Harry Nilsson, ‘Losst and Founnd': Album Review
by Michael GallucciWhen Harry Nilsson died of heart failure in January 1994 at age 52, he was recording songs for what would have been his first album since 1980. The music sat on the shelf unfinished for a quarter century before original producer Mark Hudson returned to the tapes to finally complete the record.
The result of their work, Losst and Founnd, isn't a great lost Nilsson album, but there's plenty of now-poignant material here to make much of it seem, at last, like a proper goodbye.
Back in 1974, when recording the infamous Pussy Cats LP with pal John Lennon, Nilsson blew out a vocal cord, an accident he never recovered from. Blessed with a three-and-a-half-octave range, the singer and songwriter climbed to some epic heights during the first part of his career. The new raspy howl fit Pussy Cats' rowdy rock 'n' roll, but subsequent records – like 1976's Sandman and the following year's Knnillssonn – were ill-suited to the rougher tones caused by the voice damage.
And there's no getting around that on Losst and Founnd. No matter how hard he and Hudson worked at channeling the classic Nilsson formula found on albums like Aerial Ballet (1968) and Nilsson Schmilsson (1971), there's no returning to that angelic voice so brutally ravaged by the strains of the Pussy Cats sessions and years of hard living.
The softer material is affected the most. "U.C.L.A." and "Love Is the Answer" – two of Losst and Founnd's eight full originals – are buried in sentimental strings (the former) and a busy arrangement (the latter) that pretty much downgrade Nilsson to guest status. Not exactly the desired outcome on an album designed to celebrate the late artist's final work.
He's better served on the title track, "Woman Oh Woman" and "Animal Farm," where Hudson tosses in horns, a sense of playfulness and even a Van Dyke Parks accordion on "Woman" that recall Nilsson's golden days without ever slipping into slick nostalgia. Covers of Yoko Ono and Jimmy Webb songs, as well as a medley that includes the oft-interpreted "Hi-Heel Sneakers," are also throwbacks to Nilsson's rich past. But what's up with "Try," a wobbly singalong that follows the Ono cut and borrows a little too liberally from "All You Need Is Love"?
Still, it's great to hear this voice from the past one more time. Nilsson's later career was marked by some forgettable records, like his end-of-the-'70s string of RCA releases, the soundtrack to Robert Altman's 1980 bomb Popeye (though the album has developed a cult following over the years) and a record that originally wasn't even issued in the U.S. Losst and Founnd makes up for some of those missteps, while also committing a few of its own. It's not perfect, but neither was Harry Nilsson. In a way, it's a fitting, concluding tribute to one of popular music's most overlooked, and tragic, geniuses.
The '70s Very Best Rock Songs
Rush, "2112" (1976)
A titanic 20-minute title track populated by crazy-good instrumental interludes, crazy-weird screeching and a sometimes plain-crazy what-if-they-banned-music theme, this is the most ambitious thing Rush ever did.
Van Halen, "Ain't Talkin' 'Bout Love" (1978)
Eddie Van Halen will always be known – and justifiably so – for his finger-popping pyrotechnics, but "Ain't Talking 'About Love" shows another side, as he experiments with an instrument you're unlikely to find in many hard-rock songs: The electric sitar.
Free, "All Right Now" (1970)
Lost great Paul Kossoff provides a perfect foil for Paul Rodgers, as heard on this breakthrough song for Free. Unfortunately, his growing addictions led to a too-early band dissolution in 1973 – and, three years later, Kossoff was dead.
Mott the Hoople, "All the Young Dudes" (1972)
David Bowie wrote and produced "All the Young Dudes" for Mott the Hoople, who suddenly catapulted to glam-rock royalty after years toiling as a lumbering British blues band. The makeover was sublime, and the song – a teen anthem for displaced kids – stands as their greatest achievement.
Tom Petty, "American Girl" (1977)
"American Girl" wasn't a hit when it was pulled as the second single from Tom Petty and the Heartbreakers' debut album in 1977, but its stature has grown over the years thanks to its timeless appeal. Nervy with just a hint of nostalgia, the song sparks from the ringing notes that open it to the jammed fadeout.
The Guess Who, "American Woman" (1970)
Fans have disputed for years whether "American Woman" is an indictment on the U.S. war machine of the Vietnam era (as well as other things). The Canadian band has even gone back and forth on its assessment. Either way, it's the Guess Who's best song and one their toughest.
Sex Pistols, "Anarchy in the U.K." (1976)
The Sex Pistols' combustible introduction proved just how exciting punk rock could be in the right hands. From the ear-piercing guitar that launches the song to Johnny Rotten's pained howls that end it, "Anarchy in the U.K." is a milestone moment in '70s rock.
Pink Floyd, "Another Brick in the Wall, Part II" (1979)
The biggest single of Pink Floyd's career is a crucial part of 'The Wall' narrative, where the education system breaks down and leaves the antihero adding another barrier to his emotional defense. This song's anti-authoritarian message (and an ersatz disco backbeat) clicked with fans, who sent it to No. 1.
Jethro Tull, "Aqualung" (1971)
Ian Anderson's famously pervy lyric made this song famous, but listen closer as Martin Barre’s sawing guitar adds deeper complexities: That's what gives "Aqualung" its inherent danger, even as the strange, lonesome thoughts of this unforgettable outsider unfold.
The Who, "Baba O'Riley" (1971)
From the opening keyboards that roll over into themselves about a dozen times over to the frenetic conclusion (complete with a viola solo), "Baba O'Riley" didn't sound like anything else on the radio at the time. In fact, this still sounds like it's in its own world.
Eddie Money, "Baby Hold On" (1978)
If you think there's nothing more to hear in this radio favorite, focus next time on Jo Baker. Doubling the lead vocal, save for a prototypical mid-song breakdown, the former Elvin Bishop band member helps underscore Money's latent hopefulness in the face of crushing adversity.
Bruce Springsteen, "Backstreets" (1975)
Remember when albums had distinct halves? Back then, artists had to work not just at the necessary conciseness required of the vinyl product, but also to make bold statements that would begin and – to the point, with the anthemic "Backstreets" – end each side. There are few better than this gem from 'Born to Run.'
The Sweet, "Ballroom Blitz" (1973)
Inspired by an actual ballroom blitz – the Sweet were once forced from the stage in Scotland by a bottle-throwing crowd – this song appeared on 'Desolation Boulevard' in North America but never on any original, non-compilation U.K. album. Maybe the Scots should have been more welcoming.
Paul McCartney and Wings, "Band on the Run" (1974)
McCartney skillfully weaves his own desire to break away of the Beatles with the age-old myths of ne’er-do-wells, hitchhikers and outsiders, creating a unifying theme of escape that's more subtle (and thus more commercial) than any by ex-partner John Lennon. But no less powerful.
T. Rex, "Bang a Gong [Get It On]" (1971)
T. Rex's best-known song was Marc Bolan's nod to Chuck Berry, but somewhere along the way it became a glam-rock powerhouse, a glittering buzzing-guitar and honking-sax extravaganza. Over the years, "Bang a Gong (Get It On)' has become a cornerstone and influential rock number of the '70s.
Heart, "Barracuda" (1977)
That rolling riff is the force behind one of Heart's most timeless songs, but the sting doesn't stop there. Ann Wilson wrote the song after their record company hinted that she and Heart guitarist Nancy Wilson (her sister) were romantically involved.
Rolling Stones, "Beast of Burden" (1978)
One of the Rolling Stones' best songs of the '70s and one of their greatest mid-tempo cuts, "Beast of Burden" helped spur 1978's 'Some Girls,' a creative comeback for the band after a few dazed-and-confused years. Keith Richards wrote the bulk of the song, a reference in part to his drug problems from the decade.
Elton John, "Bennie and the Jets" (1974)
'Goodbye Yellow Brick Road' is a monumental album in Elton John's career, and the faux-live "Bennie and the Jets" is a highlight, a piano-pounding No. 1 hit that pushed him a little out of his comfort zone. As John describes the fictional band at the center of the song, "Bennie" is weird and wonderful.
Ram Jam, "Black Betty" (1977)
The short-lived Ram Jam were credited on this boisterous update of an old field-holler blues – but it was actually a recording by the little-known Starstruck, featuring future Ram Jam member Bill Bartlett. Starstruck also included David Goldflies, later a sideman with Dickey Betts and the Allman Brothers.
Kiss, "Black Diamond" (1974)
Principally composed by Paul Stanley, completed with a monstrous riff by Gene Simmons and sung by a succession of drummers beginning with Peter Criss, the episodic "Black Diamond" closed out Kiss' self-titled debut as one of the band's most impressive songwriting efforts.
Led Zeppelin, "Black Dog" (1971)
The opening song on Led Zeppelin's best album barrels out of the gate like a horned-up animal on the prowl for some quick lovin'. The entire band shines – from John Bonham's titanic drum fills to Jimmy Page's strutting guitar. And Robert Plant reaches orgasmic heights just when you expect him to.
Santana, "Black Magic Woman" (1970)
Carlos Santana’s sinewy riff gets all the notice, but Gregg Rolie’s darkly mysterious keyboard signature, not to mention his raw and emotional vocal, is what whisks this old Fleetwood Mac song to an entirely new place.
Manfred Mann, "Blinded by the Light" (1977)
Manfred Mann, who had a No. 1 hit in 1964 with "Do Wah Diddy Diddy," and his '70s group took a stripped-down tongue twister from Bruce Springsteen's debut album and turned it into a big rock epic, scoring another No. 1 along the way. We like Springsteen's version, but this one is better.
Ramones, "Blitzkrieg Bop" (1976)
The opening blast on the Ramones' debut album still sounds like a buzzsaw cutting through rock 'n' roll excess. Inspired as much by bubblegum pop music as '60s garage rock, "Blitzkrieg Bop" ushered in a whole new era of economy-sized guitar music in the '70s.
Queen, "Bohemian Rhapsody" (1975)
Rock music was all kinds of ambitious in the '70s. Checking in at the very top of the list is Queen's masterpiece of pomposity, bombast and brilliance. It slips into about a half-dozen different forms during its six minutes, including rock, opera, classical and outer-space pop.
Bruce Springsteen, "Born to Run" (1975)
Springsteen wanted to write an epic song for his third album, one that captured the lyrical and musical scope found on hit records by Phil Spector in the '60s. With "Born to Run" he created an anthem for losers, tramps and anyone else stuck in dead-end lives. He discovered salvation, if not exactly escape, in the groove.
Thin Lizzy, "The Boys are Back in Town" (1976)
Thin Lizzy's best-known song and biggest hit is a little bit Springsteen, a little bit Irish swagger and a whole lotta killer guitar riff. Phil Lynott sings like a man teetering among fear, nostalgia and bluster while the band's twin-guitar attack stabs from all directions.
 Specifically, the line "and if the band you're in starts playing different tunes" refers to scattered late-period performances that saw their former frontman singing the wrong lyrics on stage.
Pretenders, "Brass in Pocket" (1979)
Chrissie Hynde wasn't fooling around on this early Pretenders single, declaring herself "special" and pretty much demanding your undivided attention. The band's self-titled debut is filled with tart and chewy nuggets. "Brass in Pocket" plays it both ways.
Tom Petty and the Heartbreakers, "Breakdown" (1976)
This sounds like a song recorded in the middle of the night, because it was. Petty heard something in a guitar part by Mike Campbell during the playback of a much longer earlier version, and called everyone in to re-record "Breakdown" around that lick.
Simon and Garfunkel, "Bridge Over Troubled Water" (1970)
Paul Simon's masterpiece is one long build-up, from the curtain-raising piano on the intro to the cascading drums that bring it to a close. Art Garfunkel never soared as high as he does on "Bridge Over Troubled Water," simultaneously delivering one of his most restrained and virtuosic performances.
Rolling Stones, "Brown Sugar" (1971)
The Rolling Stones' nasty, bluesy romp paints a perfect portrait of where they were in 1971. Bottom line: on top of the world and able to do anything they damn well pleased, including recording a song about a forced interracial relationship between a slave owner and one of his slaves.
Bad Company, "Can't Get Enough" (1974)
There's an interesting transformation here, as Paul Rodgers moves from boastful braggart to pleading lover, that always gave Bad Company's biggest hit this great drama. A crack band featuring members of Free, Mott the Hoople and King Crimson match Rodgers' spectacular vocal performance stride for stride, too.
Van Morrison, "Caravan" (1970)
Van Morrison makes turning up the radio into an article of faith, something that ratifies the song even as it moves the listener toward something that feels like salvation. Or, as in the case of his performance of "Caravan" as part of 'The Last Waltz,' toward a series of pretty mean leg kicks.
Kansas, "Carry On Wayward Son" (1976)
Kerry Livgren brought this track in at the last minute, during a period when Kansas was polishing up songs that would make up 'Leftoverture.' Not only did they reshuffle their plans, 'Carry On' moved to the lead-song spot, even as it hinted at Livgren's later turn toward Christian rock.
Ted Nugent, "Cat Scratch Fever" (1977)
Nugent was so proud of his lip-smacking double entendre here that he took a then-rare turn at the mic, replacing regular vocalist Derek St. Holmes. Good thing: A Top 40 hit, "Cat Scratch Fever" has become one of Nugent's must-play concert favorites.
David Bowie, "Changes" (1972)
Even before his career took off, David Bowie was giving a glimpse of his future, singing about change in a voice that sounded an awful lot like a certain rock 'n' roll troubadour from Mars. After a few stumbling years, Bowie found his voice on 1971's 'Hunky Dory.' "Changes" is his coming-out party.
ZZ Top, "Cheap Sunglasses" (1979)
There's a reason this sounds so raggedly nonchalant. Billy Gibbons wrote the lyrics – all three verses – on a road trip from the Gulf Coast up to Austin. Then ZZ Top recorded it using a found-object 200-watt Marshall with a blown tube.
Doobie Brothers, "China Grove" (1973)
Tom Johnston returned to his favorite little shuffle on "China Grove." What drove the song into classic status was guest Bill Payne's cool-rocking boogie piano. Payne also inspired the lyrics for a song that was originally titled "Parliament," after Johnson's brand of smokes.
Eric Clapton, "Cocaine" (1977)
Eric Clapton got this song from JJ Cale, whose swamp-rock style and songs would appear frequently throughout Clapton's career. It became one of his signature cuts, complete with a bluesy guitar solo, after appearing on the 'Slowhand' album in 1977.
Styx, "Come Sail Away" (1977)
Sort of like a time-capsule for Styx's schizophrenic original era, "Come Sail Away" has it all: An opening segment focused on Dennis DeYoung’s Broadway-style affectations then a blast of J.Y.-fueled proto-arena rock bombast, with a proggish synth solo to make it complete.
Pink Floyd, "Comfortably Numb" (1979)
A centerpiece of 'The Wall,' and a pivotal moment in the narrative when the rock-star lifestyle becomes one big blur, "Comfortably Numb" also marks one of David Gilmour's greatest triumphs, His stinging guitar solos elevate the action to a sympathetic place.
Neil Young, "Cortez the Killer" (1975)
Neil Young's 1975 epic is like a mini history lesson about a ruthless soldier and explorer who helped Spain conquer Mexico in the 16th century. But its stalking rhythm and killer guitar make it way more exciting than anything you'd read in a book on the same subject.
Heart, "Crazy on You" (1976)
Nancy Wilson says she patterned the fleet acoustic riff here on the Moody Blues' "Question," but there was little else on Heart's debut U.S. single that wasn't entirely original – right down to the Vietnam-era subtext for its night-of-passion theme.
Van Halen, "Dance the Night Away" (1979)
One of the few moments conceived in the studio during the sessions for 'Van Halen II,' this track was the first indication of the band's previously untapped mainstream pop prowess: "Dance the Night Away," goosed along by Eddie's inventive tap solo, became Van Halen's first Top 20 hit song.
Steely Dan, "Deacon Blues" (1977)
A sarcastic take on your basic torch song, Steely Dan set a new standard for suave detachment on "Deacon Blues" – then completed things by adding a soulful turn by guest saxophonist Pete Christlieb from the 'Tonight Show' band. (That's him on "FM," too.)
Steely Dan, "Do It Again" (1972)
Though it begins more like a Santana song (thanks to the liberal use of Latin percussion) and Denny Dias is featured on an odd-ball sitar solo, the theme from "Do It Again" – people tend to succumb to their worst impulses – would be one Steely Dan returned to time and again.
Peter Frampton, "Do You Feel Like We Do" (1976)
After about one billion radio plays, it's easy to forget how conceptually gutsy this was in its moment. But listen as Frampton moves from rock-jazz fusion to arena-shaking rock to an extended improvisational segment that made a name-check star out of keyboardist Bob Mayo. The talk box is just gravy.
Jackson Browne, "Doctor My Eyes" (1972)
Browne's first big single was unusual for the deeply introspective, typically first-person singer-songwriter. Thankfully, he welcomed outside input (from the label exec who suggested a more hopeful narrative to the vocal addendums from David Crosby and Graham Nash), and "Doctor My Eyes" jump started his career.
Van Morrison, "Domino" (1970)
A punchy tribute to early hero Fats Domino, this tune had been banging around in Morrison's head for years. In fact, he'd made passes at it – usually in much longer form – during sessions in 1968 and '69. Finally, the following year, he nailed it, and "Domino" became Morrison's highest-ever charting U.S. hit.
Electric Light Orchestra, "Don't Bring Me Down" (1979)
ELO's biggest U.S. hit was more straightforward than the heavily orchestrated, Beatlesque pop songs that helped steer their career throughout the '70s. With a stomping beat (actually a tape loop slowed down from another song on the same album), "Don't Bring Me Down" sounded like a decade coming to a close.
Tom Petty, "Don't Do Me Like That" (1979)
Originally composed after Petty's pre-fame band Mudcrutch made the big move to L.A., "Don't Do Me Like That" hadn't made the cut on the Heartbreakers' first two albums. Petty even considering giving it away to the J. Geils Band, before producer Jimmy Iovine convinced him to release it. Result: A Top 10 smash.
Blue Oyster Cult, "(Don't Fear) The Reaper" (1976)
These days, "(Don't Fear) The Reaper" is known as the cowbell song from a famous 'Saturday Night Live' sketch, but Blue Oyster Cult's ode to the inevitability of death remains one of the '70s' best cuts, a Top 15 hit with a killer guitar riff and style to spare.
Foreigner, "Double Vision" (1978)
Thought to have been a reference to drugs, this platinum-selling No. 2 hit for Foreigner was initially inspired by a trip Lou Gramm and Mick Jones made to see the New York Rangers play hockey. Their goalie left the game with double vision after suffering a concussion.
Aerosmith, "Dream On" (1973)
Aerosmith's eternal "Dream On" was their first hit in 1973 (though it became an even bigger hit three years later when it was re-released following the success of 'Toys in the Attic'). It's since become a paragon of power ballads, a lighter-in-the-air staple that proved that slowing things down doesn't necessarily mean going soft.
Fleetwood Mac, "Dreams" (1977)
Memorably cinematic, and propelled by the real-life scandals within the band, 'Rumours' chronicled with a lush directness (quite literally, it turned out) the way that relationships coalesce then dissolve. That's perhaps best heard on this quietly effective kiss-off song.
Van Halen, "Eruption" (1978)
We get it, technically this isn't a song. But, when you're Eddie Van Halen, even your warm up exercises are eye popping enough to make the final track listing. Van Halen was getting ready for a weekend gig when this came forth. Engineer Donn Landee captured it on tape, and a solo that would inspire countless future guitarists – for better or worse – was born.
Electric Light Orchestra, "Evil Woman" (1975)
Written and recorded as the sessions for 'Face the Music' were coming to a close, "Evil Woman" became ELO's second U.S. Top 10 single even as it made clear (with an overt nod toward "Fixing a Hole") just how deep mastermind Jeff Lynne's creative connection was to the Beatles.
Bad Company, "Feel Like Makin' Love" (1975)
Bad Company had love on their mind a lot in the '70s ("Can't Get Enough," "Good Lovin' Gone Bad"). But they were never as horned up as they were on this hit from the band's second album, 'Straight Shooter.' Powered by a guitar riff that cuts through the chorus, "Feel Like Makin' Love" is '70s rock at its carnal best.
Rush, "Fly by Night" (1975)
For composer Neil Peart, this song represents the beginning of his life as an adult, when he took his first airplane ride away from home. It's much the same for fans, as "Fly by Night" serves as the title track from the album that changed everything for the newly reformulated Rush.
Boston, "Foreplay / Long Time" (1976)
This song is many things. A terrific two-part introduction to Boston. A shining example of their marriage of heavy rock and prog. A moment of fizzy inventiveness for Tom Scholz, as he created synth-like swoops with a pick on his strings – but not, strictly speaking, of Scholz's guitar prowess. That's Barry Goudreau on the solos.
The Edgar Winter Group, "Free Ride" (1973)
The late Dan Hartman, who wrote and sang this for the Edgar Winter group, went on to an impressively varied career. He had a No. 1 dance hit six years later with "Instant Replay," a Top 10 pop single with "I Can Dream About You" in 1984, and then co-wrote "Living in America" with James Brown.
 Whether you prefer the epic 13-minute live version or the original nine-minute, but no less epic, studio take, Lynyrd Skynyrd's immortal power ballad/rock anthem remains one of radio's most durable songs. More than 40 years later, it remains a defining moment in classic rock history.
Elton John, "Funeral for a Friend / Love Lies Bleeding" (1973)
Elton begins an album of such epic sweep with a suitably grandiose suite of songs, but makes the bold choice to go with a surprisingly dark theme. His initial instrumental segment – written, Elton has said, when he began contemplating what music should be played at his own funeral – segues fluidly into an emotional meditation on the dying of a relationship.
James Gang, "Funk #49" (1970)
Perhaps their best-known song, though not the highest charting: "Walk Away" finished several spots up at No. 51 in 1971. "Funk #49" appeared on the James Gang's sophomore release, following "Funk #48" from their debut. There was a "Funk #50" too, but not until Walsh's 2012 solo album 'Analog Man.'
Lynyrd Skynyrd, "Gimme Three Steps" (1973)
This song is supposedly based on an disagreement that took place after singer Ronnie Van Zant danced with someone else's girl at a Jacksonville, Fla., club called the Little Brown Jug.
Supertramp, "Give a Little Bit" (1977)
Roger Hodgson’s basically inescapable paean to the Golden Rule has become Supertramp's signature song. It's since showed up in countless movies, commercials and charitable causes – then was all over the radio again when the Goo Goo Dolls produced a mid-2000s Top 40 remake.
Fleetwood Mac, "Go Your Own Way" (1977)
By the time Fleetwood Mac released 'Rumours' in 1977, the band's various couples were splintering, and with three personal singer-songwriters at the fore, there was no way their dirty laundry would go unaired. Lindsey Buckingham's brutal, biting "Go Your Own Way" stings the hardest.
The Cars, "Good Times Roll" (1978)
The music-buying public didn't exactly embrace the Cars' initial singles. This last song plucked from their instant-classic self-titled debut just missed the Top 40, mirroring the middling success of two earlier singles. What did they know back then? Few bands of that era have aged better.
Supertramp, "Goodbye Stranger" (1979)
Unjustly overlooked co-leader Rick Davies takes the lead on an anthemic Supertramp track that we always winkingly thought might have had something to do with saying farewell to the days of smoking pot. After all, he sings “goodbye, Mary; goodbye, Jane.” Right?
Nazareth, "Hair of the Dog" (1975)
"Son of a Bitch" was reportedly the title they had picked out for both this song and the platinum-selling 1975 album from which it came, but Nazareth's label flatly refused. The band even floated "Heir of the Song" as a nudge-nudge replacement, to no avail. That's OK. It will always be "Son of a Bitch" to us.
The Rolling Stones, "Happy" (1972)
Keith Richards is the only actual Rolling Stones member to appear on this song, which became the highest charting U.S. single off 'Exile.' Saxophonist Bobby Keys sat in on the basement-recorded demo, with producer Jimmy Miller on the drums. They added horns later, and released it as is.
Blondie, "Heart of Glass" (1978)
Blondie transformed themselves from a New Wave band with a serious jones for '60s girl groups to a disco powerhouse thanks to this No. 1 hit from their excellent third album, 1978's 'Parallel Lines.' There's still plenty of punk muscle behind that beat too.
Neil Young, "Heart of Gold" (1972)
Neil Young's country move in 1972 tuned out to be the most successful of his long career, responsible for his only No. 1 album, 'Harvest,' and his only No. 1 single. "Heart of Gold" came along at the right time, giving the nation a shot of comfort as things spiraled out of control around it.
Pat Benatar, "Heartbreaker" (1979)
Benatar actually rewrote some of the lyrics to her breakthrough hit, which was originally released by the U.K. singer Jenny Darren a year earlier in 1978, since they included a few British colloquialisms. Darren, for instance, sang, "you're a heartbreaker, moonraker ..."
Todd Rundgren, "Hello It's Me" (1972)
It’s tempting to think of this as a time before Rundgren got all weird. But “Hello It’s Me,” with its pull-you-in opening stanza, comfy McCartney-esque ambiance and soaring chorus, simply sets the stage for another album where Rundgren furiously shoves back the boundaries of music making.
Joni Mitchell, "Help Me" (1974)
Joni Mitchell's only Top 10 hit came at a crucial juncture in her career, the moment where her folk-inspired music took a turn toward a more jazzy realm. The gamble paid off, giving Mitchell her bestselling album, 'Court and Spark,' and new directions to explore. "Help Me" was a sturdy anchor.
AC/DC, "Highway to Hell" (1979)
AC/DC's breakthrough moment and one of the great rock 'n' roll songs of the late '70s, "Highway to Hell" was defiant, determined and powered up to do some damage on its way out. Sadly, singer Bon Scott died before he could make the band's next album, the even more monumental 'Back in Black.'
Bob Seger, "Hollywood Nights" (1978)
Little Feat's Billy Payne joined Seger on keys for this No. 12 1978 hit, but the key session moment came when David Teegarden overdubbed another complete set of drums. Suddenly, the Silver Bullet Band's gallop through the Hollywood Hills became a thundering charge.
Eagles, "Hotel California" (1976)
Part of this song's enduring appeal is that nobody is really sure what it is about. There's definitely some apocalyptic '70s thing going on here, and a sense of doom is waiting for the coked-up clientele around every corner. But it's the music that drives it all home, especially the epic twin guitar solos that cap "Hotel California."
Cheap Trick, "I Want You to Want Me" (1977)
"I Want You to Want Me" first appeared on Cheap Trick's 1977 album 'In Color.' But it didn't truly come to life until thousands of screaming Japanese kids drove the song into the Top 10 after its inclusion on the live 'Cheap Trick at Budokan' in 1979.
Yes, "I've Seen All Good People" (1971)
The initial segment of Yes' two-movement “I’ve Seen All Good People” was released as a single. But its power comes later, as organist Tony Kaye makes a towering contribution on the outro – adding a sense of awe-inspiring wonder while Jon Anderson and Co. repeat the chorus over and over.
John Lennon, "Imagine" (1971)
John Lennon's universal call for peace also served as the title track from his first solo No. 1 LP. More than 40 years (and countless cover versions) later, "Imagine" stands as one of the most defining anthems of the era – utopian, naive, controversial and hopeful.
John Lennon, "Instant Karma!" (1970)
This appropriately named tune was recorded the same day it was written. Alan White's signature drum contributions were completely improvised, as well. Released just 10 days later, “Instant Karma” peaked at No. 3 in the U.S. as the Beatles’ “Let It Be” was rising to the top of the charts.
Black Sabbath, "Iron Man" (1971)
Ozzy Osbourne thought this song's monster riff sounded like a walking, giant iron man, so the group built a sci-fi fable around the concept. "Iron Man" is the centerpiece of Black Sabbath's second album, 'Paranoid,' and a cornerstone track in the foundation of heavy metal.
Thin Lizzy, "Jailbreak" (1976)
Plenty of bands have played at being tough, but Thin Lizzy always had a visceral kind of abandon. As their flinty twin-guitar attack worked in perfect concert with Phil Lynott's dark whispers, it tended to make Thin Lizzy's big talk feel decidedly real. "Jailbreak" is a great example, maybe the best.
Steve Miller Band, "The Joker" (1973)
Miller self-mythologized himself here – running down his various guises over the years – and launched a whole new career as a No. 1 pop artist. His earlier blues records always sort of got lost in the mix of similar-sounding sides; on "The Joker," Miller reveals a sexy swagger that sent him barreling up the charts.
Harry Nilsson, "Jump Into the Fire" (1971)
A cover of "Without You" got all of the praise, while "Coconut" remains a soundtrack staple. But there was far more to Nilsson, and to 'Nilsson Schmilsson,' as heard on this wildly libidinous rocker. He's not kidding about that fire.
The Cars, "Just What I Needed" (1978)
When the Cars released their debut single in the summer of 1978, nobody was sure what to make of the Boston quintet. They sure sounded New Wave with with their synths and jagged rhythms, but they also packed a punch that had its roots in classic rock tracks from the '60s.
Led Zeppelin, "Kashmir" (1975)
Heavy, loud, epic: Led Zeppelin's monolith stomp anthem from 'Physical Graffiti' still has the ability to thrill listeners after 40 years. It's world music with a monster beat, and a gargantuan shape-shifter that's influenced everything from metal to hip-hop.
Queen, "Killer Queen" (1974)
Queen gave a preview of the fizzy inventiveness to come on “Bohemian Rhapsody” with this shape-shifting triumph. That it took took everyone else so long to notice only seemed to spark them to greater heights of genre-jumping, expectation-confounding genius.
Bob Dylan, "Knockin' on Heaven's Door" (1973)
"Knockin' on Heaven's Door" first appeared in the 1973 movie 'Pat Garrett and Billy the Kid,' which Bob Dylan also scored and appeared in. It's since transcended its origin, becoming one of Dylan's most-covered songs (everyone from Eric Clapton to Guns N' Roses have recorded it). Dylan's subtle reading is still the best.
The Doors, "L.A. Woman" (1971)
The Doors were falling apart at the top of the '70s, with Jim Morrison spiraling out of control onstage and off. But they still managed one last classic LP, which was released three months before Morrison's death, and this driving number featuring one of Morrison's all-time best vocal turns. Mr. Mojo Risin!
ZZ Top, "La Grange" (1973)
ZZ Top's breakthrough boogie is rooted in the blues, is about a whorehouse and features some of the nastiest guitar licks to grace pop radio back in 1973. It helped set the stage for the band's career and gave guitar heroes everywhere another song to add to their arsenals.
Genesis, "The Lamb Lies Down on Broadway" (1974)
Hailed then as a creative breakthrough, this Genesis song was also a kind of launching pad for frontman Peter Gabriel’s Hall of Fame solo career. A difficult tour, both in conception and interpersonally, followed. By the time it was over, Gabriel was gone.
Fleetwood Mac, "Landslide" (1975)
Stevie Nicks wrote this song while looking out upon the Rocky Mountains, contemplating whether she should continue pursuing music after her initial album – a duet record with Lindsey Buckingham – had flopped. Lucky for us, she did.
Warren Zevon, "Lawyers Guns and Money" (1978)
Seems Zevon was taking a taxi when the driver stopped to rescue his sister from kidnappers. As a chase ensued, Zevon's manager suggested someone would have to send lawyers to get them out of this. Zevon's reply? "Yeah, and some guns and money." The song practically wrote itself.
Derek and the Dominoes, "Layla" (1970)
Eric Clapton was pining for pal George Harrison's wife something bad when he rounded up a group of musicians for a one-shot group called Derek and the Dominos. The LP itself is a song cycle of heartbreak and yearning. This centerpiece, featuring Duane Allman's weeping slide, channels his angst in seven glorious minutes.
The Beatles, "Let It Be" (1970)
Paul McCartney wrote this hymn-like ballad for his late mother, who died when he was young and had recently appeared in one of his dreams. "Let It Be" turned out to be an elegiac, mournful requiem for the Beatles, who were on their way to breaking up.
AC/DC, "Let There Be Rock" (1977)
AC/DC share a different kind of creation story here, the one that – with a combining of white and black music traditions – spawned a dangerous youngster dubbed rock 'n' roll. Angus Young then procedes to tear his guitar apart on a song that started out at 6 minutes but can go three times as long in concert.
The Cars, "Let's Go" (1979)
A remarkable singer, Benjamin Orr had a depth and darkness that Ric Ocasek couldn’t come close to. He scuffed up the Cars’ early-period stuff, then provided an important emotional underpinning as they moved further into the mainstream with songs like this one.
The Eagles, "Life in the Fast Lane" (1976)
This song is often misconstrued as a celebration of the very lifestyle choices it's criticizing. Even Joe Walsh, who came up with the opening riff while rehearsing, failed to fully grasp the message – at least at first. He finally downshifted in 1994, just in time for an Eagles reunion.
Joe Walsh, "Life's Been Good" (1978)
Released a couple of years after "Life in the Fast Lane," and with a similar title, Walsh's "Life's Been Good" takes an entirely different approach. The song again lands a series of sharp jabs at the bloated excess of stardom, but brilliantly couches it this time with Joe's unique brand of humor.
Neil Young, "Like a Hurricane" (1977)
He really did find himself overcome with desire after seeing a girl at a bar. But Young couldn't initially get that same sense of urgency to translate into "Like a Hurricane." In fact, he and Crazy Horse spent more than week struggling to get a usuable take, before a more stripped-down version emerged as the skeletal beginnings of a classic.
Paul McCartney and Wings, "Live and Let Die" (1973)
One of the biggest James Bond theme songs, and also a huge hit for Wings, "Live and Let Die" sounds like the sum of its parts. It's unmistakably 007, but it's also a flashy McCartney rocker from the era, recorded as he was gearing up for 'Band on the Run.'
Electric Light Orchestra, "Livin' Thing" (1976)
ELO's highest-ever charting U.K. single at the time, this track really must be heard within the larger context of 'New World Record.' On the preceding "So Fine," Jeff Lynne had the engineer cut the tape machine power until the strings slowed enough to segue perfectly with the opening of "Livin' Thing." Cool!
Jethro Tull, "Locomotive Breath" (1971)
A chugging, metallic riff – added by Ian Anderson himself to mimic the passing of a night train – drives home this chillingly prophetic indictment of over population. And, all along, the song is building (relentlessly, improbably) towards popular music’s most distinctive flute solo.
The Kinks, "Lola" (1970)
After a couple of commercially stagnant years, the Kinks returned to the Top 10 with a hit about a young man's romantic encounter with a transvestite (buried in the middle of a concept album about the evils of the music industry, no less). "Lola" became a concert staple, and one of Ray Davies' lasting songs.
The Clash, "London Calling" (1979)
The opening song and title track to the Clash's masterpiece sounds like both a declaration of purpose and a call to arms by punk's best band. Taking shots at rock 'n' roll dinosaurs, as well as some of their peers, the Clash heralded a new era with this guitar-powered anthem.
Stephen Stills, "Love The One You're With" (1970)
Still high on Crosby Stills Nash and Young's success, Stills recorded his best solo song (from his debut album), with some help from David Crosby and Graham Nash and a driving hook. Its lyrics soak in the era's hippie vibe ("there's a rose in a fisted glove, and the eagle flies with the dove") but the performance is timeless.
Journey, "Lovin,' Touchin,' Squeezin'" (1979)
This song could easily have been called “Lovin, Touchin,’ Jammin,'” since it came together – as many did with Journey's pre-arena rock '70s-era lineup – through loose in-studio collaboration. That's where newly installed drummer Steve Smith developed its nifty stuttering rhythm.
War, "Low Rider" (1975)
A deep-grooved celebration of the Chicano-born tradition of hydraulically altered classic cars, this Billboard No. 1 R&B hit features drummer Harold Brown – who actually owned a repair shop that could've gotten you fixed up for that long, slow ride through town.
Rod Stewart, "Maggie May" (1971)
Rod Stewart's breakthrough single (after gigs with the Jeff Beck Group and a pair of non-starting solo albums) boosted him into the sphere of superstardom in 1971. The mostly acoustic arrangement here rocked more forcefully than many songs with way more electricity attached to them.
Paul McCartney and Wings, "Maybe I'm Amazed" (1977)
McCartney's solo debut is mostly a collection of demos, song fragments and off-the-cuff musical observations. "Maybe I'm Amazed" is its one classic cut and the launching of a career outside of the world-conquering band that made him famous. Everything good and bad about post-Beatles McCartney pretty much stems from this song.
Janis Joplin, "Me and Bobby McGee" (1971)
Kris Kristofferson wrote it, but Janis Joplin made "Me and Bobby McGee" her own when she recorded it for her final release, 1971's 'Pearl.' Both the album and the song reached No. 1, making her death before the record's release even more poignant. It stands as one final declaration of her outsized talent.
Paul Simon, "Me and Julio Down by the Schoolyard" (1972)
By the time Simon and Garfunkel made their final album in 1970, Paul Simon was deep into exploring music from across the globe. The 'Bridge Over Troubled Water' album includes some of these new interests, but Simon's self-titled 1972 digs deeper. "Me and Julio" wears its influences proudly while staying firmly in Simon's NYC rhythm.
The Police, "Message in a Bottle" (1979)
The Police’s first charttopping single in England, “Message in a Bottle” created a whole subculture of YouTube drummers trying to mimic Stewart Copeland's complex polyrhythms. There's a reason everyone else has had so much trouble getting it just right, though: He overdubbed it.
The Rolling Stones, "Miss You" (1978)
The Rolling Stones hit a dry spell, creatively at least, after 1972's landmark 'Exile on Main St.' 'Some Girls,' from 1978, returned them to their throne, and this monster single was the album's foundation – a disco-grooved hit that carried the world's greatest rock 'n' roll band into a brave new era.
Mountain, "Mississippi Queen" (1970)
Drummer Corky Laing says he channeled Levon Helm's cadence from the Band's "Up On Cripple Creek." After that, all they needed was Leslie West's thunderous riff (and a well-placed cowbell, of course) to complete this No. 21 hit for Mountain.
Pink Floyd, "Money" (1973)
Everything about this leaps out of the speakers, from its inventive rhythmic structure to its sharply worded theme to Roger Waters' bass line – one of the most distinctive in rock. Then there's its episodic instrumental segment, and a series of brilliantly looped money-related sound effects. Genius.
Boston, "More Than a Feeling" (1976)
Boston's debut single remains their masterpiece: a monster riff aided by a gargantuan hook, and tightly wrapped in a radio-ready song perfect for air guitar, singalongs, etc. It's a dazzling intro to a band that stormed the latter half of the '70s with a style and sound all its own.
The Cars, "My Best Friend's Girl" (1978)
A classic pop-song theme is given new life by the Cars, who added glacial-cool synths, crunchy guitars and the detached irony of Ric Ocasek's vocal – the latter of which drives home the final delicious twist on "My Best Friend's Girl": "... but she used to be mine."
George Harrison, "My Sweet Lord" (1970)
After two albums of experimental, non-Beatles-like music, George Harrison released an outpouring of more popular sounds on 1970's 'All Things Must Pass.' The highlight of the triple-LP set was this spiritual No. 1. Harrison later lost a court battle that found similarities between the 1963 hit "He's So Fine" and his majestic masterpiece.
Neil Young, "The Needle and the Damage Done" (1972)
Written in tribute to his friend and fallen bandmate Danny Whitten, this harrowing description of the ravages of addiction is as a powerful an anti-drug message as rock ever produced. Young underscored his point in the liner notes from 'Decade': "I am not a preacher, but drugs killed a lot of great men."
Bob Seger, "Night Moves" (1976)
This song about high school and the summertime ("sweet summertime, summertime") of life, as relayed by someone "with autumn closing in," would go on to become Seger's first-ever Top 5 hit. More importantly, it struck a chord that is sure to echo as each successive generation reaches a similar stage in life.
Alice Cooper, "No More Mr. Nice Guy" (1973)
A fun sing-along chorus nearly got this colloboration with key band member Michael Bruce into the Billboard Top 20. But listen more closely, and you hear a dark manifesto for Alice Cooper, who is essentially telling everyone questioning his ever-more-controversial persona to stick it.
Crosby Stills Nash and Young, "Ohio" (1970)
Neil Young wrote "Ohio" soon after National Guardsmen opened fire on protesters at Kent State University in 1970, killing four of them. Anger seethes through every note played and every word sung by Young and his CSNY bandmates. All these years later, it still burns.
The Eagles, "One of These Nights" (1975)
Don Felder's arrival is immediately felt, as he arranges the unforgettable bass and guitar signature for this chart-topping Henley-Frey smash. Then Felder launches into a searing solo – one that perfectly underscores the song's bitter sense of missed opportunities.
The Faces, "Ooh La La" (1973)
In a sign of what was directly ahead of the disintegrating Faces, neither Ronnie Lane nor Rod Stewart could agree on this song – so Ron Wood sang it. Within two years, Lane had left for Humble Pie, Stewart was more focused on a solo career and Wood had joined the Rolling Stones.
Led Zeppelin, "Over the Hills and Far Away" (1973)
Like the earlier “Ramble On,” in that it features these whooshing transitions from furious folk strumming to Plant screeching over a crunchy riff, but better constructed: This may be Led Zeppelin’s most addictive hook.
Meat Loaf, "Paradise by the Dashboard Light" (1977)
If this sounds something like 'Born to Run' on steroids, there's a reason for that. Actually, a few. Composer Jim Steinman has said he found inspiration in Bruce Springsteen's soaring tales of every-day angst. He and Meatloaf also had two members of the E Street Band in the studio, Roy Bittan and Max Weinberg.
Black Sabbath, "Paranoid" (1970)
In sharp contrast to just about every other Black Sabbath song we love, "Paranoid" clocks in at an economical three minutes and its melody can almost be called pop. But that chunky riff, somewhere between metal and punk, and those lyrics ("I tell you to enjoy life / I wish I could, but it's too late") are far from it.
Billy Joel, "Piano Man" (1973)
Billy Joel's autobiographical song wasn't quite the big breakthrough he wanted in 1973, but it got him back on track after a couple of stalled starts earlier in the decade. The characters were based on real people Joel met while making ends meet as a lounge singer for a brief spell in L.A. He soon returned to his native New York to stake his claim.
Neil Young, "Powderfinger" (1979)
Crazy Horse add just the right amount of reckless abandon to a narrative about the violent end of a brave young sailor, kicking off a side of serrated-edged rockers on 'Rust Never Sleeps' even as it gave voice to a bleak period of American nihilism.
Bruce Springsteen, "Prove It All Night" (1978)
After a lengthy legal dispute kept him from working for years, Springsteen was well versed in this song's theme of sacrifice before success. Turns out, the sessions themselves served as their own reminder. It reportedly took 49 takes (or basically, yeah, all night) to get "Prove It All Night" just right.
Golden Earring, "Radar Love" (1973)
Golden Earring's 'Moontan' was more than just the home to this anthemic Top 20 hit. It also served as inspiration for the titanic riff behind the title track from 1973's 'Sabbath Bloody Sabbath,' snapping Tony Iommi out of a crushing bout of writers block.
Elvis Costello, "Radio Radio" (1978)
Costello's vitriolic takedown of FM radio commercialization resonates more than ever in this era of post-consolidated automation. Ironically, the original 1974 demo (called "Radio Soul") actually celebrated the medium. By the end of the decade, however, things had begun to change.
The Allman Brothers Band, "Ramblin' Man" (1973)
Still reeling from the death of guitarist Duane Allman, the band regrouped, tightened up and made one of its warmest, coziest albums. The highlight is Dickey Betts' "Ramblin' Man," a country jam that shot to the top of the chart. It helped give the Allmans their only No. 1 album.
Steely Dan, "Reelin in the Years" (1972)
Steely Dan famously featured guitarists Walter Becker and Skunk Baxter, but this track's distinctive solo was performed by Elliott Randall – who played on three Dan records, as well as projects with Asia, Richie Havens, members of Kiss and John Lennon, among others.
Tom Petty, "Refugee" (1979)
With lyrics written in a rush of anger at Petty's record label – they were trying to sell his contract to someone else – "Refugee" turned into a long slog, once the Heartbreakers tried to get a finished version down to tape. Guitarist Mike Campbell has said they might have done 100 takes before getting the hit version.
The Grateful Dead, "Ripple" (1970)
This Jerry Garcia-Robert Hunter composition perfectly enunciates the Grateful Dead's own winding path to success. After a number of years, and just as many dead ends, the band suddenly found itself in the Top 40 during this era – thanks to a turn toward more Americana sounds.
The Doors, "Roadhouse Blues" (1970)
A highlight of the Doors' return to bluesier sounds on 'Morrison Hotel,' this gritty track features not one but two special guests beyond the band's core members. John Sebastian of Lovin' Spoonful fame played harmonica, while blues great Lonnie Mack is on bass.
Kiss, "Rock and Roll All Night" (1975)
Kiss' timeless rock 'n' roll anthem has turned on generations with its simple but effective message. And as long as there are kids out there looking for a good time, it will never go out of style. All the basics are covered in three blissful minutes of guitars, drums and a singalong chorus that reaches for the sky.
Montrose, "Rock Candy" (1973)
This amped-up love song, powered by a Led Zeppelin-inspired cadence, should have been Montrose's big break. Instead, their ultimately very influential debut stalled at a paltry No. 133 in the U.S., and one album later frontman Sammy Hagar – who still sings this song as a solo act – had split.
Steve Miller Band, "Rock'n Me" (1976)
Listen closely to the introductory riff from "Rock'n Me," the second of three No. 1 singles for Miller, after "The Joker" and before "Abracadabra." Then listen closely to the introductory riff from "All Right Now" by Free. See what he did there?
Elton John, "Rocket Man" (1972)
Like David Bowie's "Space Oddity," "Rocket Man" takes the public's fascination with space travel in the late '60s and early '70s and brings it back down to earth. In this case, being an astronaut is just another job. Bernie Taupin's lyrics get to the mundane heart of the matter; Elton John's music brings it home.
Joe Walsh, "Rocky Mountain Way" (1973)
This standout track from 1973's 'The Smoker You Drink, The Player You Get,' with lyrics inspired by Walsh's move to Colorado after splitting with the James Gang, made use of the talkbox well before Peter Frampton – though Frampton's "Do You Feel Like We Do" is somehow more famous for it.
Bruce Springsteen, "Rosalita" (1973)
Bruce's autobiographical tale of love found while trying to make it in the music business – "the record company, Rosie, just gave me a big advance!" – also worked as a tell-off for anyone who hadn't believed in Springsteen along the way.
Yes, "Roundabout" (1972)
“Roundabout” was a showcase for Jon Anderson’s unique brand of crystalline psychedelia, Steve Howe’s country-influenced virtuosity and the first flowerings of Rick Wakeman’s keyboard genius. The lyric, meanwhile, has come to symbolize progressive rock’s memorable flights of fancy.
The Police, "Roxanne" (1978)
The world's introduction to the Police remains one of their finest moments, a reggae-inflected pop song about a lovestruck man and the prostitute he's smitten with. Not exactly the sort of thing you'd expect to hear in the Top 40 in the late '70s, but Sting brings warmth to even the seediest of subjects (see "Every Breath You Take").
Van Halen, "Runnin' with the Devil" (1978)
They opened with a cool-sounding effect, created by slowing down the sound of several car horns blowing at once. But Van Halen overused it on their initial demo, and Eddie always felt that kept the band from being discovered earlier.
Jackson Browne, "Running on Empty" (1977)
Even though Jackson Browne wasn't even 30 years old when he recorded "Running on Empty," he sings as if he's been stuck in some middle-aged crisis for years. Browne looks back on his life with a sense of both yearning and defeat, much of it no doubt spurred by the 'Running on Empty' album's theme of being a road-weary rock star.
Billy Joel, 'Scenes from an Italian Restaurant" (1977)
Taking a cue from the Beatles' b-side medley on 'Abbey Road,' Joel constructed this epic piece out of unfinished items he had left over – including an old piece of music from well before 'The Stranger' and a separate fragment called "The Ballad of Brenda and Eddie."
Alice Cooper, "School's Out" (1972)
Alice Cooper has said that he wanted to capture one of the greatest times of a kid's life in the form of a song. And for three and a half minutes, he tears through the joy of the last day of school – when pencils and rules are tossed out the back of the bus.
The Stooges, "Search and Destroy" (1973)
Neither James Williamson's ruthless maelstrom of guitar nor the song's tough-guy Vietnam-era lingo can obscure the desperate longing at the heart of "Search and Destroy." Iggy Pop and company manage to hit you in the heart, and the nuts, at the same time.
Hall and Oates, "She's Gone" (1973)
A heartbreaking, brutally honest track, "She's Gone" wasn’t a hit until it was rereleased two years later, after Hall and Oates charted with “Sara Smile.” The tune then shot to No. 7 on the Billboard charts, and has since become a concert staple.
Pink Floyd, "Shine on Your Crazy Diamond" (1975)
A showcase for the late Rick Wright, who ended up with a songwriting credit on eight of this track's nine segments. By the time the group had finished their next album, however, Wright would be ousted – marking the beginning of the end of the Roger Waters-led edition of Pink Floyd.
Foghat, "Slow Ride" (1975)
Sparked by a jam session with new bassist Nick Jameson, "Slow Ride" was pieced together musically from several different segments, with lyrics added later by Dave Peverett. However they got there, it worked, giving Foghat their highest-ever charting song at No. 20.
Deep Purple, "Smoke on the Water" (1972)
The ultimate guitar riff is so defining and overwhelming that the story within the classic song gets lost among the crunch. It basically relates the true tale of a fire that destroyed the venue where Deep Purple were going to hold the 'Machine Head' sessions. "Smoke on the Water" came to define the album.
Peter Gabriel, "Solsbury Hill" (1977)
The eagle who "flew out of the nest" was, of course, Gabriel himself – who cemented his move away from Genesis with an autobiographical tune that touched on his reasons for departing even as it provided solace for anyone who's ever struck out toward the unknown.
Queen, "Somebody to Love" (1976)
Inspired by the gospel feel of Aretha Franklin, Freddie Mercury dove head-long into a piano-driven ballad about a search for passion. Joining him in what sounds like a 100-voice choir are only bandmates Brian May and Roger Taylor, as each of their voices are multi-tracked.
Led Zeppelin, "Stairway to Heaven" (1971)
Four decades may have made Led Zeppelin's warhorse a top candidate for the Most Overplayed Rock Song Ever, but there's still beauty and thrills to be found in the this epic. From the majestic acoustic-guitar opening to the blazing solo that caps it, "Stairway to Heaven" reaches that illuminating spot all classic-rock ballads should aspire to.
The Faces, "Stay With Me" (1971)
The Faces' biggest U.S. hit, co-written by Rod Stewart and Ron Wood, gives us a peek inside this band's legend-producing debauchery. While Stewart winks his way into a one-night stand, Wood unleashes a sneering slide guitar that gives it just the right amount of booze-soaked swagger.
Ted Nugent, "Stranglehold" (1975)
Sung by Derek St. Holmes – except for "sometimes you wanna get higher" – and co-written by the uncredited Rob Grange, "Stranglehold" nevertheless becomes quintessential Nugent on the strength of an eight-minute guitar solo that he recorded in a single blistering take.
Stealers Wheel, "Stuck in the Middle With You" (1972)
Early-rock legends Jerry Leiber and Mike Stoller produced this song, which Gerry Rafferty co-wrote after being ignored by record-label execs at dinner. He originally envisioned it as nothing more than an acerbic Bob Dylan-type put down. Then it sold a million copies.
David Bowie, "Suffragette City" (1972)
Originally offered to Mott the Hoople (who took "All the Young Dudes" instead), this song underscored Bowie's broad interests – he pulled in references from Charles Mingus and 'A Clockwork Orange' – even as it showcased his willingness to experiment with things like the ARP synth.
Dire Straits, "Sultans of Swing" (1978)
Dire Straits' debut single sounded like little else on rock radio in 1978, with clean, piercing guitar and a vaguely Dylanesque vocal guiding the way. It helped lead their self-titled first album to No. 2 and set up a career that would peak in the mid-'80s with the global smash 'Brothers in Arms.'
Cheap Trick, "Surrender" (1978)
Long before Nirvana steamrolled all over it, Cheap Trick confronted their own form of teenage angst in an anthem for the ages. While "Surrender" is certainly rooted in the '70s (subsequent generations had way cooler parents), the message is timeless: We're all "just a little weird."
Aerosmith, "Sweet Emotion" (1975)
In the '70s, few bands piled on the riffs as relentlessly as Aerosmith. One of their all-time greatest gets support from a talk box, which helps pull things along. Not that the monster riff driving the whole thing needed the assistance.
Lynyrd Skynyrd, "Sweet Home Alabama" (1974)
Lynyrd Skynyrd wrote "Sweet Home Alabama" as a response to a pair of Neil Young songs, but it's evolved into a Southern anthem. Whatever you take from the song, there's no denying the titanic groove that fuels it and the sincerity behind the swing.
The Velvet Underground, "Sweet Jane" (1970)
Lou Reed, who wrote and sang "Sweet Jane," quit before the band completed their last album, 'Loaded.' Somehow along the way, "Sweet Jane" got edited down, with a contemplative coda completely removed. The full version finally appeared two years later, on 'Live at Max's Kansas City.'
AC/DC, "T.N.T." (1976)
A standout moment from AC/DC's early years sets the template for everything they'd do – though it took a while for this nervy rock group to get much notice beyond Australia. In fact, AC/DC had already released two multi-platinum albums back home before 'T.N.T.' arrived.
Steve Miller, "Take the Money and Run" (1976)
Like fellow Texas-based outlaws Bonnie and Clyde, Miller's protagonists (named Billy Joe and Bobby Sue) are on the run from the law – with detective Billie Mack hot on their trail as they race "down to old El Paso." Unlike Bonnie and Clyde, however, these bandits apparently got away clean.
Bachman-Turner Overdrive, "Takin' Care of Business" (1973)
Three chords and a catchy phrase was all Bachman-Turner Overdrive needed to finally crack the U.S. Top 20. Well, and a pizza. When BTO found themselves in need of a piano player for the track, they used Norman Durkee, who happened to deliver a pie to the studio.
Bob Dylan, Tangled Up in Blue" (1975)
Bob Dylan's breakup opus 'Blood on the Tracks' remains his best work since his legendary mid-'60s run. "Tangled Up in Blue" is the opening cut and one of Dylan's all-time greatest songs. It's a bit more abstract than most of the album's straightforward (and autobiographical) numbers, but it sets the tone magnificently.
Bruce Springsteen, "Thunder Road" (1975)
Is there a better album-opening song in the '70s than "Thunder Road"? In less than five minutes, Bruce Springsteen sets the mood and narrative for everything that follows on his masterpiece and breakthrough album 'Born to Run.' Spine-tingling brilliance.
Elton John, "Tiny Dancer" (1971)
"Tiny Dancer" was always one of Elton John's best songs, but it took the 2000 movie 'Almost Famous' to give this track a new life. In a little more than six minutes, Elton builds from spare piano ballad to a big pop moment, complete with strings and choir. Forty-five years later, it still bustles with life.
The Clash, "Train in Vain" (1979)
Originally tacked onto the end of 'London Calling' because nobody was really sure if it fit in with the rest of the album, "Train in Vain" became the Clash's first U.S. hit and the chewy pop nugget that capped their masterpiece. Chugging along like a speeding locomotive, the song is all about love and its runaway frustrations.
The Rolling Stones, "Tumbling Dice" (1972)
The Rolling Stones' masterpiece 'Exile on Main St.' is best heard in full, as a 67-minute album that unspools its dark tales of depravity buried in druggy mudiness. But "Tumbling Dice" sounds equally as inviting on the radio, a hook-fueled rump shaker that captures the Stones at their '70s peak.
Bob Seger, "Turn the Page" (1973)
Bob Seger's ode to the road is as weary as the song's narrator. Seger wasn't yet a star when he recorded this look at the other side of a touring musician's curtain, but it was only a matter of time. As "Turn the Page" makes clear, he had already seen a few ups and many downs.
ZZ Top, "Tush" (1975)
Every part of the still-emerging ZZ Top's recipe for success is here: "Tush" is a boiling pot of greasy blues, backwoods twang and tough Texas blues, finished off with a splash of lip-smacking salaciousness.
Lou Reed, "Walk on the Wild Side" (1972)
Reed pulled quite a feat here, getting a song about crossdressers, junkies and blowjobs in the Top 40. It was familiar ground for him, at least lyrically. But "Walk on the Wild Side," like the rest of the 'Transformer' album it came from, revealed a new-found fascination with polished pop sounds and AM-radio hooks, all thanks to producer David Bowie.
Aerosmith, "Walk This Way" (1975)
That strutting guitar riff is as much a part of its era as it is timeless. No surprise that Joe Perry and Steven Tyler hooked up with Run-D.M.C. for a hip-hop cover in the mid-'80s that helped re-ignite their career. The song – and that riff! – are just that transcendent.
Genesis, "Watcher of the Skies" (1972)
The lyrics were inspired by Arthur C. Clarke's 'Childhood's End,' a 1953 science fiction novel which also sparked songs by Pink Floyd and Van Der Graaf Generator. But that Mellotron was all Genesis, as co-author Tony Banks coaxed world-vibrating sounds out of an old Mark 2.
Queen, "We Will Rock You" (1977)
Queen's one-two punch starts with one of the band's greatest achievements: a foot-stomping, percussion-fueled chant that erupts into a firestorm of Brian May guitar pyrotechnics. The following "We Are the Champions" is no less monumental, a stadium-sized ballad that singer Freddie Mercury excelled at.
Grand Funk Railroad, "We're An American Band" (1973)
For Grand Funk's Don Brewer, "We're an American Band" was a reflection of who they were – nothing more or less. "It was a true description," he said, "and it kind of rolled off my mind." Scenes from their tour in support of 'The Phoenix Album' completed this song.
Warren Zevon, "Werewolves of London" (1978)
Zevon’s version of the old black-and-white movie prowler is a smooth operator, when not ripping out the lungs of unsuspecting passersby: Even after engorging on chow mein, then knocking back an island libation or two, the beast’s “hair was perfect.”
The Doobie Brothers, "What a Fool Believes" (1978)
Michael McDonald brought a whole new level of songcraft to the Doobie Brothers' riff-driven bar rock. With "What a Fool Believes" he achieved his masterpiece, a sublime pop single with an R&B backbone that shot to No. 1 and influenced half of what you heard on the radio for the next 18 months.
George Harrison, "What Is Life" (1970)
This towering rocker actually seemed to warrant producer Phil Spector’s typical Wall of Sound approach. Background vocals are credited to the George O’Hara-Smith singers – really Bobby Whitlock and Eric Clapton, who would go on to form Derek and the Dominos.
Journey, "Wheel in the Sky" (1978)
New frontman Steve Perry shouldn't get all the credit for this catalyst song from Journey’s first-ever million-selling LP. Former singer Robert Fleishman co-wrote three of the 'Infinity' project's very best moments, including "Anytime," "Winds of March" and, yes, "Wheel in the Sky."
The Allman Brothers Band, "Whipping Post" (1971)
An economical five-minute studio version of "Whipping Post" appears on the Allman Brothers' self-titled 1969 debut, but the real action unfolds on the dizzying 22-minute live take found on the classic 'At Fillmore East' album. It twists, turns and somehow ends back where it started in one of the most extraordinary stage performances ever recorded.
The Who, "Who Are You" (1978)
The Who's last great single, from their final album with Keith Moon, sounds like a classic Who single – from the gurgling synths that open the song to the powerhouse rhythm that drives it. Everyone's in top form (especially Roger Daltrey, giving one of his best vocal performances) for one final charge.
Creedence Clearwater Revival, "Who'll Stop the Rain" (1970)
One of John Fogerty's most powerful, and timeless, songs, "Who'll Stop the Rain" encapsulated the dawning of a new decade by looking back on the tragedies of the one before it. It's easy to read Vietnam in the lyrics, as well as a swipe at post-Woodstock complacency, but there's just as much anger as there is defeat.
The Rolling Stones, "Wild Horses" (1971)
Finally, a no-kidding country song from a band that always had this kind of unvarnished emotion running somewhere beneath its surface tough-guy attitude. Before, the Stones had been prone to wink and nudge their way through. Not this time, and the results are devastatingly powerful.
Van Morrison, "Wild Night" (1971)
Van Morrison takes on Stax-style R&B, with hot-shot guitarist Ronnie Montrose filling the estimable role of Steve Cropper. Producer Ted Templeman would later work with another Van – Van Halen, that is.
Pink Floyd, "Wish You Were Here" (1975)
This song is not, as the myth holds, simply a tribute to Pink Floyd’s departed frontman Syd Barrett. Instead, it's a requiem for a group slowly drifting apart. Those larger ideas dovetailed perfectly, however, with a lost figure from their past – and a melancholy moment of greatness followed.
The Who, "Won't Get Fooled Again" (1971)
Going big was nothing new for the Who (see 'The Who Sell Out,' 'Tommy,' etc.), but the closing track from 'Who's Next' takes things to another level. Rolling synthesizer opening, 'Animal Farm' references, Roger Daltrey's most epic vocal performance – all packed into eight and a half minutes of rock 'n' roll fury.
Bachman-Turner Overdrive, "You Ain't Seen Nothin' Yet" (1974)
BTO's only No. 1 started as a joke, with a stuttering chorus poking fun at Randy Bachman's brother, who also happened to be the band's first manager. But that chorus was something special, esepcially with that crunchy guitar riff accompanying it.
Rod Stewart, "You Wear It Well" (1972)
It's pretty much a rewrite of "Maggie May," but so what? Stewart's breakthrough single is one of the '70s' great rock 'n' roll moments, so this victory lap is earned. Besides, there are some new twists to "You Wear It Well," particularly a spry fiddle that follows the band through every jubiliant turn.
David Bowie, "Ziggy Stardust" (1972)
The centerpiece of David Bowie's greatest album serves as a denouement for the 'Ziggy Stardust' saga, the moment that brings the otherworldly rock star back down to Earth in a flaming ball of wires and ego. In a way, it's also Bowie's story turbocharged through the cosmos, ready for whatever the decade offered him.


A comma separated list of triggers (TriggerCauses) to blacklist. It is necessary to specify the full class names
including the package for the blacklisting to work.
When specified, tasks triggered by the blacklisted triggers won't be scheduled by Jenkins.
The blacklist defaults to hudson.triggers.TimerTrigger$TimerTriggerCause and
hudson.triggers.SCMTrigger$SCMTriggerCause if left blank.


nmcli general
Manage general settings of NetworkManager.
This subcommand can also be called with `nmcli g`.
More information: home page
- Show the general status of NetworkManager:
nmcli general
- Show the hostname of the current device:
nmcli general hostname
- Change the hostname of the current device:
sudo nmcli general hostname new_hostname
- Show the permissions of NetworkManager:
nmcli general permissions
- Show the current logging level and domains:
nmcli general logging
- Set the logging level and/or domains (see `man NetworkManager.conf` for all available domains):
nmcli general logging level INFO|OFF|ERR|WARN|DEBUG|TRACE domain domain_1,domain_2,...


You can set alerts to monitor your mood and be notified if something changes.
To ensure meaningful notifications, there must be at least one entry per day on average so that an alarm can be triggered.
To set an alert you need to decide on a scale and the type, the direction, the size, and the duration of the change you want to look out for.
Select the scale of interest.
Note: You can choose all active scales. Pro scales will be monitored, even without Pro status. However, without Pro, the display of the triggering sequence is only available once, by clicking the alert notification.
Describes the kind of change that should be monitored.
Describes the direction of change that should be monitored.
Sets the required minimum change to trigger an alert.
Note: That means that the size is relative to the usual variation of the scale values. If regularly there is not much change, then even a small value drift will trigger an alert. However, if big jumps are commonplace, then a change needs to exceed those to get noticed.
The duration sets the time-frame of the observational period and its preceding control period.
You can have an arbitrary number of alerts.
If you want to stop an alert you have three options:
If you edit an existing alert, then a new alert will automatically be saved, and the previous version will be archived.


EnumType.values()
.
Usually, when updating such an enum, you have to update the array as well. However, if you use EnumType.values()
instead, no modifications are required.
Example:
enum States {
NOT_RUN, IN_PROGRESS, FINISHED;
}
handleStates(new States[] {NOT_RUN, IN_PROGRESS, FINISHED});
After the quick-fix is applied:
handleStates(States.values());
New in 2019.1


| data_util |
Misc functions for data stage prototype manipulation. |
| direction |
Functions for working with directions. |
| event |
Syntax sugar for event manipulation. |
| gui |
GUI structuring tools and event handling. |
| migration |
Mod migrations and version comparison functions. |
| misc |
Miscellaneous control-stage functions that don’t yet have a proper home. |
| orientation |
Functions for working with orientations. |
| reverse_defines |
Defines reverse lookup table. |
| train |
Functions for working with trains. |
| translation |
Localised string translation and dictionary organization. |


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New issue of PLNT LYFE is out!
February in running, pretty data visualizations about food, what I'm curious about (perpetual motion electric cars...kind of), and recipes for what I'm eating this week.
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Questa
Coverage Report
Number of tests run:
4
Passed:
0
Warning:
4
Error:
0
Fatal:
0
List of tests included in report...
List of global attributes included in report...
Coverage Summary by Structure:
Design Scope
Coverage
fp_mult_tb
98.21%
dut
96.42%
Coverage Summary by Type:
Total Coverage:
94.86%
98.21%
Coverage Type
Bins
Hits
Misses
Weight
% Hit
Coverage
Covergroups
3132
2971
161
1
94.85%
96.42%
Assertions
1
1
0
1
100.00%
100.00%


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