Rock and Roll has shaped history, pop culture and countless lives. Many might even say that rock and roll saved their life. So, if someone were to approach you and ask which songs are most important to the genre, where would you start?
That question is answered and explored in WMMR’s Essential 200, our list of 200 rock songs from the entire history of the genre that helped influence, elevate or flat out change what we call “Rock and Roll.” These are songs every rock fan should know ranging from massive hits to unique live recordings to some deeper cuts in the genre.
When crafting this list, we created a few guidelines and exceptions:
1. An artist will be represented by one track from their catalog. However, certain musicians might appear multiple times. For example, you will find a song from The Beatles on this list, but you will also see tracks from John Lennon and Paul McCartney’s solo career.
2. The Duets/”Under Pressure” rule: A collaboration will not count toward an artist’s representation on the list, meaning you will see a separate song from Queen, a separate song from David Bowie AND their classic collaboration of “Under Pressure.”
3. For a live recording to be included on this list, it must have received an official release of some kind, either on a physical album/compilation or digitally. Random live duets found on YouTube do not count.
Now that you know the rules, scroll through the gallery below to see all the songs from A-H, including tracks with symbols and numbers in their title which kick off this list.
“(I Can’t Get No) Satisfaction” – The Rolling Stones
Share“(I Can’t Get No) Satisfaction” is about as legendary as the story of how Keith Richards wrote the song’s classic riff while still half-asleep. The preferred music of younger generations may have changed over time, but the frustrations are still pretty much the same. (Older generations are out of touch, everyone keeps telling me what to do, I can’t get laid, etc.) If you could pick just one thing “(I Can’t Get No) Satisfaction” did really well – which is admittedly an incredibly daunting task - it was to establish an angst anthem blueprint for future younger artists to follow. Sure, there has been some evolution over the decades, but you can almost always find the root of those works in “(I Can’t Get No) Satisfaction.” (EB)
“25 or 6 to 4” – Chicago
ShareIt’s a song about writing a song. How delightfully meta! Also delightful? The magnificent horn section of Jimmy Pankow, Lee Loughnane and Walt Parazaider. Never forget that the trombone, trumpet and tenor sax can also rock and be totally badass, too. (EB)
“A Day in the Life” – The Beatles
ShareJohn Lennon and Paul McCartney will forever be regarded as one of the greatest songwriting duos of all time. (Some would argue they’re the greatest songwriting duo ever.) “A Day in the Life” might just be the greatest example of their yin and yang together. Lennon's chaos and McCartney's calm. Add in a dizzying orchestra, and it provides for an incredible closing track to 'Sgt. Pepper's Lonely Hearts Club Band,' one of the greatest albums of all time. (Some would argue *the* greatest album of all time.) (EB)
“Ace of Spades” – Motörhead
Share“Ace of Spaces” (and Motörhead, in general) provides an important bridge between punk and metal, and it’s a bridge that never seems to get enough credit. There are plenty of sub genres under the rock tent, but they don’t always play nicely together. Motörhead showed that punks and metalheads can coexist, because they were both born to lose, but live to win. (EB)
“All The Young Dudes” – Mott the Hoople
ShareAs legend goes, “All The Young Dudes” was given to Mott the Hoople by David Bowie after the band passed on “Suffragette City.” As mind-blowing as that story is, it really worked out for the best. “All The Young Dudes” would go on to be Mott the Hoople’s biggest single and became a glam anthem. (A glam-them, if you will.) Plus, when the likes of Joe Elliott says they want “All The Young Dudes” played at their funeral, you clearly did something right. (EB)
“American Girl” – Tom Petty & the Heartbreakers
Share“Well she was an American girl/Raised on promises/She couldn't help thinkin' that there/Was a little more to life/Somewhere else!” Hasn’t every kid felt that way at some point in their teens? Legend has it that when Roger McGuinn of the Byrds first heard this song, he said, “When did I write this?” (Years later, he’d pay Petty the ultimate compliment by covering it.) But the closing song from Tom Petty & the Heartbreakers’ 1976 debut album would go on to be an American classic, one of Petty’s finest moments, and the final song he ever played on stage. (BI)
“Anarchy in the U.K.” – Sex Pistols
ShareThe first single released by the Sex Pistols in 1976, “Anarchy in the U.K.” wasn’t just a song; it was a statement. Sex Pistols manager Malcolm McLaren once said of “Anarchy,” “It’s a call to arms for the kids who believe that rock and roll was taken away from them. It’s a statement of self-rule, of ultimate independence.” The Sex Pistols may have only released one studio album, but they sure made it count and didn’t waste any time out the gate. (EB)
“Animal” – Def Leppard
ShareFew bands combine elements of hard rock and pop quite like, or as well as, Def Leppard. While they have many examples of this in their catalog, “Animal” might be both their best and most underrated. The big hooky bridge leads into an even bigger, hookier chorus with the band’s classic group vocal. It’s a recipe for pop/rock gold, or in the case of Def Leppard, pop/rock (multi-) platinum. (EB)
“Aqualung” – Jethro Tull
ShareWere Jethro Tull prog-rock? Folk-rock? Proto-metal? They were kind of all of the above, and they mixed everything into their opus, “Aqualung.” The late ‘60s and early ‘70s were a great time for epic songs with multiple movements, but while their peers in Emerson Lake & Palmer invited fans to the “show that never ends” and Yes sang of “all good people,” Tull was growing and hissing about a truly vile character who was “eyeing little girls with bad intent.” (BI)
“Back In The Saddle” – Aerosmith
ShareThe chugging build of “Back in the Saddle” draws you in, and then Steven Tyler’s screeching “I’m baaaaaccckkkk!” practically slaps you in the face (but in a good way). There are plenty of songs in the Aerosmith catalog full of sexual innuendo, but the overarching old west themes in the song give “Back in the Saddle” a playful setting reminiscent of ‘Gunsmoke’ and Miss Kitty. Whether that was a concept Steven Tyler had in mind when he penned the lyrics is anyone’s guess, but “Back in the Saddle” is yet another example of the type of magic a band can produce when all of its elements are clicking. (EB)
“Big Bottom” – Spinal Tap
ShareSure, Spinal Tap might be a fictional band, but their impact on rock culture is very real. Truthfully, their entry on this list could be just a super cut of the film’s many iconic one-liners, but this is a collection of songs, after all. Out of all of Spinal Tap’s songs, none are as beloved as “Big Bottom.” That bass line is beyond badass. And those lyrics? Timeless and true! “The bigger the cushion, the sweeter the pushin’” is just facts! (EB)
“Blinded By The Light” – Manfred Mann’s Earth Band
ShareThere are a handful of covers on this list, and what you’ll find with all of them is that they eclipse the original. Manfred Mann’s Earth Band’s take on Bruce Springsteen’s “Blinded By The Light” is truly something special. The arrangement is such a complete 180 that you almost forget that The Boss wrote this song, which is why “Blinded By The Light” is such an essential track. (EB)
“Blitzkrieg Bop” – Ramones
ShareIf The Beach Boys grew up in the Bowery, they would’ve been the Ramones. While they remain one of the most essential punk bands of all time, the Ramones had an undeniable pop flair and that was obvious from the jump with “Blitzkrieg Bop,” the first track from their self-titled debut album. It doesn’t get more catchy than “Hey! Ho! Let’s go!” (EB)
“Blow” – Ed Sheeran w/Chris Stapleton & Bruno Mars
ShareOne of the best hard rock songs of 2019 was a collaboration between an acoustic folkie-turned stadium headlining pop star, one of country music’s best artists and an R&B/pop superstar. Rock fans may not have gravitated to a song by Sheeran, Stapleton and Mars, but give “Blow” a shot; it’s the ‘80s rock classic you never knew you were missing. (BI)
“Blue Collar Man (Long Nights)” – Styx
Share‘Big Daddy’ was right. Styx really did catch a bad rap because most critics are cynical a—holes. There’s no greater example of this than “Blue Collar Man,” the lead single from their 1978 album ‘Pieces of Eight.’ Penned by guitarist Tommy Shaw, the song was inspired by a friend of his who was laid off and struggling to find work. It’s one of rock’s greatest working class anthems and should be treated with more respect. (EB)
“Blue Suede Shoes” – Carl Perkins
ShareYeah, the song is more closely associated with Elvis Presley, but Carl Perkins wrote the song, and recorded it first. And Perkins’ version topped several local pop, country *and* R&B charts, and he was soon booked to appear on ‘The Perry Como Show.’ Two days before that, he and his band were in a car crash. Perkins recuperated in the hospital; while he was there, “Blue Suede Shoes” rose to #2 on the national pop charts, held out of the top spot by Elvis Presley’s “Heartbreak Hotel.” Elvis soon recorded his own version, which became the most famous “Blue Suede Shoes.” But Perkins’ version was the first country song to cross over to the R&B and pop charts, a revolutionary feat for the time (and it’s difficult to imagine it happening today). (BI)
“Bo Diddley” – Bo Diddley
ShareWhat better way to introduce yourself as a new artist than with a song that bears your name? And not only did it herald Bo Diddley, but also the “Bo Diddley beat,” which reappeared in tons of rock and pop songs, including (but not limited to) the Who’s “Magic Bus,” Bruce Springsteen’s “She’s The One,” Tom Petty and the Heartbreakers’ “American Girl,” Guns N’ Roses’ “Mr. Brownstone,” the Smiths’ “How Soon Is Now?” and George Michael’s “Faith.” (BI)
“Bohemian Rhapsody” – Queen
ShareAn unlikely hit three times over, “Bohemian Rhapsody” is a song that only Queen could really get away with. There’s no chorus, and it mixes pop balladry with opera and hard rock. It’s proof that with the right arrangement, nearly any genre can “rock.” The song would chart on three different occasions on the Billboard Hot 100: Upon its release in 1976 peaking at #9; after being included in ‘Wayne’s World’ in 1991 and peaking at #2; and following the release of the Freddie Mercury biopic ‘Bohemian Rhapsody’ in 2018 and peaking at #33. (EB)
“Born To Be Wild” – Steppenwolf
ShareRebellion and “heavy metal thunder.” That’s the gift Steppenwolf presents with every play of this hard rock classic. Really, what more could anyone want? “Born To Be Wild” is also a reminder of the importance music plays in film. Can you really hear this song without seeing Peter Fonda and Dennis Hopper riding Harley’s in your mind? Didn’t think so. (EB)
“Born to Run” – Bruce Springsteen & the E Street Band
ShareAny list about “essential” rock songs will undoubtedly feature The Boss. Considering this list allows for one song from each artist, it’s hard to argue against “Born to Run” being the track to represent Bruce Springsteen & the E Street Band. It’s one of the most epic love songs ever that was meticulously crafted over the course of six months. (In total, the entire ‘Born To Run’ album was recorded in 14 months.) If you’re going to spend half a year recording just one song, it better be a classic. Fortunately for Springsteen, it is, and its legend will continue for decades to come. (EB)
“Brown Eyed Girl” – Van Morrison
ShareBelieve it or not, when it was released in 1967, this cheery jam was considered too racy for some radio stations. “Making love in the green grass” was a bit too suggestive, apparently. Radio, of course, would eventually embrace it, and it’s arguably Van’s most famous song. Being the crank that he is, he’s remarked, “It’s not one of my best. I’ve got about 300 songs that I think are better.” Well, he’s entitled to his opinion; we just disagree. (BI)
“Buddy Holly” – Weezer
ShareIn the angst-ridden Nirvana obsessed ‘90s, a power pop song about a ‘50s rock and roll icon seemed... well, incredibly out of place (and that’s before they even got to the ‘Happy Days’ themed music video). Rivers Cuomo sensed that too, and didn’t want to include it on the band’s debut (known as “The Blue Album”). Happily common sense prevailed thanks to their producer, Cars frontman Ric Ocasek, who convinced the band to record the song and to include it on the album. (BI)
“Bullet with Butterfly Wings” – Smashing Pumpkins
Share“The world is a vampire...” Ain’t it, though? This song has some of Billy Corgan’s best lyrics: “Despite all my rage, I am still just a rat in a cage” really hits hard too. And he backed it with one of his most powerful musical compositions of his career. (BI)
“Can’t Get Enough” – Bad Company
ShareBad Company’s first single “Can’t Get Enough” was the first single released by Swan Song Records, the label launched by Led Zeppelin. This would seem like a daunting situation, but when you consider Bad Company was made up of former members of Free, Mott the Hoople and King Crimson, they knew what was at stake. The supergroup more than delivered, especially Paul Rodgers, who somehow remains one of the most beloved and underrated singers in rock. (EB)
“China Grove” – The Doobie Brothers
Share“The people of the town are strange/And they're proud of where they came!” Uh, if your town was protected by “The sheriff and his buddies with their samurai swords,” you’d be pretty proud of your badass town, too! (BI)
“Cinnamon Girl” – Neil Young & Crazy Horse
ShareOne of Neil Young’s most popular rockers, it’s from his second album, ‘Everybody Knows This Is Nowhere.’ The album did mark a new beginning though: it was his first collaboration with his long time backing band, Crazy Horse, The ragged simplicity that made Young a hero to generations of garage rock bands to come is all here: the band’s loose swagger, Young’s amazing guitar tone (this was when he started using his legendary Les Paul known as “Old Black,” which he still uses today) and the solo was just one note (although in classic Young fashion, he said that all of the notes sounded different to him). (BI)
“Closer” – Nine Inch Nails
ShareThe ‘90s, man: it was a wild time for music. Seriously, is there a less likely hit single than “Closer,” a mid-speed computerized disco jam with a hook that is unusable on radio or TV? Yet, this is the song that helped Trent Reznor and Nine Inch Nails invade mainstream culture. Reznor was disappointed that some listeners missed the point: this was a song about self-hatred, not a pick-up jam. (BI)
“Come As You Are” – Nirvana
ShareSurely this is Krist Novoselic’s most recognizable bass line ever... but it bore more than a little resemblance to the bass from “Eighties,” a song by Killing Joke. And the members of Killing Joke were kind of vocal about that. Years later, Dave Grohl attempted to make things right by playing drums on Killing Joke’s 2003 self-titled album, and allegedly, he did it free of charge. (BI)
“Comfortably Numb” – Pink Floyd
ShareMore than any other Pink Floyd song, “Comfortably Numb” shows the personalities and the talents of both Roger Waters and David Gilmour. Waters croaks out dark lyrics telling the tale of someone seemingly at the end of their rope, while Gilmour’s sings, “There is no pain, you are receding,” which isn’t quite optimistic, but at least it’s a bit less uncomfortable than “Just a little pinprick, there’ll be no more AAAAAAAAAAHHHHHHH!!!!!” And as much as Gilmour and Waters fought, their voices perfectly complement each other here, and so did their instruments: Waters’ plonking bass laid down the bottom for some of Gilmour’s greatest guitar solos ever. (BI)
“Could’ve Been Me” – The Struts
ShareIf you needed just one example of how wrong Gene Simmons is about his “Rock is Dead” hot take, just look to The Struts. Even though their catalog only has three LPs so far, it is already chock-full of arena-ready tunes. Few of those tunes are grander (or more British) than “Could’ve Been Me.” Luke Spiller’s massive vocals and his rolling R’s are nothing short of brilliant and are incredibly infectious. (EB)
“Crazy On You” – Heart
ShareThe importance and influence of Ann and Nancy Wilson can’t be stressed enough, and “Crazy On You” is one of the finest examples of these Rock and Roll Hall of Fame sisters doing what they do best: Playing guitar and wailing like nobody’s business. (EB)
“Crazy Train” – Ozzy Osbourne
ShareAfter being fired from Black Sabbath, Ozzy Osbourne’s solo career wasn’t exactly a sure thing. However, once guitarist Randy Rhoads entered the picture, things changed. Serving as his debut solo single, “Crazy Train” has become one of rock’s most enduring hits on rock radio for over 40 years and boasts one of the greatest riff of all time. (EB)
“Creep” – Radiohead
ShareFun fact: songwriter Albert Hammond (father of Albert Hammond, Jr of the Strokes) is credited as a co-writer on this song, along with Mike Hazelwood. Why, you ask? Because they wrote soft rock classic “The Air That I Breathe” for the Hollies, a song which bears quite a bit of resemblance to “Creep.” At the time that this song was released, it seemed like Radiohead were one of a veritable cornucopia of alt-rock bands in Nirvana’s wake with just one hit. Happily, they transcended their beginnings to become one of the most influential bands of the ‘90s. In 2019, they were inducted into the Rock and Roll Hall of Fame, somewhat reluctantly. (BI)
“Cult of Personality” – Living Colour
ShareA funk-metal jam that samples speeches by Malcolm X, John F. Kennedy and Franklin Delano Roosevelt? Not the surefire formula for a hit, but Living Colour’s opening track from their debut album, 1988’s ‘Vivid,’ became their most iconic song; it introduced them to radio and MTV. It was a rare politically charged song that appealed to people, no matter where they were on the political spectrum. "Cult Of Personality” wasn’t judging any of the historical figures that it addressed: instead, it looked at the charisma that leaders have, from Mahatma Ghandi to Benito Mussolini. (BI)
“Do Ya” – ELO
ShareJeff Lynne originally wrote the song and recorded it with the Move. Electric Light Orchestra was originally a Move side project. Obviously, things changed, and ELO became a huge band and Lynne’s main focus. And of course, the ELO version of “Do Ya” is the iconic version of the song. (BI)
“Do Your Worst” – Rival Sons
Share“See that stranger coming up the hill,” Rival Sons singer Jay Buchanan warns you at the beginning of “Do Your Worst.” “Though you don't recognize him, I know your preacher will!” Ah, songs about Old Scratch, they never really go out of style, do they? But wait, there’s more: “And he could sing a winning song now/Sing it sweeter than me.” It makes sense: The Devil is a contestant on American Idol! (BI)
“Don’t Fear the Reaper” – Blue Oyster Cult
ShareYes, “the cowbell song.” That was a classic “SNL” skit, but that shouldn’t take away from the fact that this is a totally awesome and incredibly moving song about everlasting love and the inevitability of death. By the way, if you can’t get the image of Will Ferrell hitting a cowbell out of your head, Google “The Stand, 1995, opening scene” to see how the song was used in the original TV adaptation of Stephen King’s classic novel. It’ll haunt your dreams. (BI)
“Don’t Stop Believin’” – Journey
ShareFor a brief moment in the ‘90s, Nirvana and bands from the Lollapalooza scene made “arena rock” like Journey seem unfashionable. We love those bands, obviously. But thank heavens that moment of silliness didn’t last. Why deny yourself the pleasure of this most grand epic of rock songs? It opens with one of the most distinct piano riffs ever; it’s joined about a minute into the song by Neal Schon’s heroic guitar. But, of course, the true star here is Steve Perry and his soaring vocals. It’s so perfect, we’ve all forgiven them for the “born and raised in south Detroit” line. (BI)
“Edge of Seventeen” – Stevie Nicks
ShareThe song that established that Stevie Nicks would be as big a star outside of Fleetwood Mac as she was with the band. Originally inspired by a conversation with Tom Petty’s first wife, Jane, who said that she and Tom met at the age of seventeen; due to her southern accent, Nicks heard it as “edge of seventeen.” But the song was also inspired by the murder of John Lennon and the death of Nicks’ uncle. That’s pretty dark, so here’s a fun fact to offset that: Nicks had never heard the song of a white winged dove until 2020, as she revealed to her fans in an Instagram post. (BI)
“Epic” – Faith No More
ShareThrashy guitars, lush synthesizers, a piano outro and a funky singer who raps: “Epic,” like most of Faith No More’s songs from “The Real Thing,” sounded like a hodgepodge of madness. And yet, somehow, it worked. FNM never had a hit as big as “Epic” again, but they established a hardcore following that they retain to this day, and they influenced scores of other rock bands who incorporate hip-hop into their music. Few, if any, did it nearly as good (and they moved far away from that sound pretty quickly after this album). (BI)
“Even Flow” – Pearl Jam
SharePearl Jam’s debut album ‘Ten’ is filled with incredible Stone Gossard riffs, and this might be the best one. Inspired by funk acts like Parliament-Funkadelic, his playing here drives the song, while Mike McCready channels Stevie Ray Vaughan on his iconic solo. The song is about a homeless man, who might be struggling with mental illness: he sleeps “on a pillow made of concrete” and “looks insane,” which is understandable, as his “thoughts arrive like butterflies/Oh, he don't know, so he chases them away.” (BI)
“Everlong” – Foo Fighters
Share“When I sing along with you/ If everything could ever feel this real forever/If anything could ever be this good again/The only thing I'll ever ask of you/You've got to promise not to stop when I say when.” This song was released three years after Kurt Cobain’s death, and it certainly felt like it could have been about him. Dave Grohl allegedly wrote the lyrics about an ex-, but universal lyrics transcend their original inspiration, and that’s certainly true here. It also clearly has a lot of meaning to David Letterman: in 2000, after the talk show host had quintuple bypass surgery, he said that listening to “Everlong” was crucial to his recovery. For his first show back after the surgery, Letterman asked the band to come on the show and play that song. The Foo Fighters often close their shows with this song, and -- of course -- the audience sings along with Dave. Many of them surely have their own stories too, and it’s always a powerful moment. (BI)
“Every Rose Has Its Thorn” – Poison
SharePoison was the premiere party band of the ‘80s. But you can’t party all the time, and anyway, who’s in the mood to party when your heart’s been broken? By letting down their guard for this ballad, Poison ended up with their only #1 hit and arguably the best power ballad of the era. (BI)
“Fly Away” – Lenny Kravitz
ShareSometimes the best songs are the easiest ones. Kravitz told ‘Rolling Stone’ that he wrote the song while trying out a new amplifier. He was banging out some chords, and those chords ended up becoming “Fly Away.” He’d handed his new album, 1998’s ‘5,’ to his label, but they ended up – quite sensibly – including “Fly Away” on the album at the last minute. (BI)
“For Whom The Bell Tolls” – Metallica
SharePicking just one Metallica song to represent the band is a taunting task. Many different arguments could be made for a variety of their songs to be included on this list. What makes “For Whom The Bell Tolls” stand out is how it represents Metallica’s growth and foreshadows the greatness that was still in store. ‘Kill ‘Em All’ is beloved, but the creative steps forward on ‘Ride The Lightning’ just one year later is truly remarkable, and “For Whom The Bell Tolls” is symbolic of that. (EB)
“For Your Love” – The Yardbirds
ShareThe Yardbirds was the band that launched the holy British guitar trinity of Eric Clapton, Jeff Beck, and Jimmy Page to stardom. This song marked the end of Clapton’s term with the band; he felt it was too commercial and not bluesy enough. (If only he could have heard some of the adult contemporary jams that he’d record decades later.) To be sure, the harpsichord and bongos were a different sound for the blues/R&B combo. But it became a huge hit, and what teenager in love could resist lyrics like “For your love: I'd give you everything and more, and that's for sure/ For your love: I'd bring you diamond rings and things right to your door.” (BI)
“Fortunate Son” – Creedence Clearwater Revival
ShareAlthough the song was an anthem during the Vietnam War, it wasn’t necessarily a critique of that war, or any war in general. John Fogerty was always more of a blue-collar working-class guy than a hippie and in this song, he railed against the unfairness of who ended going to war more than addressing the war itself. “Some folks are born silver spoon in hand/Lord, don't they help themselves, yeah/But when the taxman comes to the door/The house look a like a rummage sale... it ain’t me, I ain’t no millionaire’s son!” Sadly, those lyrics will probably always be relevant. (BI)
“Forty Six & 2” – Tool
ShareWhat is the shadow that Maynard is wailing about here? Many fans believe it’s a concept developed by psychoanalyst Carl Jung; your shadow contains all of the dark and undesirable parts of your personality that you repress. If one confronts their “shadow,” they’ll become enlightened. But even Jung had no way to explain or describe Justin Chancellor’s walloping bassline. (BI)
“Fox On the Run” – The Sweet
ShareIt’s the perfect mix of KISS and the Banana Splits; power pop with and edge. Naturally, the “fox” in the title is about an attractive groupie. (BI)
“Free Bird” – Lynyrd Skynyrd
Share“Free Bird!” jokes aside, this classic Skynyrd track is one of the greatest ballads ever written. Add in the guitars of Allen Collins and Gary Rossington, and it’s a no-brainer why it’s included on this list. (EB)
“Freeway Jam” – Jeff Beck
ShareHow do you get over being in a band with one of the greatest singers of all time... after that singer moves on? That was something that Jeff Beck, one of the greatest guitarists of all time – but not a great singer – coped with in the years after the breakup of the original Jeff Beck Group. Rod Stewart quickly moved on to front the Faces, and launch his solo career. The guitarist launched a new Jeff Beck Group, but singer Bobby Tench, while good, was no Rod Stewart. He then formed a supergroup with ex-Vanila Fudge members Tim Bogart and Carmine Appice... with all of them singing. Finally, he figured out that he was such a lyrical guitarist that he didn’t need a singer. His 1975 album ‘Blow By Blow’ is possibly his finest moment and “Freeway Jam” was the highlight on a pretty perfect album. (BI)
“Get Up, Stand Up” – The Wailers
ShareA timeless anti-authoritarian anthem. The song argues that you don’t have to die to find heaven (or paradise): “If you know what life is worth/You will look for yours on earth/And now you see the light/You stand up for your rights!” There are a lot of great lines in this song, but this might be the best: “You can fool some people sometimes But you can't fool all the people all the time!” (BI)
“Gloria” – Them
ShareIt’s the song that helped launch countless garage bands. You really don’t need any further explanation than that. (EB)
“Gold On The Ceiling” – The Black Keys
ShareThe Black Keys with producer Brian “Danger Mouse” Burton is one of the most potent artist/producer teams in rock’s last few decades. Like the Red Hot Chili Peppers with Rick Rubin, both parties brought out the best and the funkiest in each other. “Gold On The Ceiling” is one of the songs that made the Black Keys an arena band. (BI)
“Good Golly Miss Molly” – Little Richard
SharePiano isn’t seen as a particularly dangerous instrument these days, and it’s also easy to forget how radical Little Richard was in 1958 when this song was a hit. But yes, in 1958, a Black man bashing a piano while shouting about how Miss Molly “sure likes to ‘ball,’” was very radical. (BI)
“Good Times Bad Times” – Led Zeppelin
ShareFirst impressions matter, and few bands made as bold of a first impression than Led Zeppelin. “Good Times Bad Times” was the opening track on Led Zeppelin’s debut and it set the tone for the entire album and, really, Zeppelin’s entire career. When Jimmy Page hits those thunderous two notes to kick off the track, it never fails to make your pulse skip a beat even after repeated plays. (EB)
“Good Times Roll” – The Cars
Share"Good Times Roll” wasn’t really a “good time” song; indeed, it sounded like frontman Ric Ocasek was making fun of having fun. But he sounded cool doing it. This was the perfect intro to the band, who bridged the gap between sleek sounding new wave and Buddy Holly-era rock and roll. (BI)
“Good Vibrations” – The Beach Boys
ShareThe Rolling Stones are often cited as the Beatles’ main rival, but if there was one band that the Fab Four was really sweating in the ‘60s, it was the Beach Boys, particularly during this era. “Good Vibrations” was originally intended for ‘Pet Sounds,’ but it wasn’t ready by the album’s deadline. But hey, it was worth the wait, and the cost: apparently the song took about 90 hours (and four different studios) to record, and cost well over ten thousand dollars. We’re pretty sure it’s recouped its costs by now. (BI)
“Got The Life” – Korn
ShareNu-metal, despite its massive success in the late-‘90s/early oughts, can be a bit of a touchy subject in the rock community, but even most naysayers of the sub-genre have to give it up for “Got The Life.” Its success on MTV’s Total Request Live helped introduce Korn and other nu-metal bands to a broader audience. (EB)
“Great Balls of Fire” – Jerry Lee Lewis
ShareA lot of rockers over the decades have enjoyed playing with Satanic imagery, but few really thought that they were really messing with Satan. Jerry Lee Lewis actually believed that he would go to actual HELL for playing rock and roll, and he did it anyway. And “Great Balls Of Fire” might have been what would tip the scales to send him there, but he still beat up that piano playing that song anyway. (BI)
“Green Onions” – Booker T. and the MG’s
ShareEasily one of the most popular instrumental rock songs ever, “Green Onions” is, as the kids say, “a vibe.” You can thank Booker T. Jones and his Hammond organ for that sweet, sweet vibe. (EB)
“Hair of the Dog” – Nazareth
ShareIt’s about a guy who encounters a "red hot mama "with the ability to get every man to bend the knee, and kiss the ring. He informs the “mama” that she’s met her match: “now you’re messing with a son of a bitch!” Further, he explains that “time’s come to pay your dues.” Well, if that story doesn’t draw you in, surely the incredible guitar riff will. (BI)
“Hells Bells” – AC/DC
ShareNo other AC/DC song sounds quite like “Hells Bells.” From the moment you hear the first clang of that big, ominous bell, the band has your attention. Steady and menacing, Brian Johnson, Angus and Malcolm Young, Cliff Williams and Phil Rudd are all dialed in perfectly, as is the presence of Bon Scott. No other AC/DC song is as poignant as “Hells Bells” and rightfully so. This is the sound of a band saying goodbye to their fallen friend, but in true AC/DC fashion, they managed to do all that while never losing their edge. (EB)
“Here I Go Again” – Whitesnake
ShareYou’re surely familiar with Whitesnake’s 1987 smash hit, which is still used in commercials and is a radio staple on multiple formats today. You may not know the original version of the song is from Whitesnake’s 1982 album ‘Saints and Sinners.’ That version is a bit more “rock,” but it was an inspired idea for the band to re-record a slicker version of the song five years later, and clearly the second time was the charm. (BI)
“‘Heroes’” – David Bowie
ShareIt was never a hit, and yet it’s regarded as an anthem and that’s fitting: Bowie never seemed to care to pander to the pop charts of the moment, even as he always seemed to strive for iconic status. And even if you don’t agree that it’s his finest moment, it’s surely one of them. Co-written with producer Brian Eno and powered by King Crimson guitarist Robert Fripp’s distinctive guitar line, the song is something of a Rorschach: the lyrics are vague enough to mean whatever you want them to. As such, it’s been hailed as a gay anthem, but the National Review named it one of the greatest conservative rock songs of all time. By the way, the quotes are part of the spelling of the song’s title; they were, apparently, to point out irony. But whatever Bowie’s punctuation motivation, fans all over the world take the song seriously. (BI)
“Highway Tune” – Greta Van Fleet
ShareHowever you feel about Greta Van Fleet, you can’t deny their talent, their passion for rock and roll and their desire to expand its reach. It was something that was evident from the release of their first single “Highway Tune.” It’s pretty amazing that this band emerged from a small Michigan town best known for its chicken dinners and being home to the World’s largest Christmas store. (Seriously, Google “Frankenmuth, Michigan.” It’s weird.) (EB)
“Hound Dog” – Willie Mae “Big Mama” Thornton
ShareYeah, the song is most closely associated with Elvis Presley, but “Big Mama” Thornton recorded it first, and some would argue that she did it best. It’s a massive oversight that the Rock and Roll Hall of Fame hasn’t inducted her: she deserves it based on this recording alone. (BI)
“House of the Rising Sun” – The Animals
ShareNo one really knows who wrote this song: it’s one of those folk songs that originated a long time ago – maybe even centuries ago. It's been covered by a ton of artists, from Bob Dylan to Five Finger Death Punch. But the Animals’ version is the definitive one, and it’s their most well-known song. It's been said (but not verified) that hearing this rock version of a folk ballad was one of Bob Dylan’s inspirations to “go electric.” (BI)
“Hurt” – Johnny Cash
ShareOne of the least likely covers of all time, but it gave an American legend one more classic. Trent Reznor said that he thought that the idea of Johnny Cash covering the classic Nine Inch Nails ballad “Hurt” seemed like a “gimmick.” And Cash had recorded a number of contemporary rock songs during that era” ‘American IV: The Man Comes Around’ album also had a cover of Depeche Mode’s “Personal Jesus,” and he’d recently covered Soundgarden’s “Rusty Cage.” But “Hurt” hit differently, it cut deeper. Part of that was because of the music video, which showed Cash, just months before he died, walking around the “House Of Cash” museum in Nashville, which had been closed for years and fallen into a state of disrepair. (BI)
