MMR’s Essential 200: S-Z

Stax

Mixing rock, soul and elements of gospel, Nathaniel Rateliff & The Night Sweats gained a lot of attention out the gate from their first single “S.O.B.” Somehow, the band made binge drinking following a breakup sound like a good idea. When you have the pipes of Ratliff and an incredible backing band like The Night Sweats, you can make pretty anything sound like a good idea. (EB)

Earache Records

Our friends to the North have given us numerous musical gifts, and their latest comes in the form of Kingston, Ontario’s The Glorious Sons. The band’s breakthrough single in the United States was “S.O.S. (Sawed Off Shotgun),” which notably features elements of ska thanks to some bold brass and it’s a unique juxtaposition when its dark lyrics are factored in. The Glorious Sons’ career is still young, but they already show no fear in dipping their toes into varying sub-genres. Regardless of the vibe they choose, it always rocks. (EB)

MCA

Sir Elton is one of the greatest pop stars of all time, but he can rock like a MFer, too, as evident on this classic from 1973’s ‘Goodbye Yellow Brick Road.’ Davey Johnstone’s guitar work is nothing short of perfection and pairs perfectly with Elton’s piano. (EB)

Warner Bros.

One of the band’s most sadly beautiful songs, it clearly resonated with Kiedis, as he named his autobiography after it. In the song, he looks at people who are down on their luck, as he had been many times before, and tries to find beauty at the bottom (“With the birds I’ll share this lonely view”). (BI)

Third Man

The White Stripes ushered in a new era of garage rock in the late ‘90s/early aughts. The Detroit duo’s biggest impact is, without a doubt, “Seven Nation Army.” Not only is it one of the best rock songs of the past 25 years, it has grown to become one of the biggest sports arena anthems ever. (EB)

Warner Bros.

ZZ Top are men of truth, and there are few truer statements in rock – and in life, in general -- than “Every girl crazy about a sharp dressed man.” It’s just a fact. Also a fact: It takes about one second to immediately recognize this classic thanks to Bill Gibbons’ riff. Frankly, it’s ZZ Top at their ZZ Top-i-ness. (EB)

American Recordings

A tender but rocking ballad about a goth woman struggling with heroin addiction, “She Talks to Angles” is one of the Black Crowes’ signature songs, and rightfully so. It’s a song that finds the band at the intersection of blues rock and southern rock, which will forever be their sweet spot. (BI)

UMG

Rod Argent was not messing around when he wrote the jazz-pop tinged “She’s Not There.” Serving as The Zombies’ first single in 1964, “She’s Not There” sounded completely different from anything from their British peers. It’s hooky but incredibly haunting thanks to the vocal delivery from Colin Blunstone. (EB)

Atlantic

When it comes to the world of hard rock and metal, Skid Row often doesn’t get enough love, and that should change. After their hit 1989 self-titled debut album, they released ‘Slave to the Grind’ two years later and saw the band take on a significantly more aggressive sound as evident by the album’s title track which found Sebastian Bach screaming like a banshee and Dave “Snake” Sabo and Scotti Hill throwing down some killer guitar tracks. (EB)

Geffen

When Peter Gabriel left his former band Genesis, he became obsessed with weirder, darker and less commercial music. With his ‘So’ album, however, he was clearly looking for mainstream success, but on his own terms (and was probably more influenced by David Bowie’s ‘Let’s Dance’ comeback than by his former mates, who he kept his distance from). “Sledgehammer” was the funkiest Peter Gabriel song we’d heard at that point, partially because of the horn section, which featured Wayne Jackson, the trumpet player who’d played on classics by soul legends Otis Redding and Sam & Dave, among others. Of course, you can’t talk about the song without the iconic music video, which dominated MTV for about a year. It was Gabriel’s only #1 hit in the U.S... and funny enough, it got there by bumping “Invisible Touch” -- by Genesis -- out of the top slot. (BI)

Warner Bros.

Yes, “Smoke On The Water” is an obvious choice for this list, but when a riff is that ubiquitous, it would be strange if “Smoke On The Water” wasn’t on this list. (EB)

Arista/BMG

To paraphrase LL Cool J, you certainly can call this one a comeback. By the end of the ‘90s, Carlos Santana’s status as a legend was beyond question; the original lineup of Santana was inducted into the Rock and Roll Hall of Fame the year before. But would anyone consider him a hitmaker that would dominate the charts in ‘99 and into the new millenium? Most people probably wouldn’t have, but happily, Clive Davis did. The two reunited at the Rock Hall induction (Clive Davis was honored that year as well), and soon, Davis signed Santana to a record deal. We know how that turned out: ‘Supernatural’ was in insanely huge album filled with all-star collaborations with Dave Matthews, Eric Clapton, Everlast, Wyclef Jean and Lauryn Hill. But none of their songs made the impact that “Smooth” did. The ubiquitous jam featuring matchbox twenty’s Rob Thomas was the last #1 hit of the ‘90s and the first of the ‘00s. (BI)

Capitol

Stradling the worlds of blues, folk and Americana, Bonnie Raitt can seemingly do it all. One of the best examples of her talents, from her instantly recognizable voice to her ace slide guitar, came on her biggest hit, 1991’s “Something to Talk About.” The track would peak on the Billboard Hot 100 at number five, net Raitt a Grammy for Best Female Pop Vocal Performance and provided one of the most underrated moments in 2008’s ‘Step Brothers’ when Will Ferrell sang the song. If that’s not crossover appeal, what is?! (EB)

Craft Recordings

Norman Greenbaum may have been a one-hit wonder, but he sure did make it count with “Spirit In The Sky,” easily the coolest song about Jesus with a sweet riff to boot. Its legacy has gone on for decades. In a 2011 interview, Greenbaum said of the song, “It sounds as fresh today as when it was recorded. I’ve gotten letters from funeral directors telling me that it's their second-most-requested song to play at memorial services, next to 'Danny Boy'." (EB)

Loma Vista Recordings

The fact that “Square Hammer” follows “Spirit In The Sky” on this list is the best happy-accident imaginable. (“Are you on the square?/Are you on the level?/Are you ready to swear right here, right now/Before the devil.”) The lone single from their 2016 EP ‘Popestar,’ “Square Hammer” saw Ghost embrace more mainstream rock elements, proving that flamboyant flirtations with the occult is truly for everyone. Plus, it helped set the stage for their follow-up LP, 2018’s ‘Prequelle,’ one of the best rock albums of the last decade. (EB)

The Band Aid Trust

Three words: “Alright, where’s Tina?” Those three words caused the nearly 90,000 strong at Philadelphia’s JFK Stadium to become unglued. Mick Jagger and Tina Turner’s performance of “State of Shock” remains one of the definitive live performances during Live Aid, and it’s a reminder of the magic of live music. After a year without concerts due to the coronavirus pandemic, it’s a magic and a feeling we’ll all value more than ever. (EB)

Warner Bros.

Faces may not have lasted long, but they sure did make their time together count both in the studio and on the road. (The band was famously banned from staying at any Holiday Inn hotel due to their excessive partying.) Their biggest hit “Stay With Me” features every band member doing what they do best: Knocking out some incredible blues-based rock. In the case of frontman Rod Stewart, it’s laying down a vocal track proving you’re one of rock’s greatest voices. And he still is. (EB)

Atlantic

As far as breakup songs go, “Suite: Judy Blue Eyes” is one of the best. Stephen Stills wrote the song about his ex-girlfriend, singer/songwriter Judy Collins, after she left him for another man after dating for two years. Plus, the song is one of the greatest examples of the brilliance of CSN’s harmonies. (EB)

Liberty

Eddie Cochran just can’t win on this early rock and roll hit! His boss is a bummer, his mom and dad won’t let him use the car because he skipped out of work and his congressman doesn’t care what he thinks because he’s under 18 and can’t vote. Those late teen years can be a drag, but at least they lend themselves to a catchy song. (EB)

UMG

What a mensch, that Steven Van Zandt! After hearing Peter Gabriel’s “Biko” in a movie theater and doing research on apartheid in South Africa, he put together an all-star jam that was unlike any of the others that were fashionable at the time. Band Aid’s “Do They Know It’s Christmas?” and USA for Africa’s “We Are The World” were sort of feel-good songs, designed to make you feel like you did something just by purchasing the record. That was even true of the heavy metal supergroup, Hear N Aid’s song, “Stars.” “Sun City,” on the other hand, was an angry song, attacking the injustice of apartheid, and Steve recruited artists from nearly every genre for the track, including Miles Davis, Run-D.M.C., Pete Townshend, Pat Benatar, Bruce Springsteen, George Clinton, Joey Ramone, Daryl Hall, John Oates, Darlene Love, the Temptations, Bonnie Raitt, Lou Reed, Reuben Blades, Peter Wolf, Bob Dylan, Ringo Starr (and his kid, Zakk Starkey!) and Bono. (BI)

Epic

Donovan was one of the best at mixing psychedelia and folk. If you’re looking for proof, look no further than “Sunshine Superman.” Fun fact: The track features a pre-Led Zeppelin Jimmy Page and John Paul Jones playing guitar and bass, respectively. (EB)

Warner Bros.

Sometimes, a killer rock song can also make you dance as evident in this 2006 single from Muse. Sure, it was featured in the ‘Twilight’ movie, but it still remains one of the power trio’s best tracks in their two-plus decades career during which they proudly carried the alt.rock flag. (EB)

Epic

“Mommy’s alright/Daddy’s alright/They just seem a little weird.” Cheap Trick, perhaps, wrote some of the most timeless and relatable lyrics in music history with the chorus of “Surrender.” There’s always going to be generational divides, but never forget that all parents will just seem a little weird to their kids. It’s as certain as death and taxes. (EB)

Columbia

Simply put: The Money Man hit the jackpot on “Take Me Home Tonight.” Not only did the track reinvigorate his career, it got Ronnie Spector out of retirement to sing the hook, a call back to the Ronnette’s classic “Be My Baby.” (EB)

Warner Bros./Reprise

The deceptively gentle song was shocking when Clapton fans first heard it. It was acoustic, it didn’t sound like the blues, it was really unlike anything he’d ever done. Also, he was speaking more frankly about his life than he ever had before: the song was inspired by the tragic death of his four-year-old son, Conor. But like the best songs, it’s clear enough so that you know what it’s about, but vague enough that it could apply to everyone’s life. So even though it doesn’t have Clapton’s signature guitar heroics, it’s a blues song because we feel his pain, every time we hear it. As a songwriter, it’s his finest moment. (BI)

Warner Bros.

Whatever song represented Fleetwood Mac on this list, it was obviously going to come from ‘Rumours,’ the band’s mega hit album that was once referred to by comedian John Mulaney as “an album written by and for people cheating on each other.” (He’s not wrong, BTW.) “The Chain” is the only track from ‘Rumours’ to be credited to all five members of Fleetwood Mac. Considering the chaos going on while recording the LP, it’s pretty remarkable all five of them were able to work on one song in such a way, and perhaps everyone shines on “The Chain” because of this. Even with Lindsey Buckingham out of the band, there will forever be a connection those five musicians have that will never quite break. While metaphorical, they will always be linked together. (EB)

Capitol

Pompatus. That’s it. That’s the description. (Really, do you need anything more?) (EB)

Columbia

Small-town America isn’t the wholesome ideal setting many think it is, and it’s something The Offspring explore in “The Kids Aren’t Alright.” Sometimes, the grand future that is promised just comes crashing down for a variety of reasons, whether it’s from drug abuse to an unwanted pregnancy to mental health issues that lead to an early end. Not everything on Main Street is all sunshine and roses; sometimes it really is “Fragile lives/Shattered dreams.” (EB)

WMG

The first song and the title track of Genesis’s 1974 album, which would be their last with singer Peter Gabriel. Within a few years, the band would be completely transformed: drummer Phil Collins added vocals to his responsibilities, and bassist Mike Rutherford took on guitar duties. But here, you can hear Collins shining on drums and backing vocals, and Rutherford’s punchy bass lines. It's a grand entrance for the concept album’s main character, Rael, and the beginning of the exit for Gabriel. (BI)

Sanctuary Records

Iron Maiden’s lone contribution to metal could’ve been just “The Number of the Beast” and they would’ve been legends. That’s how vital this song is to the genre. From Bruce Dickinson’s epic scream to the guitar solos from Dave Murray and Adrian Smith to its iconic chorus, it’s 4:51 of perfection. (EB)

Columbia

The torment of “The Sound of Silence” is sadly something that will always be relevant. Art Garfunkel famously said the song was about “the inability of people to communicate with each other, not particularly internationally but especially emotionally, so what you see around you are people unable to love each other.” Interestingly enough, a lack of communication is what led to the song’s success. After not gaining much traction shortly after its initial release in 1964 and eventually leading to Simon and Garfunkel’s first split, the song started to gain a college following the next year. Tom Wilson, the song’s producer, decided to overdub an electric arrangement over the track without Simon and Garfunkel’s knowledge; they only found out about the remix after it was released. This, of course, led to the duo reuniting, and the rest is history. (EB)

Bluesway/ABC

B.B. King was not the first artist to record “The Thrill Is Gone” (that would be Roy Hawkins), but B.B.’s version is what made the song popular and one of the reasons why he was and still is “the King of the Blues.” The song would net King a Grammy for Best Male R&B Vocal Performance and become a mainstream hit peaking at number 15 on the Billboard Hot 100. (EB)

CAPITOL

When “The Weight” was first released, the song was credited to its members: Robbie Robertson, Rick Danko, Richard Manuel, Garth Hudson and Levon Helm -- the quintet were not yet called “The Band.” “The Weight” may not have been a commercial smash, but it certainly has had a lasting legacy that songs that have went to number one can only dream. Mixing Biblical references with their own unique brand of roots rock, “The Weight,” and The Band in general, would have significant influence on the Eagles and the Grateful Dead, as well as Wilco and Dawes. Oh, and when Eric Clapton presented the Band at their Rock and Roll Hall of Fame induction, he said that hearing the Band inspired him to end his group, Cream. (EB)

Geffen

Look…I’m not going to wax philosophical about “Thunder Kiss ’65,” because after all these years, I still don’t know what the hell it means. However, we can all agree that the song still sounds cool AF and will forever keep the memory of the ‘Faster, Pussycat! Kill! Kill!” alive thanks to its use of soundbites from the 1965 film. (EB)

Epitaph

By 1994, music was starting to change; bands riding in Pearl Jam and Nirvana’s wake were beginning to seem a bit “old hat,” and Green Day’s ‘Dookie,’ released in ‘94 was a game changer. Record labels and radio stations were looking for punk bands that fit in with the Bay Area trio... and that’s why Rancid decided to name their third album, ‘...And Out Come The Wolves.’ They stuck to their guns, and doubled down on their Clash and ska influences, particularly on the single, “Time Bomb,” which harkened back to guitarist/singer Tim Armstrong and bassist Matt Freeman’s days in the Berkeley band Operation Ivy (Google them if you’re not familiar). (BI)

Mercury

Possibly Rush’s greatest song, and there’s a lot of competition for that title. It's certainly their most well-known. In the ‘80s Rush fans were often outcasts (their later song, “Subdivisions” was basically a tribute their audience) and lyrics like “No, his mind is not for rent, to any god or government/Always hopeful, yet discontent” really resonated. As did this lyrical turn of phrase: “He knows that changes aren’t permanent/but change is.” (BI)

Elektra

Jim Morrison gets a lot of attention whenever there’s talk about The Doors, but on “Touch Me,” all four members shine. Ray Manzarek lays down one of his most memorable keyboard tracks, John Densmore provides some very jazz-influenced drums and guitarist Robby Krieger wrote the song. The Doors helped popularize psychedelic rock, but they were never afraid to experiment with other genres. (EB)

Warner Bros.

The Grateful Dead is rock’s most legendary jam band, but clocking in at 5:09 (a tight 3:13 as a single), “Truckin’” is one of their most essential songs and it fit perfectly on the radio. From traveling city to city to getting busted in New Orleans, “Truckin’” is the Dead’s ode to life on the road. Plus, it birthed the phrase “What a long, strange trip it's been” giving plenty of high school seniors the perfect yearbook quote. And if the studio version was a bit too svelte, it often extended past the ten minute mark when they played it live. (EB)

Capitol

Speaking of songs about life on the road, “Turn the Page” is one of the best and one of the most accurate. The live version from Seger’s breakthrough album ‘Live Bullet’ adds another wrinkle to the song’s mood and how draining tour life can be. (EB)

Hollywood Records

Was the “duets” rule for this list established specifically for “Under Pressure”? Perhaps it was, but who could find any fault in finding a way to include one of the greatest collaborations in rock history? Between John Deacon’s iconic bassline to the dueling vocals of Freddie Mercury and David Bowie, “Under Pressure” was a classic the moment it was released, and its status has only grown over the years and rightfully so. (EB)

Geffen

Hole’s landmark 1994 album ‘Live Through This’ opens with “Violet,” one of the fiercest, most beautifully painful songs to not just emerge from the era of grunge, but ever. Penned by Courtney Love and Eric Erlandson and inspired by Love’s relationship with Billy Corgan, “Violet” and its anger still cuts as deep now as it did upon its release in large part due to its booming chorus: “Go on, take everything/Take everything, I want you to!!/Go on, take everything/Take everything, I want you to!!” (EB)

Reprise

Few sounds are as cool and beautiful as the wah-wah riff that opens up “Voodoo Child (Slight Return.)” It’s easily one of Hendrix’s most iconic riffs and proof just how ahead of his time he was. It's something that makes you grateful for the music he left behind but will always make you wonder what could have been. (EB)

Profile

This rendition of “Walk This Way” is important for two reasons: 1. It brought the worlds of rock and rap together and 2. It kicked off Aerosmith’s renaissance in the ‘80s thanks to Run-DMC's remake of the song with Tyler and Perry. Who knows what would’ve become of the Bad Boys from Boston had it not been for their collaboration with the “Kings of Rock”?! (EB)

Atlantic

One word, two syllables: Re-SPECT! Pantera’s “Walk” is the band’s biggest song, and it’s easy to see why. From its booming chorus to the unusual 12/8 time riff from the late, great “Dimebag” Darryl Abbott, it didn’t sound like anything else upon its release. Plenty of metal bands have clearly been influenced by Pantera since, but none of them have truly been able to capture their unique sound and magic. (EB)

Island

An arena rock version of Bob Seger's "Turn the Page," Bon Jovi's "Wanted Dead or Alive" was the third single from their massive 1987 album 'Slippery When Wet.' The song evokes wild west symbolism about grueling road life even when you see a million faces and rock them all. Fun fact: Jon Bon Jovi and Richie Sambora's acoustic performance of the song at the 1989 MTV VMAs helped inspire the creation of the popular series 'MTV Unplugged.' (EB)

Warner Bros

An anti-war anthem that lamented that working class people often go to fight wars that benefit rich people. The song was featured at the time in ‘Broadside’ magazine. ‘Broadside’ was such a hardcore folk publication that they stopped covering Dylan when he went electric. But “War Pigs” was undeniable, even ‘Broadside’ had to respect it. And, of course, it’s one of the most powerful songs in heavy metal... or any other genre. (BI)

UMG

The Go-Go's, after years of eligibility, are finally being inducted into the Rock and Roll Hall of Fame as part of the 2021 class, and their greatness is due, in part, to songs like “We Got The Beat.” It’s unapologetically fun and embraces youth in the most celebratory way possible thanks to one killer rhythm track. Frankly, it’s the type of unapologetic fun that never goes out of style and will always win the day. (EB)

Reprise

Gerard Way famously said in an interview, “I’d like to think that when you die, death comes for you however you want, and I feel that it’s your strongest memory—either from childhood or adulthood.” In the case of “The Patient,” the main character in the rock opera that was My Chemical Romance’s third studio album ‘The Black Parade,’ his strongest memory was when he was taken to a parade by his father. The world and imagery MCR created on that album set them apart from their contemporaries and further elevated their status in the rock world. While the coronavirus pandemic derailed their reunion tour, it will be one of the most highly-anticipated shows once the world fully opens up again. (EB)

Geffen

What can really be said about "Welcome to the Jungle" that hasn't already been said? One of the best, if not THE best opening track on a debut album ever? Yes. A warning shot to sub-par hair bands taking up too much space on the Sunset Strip? Undoubtedly. In the passing years, "Welcome to the Jungle" has become a magical tune that's a staple on Active Rock and now Classic Rock radio. Sure, the song may fall under the Classic Rock label based on its age, but "Welcome to the Jungle" still sounds as fresh as ever. It's the timeless statement that every rock band dreams of writing, and this will likely be so until the sun finally explodes, and the world ends, or climate change finally gets us. Whichever comes first! (EB)

Atlantic

Rock and Roll’s roots and influence can be found in soul, and one of soul’s earliest hits was this Ray Charles classic. From the suggestive lyrics to the call and response of his backup singers, it’s no wonder “What’d I Say” brought Charles crossover/mainstream success. (EB)

Warner Bros.

Plenty of artists have experimented with blending genres, but no one has really done it like Prince. A perfect combination of pop, R&B and rock, “When Doves Cry” was the lead single from ‘Purple Rain’ and topped the Billboard Hot 100 for five weeks. Prince’s guitar work alone on this track secured him as a Guitar God for all of time. Only Prince could come up with such a funky song without even bothering to include a bassline. (EB)

Dirty Honey

In the past few years, Dirty Honey has emerged as one of the most promising new rock bands in the United States. This is in large part due to the band’s breakthrough single “When I’m Gone,” which topped the Billboard Mainstream Rock Songs chart making them the first unsigned act to achieve such a feat. With a massive chorus and the soaring vocals of Marc Labelle, don’t anticipate Dirty Honey being gone anytime soon. (EB)

UMG

U2 is a band that makes you want more and inspires you to dream bigger. They make you feel like nothing is out of reach, and “Where the Streets Have No Name” is the best example of that. What can you say about a song so magical, whose longing is felt for the entirety of its 5:36 runtime, including an intro that just builds and builds only to culminate in Bono exclaiming “I wanna run”? What can you say about The Edge’s undeniable and transcending guitar playing? What can you say about Adam Clayton and Larry Mullen Jr. laying down a rhythm track that you can feel pulse through your body? You can say that all of these pieces add up to a quintessential song. (EB)

Time Life

This live cover at the 2004 Rock and Roll Hall of Fame induction ceremony in honor of the solo induction of George Harrison was great...and then Prince entered from stage right and laid down THAT solo. In the years since the untimely deaths of both Prince and Tom Petty, this performance has taken on a sort of legend and has served as another reminder of the power of live music. On the Rock Hall’s YouTube channel, it’s the most-watched video with over 100 million views. The next most-watched video has 42 million views. (EB)

Decca

Thin Lizzy's take on “Whiskey In The Jar,” a traditional Irish folk song, is nothing short of perfection. While the band’s unique hard rock sound would gain broader attention four years later with the release of their album ‘Jailbreak,’ “Whiskey In The Jar” is one of the best examples of the memorable, raspy vocals of Phil Lynott. It’s also a prime example of how they’re so much more than “The Boys Are Back In Town.” (EB)

RCA

There are few songs as synonymous with psychedelic rock as Jefferson Airplane’s “White Rabbit.” Evoking characters and imagery from Lewis Carroll’s ‘Alice in Wonderland,’ Grace Slick takes listeners on a trip like none other via a vocal performance like none other. The steady rise in her timbre culminates in the exclamation of “Feed your head!” as the track comes to a sudden close just as listeners were starting to truly enjoy the fall down the rabbit hole. (EB)

ATCO

It doesn’t get more meat-and-potatoes rock and roll than The Troggs’ “Wild Thing.” Wanna know for sure? Simple, straight forward, lusty lyrics. A classic riff. Only a fool wouldn’t love this song. (EB)

A&M

Whether it's the studio recording or his classic performance at Woodstock, Cocker’s cover enters that magical area of overshadowing the original, and when you do that with a Beatles song, you’ve done something extremely special. When Cocker passed away in 2014, Paul McCartney paid tribute and said, “He was a lovely northern lad who I loved a lot and like many people I loved his singing. I was especially pleased when he decided to cover ‘With A Little Help From My Friends’ and I remember him and Denny Cordell coming round to the studio in Saville Row and playing me what they’d recorded and it was just mind-blowing, totally turned the song into a soul anthem and I was forever grateful for him for doing that." Us too, Sir Paul. Us too. (EB)

MCA

Bringing ‘Who’s Next’ to a monumental close, “Won’t Get Fooled Again” is one of The Who’s greatest sonic achievements, from the use of synthesizers to Roger Daltrey’s “YEAHHHHH!” If you’ve never seen The Who’s performance of the track from the 9/11 benefit concert ‘The Concert for New York City,’ watch it right now, because it brings a new level of emotion to the epic 8:32 song. (EB)

Virgin

Perhaps not the obvious Roy Orbison choice for this list, but “You Got It” proved that the influential singer/songwriter still had it until the very end of his life. Orbison died of a heart attack in December 1988. “You Got It” was released just a month later. It would peak on the Billboard Hot 100 at number nine making it the first top ten hit he had in 25 years. Orbison’s creativity can likely be attributed to his work with the Travelilng Wilburys, the supergroup he formed with Bob Dylan, George Harrison, Tom Petty and Jeff Lynne. The latter two Wilburys co-wrote “You Got It” with Orbison. (EB)

Reprise

There are lots of amazing riffs on this list, but the one that opens “You Really Got Me” is, at the very least, one of the top five riffs of all time. The Kinks’ distortion-happy “You Really Got Me” is truly one of the most influential rock songs ever, regardless of your sub-genre of choice. From hard rock to metal to garage, any of those musicians own a thing or two to “You Really Got Me” and the sliced speaker cone of Dave Davies’ amp. (EB)

Columbia

A list like this deserves to go out on a powerful note, and there are few notes more powerful than those hit by Rob Halford on “You’ve Got Another Thing Comin’,” particularly on the bridge: “In this world we're livin' in, we have our share of sorrow/Answer now is don't give in, aim for a new tomorrow.” As with many of Priest’s other classics, the dueling guitars of KK Downing and Glenn Tipton are front and center. Priest is one of the greatest metal bands of all time for many reasons. This defiant, inspirational track is just one of them. (EB)