Christians.

Of course, “The Devil Went Down to Georgia” is also known for its driving sound and catchy melodies. The song’s fast-paced, upbeat performance is driven by Daniels’s own amazing fiddle talents. Even outside of its Christian allusions, the single has become a classic of the country and southern rock genres. Its powerful parable and driving rhythms will have it living on for decades to come.^[10]