Are you tired of the same old Top 100 Classic Rock Songs lists that feature a repetitive selection of artists? We’ve crafted a unique spin on this concept: while you’ll still see all the iconic legends represented below, from Aerosmith to ZZ Top, each artist is limited to just one song. Think of it as a competitive game where everyone showcases their best track.
We’ve anticipated the debates that may arise: “Did we choose the right song to represent each artist?” “Is the song placed correctly in the lineup?” It’s important to note that this approach means that nearly all but one song from even the most legendary artists will be absent. Even with 100 different acts included, we faced numerous “How could so-and-so not make the cut?” discussions while assembling this compilation.
Indeed, crafting this list wasn’t a straightforward task. The following Top 100 Classic Rock Songs list is bound to ignite passionate conversations (it certainly did at the UCR office), but it also serves as the foundation for an exceptional playlist.
100: Sammy Hagar, “I Can’t Drive 55”
What better way to kick off our Top 100 Classic Rock Songs list than with Sammy Hagar and his high-energy anthem, “I Can’t Drive 55?” This track set the tone for a fast-paced start.
By the time he released his 1984 album VOA, Hagar had already spent nearly a decade touring relentlessly and enjoying increasing record sales—don’t forget his hit “Your Love Is Driving Me Crazy.” The message behind this album’s lead single struck a chord with listeners, and coupled with an entertaining music video, it quickly catapulted him to household name status and a prominent arena headlining position.
While we aren’t claiming Hagar was the sole reason behind the late-’80s legislative changes that increased speed limits, it certainly didn’t hurt his popularity. This newfound fame eventually led to his collaboration with Van Halen in 1985. The inspiration for “I Can’t Drive 55,” as Hagar has shared, came from a real incident where he was pulled over for speeding late at night on an empty highway in upstate New York. We suspect the record sales from this song have covered that ticket multiple times over by now.
99: Kansas, “Carry On Wayward Son”
The now-iconic a cappella intro of “Carry On Wayward Son” served as the pivotal hook that enabled Kansas to achieve their first major hit, a long-awaited milestone for the band.
Like many artists of their era, Kansas tirelessly toured and recorded, releasing three albums that enjoyed modest sales while their live audience steadily grew. After some time away to work on their fourth album, 1976’s Leftoverture, lead vocalist Steve Walsh encountered writer’s block. Fortunately, guitarist Kerry Livgren was brimming with creative ideas and had one song that he hadn’t yet shared with the band. Once the members heard the initial concept for “Carry On Wayward Son,” they recognized the songwriting gem they had and rushed into the recording studio without rehearsing the track.
Compared to some of the more progressive moments on Leftoverture, “Carry On Wayward Son” feels concise and focused, even though it spans nearly five and a half minutes. Livgren’s captivating narrative of a man grappling with the voices and visions in his mind is driven by powerful guitar riffs, swelling organ sounds, and solos from nearly every band member. While the story may be tumultuous, the music undoubtedly delivers a jam-packed experience.
98: Scorpions, “Rock You Like a Hurricane”
Since its release in 1984, Scorpions’ “Rock You Like a Hurricane” has become a staple in popular culture, celebrated by shows like The Simpsons, college football teams, and even a novel by Dave Eggers.
Although “Rock You Like a Hurricane” helped propel the German rock band’s album Love at First Sting into the Billboard Top 10, the single itself peaked at No. 25 on the charts. That said, it stands as an archetypal anthem of ’80s metal: featuring a headbanging-worthy riff, thunderous drums, a blistering guitar solo, and an unforgettable chorus—sing it with us now: “Here I am, rock you like a hurricane.”
The official music video, filled with classic ’80s tropes like women dressed as animals, quirky sci-fi elements, and more, perfectly complements the song’s fierce energy. Even orchestral versions of “Rock You Like a Hurricane” sound electrifyingly powerful; just try to resist fist-pumping along while watching the band perform with the Berlin Philharmonic Orchestra.
97: Electric Light Orchestra, “Don’t Bring Me Down”
Electric Light Orchestra’s 1979 hit “Don’t Bring Me Down” may very well be Jeff Lynne‘s most succinct and defining musical statement.
When you hear a Jeff Lynne song from a distance, the signature sound is unmistakable, especially that prominent bass drum. This distinctive booming beat has graced the records of Tom Petty with “Running Down a Dream,” Roy Orbison with “You Got It,” and even the Beatles with “Free as a Bird.” “Don’t Bring Me Down” showcases this iconic drum sound, which, interestingly, is about all the song features. It marks the first track the band released without strings, and by ELO’s elaborate arrangement standards, the song feels remarkably straightforward.
Recorded in Munich during the sessions for ELO’s 1979 Discovery album, “Don’t Bring Me Down” emerged almost entirely from Lynne’s creativity; he crafted the tune on piano and quickly completed the backing track on his own, utilizing a slowed-down drum tape from a previous song to create the track’s signature beat. It’s unclear whether any other ELO members contributed to the track.
This makes it a pure, quintessential Lynne creation, unlike other hits by ELO. While the band had numerous members over the years, from their second album onward, ELO largely served as a vehicle for Lynne’s exceptional songwriting and arranging prowess. “Don’t Bring Me Down” stands as the band’s biggest hit, peaking at No. 4 on the Billboard Hot 100 and No. 3 in the UK, along with strong chart performances in Canada and Australia. As of November 2007, the track logged an impressive two million radio airplays according to BMI. Even as “Evil Woman,” “Mr. Blue Sky,” and “Livin’ Thing” fade into history, “Don’t Bring Me Down” may very well represent Lynne’s most significant recorded legacy.
96: Molly Hatchet, “Flirtin’ With Disaster”
The powerful triple-guitar attack of Jacksonville’s Molly Hatchet propels our list into an exhilarating quest with “Flirtin’ With Disaster,” challenging the auditory endurance of rock music fans everywhere.
Like a torrent of boulders cascading down a mountain, “Flirtin'” bursts forth with the raw energy of the unmistakable voice of frontman Danny Joe Brown, shaping the musical landscape with his boisterous lead vocals, which remain instantly recognizable to this day.
“Flirtin’ With Disaster” serves as a quintessential road song, echoing the themes prevalent in other classic tracks of its kind, encapsulating the fast-paced lifestyle of living hard and dangerously close to the edge. The lyrics touch on themes of financial struggles, corruption, and the urge to reconsider one’s life choices. Brown and Molly Hatchet deliver this story at a breakneck speed, and sadly, the narrative seems to foreshadow Brown’s own health issues that would lead to his departure from the group in 1980.
Although he returned to Molly Hatchet later, further health complications forced him to step away again before his untimely passing in 2005. Today, a reformed version of Molly Hatchet continues to create music, proving they remain a formidable force in the rock scene.
95: Styx, “Renegade”
Finally, the moment has arrived: Styx has made its grand entrance onto our countdown. If you guessed “Renegade,” congratulations—you’ve hit the jackpot!
The third single from the band’s successful 1978 album Pieces of Eight tells the captivating story of a captured outlaw who realizes that his past actions and their consequences are about to catch up with him. Written by guitarist Tommy Shaw, he expressed delight in the song’s enduring popularity, attributing it to its constant radio play and its inclusion in movies and TV shows such as Billy Madison and Freaks and Geeks.
If this list were solely focused on classic rock songs played at sporting events, “Renegade” would undoubtedly rank much higher. Shaw recounted how the Pittsburgh Steelers have used “Renegade” as their defensive rally song for over 12 years. While he admits he’s not the biggest sports enthusiast, Shaw marvels at the effect this song has on large crowds: “I’ve stood in one of the boxes and looked out to see 80,000 people waving their Terrible Towels while ‘Renegade’ plays on the big screen. It’s an incredibly welcoming atmosphere for me.”
94: Blind Faith, “Can’t Find My Way Home”
With a remarkable convergence of talent and rock stardom, Blind Faith claims the No. 94 position on our list with the poignant “Can’t Find My Way Home.”
Formed by the likes of Steve Winwood, Eric Clapton, Ginger Baker, and Ric Grech (from the lesser-known band Family), their legacy is encapsulated in just one studio album. The strength of their songs and performances has made them a lasting favorite among rock enthusiasts. “Can’t Find My Way Home,” a beautiful and melancholic ballad, showcases Winwood’s sweet vocals floating atop intricate acoustic guitar work, with Grech on bass and Baker providing subtle but effective drumming. The warm production by Jimmy Miller amplifies the song’s emotional impact.
Upon its release in August 1969, the album reached the top of both the U.K. and U.S. charts. Interestingly, the controversial cover art, featuring a topless young girl holding a 1956 Chevrolet hood ornament, likely contributed to its commercial success, for better or worse. Clapton went on to establish a successful solo career, while Traffic would eventually reunite, and both Baker and Grech continued their musical journeys, but this one-off collaboration still shines brightly in rock history.
93: George Thorogood, “Bad to the Bone”
George Thorogood and the Destroyers possess a unique talent for delivering rocking covers of blues classics, but they are perhaps best known for one of their own creations: “Bad to the Bone.”
Initially, the track didn’t garner much attention when it was released on the 1982 album of the same name, but it gained significant traction after MTV put the music video into heavy rotation. The video features a live performance by the Destroyers, interspersed with scenes of Thorogood playing pool with Bo Diddley. This wasn’t mere happenstance; George is known for covering Diddley’s “Who Do You Love?” and many music fans have pointed out the similarities between the guitar riff and vocal rhythms in “Bad to the Bone” and Diddley’s classic song “I’m a Man.”
Thanks to MTV, “Bad to the Bone” became a household name, and since then, it has been featured in numerous films, TV shows, and commercials. Additionally, it has become a staple at sporting events across the country, with several professional wrestlers even adopting it as their theme song. Interestingly, in a more lighthearted twist, the track was introduced to a younger audience when Alvin and the Chipmunks covered it for their television series.
Despite “Bad to the Bone” being his most commercially successful offering, Thorogood isn’t particularly keen on revisiting the tough-guy theme. “I’ve covered that topic,” he stated in a 2008 interview. “It was never a dominant theme in my repertoire; it just happened that way. People often propose, ‘I have this great song about a real bad guy in a bar,’ and I respond, ‘I think we have enough songs like that already.’”
Read More: Masterpieces – The Very Best Albums From More Than 100 Bands
92: Grand Funk Railroad, “We’re an American Band”
Though it may be easy to overlook today, Grand Funk Railroad was a dominant force in the music world, selling millions of albums and concert tickets. “We’re an American Band” is their most iconic hit, making it a clear choice for inclusion in this list.
Written by drummer and vocalist Don Brewer, this song captures the essence of life on the road for a rock band and resonated deeply with fans, marking their first significant hit single. Before “American Band,” Grand Funk primarily focused on album-oriented music, but this single changed everything.
Producer Todd Rundgren played a crucial role in refining the band’s sound, adding just the right amount of polish to make the power trio (now a foursome with keyboardist Craig Frost) more radio-friendly. The result was their first No. 1 single and a No. 2 album on the Billboard chart.
This marked the beginning of a series of hit singles for Brewer, Mark Farner, Mel Schacher, and Frost, and to this day, “We’re an American Band” remains the song most closely associated with the mighty Grand Funk Railroad.
91: .38 Special, “Hold On Loosely”
With “Hold On Loosely,” .38 Special and co-writer Jim Peterik of Survivor captured an emotional tug-of-war that resonates with anyone who has ever been young and in love, earning them a well-deserved spot on our list.
The scenario is all too familiar: you meet someone incredible and fall deeply, passionately in love. Naturally, you want to express that undying affection every single day. However, the ensuing pressure can lead to one of two outcomes: either a restraining order or a more relaxed conversation about the need for personal space.
To avoid the latter, vocalist Don Barnes shares the wise advice given to him by a “girl I left some years ago,” who told him, “Just hold on loosely / But don’t let her go / If you cling too tightly / You’re gonna lose control.” This sentiment encourages a healthy balance—allowing space for the relationship to breathe while ensuring everything will turn out just fine.
“Hold On Loosely,” the lead track from the band’s fourth album, 1981’s Wild Eyed Southern Boys, helped set the stage for a series of laid-back hits that .38 Special and Peterik would later create together, all achieving similar chart success.
90: Ram Jam, “Black Betty”
The story behind “Black Betty” by Ram Jam is as wild and unpredictable as the song itself, featuring a lead singer and guitarist who previously played with the Lemon Pipers, known for their hit “Green Tambourine.” Interestingly, the rest of the band members never even contributed to this quirky entry on our Top 100 Classic Rock Songs list.
After the Lemon Pipers disbanded, guitarist Bill Bartlett formed a new group called Starstruck, which later morphed into Ram Jam. The band recorded a rock rendition of Leadbelly’s interpretation of the traditional work song “Black Betty,” releasing it independently. The song quickly became a regional success, eventually catching the attention of New York producers who reconfigured the band and rebranded them as Ram Jam. The track became a commercial hit, reaching No. 18 in the U.S. and climbing into the Top 10 in Australia and the UK.
Listening to “Black Betty” today evokes nostalgia for a simpler time in the music industry, as this type of song is unlikely to be replicated. The track kicks off with a thunderous kick drum, followed by Bartlett’s impressive guitar riffs and the unforgettable “Whoa, black Betty, bam-ba-lam” refrain. The song is reminiscent of a glammy version of “Mississippi Queen,” with synth washes adding an extra layer of excitement, perfect for rocking out in a concert hall or on a dance floor.
As the song progresses, listeners are treated to a surprise: a two-minute Allman Brothers-style jam that takes over two-thirds of the song’s runtime, along with audible tape splices. Ram Jam’s raw enthusiasm shines through, defying traditional musical structure and inspiring countless artists to attempt to recreate the magic, yet none have come close.
89: John Cougar, “Jack & Diane”
As summer approaches (or when you simply wish it were here), there’s no better classic to revisit than John Mellencamp‘s “Jack & Diane.” Released under the name John Cougar, the song remains his biggest hit, enjoying a four-week reign at the top of the Billboard Hot 100. Its success played a significant role in establishing 1982’s American Fool as Mellencamp’s breakout album.
“Jack & Diane” endures because of its nostalgic longing for simpler times. The titular characters are two lovestruck teenagers living in a small town where “sucking on chili dogs / outside the Tastee Freeze” represents the pinnacle of romance, making city life seem far less appealing. The lyrics are enriched by the perspective of an outside observer—likely someone reflecting on their youth—who gently reminds us: “Hold on to 16 as long as you can / Changes come around real soon / Make us women and men.”
The instrumentation and arrangement further enhance this nostalgic vibe. Mellencamp’s long-time band, featuring guitarists Mike Wanchic and Larry Crane, drummer Kenny Aronoff, bassist Robert Frank, and keyboardist Eric Rosser, deliver a restrained performance. The song features handclaps, splattering percussion, gentle acoustic strumming, and soft piano, except for a bridge featuring soulful gang vocals, largely credited to guitarist and backing vocalist Mick Ronson for its cohesion.
American Fool solidified another fruitful collaboration, marking the second album Mellencamp worked on with producer Don Gehman. Their partnership continued through 1983’s Uh-Huh, 1985’s Scarecrow, and 1987’s The Lonesome Jubilee. Gehman earned a reputation for his masterful touch with folk-infused pop music, leading to collaborations with other stars like R.E.M..
Ultimately, the universal themes of “Jack & Diane”—the thrill of young love and the feeling of youth lasting forever—still resonate with audiences today.
88: Yes, “Roundabout”
From the dramatic fade-in, classical-style guitar riff, and thunderous bass, Yes’ “Roundabout” stands as a masterpiece and one of the quintessential tracks in the progressive rock genre.
As the opening track on the band’s fourth album, 1971’s Fragile, its power remains undiminished since its release. Yes had already made significant strides toward reaching a broader audience with their third release, The Yes Album, but Fragile propelled them into the upper echelon of rock bands.
This album marked the debut of new keyboardist Rick Wakeman, joining the already stellar lineup of Chris Squire, Steve Howe, Bill Bruford, and Jon Anderson. Released at the peak of the progressive rock movement, both Fragile and “Roundabout” helped define the genre.
The intricate musicianship, dynamic rock sound, strong melodies, and brilliant harmonies rendered it irresistible to both underground FM radio and the Top 40, where a three-minute edit of the eight-minute masterpiece climbed to No. 13 on the U.S. Top 100 singles chart.
Though Yes would venture into even more audacious territory, sometimes straying into the avant-garde (yes, we’re looking at you, Relayer), this track remains their high watermark. To this day, it sends chills down the spine of devoted prog fans.
87: War, “Low Rider”
From the opening percussion and infectious bass line to the wailing saxophone outro, War delivered an irresistible funky groove with “Low Rider.” Released in the summer of 1975, the song climbed all the way to No. 7 on the charts.
War’s unique sound blended funk, Latin, jazz, rock, soul, and pop, creating a style that was distinctly their own. “Low Rider” offered a groove that was both slinky and chunky, complemented by the funk-infused vocals and a catchy harmonica riff played by the talented Lee Oskar—one of the masters of the instrument.
This song became ubiquitous that summer and has since lived on in popular culture, being featured in countless movies, commercials, and television shows, while also receiving airplay on classic rock and oldies radio stations.
Originally starting as the backing band for Eric Burdon, War made a considerable mark on music history with tracks like “Low Rider.”
86: Steppenwolf, “Born to Be Wild”
With “Born to Be Wild,” Steppenwolf crafted not just a timeless rock anthem but also an iconic soundtrack for open-road bikers, solidifying its status as one of the defining tracks of its time.
Written by Mars Bonfire, who was not a member of the band but had previously played with Steppenwolf leader John Kay in the Sparrows, “Born to Be Wild” debuted on their self-titled album and was released as a single, narrowly missing the No. 1 spot in the summer of 1968. Its greatest success, however, came a year later when it featured prominently in the classic film Easy Rider. From that point forward, it became synonymous with themes of freedom, rebellion, and the spirit of rock and roll.
One notable aspect of “Born to Be Wild” is the inclusion of the phrase “heavy metal” in the lyrics: “I like smoke and lightning / Heavy metal thunder.” There is some debate over whether this was the first instance of the term being used before it became a recognized music genre, but regardless, it remains one of the most identifiable references. So go ahead and rev those engines—it’s time to get your motor runnin’!
85: Marshall Tucker Band, “Can’t You See”
While they drew inspiration from their Capricorn Records label mates, the Marshall Tucker Band was more than just a band at the right place and time.
They joined the ranks of Southern rock bands such as the Allman Brothers and Lynyrd Skynyrd, who were enjoying significant success in the late ’60s and early ’70s. However, the Marshall Tucker Band opted for a more sincere approach focused on making unforgettable music rather than embracing the rebellious image.
“Can’t You See” effectively merges Southern rock and country-rock in a laid-back manner, but the lyrics convey a darker narrative: “I’m gonna find me a hole in the wall / I’m gonna crawl inside and die / ‘Cause my lady now … never told me goodbye.” This isn’t your typical love song; it tells the story of a man fleeing from his heartache, attempting to heal himself. The poignant lyrics are beautifully complemented by guitarist Toy Caldwell’s optimistic guitar work, yet an overarching feeling of sadness permeates the song.
Although “Can’t You See” stalled at No. 75 on the Billboard chart in September 1977, its curious failure did not deter artists like Kid Rock, Poison, Black Stone Cherry, and the Allman Brothers from covering this classic track.
84: The James Gang, “Funk #49”
The James Gang was a significant force in their hometown of Cleveland, but they are perhaps best known as the launching pad for future Eagles guitarist Joe Walsh. Other notable members included Tommy Bolin from Deep Purple and Mark Avsec of Donnie Iris & the Cruisers and Wild Cherry.
“Funk #49” — the opening track on their 1970 album James Gang Rides Again — solidifies their place in the classic rock canon. The song’s enduring popularity can be attributed to Walsh’s snaking riffs that seamlessly blend country-influenced boogie with bluesy slide guitar and traditional rock elements, all while maintaining an effortlessly funky groove.
The tone of “Funk #49” not only foreshadowed Walsh’s work with the Eagles, but it also laid the groundwork for the sound of the decade ahead. The song’s success further cemented Walsh’s collaboration with long-time producer Bill Szymczyk, with whom he worked for years.
While “Funk #49” is a guitarist’s delight, it also showcases a level of inventiveness that often goes unrecognized. The bridge, featuring wild-animal noises and percussion reminiscent of the Rolling Stones’ loose-hipped rhythms, enhances the song’s celebratory vibe. “Funk #49” has become a staple for musicians across genres, appearing in everything from skateboarding documentaries to indie rock concerts.
83: The Pretenders, “Brass in Pocket”
By the time Chrissie Hynde and her band, The Pretenders, released their landmark hit “Brass in Pocket,” they had already cycled through three lineups—before achieving chart success. This, their third single, marked their first U.K. No. 1 and reached No. 14 on the Billboard Hot 100.
The “brass” in the song’s title refers to “money,” derived from a bit of Yorkshire slang that Hynde picked up from a fellow band member. However, Hynde’s vocal interpretation imbues that brass with a far deeper meaning: it symbolizes confidence and the determination she feels when envisioning her desires and how to achieve them.
Consider the role of women as band leaders and songwriters in rock music until the Pretenders’ arrival. While many great female vocalists and songwriters existed, few women successfully led a band. Hynde’s emergence changed that narrative, establishing the bandleader role as a position that could be filled by women just as easily as men.
“Brass in Pocket” also stands out as one of the premier singles from the so-called “new wave” era. This term may seem awkward, evoking images of synth-heavy pop and distinctive hairstyles. Yet, this new wave was more about artistic integrity than the rock excesses of the ’70s, made possible by the raw energy of punk. For the Pretenders—and bands like XTC, Elvis Costello, Blondie, and many others—this philosophy emphasized strong songwriting anchored by superb musicianship.
Ultimately, “Brass in Pocket” serves as a fantastic song that continues to resonate.
82: The Animals, “House of the Rising Sun”
Though the origins of “House of the Rising Sun” date back to the early ’30s, The Animals first encountered the song through Bob Dylan’s debut album.
This folk tune was passed down through generations, ultimately reaching the hands of Greenwich Village folk mainstay Dave Van Ronk, who added his own twist to the piece. His rendition became the foundation for Dylan’s version in 1962, and subsequently, the Animals drew inspiration from it for their own interpretation.
Amid the British Invasion in the summer of 1964, The Animals’ “House of the Rising Sun” achieved the top position on both the U.K. and U.S. charts. Alan Price‘s haunting Hammond organ and Eric Burdon‘s passionate vocals perfectly complemented the track.
This song not only became The Animals’ signature piece but also planted the initial seeds for the folk-rock genre. Set apart from most other British Invasion sounds, this record stands alone as a unique entity.
81: T. Rex, “Bang a Gong (Get It On)”
T. Rex boasts what is perhaps the only entry on our list with two distinct titles.
“Get It On” was the song’s original title in the U.K., and Marc Bolan and his group took the track from Electric Warrior to No. 1 in 1971. When the single was released in the U.S., it was re-titled “Bang a Gong (Get It On)” to avoid confusion with another song of the same name by the band Chase. This single would become T. Rex’s defining moment and their biggest-selling hit.
The hypnotic groove of this Tony Visconti-produced track begs for repeated listens. The boogie-like piano, backup vocals from Flo and Eddie of The Turtles, and Bolan’s edgy guitar merge with suggestive lyrics that radiate like the “hub-cap-diamond-star-halo” he sings about.
Bolan discovered rhythm in his words and will forever be remembered as a poet turned rock star. “Bang a Gong (Get It On)” remains an integral part of pop culture; it has been covered by The Power Station, recorded live by Blondie, and serves as a learning tool for aspiring guitarists, as noted by Joan Jett, who mentioned it as one of the songs she learned to play guitar with.
80: Jefferson Airplane, “Somebody to Love”
“Somebody to Love” was first recorded by an obscure Bay Area band called The Great Society, which featured Grace Slick on vocals and her brother Darby on guitar. The latter also penned the song, originally titled “Someone to Love.”
However, it wasn’t until Slick recorded it with her next group, Jefferson Airplane, that “Somebody to Love” resonated with a broader audience. This version boasts a faster tempo, enhanced guitars, and drums, along with a commanding performance from the frontwoman.
Slick’s hesitation in the Great Society rendition dissipates as she powerfully belts out the unforgettable chorus: “Don’t you want somebody to love? / Don’t you need somebody to love? / Wouldn’t you love somebody to love? / You better find somebody to love.” A blend of longing and disdain permeates her smoky voice, marking her emergence as one of rock music’s most exceptional female vocalists.
While Jefferson Airplane were already at the forefront of the San Francisco psych-rock scene, “Somebody to Love” marked the band’s ascent into the mainstream, reaching No. 5 on the Billboard chart and propelling their album, 1967’s Surrealistic Pillow, to No. 3.
More significantly, this song had a profound impact on the traditionally male-centric music culture, paving the way for female vocalists from Janis Joplin to Adele.
79: Pete Townshend, “Let My Love Open the Door”
Released in 1980, “Let My Love Open the Door” was the lead single from what is often referred to as Pete Townshend‘s first “official” solo album, following Who Came First and Rough Mix.
The captivating keyboard intro may serve as the blueprint for many ’80s hits that followed; it’s deceptively simple yet incredibly catchy. During a 1985 radio special titled My Generation, Townshend’s manager expressed his initial discontent with the song, believing it should have been cut from the album. He later called Townshend to apologize after it became a major success, eventually breaking into the Top 10.
Various renditions of this song exist, including a slower 1997 E. Cola Mix featured on the soundtrack for the film Grosse Pointe Blank. If you were a fan of the television show Burn Notice, you might have recognized a remake used as its closing theme.
Over time, “Let My Love Open the Door” has occasionally been interpreted as a religious anthem, with lines like “There’s only one thing that’s going to set you free and that’s my love.” Townshend has vaguely commented on its meaning, suggesting “Jesus sings.” Yet, if there is a singular intended interpretation, it remains somewhat elusive.
78: America, “A Horse With No Name”
Considering that their band name is America and they comprise American members, it may come as a surprise that the group in the No. 78 spot on our list was actually formed in England.
“A Horse With No Name” became America’s most renowned single, propelling their debut album to achieve platinum status in the United States. Interestingly, the song was not included on the album’s initial release. Initially met with tepid responses from U.K. audiences, the band’s label requested they return to the studio to demo four new songs, one of which was ultimately rebranded as the now-iconic track.
Co-founder Dewey Bunnell has openly credited Neil Young as a significant influence on his music, which is evident here, as his lead vocals bear a striking resemblance to Young’s style, with harmonies echoing those of Young’s bandmates in Crosby, Stills & Nash. “A Horse With No Name” eventually climbed to the No. 1 position on the Billboard Hot 100, ironically overtaking Young’s “Heart of Gold” in the process.
Although America went on to achieve several additional hits, they will forever be remembered as the band that observed “plants and birds and rocks and things” during their desert journey.
77: Mountain, “Mississippi Queen”
Mountain crashes into our list with one of the most recognizable riffs of all time, as featured in “Mississippi Queen.”
This 1970 classic packs a powerful punch in just two and a half minutes. The song begins with a cowbell, setting the stage, before guitarist Leslie West delivers the iconic introduction. Fresh off their legendary Woodstock appearance the year before, Mountain was on the rise in 1970, and “Mississippi Queen” helped propel them into rock royalty.
As the lead track from their first album, Climbing, the single reached No. 21 on the Billboard Hot 100 early that year. West’s fierce guitar work, combined with the rhythm section of Corky Laing on drums and Felix Pappalardi on bass, resulted in a powerful trio that left a lasting impact.
“Mississippi Queen” has since become a legendary example of hard rock, inspiring aspiring guitarists for decades to come.
76: Nazareth, “Hair of the Dog”
If the band had their way, the title of Nazareth’s entry on our Top 100 Classic Rock Songs list might have been a bit more straightforward than it is now.
If you’ve ever wondered why they didn’t simply title their smash hit 1975 album and its title track “Son of a Bitch,” the lead singer Dan McCafferty shares insights: “We wanted to call the album Son of a Bitch, but the record company went berserk.” He later recounted, “They said, ‘You can’t say that.’ We replied, ‘F— off, John Wayne says that in his movies and he’s the coolest thing you’ve got.'” (By “you’ve,” the Scottish singer likely meant “America.”)
Ultimately, the label won, and an attempt by the band to clarify the title as “Heir of the Dog” was also rejected, leaving us with the ambiguous innuendo we have today. Guns N’ Roses loved the song enough to cover it for their 1993 album The Spaghetti Incident?, and both Britney Fox and Warrant also delivered their own versions. Yet, with the rare exception of Motley Crue perfecting “Helter Skelter,” the original remains the king.
75: Buffalo Springfield, “For What It’s Worth”
Despite their brief two-year tenure (1966 to 1968), the influence of Buffalo Springfield’s “For What It’s Worth” continues to resonate today.
Released approximately 12 years into the Vietnam War, the song has often been interpreted as an anti-war anthem. In reality, “For What It’s Worth” was penned by Stephen Stills as a response to the escalating tensions between the Los Angeles police and club-goers on the Sunset Strip.
The unrest began when officials enforced a strict 10 PM curfew, implemented to reduce the number of young people congregating in the area. The Los Angeles County Board of Supervisors believed that a strict approach was necessary, leading to the rescinding of “youth permits” for 12 clubs popular among youths. This sparked protests, including six consecutive weekends of demonstrations against the enforcement of the bylaw.
The most significant unrest occurred on November 12, 1966, during the first night of protests, resulting in vandalism, a disabled city bus, and over 200 arrests.
<p"For What It's Worth" peaked at No. 7 on the Billboard Hot 100 in 1967 and has since been covered by artists such as Keb Mo, Rush, and Ozzy Osbourne. It has also been sampled by the hip-hop group Public Enemy for their track “He Got Game.”
74: Manfred Mann’s Earth Band, “Blinded By the Light”
What does a British jazz-blues band know about life on the Jersey shore? Probably not much, but that didn’t stop Manfred Mann’s Earth Band from taking Bruce Springsteen’s “Blinded By the Light” to No. 1 in 1976 and into our Top 100 Classic Rock Songs list.
The Earth Band emerged in 1971 from the remnants of the original Manfred Mann band, replacing their garage rock sound with a more progressive approach that incorporated classical elements. However, like their predecessor, they weren’t particularly prolific songwriters and often relied on external composers.
Mann frequently covered Bob Dylan, achieving a Top 10 hit with “The Mighty Quinn” in 1968. By coincidence, Springsteen had just broken through with Born To Run and was one of many “New Dylans” at the time. It made sense for them to cover one of his songs, especially since Springsteen had performed Mann’s “Pretty Flamingo” and “Sha La La” in concert previously.
In a 2005 VH1 Storytellers session, Springsteen explained the song’s lyrics, describing it as a “young musician’s tale” filled with autobiographical elements, and a collection of adventures. The opening line’s “madman drummer” and “teenage diplomat” refer to him and original E Street Band member Vini “Mad Dog” Lopez among other experiences that weave through the narrative.
Manfred Mann’s Earth Band transformed the original’s loose, folk vibe into a more hard-hitting version, featuring an extended guitar solo, Moog synthesizer, and an unexpected snippet of the children’s piano lesson “Chopsticks.” The band’s rendition became the only version of a Springsteen song to reach No. 1, while Springsteen’s “Dancing in the Dark” peaked at No. 2, just behind Prince‘s “When Doves Cry.”
73: Lou Reed, “Walk on the Wild Side”
Lou Reed’s “Walk on the Wild Side” may have been the first widely recognized transvestite rock song in middle America.
When Reed released it in late 1972, he managed to land a No. 29 hit with a song that intertwined themes of oral sex, Valium, and “colored girls” into a compact four-minute masterpiece.
“Walk on the Wild Side” immortalizes some of Andy Warhol’s friends, as Reed—the narrator—delivers cool, rap-like observations about a colorful group of drag queens and hustlers that surrounded Warhol. Reed’s connection to that scene allows him credit for helping America embrace its wild side.
The single comes from the album Transformer, which was co-produced by David Bowie and Mick Ronson, both of whom were at their creative peaks. The collaboration of these three iconic artists resulted in an unforgettable track.
72: Foreigner, “Juke Box Hero”
Foreigner’s “Juke Box Hero,” from their blockbuster 1981 album 4, invites listeners into an unfolding rock and roll fantasy that captures the experience of being a fan in the ‘80s.
The song pays tribute to the rock and roll dreamer, inspired by a real-life fan that Lou Gramm encountered outside a sold-out Foreigner concert: “Standing in the rain / With his head hung low / couldn’t get a ticket / It was a sold out show.”
The legendary tale behind “Juke Box Hero” reveals that Gramm invited a fan to escape the rain and watch the band perform from the side of the stage, offering that lucky ticket holder the ultimate backstage experience.
The song’s driving bass line underpins a shadowy vocal from Gramm, who recounts how the sounds of that sold-out show and a specific guitar fueled the inspiration of the future “juke box hero.” By the time the song concludes, you can almost feel the adrenaline racing as the lights and crowd’s sounds start to fade.
For years, “Juke Box Hero” has remained a concert staple, often featured late in the set. In fact, Foreigner concerts during the ‘80s and early ‘90s included a giant inflatable jukebox that would rise dramatically as they performed the song.
71: Janis Joplin, “Piece of My Heart”
Janis Joplin stands as one of the few female artists featured on our Top 100 Classic Rock Songs list. Much like Jim Morrison, she possessed an unyielding spirit that intimidated no one—man, woman, or child.
“Piece of My Heart” was initially penned and recorded in 1967, but it didn’t gain mainstream traction until Big Brother and the Holding Company (including Joplin) covered it in 1968. Taken from the band’s album Cheap Thrills, their version peaked at No. 12 on the U.S. pop chart.
Though Erma Franklin (Aretha’s older sister) recorded it first, she reportedly didn’t recognize Joplin’s rendition when she first heard it on the radio, as Joplin’s vocal arrangement significantly diverged from the original, drawing on blues conventions to express her sorrow.
This young Texan singer dared listeners to “take it, break it and have another piece” of her heart while her San Francisco band electrified what would later be termed “acid rock.” Joplin established herself as a force to be reckoned with, following up the line “you know you got it” with one of the most legendary howls ever recorded.
70: Talking Heads, “Burning Down the House”
Our next artist on the Top 100 Classic Rock Songs list had the honor of opening for the Ramones at the iconic NYC club CBGB’s in 1975—a stellar launch point for their career.
“Burning Down the House,” from the Talking Heads’ 1983 album Speaking In Tongues, became the group’s biggest hit, thanks in part to the song’s innovative video that received endless rotation on MTV. The single peaked at No. 8 on the Billboard Hot 100.
Defined by the new-wave sound characteristic of the band, the song is particularly noted for the nonsensical phrases sung by vocalist David Byrne. If there’s any hidden meaning behind lines like “Cool babies, strange but not a stranger,” he certainly kept it under wraps.
In a 1984 NPR interview, Byrne explained that he aimed to sing phrases that matched the song’s rhythm, influenced by their producer friend Brian Eno. He mentioned having “loads of phrases” that thematically connected, ultimately piecing together the lyrics heard in the song.
Interestingly, following the 9/11 attacks, “Burning Down the House” was flagged by media giant Clear Channel as potentially inappropriate for airplay.
69: Rod Stewart, “Maggie May”
Though this song is one of the few that Rod Stewart actively contributed to during his solo career, neither he nor his label initially thought too highly of “Maggie May,” relegating it to B-side status on the “Reason to Believe” single.
Fortuitously, the public had other plans for “Maggie,” propelling it to No. 1 on the Billboard charts for an impressive five weeks in October 1971, solidifying it as a fitting representation of Stewart on our list.
Stewart co-wrote the song with Martin Quittenton, drawing inspiration from a particularly saucy episode in his past. During a 2007 interview with Q, he candidly shared that it was “more or less a true story about the first woman I had sex with at the Beaulieu Jazz Festival.”
Initially, the track almost didn’t make it onto Every Picture Tells a Story after his label claimed it lacked a melody. In a stroke of luck, Stewart insisted it be included as time was running out: “Alright then, bring it on.” The song cemented Stewart’s marketability as a solo artist, complicating relationships with his bandmates in the Faces.
While Stewart remained with the group until their split in 1975, they were occasionally marketed as the “Faces with Rod Stewart,” creating tension in their dynamic. For Stewart, “Maggie May” marked the beginning of a successful string of hit singles and albums that would last for years. He wouldn’t release a solo LP outside the Billboard Top 40 for another 27 years, with 1998’s When We Were the New Boys.
As for the identity of Maggie, she remains a mystery. The song’s title was derived not from the woman in the narrative, but from a traditional British folk song about a prostitute who robs a sailor—a thought to ponder during your next singalong.
68: Don Henley, “The Boys of Summer”
Unfazed by the legacy of the Eagles that loomed over him, Don Henley achieved respectable success with his 1982 solo debut, I Can’t Stand Still. His follow-up, 1984’s Building the Perfect Beast, solidified Henley’s ability to soar solo, giving us the No. 68 track on our list.
“The Boys of Summer,” a coming-of-age anthem, stands as one of Henley’s finest moments. Co-written with Mike Campbell of Tom Petty and the Heartbreakers, the song rocketed to No. 5 on the Billboard Top 100 in 1984, earning Henley a Grammy for Best Male Rock Vocal Performance.
In stark contrast to Henley’s often-criticized work with the Eagles, “The Boys of Summer” provided him with both commercial and critical acclaim.
67: Motley Crue, “Home Sweet Home”
By 1985, Motley Crue‘s logo and imagery had already made an indelible mark on the notebooks of every hard rock and metal-loving teenager. However, it was the overwhelming success of the album’s soaring ballad “Home Sweet Home” that propelled them to new heights and ultimately earned them a spot on our Top 100 Classic Rock Songs list.
The track quickly became a cultural touchstone, igniting (for better or worse) the power ballad trend and reportedly prompting MTV to alter their rules to prevent the song’s imitated video from monopolizing their call-in shows.
“Home Sweet Home” is primarily recognized for its tender piano intro and outro crafted by drummer Tommy Lee, but it also showcases the band’s hard rock roots, highlighted by the majestic and anthemic soloing from guitarist Mick Mars, which dominates the song’s climactic second half.
Although “Home Sweet Home” is known for its emotional depth, the hard-rocking edge of the band remains intact, showcasing their signature sound while appealing to a broader audience.
66: Phil Collins, “In the Air Tonight”
When you think of Phil Collins, the iconic, dam-bursting drum beat of his 1981 hit “In the Air Tonight” is likely one of the first things that come to mind. Despite its fame, this Top 100 Classic Rock Song emerged from one of Collins’ darkest periods.
A divorce from his first wife, Andrea, provided the backdrop for his solo debut album Face Value, which is a raw exploration of emotional despair and anger stemming from that loss. “In the Air Tonight” captures Collins’ rage in a menacing tone, underscored by a minimally programmed drum machine.
His vocals reflect newfound confidence, heralding a sense of redemption as he sings about clarity and understanding. The famous lyric, “So you can wipe off that grin / I know where you’ve been / it’s all been a pack of lies.” encapsulates the emotional intensity of the track.
The song’s centerpiece is undoubtedly the unforgettable mid-song drum breakdown, elevating the energy levels of “Air” to unprecedented heights. Collins thrashing around his drum kit has become a now-iconic visual, famously replicated in a segment of the “Grand Theft Auto” video game series, where he is pursued by villains during a performance of “In the Air Tonight.” A less dramatic rendition can be found on the Live at Montreux DVD recorded in 2004, as Collins faced back issues that forced him to temporarily retire from drumming.
After a hiatus, Collins returned to recording and touring in 2015. If he ever requires an extra hand onstage, Mike Tyson seems prepared to step in. Regardless, “In the Air Tonight” will always stand as one of Collins’ crowning achievements.
65: Bachman-Turner Overdrive, “You Ain’t Seen Nothing Yet”
While record label executives often face criticism for interfering with the creative process, Bachman-Turner Overdrive‘s entry into our Top 100 Classic Rock Songs list may not have emerged at all if not for their A&R guy.
Randy Bachman later revealed that he never intended for “You Ain’t Seen Nothing Yet” to be included on 1974’s Not Fragile. He recorded it for fun, complete with stammering “Bu-bu-bu-baby” vocals as a playful homage to his brother, Gary, who had a stutter: “It was pretty much just an instrumental, and I was fooling around,” he explained. “I wrote the lyrics out of nowhere and stuttered through them.”
When Mercury Records A&R executive Charlie Fach listened to the finished eight-song version of the album, he declared he “didn’t hear that magic thing.” (It’s puzzling why he overlooked the storming title track.)
After discovering the demo for “You Ain’t Seen Nothing Yet,” Fach was impressed and, following a failed attempt to re-record it without the stutter, agreed to include it on Not Fragile as is. When the song started getting more radio attention than the officially released single “Roll on Down the Highway,” Fach had to relent.
Once officially released, “You Ain’t Seen Nothing Yet” soared to No. 1 on the pop chart and has since become one of the band’s most beloved tracks. The song remains a recurring favorite on radio playlists and has appeared in numerous movies and TV shows over the years.
64: Stevie Nicks, “Edge of Seventeen”
“Edge of Seventeen (Just Like the White Winged Dove)” was the third single from Stevie Nicks‘ debut solo album, 1981’s Bella Donna. The story behind this entry in our Top 100 Classic Rock Songs is one of musical lore.
The title originated from a conversation Stevie had with Tom Petty‘s first wife, Jane, about their first meeting. Jane mentioned they met at the “age of seventeen,” but her thick Southern accent made it sound like she said “edge of seventeen”—a phrase that captivated Nicks and led her to use it as a song title.
Initially intended to be about the Pettys, the song’s focus shifted when both her beloved uncle Jonathan and music icon John Lennon passed away during the same week in December 1980. Nicks later revealed that the “white-winged dove” mentioned in the lyrics symbolizes the spirit leaving the body upon death, while some verses recount her experiences leading up to her uncle’s demise.
“Edge of Seventeen” reached No. 11 on the Billboard Hot 100 in early 1982, and it remains one of Nicks’ most recognized tracks. The distinctive guitar riff, played by her longtime guitarist and session musician Waddy Wachtel, is so iconic that it was sampled in Destiny’s Child‘s song “Bootylicious,” and Nicks even made a cameo in the accompanying video.
63: Billy Joel, “Piano Man”
Somewhere right now, Billy Joel’s “Piano Man” is playing.
Whether it’s on a jukebox, in the produce section of your local grocery store, on the radio, or in your head, this song is woven into the fabric of our lives, earning its place in our Top 100 Classic Rock Songs list.
Its enduring presence stems from its relatability—it’s soft, easy to listen to, and pleasantly nostalgic, although if you think too deeply about the sad characters depicted in its lyrics, you might feel a pang of melancholy. Regardless, it’s undeniably a great song.
Drawing inspiration from his time as a piano player in an L.A. bar between recording contracts, Joel paints a vivid picture of the people who frequent a watering hole on a Saturday night, seeking to “forget about life for a while.” You can almost visualize the haze of cigarette smoke and hear the clinking of glasses.
Interestingly, the song was initially edited down to fit radio formats when first released as a single in 1973, ultimately peaking at No. 25 on the Billboard charts. After Joel’s breakthrough album The Stranger achieved success in 1977, “Piano Man” gained traction, ultimately becoming synonymous with Joel himself.
Decades later, after a successful run of radio-friendly piano pop and a few decades of being a punchline for late-night talk show hosts, it may be tempting to dismiss Billy Joel. However, the next time “Piano Man” plays in your vicinity, take a moment to truly absorb it. Let it paint a vivid picture for you, showcasing the brilliance of Billy Joel’s storytelling. Great songs tell stories, and whether you’ve spent time in a piano lounge or not, “Piano Man” captures a specific moment and essence every time it plays—whether you’re in a dentist’s office or enveloped in your headphones.
62: Golden Earring, “Radar Love”
With their 1973 hit “Radar Love,” Golden Earring made a significant mark on the U.S. record-buying public.
Formed in 1965 in the Netherlands, Golden Earring had been releasing fantastic records for nearly a decade, yet nothing had truly caught fire in the U.S. market. Their highly recommended 1973 album Moontan changed that, as FM radio began spinning tracks like “Vanilla Queen” and “Candy’s Going Bad,” while the driving rocker “Radar Love” made its way into Top 40 radio, peaking at No. 13 on the Billboard charts.
Built around an insistent rhythm and memorable riff, the song follows its protagonist, who has been “driving all night, hands wet on the wheel”, listening to Brenda Lee’s “Comin’ On Strong”—another driving number in its own right!
While “Radar Love” opened the door for Golden Earring in the U.S., it wouldn’t be until the ’80s that they achieved another major hit with “Twilight Zone.”
As with many artists on this list, Golden Earring is far more than the one or two songs they are known for. Albums like Switch, Seven Tears, Winter Harvest, and Wall of Dolls deserve your attention and will not disappoint.
61: Stevie Ray Vaughan, “Pride and Joy”
Stevie Ray Vaughan’s “Pride and Joy” took a long and storied path to earning its spot on our Top 100 Classic Rock Songs countdown.
After an electrifying performance at the Montreux Jazz Festival in 1982, Vaughan left the gig feeling disheartened, believing the audience’s reception was lukewarm. Little did he know that David Bowie and Jackson Browne were in attendance.
Shortly thereafter, both artists extended generous offers to launch Vaughan’s career: Bowie invited him to play on his 1983 album Let’s Dance, while Browne offered him studio time to record his debut album, Texas Flood, ultimately leading to a recording contract.
By the end of that year, Vaughan was featured on six different hit singles—four from Bowie’s album and two from his own, including “Pride and Joy.” Once this “sweet little thing” hit the airwaves, it garnered significant attention. Vaughan and his band, Double Trouble, were revitalizing the blues genre, and radio play was a testament to that.
Some argue Vaughan single-handedly revived blues music, introducing it to a new generation. “Pride And Joy” became a Top 20 hit in the U.S., marking the start of a remarkably successful career tragically cut short by his death in a helicopter crash in 1990.
60: Foghat, “Slow Ride”
Why wouldn’t Foghat’s “Slow Ride” earn a spot on our Top 100 Classic Rock Songs list?
This eight-plus minute track from the 1975 album Fool For the City weaves its way into your subconscious, starting with a steady drum beat that invites you to tap along as the iconic guitar riff kicks in.
Just seconds into the song, cymbals surround a woozy slide guitar riff from Rod Price, setting the stage for vocalist “Lonesome” Dave Peverett to deliver the soul-stirring chorus: “Slow ride / take it easy / Slow ride / take it easy.”
Simple enough, right? Following a few repetitions, Peverett shifts into the verse: “I’m in the mood / the rhythm is right / We can roll all night / Move to the music.” This track has become the soundtrack for many “lost weekends,” with its infectious spirit resonating through time.
A new generation of music fans rediscovered “Slow Ride” in the early ‘90s due to its prominent placement in the stoner comedy Dazed and Confused. The band was focused on building a following during a time when they were struggling to gain visibility, all while perfecting their unique blend of “boogie rock,” which heavily relied on the application of slide guitar.
Ultimately, this recipe resulted in five gold-selling albums and several charting hits in the ’70s. Following a quieter period for the band, members drifted apart for a few years, but Foghat eventually reunited, with drummer Roger Earl as the sole remaining original member after the deaths of both Peverett and Price. Former Ted Nugent vocalist Charlie Huhn has helped lead the group through their well-received 2010 release Last Train Home.
59: The Kinks, “You Really Got Me”
If you’re searching for the definitive riff in rock music, look no further than The Kinks‘ 1964 hit “You Really Got Me,” the next entry in our Top 100 Classic Rock Songs list.
This primal track, released during the height of the British Invasion in the summer of 1964, inspired countless bands across various genres. The roots of punk, heavy metal, and garage rock can all be traced back to this explosive two-and-a-half-minute burst of energy.
Ray Davies’ simplistic almost neanderthal riff—played by brother Dave Davies—alongside the raw production from Shel Talmy set them apart from the other bands taking America by storm that year. While the Beatles leaned towards refinement, the Animals embraced blues, and Gerry & The Pacemakers opted for pop, the Kinks delivered a ferociously loud rock and roll experience.
This iconic riff paved the way for countless songs that followed—just ask The Who, AC/DC, The Clash, Van Halen (who covered it), Blur, and Jack White.
One of rock’s greatest songwriters, Ray Davies went on to compose a series of remarkable singles and albums. The Kinks’ catalog from 1964 through 1970 can stand up to any of their more popular contemporaries.
58: Steve Miller Band, “The Joker”
After a streak of blues-influenced albums, 1973’s “The Joker” marked a shift in the Steve Miller Band’s music and songwriting style, leading to some of the biggest hits of their career. It’s clear why this song initiated Miller’s rise to superstardom.
Featuring a catchy guitar riff and instantly quotable lyrics, “The Joker” is almost so absurd it feels brilliant—or perhaps it’s so brilliant it seems absurd.
Regardless, any discussion surrounding “The Joker” must address the song’s central inquiry: What, exactly, is “the pompatus of love?” Initially, it meant nothing, but over time, it evolved into a neologism—a newly coined term that may eventually gain acceptance into mainstream language.
Whether “pompatus” will ever gain that acceptance is uncertain, but it does exist in the Oxford English Dictionary, defined as “to act with pomp and splendor.” Some say Miller invented the word, possibly inspired by misinterpreting a lyric from a 1954 song by the Medallions, or it might have simply originated from an odd conversation snippet.
This deep dive into a seemingly nonsensical song underscores the essence of rock ‘n’ roll—quirky and unpredictable. Today, “The Joker” stands as a cornerstone of classic rock radio and is embedded in pop culture. It topped the Billboard Hot 100 in early 1974 and even reached the top of the U.K. singles chart 16 years later after being featured in a Levi’s ad campaign. It even partly inspired a 1996 feature film starring Jon Cryer titled The Pompatus of Love.
Perhaps the most intriguing aspect of “The Joker
