10 Best Rock Songs With The Word 'Good' In The Title (2024)

Feature Photo: : DFP Photographic / Shutterstock.com

The word “good” has fueled some of the most iconic titles in rock and roll history. It’s a word that has inspired countless musicians to create timeless classics and deep cuts alike, each capturing a different mood, emotion, or experience. Narrowing down the list to just ten songs with “good” in the title is a massive undertaking because of the sheer number of legendary tracks to choose from. However, we’ve carefully selected a combination of the most renowned pieces alongside a few underrated gems that round out this list, making it both entertaining and informative.

Starting with “Good Vibrations” by The Beach Boys, we have a track that set a new standard for pop experimentation, blending complex soundscapes with a sunny, euphoric vibe. Its polished production and psychedelic layers contrast sharply with Led Zeppelin’s “Good Times Bad Times”, which introduces a grittier, more grounded feel, filled with youthful energy and rock power. Similarly, “You’re No Good” by Linda Ronstadt shifts the focus to a more personal confrontation, as her powerful voice delivers a tale of relationship regrets with a mix of vulnerability and strength.

The Young Rascals’ “Good Lovin’” brings in a fun, infectious rhythm that made it a number one hit, capturing the spirit of early rock and roll in a way that feels worlds apart from the introspective and ironic tone of Joe Walsh’s “Life’s Been Good.” Where “Good Lovin'” is all about youthful exuberance, “Life’s Been Good” offers a satirical look at rock star excess, delivered with Walsh’s trademark humor and laid-back groove. Similarly humorous but more bittersweet, Ian Hunter’s “All of the Good Ones Are Taken” explores themes of loneliness and romantic frustration, highlighting a vulnerability echoed in Linda Ronstadt’s track but expressed through a different lens of longing.

David Bowie’s “God Knows I’m Good” brings a contemplative, narrative-driven approach, telling a story of inner conflict that contrasts with the more carefree and breezy mood of “Good Lovin’.” On the other hand, “Where Have All the Good Times Gone” by The Kinks is a wistful look back at better days, pairing nicely with Bowie’s reflective style but delivered with Ray Davies’ quintessential British cynicism and rock swagger.

Lou Reed’s “Why Can’t I Be Good” shifts the tone to one of personal struggle, questioning one’s own actions with Reed’s characteristic rawness. This song fits well with the more ironic storytelling in Joe Walsh’s “Life’s Been Good,” as both tracks offer insight into the complexities of self-reflection, albeit from different perspectives. Rounding out the list, “Good Feeling” by Three Dog Night brings back an optimistic note, making for a perfect bookend to the deeper, sometimes darker tracks explored earlier.

These ten tracks, from legendary hits to overlooked gems, show the incredible range of emotion and storytelling that can be fueled by a single word. Whether it’s upbeat and celebratory, introspective and reflective, or laced with irony, these songs capture the many facets of what “good” can mean in rock and roll.

# 10 – Good Feeling – Three Dog Night

“Good Feeling” kicks off this list of the 10 Best Rock Songs With the Word ‘Good’ in the Title, and its vibrant energy sets the tone for the article. Featured on Three Dog Night’s 1970 album It Ain’t Easy, “Good Feeling” is a smoking track that showcases the band’s ability to blend rock, pop, and soul into an irresistible mix of sound. The song is fronted by Chuck Negron, whose dynamic lead vocals bring the song’s theme of joy and connection to life. The track, written by Alan Brackett and John Merrill, is a reflection of the upbeat, optimistic spirit that characterized much of Three Dog Night’s music during this period.

It Ain’t Easy, the band’s fourth album, was recorded during a time of great creativity and success for the group. Released in 1970, it includes a mix of original compositions and covers, with “Good Feeling” standing out for its catchy, soulful vibe. The band recorded the album at ABC/Dunhill Records, with production handled by the team that helped them craft their signature sound. The personnel on the track includes Mike Allsup on guitar, Joe Schermie on bass, Floyd Sneed on drums, and Jimmy Greenspoon on keyboards, all contributing to the song’s rich, layered sound.

Lyrically, “Good Feeling” captures the euphoric emotions of love and devotion. Negron’s vocals emphasize the sentiment behind lines like “Good feeling, good feeling, every single day and night,” evoking the timeless excitement of being in love. The repetition of the phrase “good feeling” throughout the song gives it a hypnotic quality, as if the singer is enveloped in the emotions he’s describing. The lyrics suggest that love is not just a passing emotion, but something constant and affirming, a sentiment that adds depth to the seemingly simple chorus.

While the track didn’t become a chart-topping hit like some of their other songs, it remains a fan favorite and a testament to Three Dog Night’s ability to deliver infectious melodies with heartfelt performances. As the first song in this article’s list, “Good Feeling” establishes the theme of positivity and energy that will carry through to the other tracks, making it a perfect starting point for this exploration of songs with ‘good’ in the title.

Read More: 10 Three Dog Night Songs We All Loved

# 9 – Why Can’t I Be Good – Lou Reed

“Why Can’t I Be Good” by Lou Reed is a haunting and introspective track from the 1993 Faraway, So Close! soundtrack. Known for his raw, unfiltered lyricism, Reed captures a deeply personal struggle in this song, meditating on themes of inadequacy, failure, and the desire for transformation. The track reflects Reed’s knack for turning inward while exploring universal emotions, creating a song that is both intimate and accessible to listeners.

The song was written for the Wim Wenders film Faraway, So Close!, a spiritual sequel to Wings of Desire, which brought a contemplative, otherworldly quality to the cinema of the 1990s. Reed’s composition fits the film’s ethereal and existential themes, as it delves into the human experience of questioning one’s own worth and place in the world. Musically, “Why Can’t I Be Good” is stripped down, allowing Reed’s voice and lyrics to take center stage, and his vulnerability is palpable throughout the track. Recorded in 1993, it bears the trademark minimalist production Reed often favored during this period, with his distinct, almost spoken-word vocal style.

Lyrically, the song is a poignant reflection on self-doubt and yearning for change. The refrain “Why can’t I be good?” repeats like a mantra, underscoring the protagonist’s frustration with their inability to meet their own standards. Reed’s verses dissect the feeling of weakness and inadequacy, as seen in lines like “I don’t want to be weak / I want to be strong,” where the narrator wishes to rise above mediocrity and become something more powerful, something beyond their current state. The lyrics are infused with vivid imagery, like the comparison of the narrator to “the wind when it uproots a tree” and “the sun that makes it flourish and grow,” emphasizing the yearning for agency and transformation.

As the second song in this article, “Why Can’t I Be Good” introduces the idea of personal struggle within the context of the word ‘good.’ This is not the celebratory “good” of joy or happiness, but rather a deep questioning of moral and personal failure. Reed’s lyrics, combined with the minimalist arrangement, give the song a stark, meditative quality that contrasts with other entries on the list that approach the word “good” from more uplifting angles. By placing this introspective piece at the start, the list opens with a reflective tone, preparing the reader for a varied exploration of what it means to be ‘good’ in rock music.

Read More: Top 10 Lou Reed Songs

# 8 – God Knows I’m Good – David Bowie

“God Knows I’m Good,” a track from David Bowie (commonly known as Space Oddity), offers a powerful and thought-provoking narrative wrapped in a folk rock style. Recorded during sessions between June and October 1969 at Trident Studios in London, this song stands out on an album primarily produced by Tony Visconti. Alongside the production team, Bowie worked with talented musicians, including Herbie Flowers on bass and Rick Wakeman on keyboards, helping to shape the song’s distinctive sound. Released initially in November 1969, the album, including “God Knows I’m Good,” showcases Bowie’s early experimentation with themes of isolation, morality, and social justice.

“God Knows I’m Good” tells the story of an elderly woman, downtrodden by life, who steals a can of stewing steak from a store out of desperation. The lyrics capture her inner turmoil and fear, as she hopes that God will forgive her minor transgression, repeating the refrain, “God knows I’m good, God may look the other way today.” Bowie uses vivid imagery to convey her anxiety and the contrasting indifference of the world around her, symbolized by the relentless noise of cash machines. The song explores themes of poverty, societal judgment, and moral conflict, drawing the listener into a moment of quiet reflection on the judgment of humanity versus the forgiveness of a higher power.

The song offers a lyrical and emotional depth, touching on the idea of guilt and desperation while subtly critiquing capitalist society. It stands in contrast to other songs on this list, using the concept of goodness as a personal and moral battle rather than a celebration. The somber tone of “God Knows I’m Good” aligns with the folk elements that permeate much of David Bowie, showing a different side of Bowie’s evolving artistry that, at the time, had not yet fully embraced the glam rock that would soon define his career.

The song’s poignant lyrics, paired with Bowie’s restrained vocal delivery, give it an eerie, reflective quality. “God Knows I’m Good” serves as a commentary on societal structures, where the struggle for survival sometimes pushes individuals toward moral compromise. It also offers a glimpse into Bowie’s budding interest in storytelling through song, a trait that would become more prominent in his later albums.

Read More: 10 Best David Bowie Songs

# 7 – All of the Good Ones Are Taken – Ian Hunter

“All of the Good Ones Are Taken” is the title track from Ian Hunter’s sixth solo studio album, released in 1983. Known for his distinctive blend of rock, this song showcases Hunter’s introspective lyrics and keen sense of melody, while also introducing a touch of melancholy, as it deals with themes of loss, longing, and missed opportunities. Recorded during the winter of 1982-83 at Wizard Sound in New York, the song was produced by Hunter himself alongside Max Norman. The recording process saw Mick Ronson, Hunter’s frequent collaborator, mostly absent due to Ronson’s contemplation of leaving the music industry, leaving Hunter to take on a more dominant creative role.

The song features contributions from an array of talented musicians, with standout performances including Clarence Clemons on tenor saxophone, adding a soulful depth to the track, and Jimmy Ripp on guitar, whose crisp playing complements Hunter’s emotive vocal delivery. Robbie Alter on guitar and vocals, Mark Clarke on bass guitar, and Hilly Michaels on drums provide the foundation of the song’s solid rock sound, while backing vocals from Rory Dodd and Eric Troyer enhance the song’s rich, layered atmosphere. The inclusion of saxophones lends an extra touch of warmth and dimension, aligning the song with the 1980s rock sound that often incorporated brass instruments for added texture.

Lyrically, “All of the Good Ones Are Taken” delves into the heartache and disillusionment of romantic loss. Hunter sings of missed connections and the deepening sense that all the ideal partners have already been claimed, leaving him adrift. The chorus, repeating the refrain “All of the good ones are taken,” captures the sentiment of someone struggling to find love in a world where it seems just out of reach. The sense of yearning in the lyrics mirrors the broader themes of unfulfilled desire and loneliness, sentiments that can be connected to other songs on this list that address the complexities of love and relationships. The song’s structure, with its steady rhythm and recurring motifs, enhances the lyrical message, evoking the repetitive nature of heartache and the futile search for something that always seems unattainable.

In the context of this list, “All of the Good Ones Are Taken” stands out as a contemplative rock anthem, combining Ian Hunter’s reflective storytelling with the musical craftsmanship of his band. While it addresses themes of love and loss similar to those found in other songs, Hunter’s distinct vocal style and the song’s combination of rock with soulful saxophone lines give it a unique place within the collection. The song not only showcases Hunter’s enduring talent as a songwriter but also highlights his ability to connect personal experiences with broader, universal emotions.

Read More: Top 10 Ian Hunter Songs

# 6 – Where Have All The Good Times Gone – The Kinks

“Where Have All the Good Times Gone” is one of The Kinks’ more reflective and melancholic tracks, written by Ray Davies and released as the B-side to “Till the End of the Day” in 1965. It later appeared on their album The Kink Kontroversy in the UK and the US. The song captures a sense of nostalgia and disillusionment with modern life, a theme that resonated with listeners and would go on to be a defining element in Ray Davies’ songwriting.

Recorded at Pye Studios in London, this track features The Kinks’ classic lineup, with Ray Davies on lead vocals and acoustic guitar, Dave Davies contributing electric guitar and backing vocals, Pete Quaife on bass, and Mick Avory on drums. The session also included Nicky Hopkins on piano, adding a subtle but essential depth to the song’s arrangement. “Where Have All the Good Times Gone” was produced by Shel Talmy, who was instrumental in shaping The Kinks’ early sound, particularly their raw, edgy style that would influence future rock bands.

Lyrically, the song is a meditation on the inevitable passage of time and the feeling of loss associated with it. Davies, still in his early twenties at the time of writing, conveys the weariness of someone far older, lamenting the loss of the “good times” that seem so distant now. This theme is evident in lines like “Well, once we had an easy ride and always felt the same” and “Yesterday was such an easy game for you to play.” The lyrics offer a commentary on the changing times and perhaps a bit of a critique on modern culture, particularly the growing sense of consumerism and disconnection. The repeated refrain “Where have all the good times gone?” acts as a plea for simpler, more genuine days, a sentiment that resonated with audiences then and continues to do so today.

# 5 – You’re No Good – Linda Ronstadt

Linda Ronstadt’s 1974 version of “You’re No Good” took this Clint Ballard Jr. composition to new heights, becoming a number one hit on the Billboard Hot 100 and solidifying Ronstadt’s place in rock history. First performed by Dee Dee Warwick in 1963, the song has been covered numerous times, but it was Ronstadt’s powerful, soulful take that became the definitive version. The song was included on her breakthrough album, Heart Like a Wheel, and its success helped the album achieve double-platinum status. The recording of “You’re No Good” features a smooth blend of rock, country, and pop, showcasing Ronstadt’s remarkable vocal range.

Recording began in the summer of 1974 at the Sound Factory in Los Angeles, with producer Peter Asher at the helm. Interestingly, the version that ultimately became a hit was a result of some trial and error. Ronstadt had initially rejected an earlier arrangement recorded on July 1, 1974, because it didn’t fit the groove she envisioned. The final take, recorded on July 5, allowed Ronstadt and her band to find a balance, with musicians like Andrew Gold on guitar and piano, Kenny Edwards on bass, and Ed Black on guitar adding layers to the song’s rich instrumentation. A later addition of a string arrangement further elevated the track’s emotional depth.

Lyrically, “You’re No Good” is an unflinching breakup anthem in which the narrator tells her ex-partner that she’s finally through with them. The twist, however, lies in the second verse, where she admits to having hurt someone in the past and reflects on the cyclical nature of heartbreak. The raw, emotional delivery of lines like, “I broke a heart that’s gentle and true,” gives the song a bittersweet edge, making it more than just a simple kiss-off. This introspective element adds depth to the song, contrasting the confident declaration of “You’re no good.”

This track stands in stark contrast to other songs on this list that use the word “good,” such as “Where Have All the Good Times Gone” by The Kinks, where the focus is on nostalgia for better days. In “You’re No Good,” there is no sense of longing for the past but rather a firm assertion of self-worth, a powerful stance against someone who has caused emotional harm. While The Kinks reflect on the erosion of simpler times, Ronstadt’s rendition leaves no room for regret as she moves forward with strength and conviction. This layered expression of heartache, matched with a fresh, dynamic arrangement, is what helped propel “You’re No Good” to the top of the charts, leaving a lasting impression as one of the best breakup anthems of the 1970s.

Read More: Linda Ronstadt’s Best Song On Each Of Her 1970s Studio Albums

# 4 – Life’s Been Good – Joe Walsh

“Life’s Been Good” is a satirical rock anthem that highlights Joe Walsh’s wit and humor while also offering a reflective take on the excesses of rock stardom in the 1970s. Released in 1978 on his fourth solo album, But Seriously, Folks…, the song became Walsh’s biggest solo hit, reaching number 12 on the Billboard Hot 100. Known for its signature blend of hard rock, blues rock, and even reggae influences, the nearly nine-minute track satirizes the life of a rock star in a lighthearted, exaggerated manner. Its catchy rhythm, sarcastic lyrics, and extended jam sections contributed to its longevity as a classic rock staple.

The song was recorded in 1978, with Walsh co-producing it alongside Bill Szymczyk, a frequent collaborator. Musicians who contributed to the recording include Walsh on guitars, synthesizers, and vocals, with additional contributions from studio musicians. “Life’s Been Good” originally appeared on the FM soundtrack before being included on But Seriously, Folks…, which helped bring the song widespread recognition. Walsh’s tongue-in-cheek approach reflects his views on the absurdities of fame, wealth, and the isolation that often accompanies success in the music industry.

The lyrics of “Life’s Been Good” are a humorous narrative in which Walsh portrays an exaggerated version of a rock star’s life. From mentioning his mansion that he’s “never been to” to losing his driver’s license because his Maserati “does 185,” the song creates a satirical image of the rock and roll lifestyle. Walsh delivers these lines with a laid-back vocal delivery, highlighting both the outlandishness and nonchalance of this persona. The refrain, “Life’s been good to me so far,” carries a sense of irony, acknowledging the absurdities of his life with a sense of detachment. The song’s humor and perspective set it apart from other entries on this list, like “You’re No Good” by Linda Ronstadt, which focuses on heartbreak and relationships, rather than fame and excess.

The musical composition complements the lyrical satire with a playful arrangement. The verses are delivered over a laid-back, reggae-influenced rhythm, while the chorus bursts into a more energetic rock sound. The extended instrumental sections showcase Walsh’s guitar skills, reinforcing his identity as one of the era’s premier guitarists. This balance between humor and musicianship is what makes “Life’s Been Good” not just a fun listen, but also a reflection of Walsh’s career and his self-aware take on fame.

As one of the most well-known songs about the highs and lows of rock stardom, “Life’s Been Good” remains a defining song for Joe Walsh. Its blend of comedy, social commentary, and musical prowess has earned it a spot on this list as a quintessential track that captures both the upsides and absurdities of success in the rock world.

Read More: Top 10 Joe Walsh Songs

# 3 – Good Lovin’ – The Young Rascals

“Good Lovin’” became a defining track for The Young Rascals in 1966, earning them their first number one hit on the Billboard Hot 100 and solidifying their place in rock history. Originally written by Rudy Clark and Arthur Resnick, the song was first recorded by Lemme B. Good in 1965 and later by The Olympics, whose version inspired The Young Rascals to make it their own. While they kept the arrangement nearly identical to the version by The Olympics, Felix Cavaliere and his band brought a distinctive energy to their live performances, which producer Tom Dowd captured in the studio recording. Despite their own reservations about the recording, “Good Lovin’” catapulted the band into the mainstream, with its upbeat, infectious rhythm becoming a staple of 1960s rock.

The recording of “Good Lovin'” took place in 1966, with the production helmed by Tom Dowd, one of the most prominent producers of the time. The song’s simple but effective structure, driven by the iconic call-and-response vocals and an engaging beat, combined R&B and rock influences in a way that resonated with the era’s pop audience. Felix Cavaliere handled the lead vocals and keyboards, while Eddie Brigati, Dino Danelli, and Gene Cornish provided backing vocals and instrumentation, creating the cohesive and energetic sound that pushed the song to the top of the charts. The song’s success laid the foundation for The Young Rascals to become one of the defining rock acts of the 1960s.

Lyrically, “Good Lovin’” captures the excitement of young love and the cure it offers to life’s ills. The protagonist, feeling under the weather, turns to a doctor for a remedy, only to be told that “good lovin’” is all he needs to feel better. The lyrics, with their catchy repetition and lively delivery, emphasize the universal appeal of love and connection. Much like Linda Ronstadt’s “You’re No Good,” also featured on this list, “Good Lovin'” presents love as a transformative force, although the two songs approach the subject from different emotional angles. While Ronstadt’s track deals with the pain of love gone wrong, The Young Rascals’ hit is a celebration of love as a source of joy and healing.

Similar to Ian Hunter’s “All of the Good Ones Are Taken,” “Good Lovin'” uses the theme of love, but Hunter’s track takes a more cynical view, lamenting the scarcity of genuine relationships. While Hunter’s song reflects feelings of frustration and longing, “Good Lovin’” remains upbeat and hopeful, focusing on love as a cure-all. The contrasting emotions in these tracks—optimism in “Good Lovin’” versus the wistfulness of “All of the Good Ones Are Taken”—show how the theme of love can be explored through different lenses in rock music.

In terms of cultural significance, “Good Lovin'” stands out as one of the era’s enduring classics, later included in the Rock and Roll Hall of Fame’s list of 500 Songs that Shaped Rock and Roll. Its ability to transcend the specific context of 1960s rock speaks to its timelessness, which has made it a frequent inclusion on greatest hits lists and classic rock radio stations for decades. The song’s energetic drive and simple, catchy message are key reasons why it remains a crowd favorite and a lasting symbol of The Young Rascals’ contribution to rock music.

Read More: Top 10 Young Rascals Songs

# 2 – Good Vibrations – The Beach Boys

“Good Vibrations” by The Beach Boys, released in 1966, stands as one of the most iconic songs of the 1960s, and its innovative production and layered soundscapes cemented its place in rock history. Written by Brian Wilson and Mike Love, the track is characterized by its episodic structure and intricate arrangements, which deviate from traditional pop song formulas. It reached number one on charts across the world, including the United States and the United Kingdom, and has since been widely celebrated as a landmark of rock music. The song was initially conceived during the recording sessions for Pet Sounds and became a standalone single, later appearing on Smiley Smile in 1967.

“Good Vibrations” was composed with a revolutionary approach to recording, and it has been described as a “pocket symphony” for its vast range of instrumentation and musical shifts. Brian Wilson meticulously recorded various short fragments in multiple studios, piecing them together into the final track. The production included unconventional instruments like the Electro-Theremin, adding to the song’s psychedelic edge and futuristic feel. Its groundbreaking use of the studio as an instrument pushed boundaries in the music industry, influencing a wave of experimental rock that followed.

Lyrically, the song’s light and uplifting theme revolves around the concept of picking up “good vibrations” from a romantic partner, a phrase inspired by Wilson’s childhood understanding of vibrations as something beyond physical senses. The lyrics convey a sense of excitement and emotional connection, as Wilson and Love captured the growing optimism of the Flower Power movement. This positive and sensory-driven focus contrasts with the more cynical or wistful sentiments seen in songs like Linda Ronstadt’s “You’re No Good,” where the focus is on emotional separation rather than connection. Both songs explore the theme of love, but “Good Vibrations” takes a more euphoric approach, enveloping listeners in a sense of joy.

Much like “Good Lovin'” by The Young Rascals, “Good Vibrations” is filled with energy and a contagious sense of happiness. However, while “Good Lovin’” thrives on raw rock and roll excitement, “Good Vibrations” is an intricate and meticulously crafted piece that blends rock with the avant-garde. Both tracks succeed in uplifting their audiences, but “Good Vibrations” takes it a step further by pushing sonic boundaries and exploring new dimensions in the genre.

This masterpiece remains one of the greatest achievements of The Beach Boys, showcasing the band’s ability to transcend traditional rock and roll and enter into a realm of experimental and psychedelic sounds.

Read More: Top 10 Beach Boys Albums

# 1 – Good Times Bad Times – Led Zeppelin

“Good Times Bad Times” by Led Zeppelin serves as the opening track on their self-titled debut album, released in 1969. It showcases the band’s immense talent and set the stage for their rise to rock stardom. Written by all four members, the song’s high-energy combination of heavy guitar riffs, tight drumming, and Robert Plant’s powerful vocals helped define the signature sound of Led Zeppelin early in their career. Released as the band’s first single in the United States, it reached the Billboard Hot 100, signaling their arrival in the rock music landscape.

The creation of “Good Times Bad Times” began before Led Zeppelin entered the studio, with John Paul Jones composing the main riff on a Hammond organ. Despite Jones’ experience as a seasoned musician, he described the riff as one of the most challenging he ever wrote and performed. Jimmy Page’s guitar work on the track features his signature Fender Telecaster, which he ran through a Tone Bender and Supro amplifier. Page also experimented by running his guitar solo through a Leslie speaker, adding a swirling effect that helped give the song a unique sound. Meanwhile, John Bonham’s iconic triplet pattern on the bass drum drew attention, including praise from Jimi Hendrix. Bonham’s drumming, inspired by Carmine Appice’s work with Vanilla Fudge, added a hard-hitting element that would become one of his trademarks throughout Led Zeppelin’s career.

Thematically, the song focuses on life’s highs and lows, with the lyrics reflecting the ups and downs of relationships and personal growth. Robert Plant sings about youthful love and heartbreak, as well as the resilience to move forward despite challenges. The chorus, “Good times, bad times, you know I’ve had my share,” is a declaration of enduring the full spectrum of life’s experiences, which contrasts with the lighter, euphoric tone found in “Good Vibrations” by The Beach Boys. Where “Good Vibrations” centers around feelings of elation and love, “Good Times Bad Times” highlights the balance of joy and sorrow, bringing a grittier and more grounded perspective to the concept of life’s ebb and flow.

Comparing this track to “You’re No Good” by Linda Ronstadt, both songs explore emotional difficulties in relationships, but Led Zeppelin’s approach is more reflective and gritty, while Ronstadt’s is more direct and confrontational. While “You’re No Good” focuses on an ex-lover’s faults, “Good Times Bad Times” takes a broader view, acknowledging both love and heartbreak as part of a journey. Each song taps into universal feelings, but they explore them from different emotional angles, adding diversity to this list of rock songs with the word “Good” in the title.

The production of “Good Times Bad Times” was handled by Jimmy Page, and the album was recorded at Olympic Studios in London in October 1968. The debut album, Led Zeppelin, remains one of the most influential rock albums of all time, with “Good Times Bad Times” introducing the world to the band’s dynamic sound, which fused hard rock, blues, and elements of psychedelia. It was the beginning of a legendary career for Led Zeppelin, and this song continues to be a fan favorite and a symbol of the band’s early power and potential.

Read More: Led Zeppelin’s Best Song On Each Of Their Studio Albums