Classic Rock Songs That I Can Listen To Again and Again

I write today to counter musicologist Alan Cross' recent blog post (here) listing the classic rock songs that he feels nobody needs to hear again. I agree almost entirely. Sitting at number four on Cross' list, BTO's Takin' Care of Business, no matter how old and overplayed, still makes this Canadian sing along and air guitar. It's the patriot in me, I guess. Plus BTO's Greatest Hits (So Far) was among the first records I ever bought as a boy. And no Eagles on your list, Alan? C'mon!

Not to argue with Cross' list and comments, I aim instead to work the other end of the spectrum: classic rock songs that I can listen to again and again. Certain variables are present in the equation that explains how this phenomenon exists. Nostalgia. Objective determination of outstanding songwriting... and singing and playing. Enduring sound, style, and meaning - which make the song timeless, still amazing decades after its release. And universal or near-universal in its appeal. 

Nostalgia seems to trump all other variables at times. A sort of crappy, silly, dated song can still make us wistful. Like Kung Fu Fighting, for me. I know it's a novelty song, and those things generally don't hold up, but it is the song's very absurdity that makes it feel fresh to me every time I hear it. It's a spoof or even a homage, replete with kung fu shouts and grunts by the backup vocalists. The seemingly deadpan performance heightens its hilarity. The fact that this is full-on 70's disco makes it even wackier and fun - and better. But I'd like to think that nostalgia alone wouldn't make an old song seem so good. And Kung Fu Fighting is not going on my list.

If I can objectively say that a song is excellent in (nearly) every respect, then I can place that song in my high listenability category. Time, by Pink Floyd, off that famous 1973 album (you know the one), is one such song. In fact, that whole album still blows me away. On Time: okay, that raspy, stinging guitar solo - one of David Gilmour's best. The thoughtful, moody, poetic song lyrics. The highest audio recording standards aside, consider the technical and creative proficiency of the instrumentalists and singers. The fusion of a rock core, soulful vocals, and a funky guitar rhythm and sound. All neatly packaged up in a progressive masterpiece that really does transcend time and generations of listeners.

These songs are by no means my only choices, nor are they carved in stone, nor are they in any particular order, but they are right now still highly "listenable", regardless of their heavy rotation on rock radio stations and TV advertisements. These aren't even "deep" cuts, either; these are well-known to the masses. Even when I'm shopping for kiwis and burger buns, if one of these songs plays over the in-store sound system, I find myself bobbing my head - just a little, mind you - and singing along - very quietly or maybe just mouthing the words silently. Hey, I've got to maintain some respectability. Here you go:


Classic Rock Songs That I Can Listen To Again and Again


1. Boys of Summer, by Don Henley
2. Rock You Like a Hurrican, by Scorpions
3. La Grange, by ZZ Top
4. Bohemian Rhapsody, by Queen
5. Jump, by Van Halen
6. Limelight, by Rush
7. Time, by Pink Floyd
8. Roller, by April Wine
9. Can't Buy Me Love, by Beatles
10. Go Your Own Way, by Fleetwood Mac
11. One of These Nights, by the Eagles
12. Heaven and Hell, by Black Sabbath
13. White Room, by Cream
14. Black Dog, by Led Zeppelin
15. (Don't Fear) The Reaper, by Blue Oyster Cult
16. The End, by The Doors
17. These Eyes, by The Guess Who
18. Detroit Rock City, by Kiss
19. Last Train to Clarksville, by The Monkees
20. Walking On the Moon, by The Police
21. The Best of Times, by Styx
22. Born to be Wild, Steppenwolf
23. Dreamer, by Supertramp
24. I Still Haven't Found What I'm Looking For, by U2
25. My Sharona, by The Knack
26. Philadelphia Freedom, by Elton John
27. Who Are You, by The Who
28. Hot Blooded, Foreigner
29. The Party's Over (Hopelessly In Love), by Journey
30. Once In A Lifetime, by The Talking Heads
31. Lay It Down, by Ratt
32. Turn Me Loose, by Loverboy
33. Jane, by Jefferson Starship

Tribal Rock

As a teenage fan of rock music back in the late 1970's and early 80's, I made every effort to shield my male parental unit from my audio enjoyment. The father figure made it clear that he didn't want to hear my "jungle music", as he put it, in the house. That was when I decided to make full use of the family set of headphones (or ear-goggles, as one Jimi Hendrix once dubbed them) whenever the man of the house was in the.... um, house. That was fine by me most of the time, since the 'phones also blocked out anything else my elders had to say within range of my adolescent ears. By the way, my mother was relatively open-minded about such things, being a bit of a musician herself. 

But who was I kidding? Not all music was meant for sedentary, reticent headphone listening. Sure, the music of Pink Floyd, Yes, and others of the progressive rock genre was perfect for focused private study. The multitude of layers of instruments, vocals, and audio effects was better digested and appreciated privately, with the sound up close and personal. And classical and jazz often worked in the same way. Probably some other genres, and even songs within genres you wouldn't normally expect. In truth, pretty much all music can be enjoyed on headphones, but come on, there are definitely styles of music that translate better with the walls rattling and some form of bodily agitation. You know, like blasting Black Sabbath or Ted Nugent, and jumping on the bed or careening off the family room couch to land on the glass coffee table. Like that.

The 80's - the decade of decadence... these guys

had something to do with that

Heavy rock... like hard rock and heavy metal... definitely fit that description for me. As soon as I heard the door slam and the car start up, I loaded a record or tape into the sound system. And up went the volume. Paradise Skies by Max Webster! 2112 Overture by Rush! Everybody Wants Some by Van Halen! Ain't That a Shame (live) by Cheap Trick!

But occasionally I'd get so caught up in the volume and perfecting my air guitar technique that I would not notice that the car was back in the driveway. I might hear the creaky old side door (too tight in its door jam) open and then the heavy footfalls on the staircase. My subterranean lair often bought me a few extra seconds to scramble to turn down the decibel level, but there were occasions when I was either too slow or I simply missed the tell-tale noises of said parent entering the house. 

Sometimes my door would swing open mid-song and The Master would simply glare at me, mute, but transmitting hostile thought-waves across the room to me. I believe I have seen that same look in the eyes of many horror film serial killers since then. Other times, I'd get a half angry, half derisive remark... the most succinct and memorable being, "Turn down that damned jungle music!" To this day, when my brother and I reminisce about the "good ol' days", we inevitably bring up that line. It was so indelibly linked to our partnership in surviving the Overlord's reign of terror and oppression. 

But that jungle music was MY jungle music. It was most fitting when the dad-man reiterated that command as I was blasting Van Halen's "Everybody Wants Some" on the family room stereo. If you don't know the song, give it a listen and you'll understand. There are actually sections of the song that resemble tribal drumming, courtesy of sticks-man Alex Van Halen. 

I can't blame the old man too much for his lack of interest in my generation's music. This has been going on for a long time. Did it start in the 50's? Elvis and other early rock'n'rollers created music that was too brash and bold for the parents of their target audience. Rock was considered deviant and was blamed for, or at least associated with, drug and alcohol use, promiscuity, gangs, and crime. And the devil! This sentiment carried on right into the 1980's. Not so much nowadays, though far-right wing and religious groups may still hold those views. 

Evil? In those outfits?

Hey, even the Beatles had their opposition back in the day. Record burnings, anyone? Extremist groups identified what they thought were satanic references in Beatles songs. The Who were hedonistic gods to their followers. Led Zeppelin, known for cryptic lyrics, were charged with spreading evil thoughts among the youth of the 70's. Same with poor Kiss and Rush, just innocent little bands with active imaginations, the former infantile and the latter intellectual. Go figure. And then there were the PMRC (look it up) hearings in the 80's, all aimed at rock and pop music, deeming it evil and unhealthy for young people. Right.

Why, Prince and Cindy Lauper were lumped right in with W.A.S.P., Motley Crue, Twisted Sister, and Judas Priest on the PMRC's "Filthy Fifteen" list of songs considered the most objectionable of all time. Right.

It's all just entertainment, and it seems ever since "popular" music (pop , for short... which at least for a while encompassed everything that was aimed at youth - rock, metal, rap, etc) became a thing, parents were concerned, even scared, about how this phenomenon would harm poor Johnnie or Janie. Right.

But today we know better, right? It's only in recent decades that parents began to enjoy the same music as their kids. "Pop culture prophets" (credit to Rush for that) aimed at a broader demographic and drew in more than just one generation. My young daughter and I shared musical interests in the 1990's: from 60's pop to 70's rock, and 80's new wave to 90's dance pop. And nowadays, we still share an enthusiasm for The Beatles, Fleetwood Mac, and even modern artists like Deadmau5 and Band of Horses. 

So let's not send hostile messages to our kids just because they like a certain type of music - which we don't like. They'll figure out in time that maybe that music wasn't really so great or full of life-altering meaning. But sometimes kids'll surprise you and they'll latch onto something of quality, of real artistic value. That might be Black Sabbath, or Rush, or Nirvana, or HEALTH (who I just discovered today and am listening to now... absolutely mind-bending). 

King For a Day

My vintage Elvis 8-track tape. It looks

mint condition... but will it play?

It was on this day way back in 1954 that a young man named Elvis Aaron Presley, signed a contract with Sun Records in Memphis, Tennessee. He also gave his notice at his day job at the Crown Electric Company. Elvis was just nineteen years old, but Sam Phillips at Sun saw potential, initially hiring the lad to cut demos for songs intended for other artists. But it didn't take long for Phillips to realize he had found someone with real talent. 

About a year earlier, Elvis actually went in to Sun to pay for a few minutes in the studio so he could record a couple of songs - and maybe get discovered. The staff there let the kid in and were modestly impressed with his chops. But nothing came of it.

Fast forward to '54 again, and Presley gave it a second stab at the studio mic. Again, nothing. So he took a truck driver job for the studio, and fiddled around singing with local bands. Phillips kept his eye on Elvis and gave him another opportunity. At this recording session, after hours of unsatisfying takes, Elvis grabbed a guitar and went crazy on the 1946 blues tune "That's All Right". Scotty Moore and Bill Black snapped up their instruments, guitar and bass, respectively, and joined in. Everyone loved it, they put it on tape, and suddenly this young unknown singer was a Memphis area radio sensation. 

The trio recorded a single,That's All Right with Blue Moon of Kentucky on the B-side, just days later. Elvis recruited Moore and Black to form a trio. They honed their act with plenty of gigs, and found a regular spot on a radio show that broadcast across the states. America was waking up to this rising star. But it was onstage that Presley developed his signature moves, and audiences ate it up. 

By the time 1955 rolled around, Elvis had added drummer D.J. Fontana to his combo, a formal contract under his belt, and a top promoter, Colonel Tom Parker, on his team. And,well... the rest, as they say, is history. 

Beam me up,Scotty....

70's Genre Fun on the Tube

Looking back, it seems the 1970's were the heyday of great (and maybe some not-so-great, but still memorable) horror and sci-fi on television. I passed from age six to sixteen during that decade, and like most kids, I loved TV and watched more than my fair share of it. 

I came across a lot of movies, some made-for-TV and many theatrical films just getting their first run on the small screen. Remember, you young readers, there were no DVDs or Blu-rays, torrents or streaming video services back then. All we had were movie theatres and TV. That was it. Since that's all we knew at the time, we had no problem with it. And it was a real event, a treat, to see both big and lesser known movies on the tube.

Yul Brynner, getting a little hot under the collar in Westworld

When I was a lad, craving more and more weird and spooky stuff to watch, I religiously scoured the TV listings and noted the flicks to catch. Man, I remember loving movies like The Car, Duel, Westworld (and its unsuccessful TV spin-off series), Futureworld, and Killdozer whenever they hit the box. Those "possessed" machines sci-fi/horror films were a bit of a 70's trend, but then in the 80's, wouldn't you know it, along came Stephen King's Christine, and then the mother of all evil machine movies, Maximum Overdrive. 

On the sci-fi end of things were low-key thrillers like The Andromeda Strain and Capricorn One, both of which have held up well over the years. More action-based was Logan's Run... and I even latched onto its TV series spin-off. Also from the TV studios came Space: 1999 (still a fave), Six Million Dollar Man (which spawned Bionic Woman), Land of the Giants, Planet of the Apes (not nearly as good as the films), Battlestar Galactica (loved it!), and The Starlost (either boring or way over my head, I watched this anyway and then complained about it later). Also forgettable but still worth noting were Man From Atlantis and Buck Rogers in the 25th Century. 

Project UFO was a TV series based around the real-life Project Blue Book, which was a U.S. Air Force team assigned to investigate unexplained phenomena and events. Shows like this filled in the gaps nicely when I wasn't able to watch the aliens in Close Encounters at the theatre again and again. Quark was an oddity, a sit-com about an intergalactic garbage scow... but I was a loyal follower. I'm only touching the tip of the iceberg here... there were so many other shows during the 70's. Most were short-lived and made no impact on the world at large. Only nerds like me even remember them. 

More in the horror vein were late night viewings of old Hammer, AIP, and Amicus films, much to the disapproval of my parents. Violent and gory, these usually featured undead monsters and other supernatural beasties. Lovely stuff! Then there were the Saturday Night at the Movies flicks, which often included the old Universal horrors and sci-fi classics, movies like The Thing From Another World, Frankenstein, Dracula, War of the Worlds, and The Day the Earth Stood Still. Oh, and one of my absolute faves, the original Invasion of the Body Snatchers. Not to mention the Abbott and Costello monster fests. 

Then there were the wildlife-gone-amok movies, like The Swarm, The Killer Bees, Empire of the Ants, Kingdom of the Spiders (this didn't help me get over my arachnophobia at all), Grizzly, and Day of the Animals. I used to read the novelizations of some of these movies in order to re-live them in between showings on TV. Grizzly was one favourite back then... I vaguely remember the gory bits now, but not much else). Oh, and I mustn't forget the bizarre and disturbing rat flicks Willard and its sequel Ben. I thought those were cool back then, but I'm not sure how I'd feel about them now.

Though the amount of media to feed my passion for these genres then was small compared to the myriad of avenues today, I found plenty to keep me going. TV shows back then were coming around, bringing freaky and strange stories to a mainstream audience. For example, the Kolchak: The Night Stalker TV movies and follow-up series were forerunners of The X-Files. Creepy and moody, Night Stalker followed the intrepid journalist Kolchak as he ran down cases that the authorities couldn't rationally explain. So Kolchak ended up battling vampires and all other manner of supernatural and otherworldly beings. 

What'you talking 'bout, robot?

Buck Rogers in the 25th Century... the show

that never should have been

Even comedic takes on unearthly genres ruled the airwaves, with Hilarious House of Frightenstein as one of my favourite kid shows. Hey, they even hooked Vincent Price for that series. Scooby Doo probably doesn't really count, since every ghost or monster was always ultimately unmasked and found to be "Old Man Withers". There were some great Bugs Bunny spoofs, too, my faves being the Jekyll and Hyde episode, and the hilarious Dracula one entitled Transylvania 6-5000. 

Though I didn't see Amityville Horror in the theatre or even on TV until years later, I did purloin a copy of the book in my mother's modest literary collection. That was where I also first found and read Jaws, after I'd fully recovered from my dizzying theatrical viewing.

As you can see, there were other avenues, though not many, to supplement a taste for the macabre, morbid, and otherworldly. When film and TV weren't feeding the fires, there were books, both novelizations and non-fiction, and if you were a rabid fan like me, you'd hunt down the genre magazines like Famous Monsters of Filmland and Starlog. 

The 70's, what a decade... such a fertile landscape for the growth of genre films and shows. I look back fondly on those more "innocent" times, when the discovery of something weird and wonderful opened up a whole new world to me.