Like many, I’ve had my fair share of team loyalties and rivalries. As a Nashville Predators devotee, admitting admiration for the St. Louis Blues doesn’t come easily. Yet, this season, the Blues have unexpectedly done something remarkable: they’ve rekindled my fervent love for Laura Branigan’s iconic 1982 hit, “Gloria.”
St. Louis Blues logo with "Gloria" text, highlighting the song's association with the team's victory celebrations.
The story behind “Gloria” becoming the Blues’ victory anthem is genuinely charming. As the tale goes, a few Blues players stumbled upon the song in a bar while watching a football game, and a tradition was born. Since then, throughout this year’s Stanley Cup playoffs, “Gloria” has been on repeat for me – I’m talking hundreds of listens. My deep dive into “Gloria” has been extensive. I’ve explored its origins, discovering it was initially an Italian song penned in 1979 by Umberto Tozzi. I’ve immersed myself in the world of Laura Branigan, learning fascinating tidbits like her stint as a backup singer for Leonard Cohen in the 70s. I even felt a pang of emotion reading about how Branigan’s former manager believed she would have been overjoyed by the song’s resurgence, a bittersweet thought considering her passing in 2004. My “Gloria” obsession is real.
This deep dive into all things “Gloria” reminded me that Branigan’s hit is far from the only song to bear this powerful name. While her disco-infused anthem urging a girl to “get your act together” is undeniably fantastic, it’s just one facet of the “Gloria” song spectrum. So, let’s embark on a whirlwind tour of some of the best, and perhaps not-so-best, songs titled “Gloria,” exploring the diverse interpretations of this classic name in music.
7. “Gloria” by The Lumineers
The Lumineers’ “Gloria” served as the lead single for their album III. Known for their folk-pop sound, The Lumineers cater to a specific demographic. If “diet folk” or “Folk Zero” resonates, and you appreciate the aesthetic of floppy hats and berating baristas for alternative milk options, this might be your tune. However, for those seeking a bit more substance and less mainstream appeal, The Lumineers’ take on “Gloria” might fall a little flat. It lacks the punch and originality found in other iterations of the song.
6. “Gloria” by U2
U2 kicked off their 1981 album October with “Gloria,” and the intent behind this track remains somewhat ambiguous. While the verses possess a vibrant and energetic rhythm, the song’s momentum falters when Bono transitions into the Latin chorus. The sincerity of the Latin delivery feels questionable, creating a disconnect that hinders the song’s potential for a truly climactic feel. It’s only in the final 30 seconds that “Gloria” by U2 begins to find its footing, before abruptly fading out. This leaves the impression of a promising idea that never quite reached its full potential, sounding more like a preliminary sketch than a finished masterpiece.
5. “Gloria” by The Cadillacs
A fun piece of trivia: The Cadillacs’ “Gloria” is the very song Billy Joel transitions into at the conclusion of “The River of Dreams.” While “The River of Dreams” is a popular track, it’s worth noting that it was rightfully overshadowed at the 1994 Grammy Awards for Record of the Year by Whitney Houston’s monumental “I Will Always Love You.” This context adds a layer of playful irony when considering The Cadillacs’ version in the broader “Gloria” song landscape.
4. “Gloria” by Mineral
Mineral’s 1997 debut album, The Power of Failing, is punctuated by moments of intense emotional resonance. Tracks like “If I Could” and “Silver” showcase this powerfully, but “Gloria” stands out as consistently perfect from start to finish. As pioneers of 90s emo, Mineral masterfully blended the emotive vocal style reminiscent of Sunny Day Real Estate with the cathartic guitar work of Hum. The result is a potent concoction of raw feelings, a sonic experience that lingers in your throat, compelling you to either scream or shed a tear – or perhaps both. This “Gloria” is a raw nerve exposed, a visceral and unforgettable listen for fans of emotionally charged music.
3. “Gloria” by Tierra Whack
Now we delve into truly exceptional territory. Tierra Whack, a rapper hailing from Philadelphia, boasts a fluid and poetic delivery, drawing comparisons to artists like Noname. Her track “Gloria” is a captivating blend of confidence and humility. Whack seamlessly juxtaposes lines about the struggles of a working artist with boasts of acquiring luxury items like a Lamborghini, delivered with nonchalant ease. “Gloria” is just one gem in a string of impressive singles released by Whack. Her creativity knows no bounds, evident in tracks like “CLONES,” which might be the first and only rap song to open with a sneeze, and “Unemployed,” accompanied by a video that’s likely to evoke unexpected tears over a potato. Tierra Whack’s willingness to embrace the unconventional is what makes her artistry so compelling and her “Gloria” so uniquely brilliant.
2. “Gloria” by Laura Branigan
According to various sources, Laura Branigan herself described “Gloria” as being about “a girl that’s running too fast for her own steps.” This interpretation resonates deeply with the St. Louis Blues’ journey. Their season trajectory, from being at the bottom of the league in January to reaching the Stanley Cup Finals, embodies the feeling of things becoming unexpectedly and rapidly “hectic.” The song’s message of needing to slow down before losing control holds a poignant relevance, especially considering the Blues’ experience of both exhilarating highs and challenging setbacks, like their Game 3 loss. Branigan’s “Gloria” captures a universal sentiment of navigating life’s whirlwind pace, making its enduring appeal and connection to the Blues all the more understandable.
1. “Gloria” by Patti Smith
Van Morrison’s 1974 composition, built on a simple three-chord structure, is often lauded for its groundbreaking nature and has been covered by a diverse array of influential artists. Patti Smith’s rendition, however, elevates “Gloria” to another level. She masterfully fused Morrison’s garage rock classic with her own poem “Oath,” igniting her blues-infused punk rock performance with the iconic opening line: “Jesus died for somebody’s sins, but not mine.” This audacious and unforgettable opening encapsulates the rebellious spirit and artistic genius that makes Patti Smith’s “Gloria” the definitive version. It’s a powerful statement of self-determination and a testament to the transformative power of music, solidifying its place as the ultimate “Gloria” song.
