The Five Most Overplayed Rock Songs of All Time

Those of us who are 30 years or older have probably spent a lot of time listening to the radio, whether in the car or at home. Over the years, classic rock radio - in particular - has a go-to list of songs, many of which are really, really overplayed. Check out our list of the top five most overplayed songs, and no doubt, some of these will resonate.

Bob Seger rocking in the 70s

1. "Old Time Rock and Roll" by Bob Seger

This song is probably the most played track on FM radio (AM too, for that matter). Released in 1979, it's safe to say "Old Time Rock and Roll" has been played a million times. Plus there's all the weddings, sports events, movie soundtracks, and parties, where it inevitably seems to get played. Again and again. Suffice it to say, it's a station changer when it comes on the radio. And someone should start a petition to get it permanently banned from radio.

2. "Born to be Wild" by Steppenwolf

This is a pretty good song that's just been around way too long and played way too many times. "Born to be Wild" was released as a single back in 1968, and while it coined the term "heavy-metal thunder", its worn out its welcome on radio. Interestingly, the song was written by Mars Bonfire as a ballad. We can credit Steppenwolf for turning it into a riff-rocker, but we can't credit radio stations for continually playing "Born to be Wild" ad nauseam.

3. "American Woman" by The Guess Who

It's bad enough "America Woman" got enough air time to make even the most casual radio listener bored to death. But then Lenny Kravitz decided to cover it in 1999 and it enjoyed a renaissance that really killed any faint luster left on the track, which was first released in 1970. What makes it worse, since the song is written by a Canadian band, it gets extra airplay in Canada, because of the Canadian content laws which state at least 35% of music played between 6 a.m. and 6 p.m Monday-Friday has to be Canadian.

Mick Jagger singing "Satisfaction"?

4. "(I Can't Get No) Satisfaction" by the Rolling Stones

We love the Rolling Stones here at Rock 'n Roll Insight, make no mistake, but "Satisfaction" needs to be taken off the radio. And the Stones need to stop playing it in concert. Mick Jagger famously said he would rather be dead than singing "Satisfaction" at age 45. Well he's 81 and still singing it. "Satisfaction" is a good song and was amazing when it was released in 1965. But we've endured almost 60 years of it in fairly heavy rotation. And, sadly, the Stones are still using it live - as the final encore to boot.

5. "More Than a Feeling" by Boston

No doubt when you first heard "More Than a Feeling" all those years ago, you probably liked it. But now, decades after its release, put your hand up if you change the station when it comes on. Overplayed to Death is the term. Apparently it took Boston guitarist/songwriter Tom Scholz five years to write, which is about the same time it takes to get sick of this song. In addition to more-than-enough airplay, "More Than a Feeling" has been used in countless films and TV shows. When will it end?

Needless to say, there are tons of overplayed songs. Fortunately, with today's Bluetooth technology in most vehicles, we can pick and choose what we listen to and avoid radio altogether. But rest assured, if you tune into an FM station for a day or two, you'll hear one of the above songs.

Check out our look at the five best Rolling Stones albums for people who want to get into the world's greatest rock 'n roll band

Five of the Most Underrated Guns N' Roses Songs

As the mighty Guns N' Roses take a break between legs of their seemingly-never ending Not In This Lifetime World Tour, we decided to investigate some of the band's most underrated songs. And while fans wait for the end of the tour (later this year) to see what will happen with the band (Will they make a new record? Will they break up again?), check out these five amazing, underrated GN'R tracks.

14 Years

If Axl Rose brings the Mick Jagger swagger to Gun N' Roses, Izzy Stradlin brought the street-smart, rhythm guitar feel of Keith Richards. Make no mistake, "14 Years ", from Use Your Illusion II is largely an Izzy Stradlin tune. The former Gunner handles lead vocals for a song that's likely about Stradlin's friendship with Rose. Overall, this is a fantastic rock n' roll song that really has a Rolling Stones feel to it with the background piano hammering away. Sadly, Stradlin left the band on the Illusions Tour in 1991.

Coma

The longest Gun N' Roses track (at 10:13) from the Illusions records, "Coma" is one of those songs that grows on you more and more over a few listens. Written about his own overdose experience, Axl Rose had trouble penning the lyrics. He is quoted as saying: "I tried to write that song for a year, and couldn't. I went to write it at the studio and passed out. I woke up two hours later and sat down and wrote the whole end of the song, like, just off the top of my head. It was like, I don't even know what's coming out, man, but it's coming. I think one of the best things that I've ever written was maybe the end segment of the song "Coma".

Prostitute

If you enjoy the Chinese Democracy album, then you're probably on board with how good "Prostitute" is. From the quiet build up to the explosive ending, "Prostitute" is one of Axl Rose's shining moments as a songwriter and lyricist. While the subject of the track (former band mate or record company?) isn't clear, what's clear is the phenomenal lead guitar work of Buckethead on this track.

Human Being

The only song on this list not written by the band, "Human Being" is a cover of a 1974 New York Dolls track that appeared on GN'R's Spaghetti Incident album from 1993. While it was the last studio album to feature Slash and Duff McKagan, "Human Being" is a shining example of how they could make a song absolutely groove from start to finish. Much like Metallica, Guns N' Roses can take an old song and almost make it better than the original. Any way you slice, the GN'R version of "Human Being" is insanely good.

Pretty Tied Up

Ah the "Perils of Rock n' Roll Decadence". Written solely by Izzy Stradlin, "Pretty Tied Up" has an eastern flare from a coral sitar in the intro followed by a grooving verse riff with Stradlin's rhythm chops prominently featured. Stradlin has said in interviews that the subject of the song was a Hollywood dominatrix. Fans of this track really enjoy the line "Cool and stressing" which sounds like cool ranch dressing.

Check out our story on why Izzy Stradlin is a key cog missing from the current GN'R tour

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Five of the Most Controversial Heavy Metal Album Covers

Over the years, metal bands have come up with some interesting and controversial album covers, both as intentional, and sometimes unintentional, ways to garner publicity. Some bands, like the Scorpions, would pretty much create some sort of stir with every album they released in the mid-late '70s through to the mid 1980s. Other bands would simply see how much attention they could get with lewd or shocking artwork. So here are five of the most controversial metal album covers from records that actually sold more than 50,000 copies.

Scorpions - Virgin Killer (1976)

The infamous Virgin Killer cover

Controversy has dogged this Scorpions record until just recently, after the FBI launched an investigation to determine if the young, naked girl on the original cover violated U.S. child pornography laws. The image was also blocked by many United Kingdom ISPs. However, the block has been lifted because of technical problems occurring as a result of the blocking mechanisms and due to the already "wide availability" of the cover image. The way the 10-year-old girl is posed and the title of the record also fueled the flames. The cover shows the girl's vaginal area blocked by a crack in the camera lens. Of course the album was banned in the U.S. upon its release. Interestingly, the German arm of RCA Records fully supported the controversial cover art. Over time, several band members have publicly expressed regret over the artwork. Despite the controversy, the record failed to sell anywhere except Japan. Many Scorpions album covers have been controversial, including Lovedrive, Animal Magnetism and Love at First Sting.

Guns 'N Roses - Appetite for Destruction (1987)

This was orginal Appetite cover

The iconic logo artwork on Guns 'N Roses debut Appetite for Destruction is not what the band originally intended to grace the cover. They wanted to use the infamous robotic rape scene painted by Robert Williams that wound up on the inner sleeve on the original vinyl release. But some retailers refused to put the record on their shelves, so Geffen Records forced the gunners to go with an alternate. It should be noted Axl Rose wanted to use a photo of the space shuttle Challenger explosion, but was talked out of it by Geffen, who thought it wasn't in good taste. The band settled on the now famous celtic cross with skulls showing the five band members. It was designed by Billy White Jr. and originally meant to be a tattoo. Even in 2008, with Appetite about to get released again on vinyl using the rape scene cover, the label balked at the last minute and went with the cross cover.

Mötley Crüe - Shout at the Devil (1983)

Plenty of attention from this artwork

In a move to reap some publicity in 1983, Mötley Crüe decided to put a massive pentagram on their breakthrough Shout at the Devil cover. Naturally back in 1983, church groups and Christians were wrongly led to believe the satanic icon would lead unknowing listeners down the path of evil to devil worship. Naturally band leader Nikki Sixx spent every interview reminding folks his band don't worship Satan, and the title is shout AT the devil, not shout with the devil. Certainly the cover helped the Crüe get some extra attention to what was a very, very good album back then.

Janes Addiction - Ritual de lo Habitual (1990)

Ritual de lo Habitual artwork

No strangers to controversial artwork, Jane's Addiction's second big-label album, Ritual de lo Habitual saw the original cover rejected by several retailers because it depicted nudity and the idea of a threesome. "Ritual de lo Habitual" featured a photograph of a diorama with singer Perry Farrell in a menage a trois with two women. The cover was actually a representation of the song "Three Days". When some record stores refused to carry the album with the racy art, Farrell offered an alternative version of a plain white cover with the First Amendment printed on it.

Metallica - Kill 'Em All (1983)

The original title and cover for Kill 'Em All

Call it Metallica's first example of selling out. The cover for Kill 'Em All that we all know and love wasn't what the band had originally intended, neither was the title. Metallica wanted to call their debut Metal Up Your Ass with the famous hand in a toilet bowl holding a knife upright as the cover (which became a very popular T-shirt). But nobody wanted to put that cover on their shelves, so Megaforce records urged the band to change the cover and the name. So former bassist Cliff Burton came up with "Kill 'em All" as a shot at the "timid record distributors". The classic hammer and blood art came from the band, who made sure it still had some attention-grabbing value.

Check out Cliff Burton's influence on Ride the Lightning

Five of AC/DC's Most Underrated Riffs

Malcolm Young's Gibson Gretsch guitar

With the recent passing of AC/DC's founder, rhythm guitarist and primary songwriter, Malcolm Young, it's a good time to look back on the band's massive body of work and the riffs Malcolm came up with. With no less than 17 studio albums, the enduring Aussie rockers have a ton of high voltage tracks. But we're going to look at five of the most underrated riffs penned by Malcolm Young. Needless to say, there really isn't a bad riff in AC/DC's entire canon (just a few repetitions).

Bedlam in Belgium

Buried as the eighth song on the underrated Flick of the Switch record, "Bedlam in Belgium" has an absolutely swinging riff, which was a hallmark of Malcolm's writing. Like many AC/DC songs, it opens with one guitar playing the main riff, then a second joins in for the third bar and, boom it really kicks in. Of note: the lyrics are a true story from a 1977 concert in Belgium.

Given the Dog a Bone

Pretty much every song from 1980's Back in Black album is very good. However, "Given the Dog A Bone" is a track that may get glossed over, but it's actually a killer song with a killer riff that Malcolm wrote. The boogie of the main riff perfectly complements Brian Johnson's lascivious lyrics of receiving oral sex from a less than good looking woman ("She's no Mona Lisa, no, she's no Playboy star").

Send for the Man

Suffice it to say, the riff on "Send for the Man" is one of the band's heaviest. It's the final song on 1985's Fly on the Wall album and many teenagers were banging their heads to that record in the summer of '85. The opening riff on "Send for the Man" with its potent power chords is a tribute to how amazing Malcolm Young was because it's so simple, yet powerful.

Riff Raff

One of Malcolm's signature boogie riffs, the relentless "Riff Raff" is found on AC/DC's amazing Powerage album. The first minute of that song is the definition of what an AC/DC song is all about: the riff intro, the build up, then the foot-stomping release and boogie as the song gets going.

Go Down

It might be a misnomer to consider the opening track of 1977's Let There be Rock as underrated, but "Go Down" is one of those songs nobody ever talks about (and according to setlistfm.com, they've only played it once in concert, ever), yet it's the first song on one of their finest older albums. The riff is the epitome of AC/DC chord structure back then with a blues based influence made heavy and menacing with that trademark added boogie element.

Check out AC/DC's 5 most underrated songs with vocalist Brian Johnson

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Five Rolling Stones Albums For New Stones Fans

It can be pretty daunting if you're a new Rolling Stones fan and want to know which albums to get into from their vast catalogue, or which are their best records to check out first.

The Stones have officially released 30 studio albums, as well as a ton of greatest hits packages and live albums. But for new fans of the band who really want to tap into what the Stones are about, there are several key albums to delve into, primarily from when they were at the peak of their power in the late 1960s and early 1970s. The five albums are in chronological order (except Hot Rocks) to help new fans get a sense of what was happening with the band at the time of each record.

Hot Rocks 1974-1971

Hot Rocks

Starting with Hot Rocks, a double album of greatest hits, you can get a good sampling of the Stones early days, when they were wide-eyed youngsters making it big on the pop scene with songs like "Time is My Side", "Satisfaction", "Mother's Little Helper", and "Let's Spend the Night Together", among many others. Hot Rocks was released by their former manager, Allen Klein, who duped the Stones into signing over their entire catalogue from their original label, Decca Records, and it contains most of their big hits up to 1971, when the band formed their own label, Rolling Stones Records. Hot Rocks also gives listeners a quick taste of what's on some of the best albums.

Beggars Banquet (1968)

Beggars Banquet

Regarded as one of the Rolling Stones best albums ever by aficionados, Beggar's Banquet (their 9th US studio album) marks the beginning of the Stones true glory days in terms of their song depth and sound. It's the first record produced by Jimmy Miller, who worked with them on every album through 1973, and it's the first album where founding guitarist Brian Jones is starting to get pushed to the sidelines (but that's another story). Opening with "Sympathy for the Devil", Beggars Banquet features a much better sound in terms of the production than their previous albums. Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman and Jones also pay homage to their bluesy roots with tracks like "No Expectations" and "Dear Doctor". But you can hear the Stones branching out into more straight up rock and roll with the amazing "Stray Cat Blues" and "Jigsaw Puzzle". It's the last album where the Stones relied predominantly on an "acoustic" sound.

Let It Bleed (1969)

Let It Bleed

The follow up to Beggars Banquet was Let It Bleed, again amazingly produced by Jimmy Miller. By now the Stones, particularly Keith Richards and Brian Jones, were heavily into drugs, and it would be the last album Jones recorded with the band before getting fired by Mick and Keith. It's also the first album to feature Jones' replacement, uber-talented guitarist Mick Taylor, who plays on "Country Honk" and "Live With Me". It's fair to say Let It Bleed is where the Stones refined their sound, especially with songs like "Gimme Shelter", "Live With Me" and "Let it Bleed" that are riff-based rock and roll songs with heavy background piano as in the latter two tracks. "Gimme Shelter" is arguably one of the best Stones songs, period, while "You Can't Always Get What You Want" became a radio favourite. This album is no-filler with "Monkey Man" being one of the Stones' more underrated songs and "Midnight Rambler" as one of the their live staples. For the new listeners, it's Richards handling lead vocal on "You Got the Silver".

Sticky Fingers (1971)

Stickey Fingers

The first album on their new Rolling Stones label with the famous tongue logo, Sticky Fingers is extremely polished and heavily drug-influenced as Richards was by now a full-time heroin addict, and drugs feature heavily in the lyrics of most tracks. Many argue this is the Rolling Stones finest album, period. There's nary a bad song to be found on this diverse, 10-song collection which showcases the Stones as country rockers ("Dead Flowers"), hard rockers ("Can't You Hear Me Knockin'" and "Sway"), balladeers ("Moonlight Mile" and "Wild Horses"), and they also throw in some heavy blues with a cover of "You Gotta Move". Sticky Fingers prominently showcases the saxophone playing of Bobby Keys, who basically became a sixth member of the band and recorded and toured with them for years after. It's also a showcase for Mick Taylor's guitar playing and listening to the solos on "Sway" gives new fans an idea of how good Taylor was as a Stone.

Some Girls (1978)

Some Girls

While it is tempting to put Exile on Main St. here, it's more of an album for the anointed as opposed to new Stones fans. Some Girls boasts 10 very good songs including the hit singles "Miss You" and "Beast of Burden". Produced by Mick Jagger and Keith Richards, it's another diverse collection with Jagger as the driving force after Richards was busted in Toronto for heroin possession and had to deal with that issue. But Richards did pen and sing lead vocal on "Before They Make Me Run", which has become one of his trademark songs. Then there's a song like "Far Away Eyes", a country classic that grows and grows on you. Some Girls represents the last truly great album the Stones would record, and it's a must-listen for new fans of the band.

Check out our look at the five best Stones songs co-written by Mick Taylor.

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Five of the Most Underrated Metallica Songs

To date, Metallica has released 10 studio albums and, along the way, have gained millions of new fans but lost a few on the way as well. Certainly Metallica has written many well known songs such as "Enter Sandman", "Master of Puppets" and "One", but among their vast catalogue are many jewels buried behind those more popular tracks. Here are five of Metallica's most underrated songs, which could be a 20-songs long (see playlist below):

The Call of Ktulu (From Ride the Lightning)

Found as the last song on Metallica's sophomore album, "The Call of Ktulu" blends dark atmosphere with melody and the bass-mastery of the late Cliff Burton. Coming in at 8:53, Ktulu is an instrumental that has to rank as one of the best metal instrumentals ever laid down. The song draws its inspiration from the pen of horror writer H.P. Lovecraft, who wrote of a mythical figure, Cthulhu, in the short story "The Call of Cthulhu". Metallica also use Cthulu as a muse for "The Thing that Should Not Be" and "Dream No More" off Hardwired. . . To Self Destruct.

The Outlaw Torn (from Load)

Crammed in as the last song from 1996's Load album is The Outlaw Torn, boasting a massive James Hetfield riff and some stellar bass playing from Jason Newsted. For "The Outlaw Torn", it's all about groove over speed, with an amazing vocal delivery of anguish from Hetfield, particularly during the chorus. Written by Hetfield and Lars Ulrich, it's only been played live 13 times to date (the S&M version is absolutely killer). Interestingly, Hetfield plays the outro solo, which has to fade out because it was too long for the 78 minutes of music a CD could store.

My Friend of Misery (from Metallica)

Granted the first time I heard "My Friend of Misery", I thought it was a throwaway song, filler for the Black Album. But after more and more listens, I came to realize it's a powerhouse, progressive track. It's got a fantastic groove for the verses with a really nice acoustic guitar part that's rather buried in the mix, which certainly adds to the feel. It also happens to be one of the few songs bassist Jason Newsted got credit for writing.

Fixxxer (from Reload)

A song Metallica has never played live, Fixxxer is found buried as the very last song on 1997's Reload album. However, it's worthy of being the second or third song on that record. On James Hetfield's handwritten lyrics from June 4, 1997, he actually titles it "The Fixxxer" and for him the lyrics are very personal, dealing with his childhood and parents ("Can you heal what father's done? Or fix this hole in a mother's son")and how alcohol numbs the pain of the "pins". Like "The Outlaw Torn", the song fades in, then slams you in the face with the main riff. It really is a shame Metallica has never played this song live.

Lords of Summer (from Hardwired. . . To Self Destruct)

Kind of lost on the latest Metallica album is "Lords of Summer", which opens the third side of the deluxe edition collection. Hetfield's riff, as usual, carries this galloping gem. It's a just a good, old-fashioned, straight-up Metallica song the band debuted in 2014 at a concert in Bogota, Colombia.

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Metallica's Most Underrated Songs Playlist

Check out why James Hetfield wasn't a fan of Metallica's mid-1990s look

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Five of Queensryche's Greatest Songs

Certainly, Queensryche is one of the bands that flies under the radar when you talk about heavy metal and hard rock from the 1980s. But the cerebral Seattle quintet shouldn't be overlooked. During their original lineup days (1981-1997), they produced some outstanding albums including Operation Mindcrime, which sold millions of copies. After guitarist/founder Chris DeGarmo left in 1997, the band was never really the same and have since gone through a bitter breakup involving former lead vocalist Geoff Tate and who controls the band's naming rights. But before all that, their catalogue of classic albums like The Warning, Rage for Order and Empire boasted some amazing tracks. Here are five of Queensryche's best songs:

The Whisper (Rage for Order, 1986)

Written by guitarist Chris DeGarmo, "The Whisper" is the epitome of where the band was at recording the Rage for Order album. Geoff Tate's vocals were screaming and soaring, and it features a fantastic groove with drummer Scott Rockenfield and bassist Eddie Jackson firmly in the pocket. The melodies are incredible and the chorus is about as good as it gets. "The Whisper" is definitely one Queensryche's best efforts, and one of their most underrated songs as well.

Take Hold of the Flame (The Warning, 1984)

For teenagers back in the 1980s, "Take Hold of the Flame" was likely their first exposure to Queensryche as the power ballad found some airplay on MTV and MuchMusic in Canada. It was the second single released from the album, backed by a video recorded live from a concert in Tokyo. It's a song, written by Tate and DeGarmo, that showcases Tate's amazing vocal range, as well as the band's ability to write phenomenal melody lines, as evidenced by the verses and the bridge, which is a calling to all angry youth: "Throw down the chains of oppression that bind you, with the air of freedom the flame grows bright. We are the strong, the youth united. We are one, we are children of the light".

Suite Sister Mary (Operation Mindcrime, 1988)

A song that shows how much the band matured when writing for Mindcrime, "Suite Sister Mary" is a 10-minute theatrical opus (or mini rock opera) set to music. Again co-written by Tate and DeGarmo, the track features the fine vocals of Seattle's Pamela Moore as Mary. Overall it's a progressive song with several time changes anchored by the grinding chorus. The religious overtones and choral accompaniment add to the feel of this great song.

The Mission (Operation Mindcrime, 1988)

The only song (with lyrics) not involving Tate's writing, "The Mission" is a DeGarmo contribution. The riff is as groovy as it gets, backed by a solid Jackson baseline that pounds away in the pocket. Tate's vocals here are exceptional as usual, but he seems to add an extra edge that really carries the vocal arrangements, especially after DeGarmo's solo.

Eyes of a Stranger (Operation Mindcrime, 1988)

The most-played song live by Queensryche, "Eyes of a Stranger" closes out the Mindcrime record in sonic style. Written by DeGarmo and Tate, it starts off sounding similar to Pink Floyd's "Empty Spaces" on The Wall, but after 39 seconds, it's classic Queensryche. The three verses all feature different vocal melodies and the chorus is one of their finest. The strings and keyboards add a nice ambiance to the chorus, but they're not so up in the mix as to dominate. "Eyes of a Stranger" features some amazing beats from Rockenfield, arguably the most talented musician in the band.

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Check out five of the best Chris Cornell-written Soundgarden songs

Five Famous Rock Stars Killed by Alcohol

When we think of rocks stars dying young – people like Kurt Cobain, Layne Staley, Phil Lynott or Janis Joplin – it's usually because of hardcore drug use and it's a long, long list of those who departed. But many rock stars have died way too young because of their addiction to alcohol and drinking. Here are five famous rockers who died from the bottle

John Bonham

Led Zeppelin's drummer and resident fun guy, John Bonham died on Sept. 25, 1980 at the age of 32. Bonham was well-known for his drinking prowess, and ultimately, it cost him his life. With the band gathered at guitarist Jimmy Page's house for US tour rehearsals, Bonzo began binging early in the day on Sept. 24. He was still going into the evening until he finally passed out. He was put to bed by his and Page's assistant, but never woke up. The bands manager tried to wake him in the morning, but found no pulse. Bonham ended up choking on his own vomit and his death was ruled accidental. Reports showed he'd consumed the equivalent of 40 ounces of vodka in 12 hours. Bonham's death marked the end of Led Zeppelin.

Bon Scott

Just as AC/DC was reaching the top of the hard rock mountain in 1980, the band found itself without a singer after Bon Scott choked to death on his vomit on Feb. 19, 1980. The band was working on the Back in Black album in London. On the night of Feb. 18, he and Alistair Kinnear were drinking in a pub called the Music Machine. The story goes Scott passed out in Kinnear's car on the way home, so Kinnear left the singer in the vehicle. Scott threw up in his sleep and choked to death. The coroner deemed he died because of acute alcohol poisoning. He was 33 years old. Brian Johnson replaced him in AC/DC on April 1 and Back in Black was released in July, 1980.

Steve Clark

Steve Clark was Def Leppard's guitarist and one of their main songwriters. He was a longtime alcoholic who had been trying to sober up when he died on Jan. 8, 1991 at the age of 30. At the time, he was on an official leave of absence from the band so he could get cleaned up. However, he would never play with Def Leppard again. Clark died in his Chelsea home after a night at the local pub. He died in his sleep and an autopsy confirmed the cause of death was compression of the brain stem - which caused respiratory failure - due to excessive alcohol mixed with anti-depressants and pain killers.

Jeff Hanneman

Like Steve Clark, Jeff Hanneman is another guitarist who died too young. The Slayer co-founder was 49 when he lost his life due to alcohol-related cirrhosis of the liver, on May 2, 2013. But it was a spider bite which ultimately led to Hanneman's demise. A couple of years before he died, he developed necrotizing fasciitis (flesh eating disease) in his arm. It was treated with antibiotics, but Hanneman simply couldn't play guitar the way he wanted to anymore. That led to him drinking more and more, going into a tailspin (he'd also been drinking heavily since his father died in 2008). Hanneman died in hospital.

Jani Lane

Many will remember Lane as the lead singer for 1980s metal band Warrant. August 11, 2011 from acute alcohol poisoning. The man who wrote "Cherry Pie" was found dead alone at a Comfort Inn in Woodlands, Calif., surrounded by bottles of booze and containers of prescription pills. He embraced alcohol and the rock lifestyle even long after the short-lived fame of his band, but did make attempts to sober up. He even went on the VH1 reality show Celebrity Fit Club 2. But he was never able to put down his demons. Lane was 47 years old.

Read about how former AC/DC vocalist Bon Scott got his distinctive voice

Five of Soundgarden's Best Chris Cornell Songs

Chris Cornell (1964-2017)

As the music world mourns the tragic loss of vocalist Chris Cornell, we can take solace in the fact his music will live on. While known for his work in Temple of the Dog, Audioslave and his solo career, Cornell will best be remembered as the vocalist for Soundgarden, a band he helped found in Seattle in 1984. To honour his talent, we look back at five of the best Soundgarden songs penned (words and music) solely by Cornell.

Ugly Truth (from Louder than Love)

The opener on their impressive Lounder Than Love album is a classic that speaks to exactly what Soundgarden is all about: heavy, downtuned guitar riffs, screaming vocals and pounding, precise drums. This song features a spectacular vocal performance from Cornell. Soundgarden opened with "Ugly Truth" in Detroit the night Cornell died.

Rusty Cage (from Badmotorfinger)

A popular and well-known song, "Rusty Cage" was penned by Cornell and it speaks to gaining one's freedom after a period of being restrained by perhaps a bad relationship. The song changes tempo in a very Black Sabbath way, giving it a sludgy, heavy feel midway through. It was famously covered by the late Johnny Cash, and Cornell even included a Cash-like acoustic rendering of it on his 2015 solo tour.

The Day I Tried to Live (from Superunknown)

A lyrically intense song with a soaring, emotional vocal from Cornell. "The Day I Tried to Live" was released as a single in 1994. It's an existential song about someone deciding to go out and change the world, but soon realizes it doesn't matter because we all end up dead, regardless of what we do in life.

Pretty Noose (From Down on the Upside)

A grinding, grungy song, "Pretty Noose" opens Soundgarden's stellar 1996 album Down on the Upside. With plenty of guitar layers and sounds, Cornell's voice carries the song, soaring above the instruments. He said "Pretty Noose" was about "an attractively packaged bad idea . . .something that seems great at first and then comes back to bite you." Ironically, Cornell died by hanging.

Burden in my Hand (From Down on the Upside)

The second single off Down on the Upside, "Burden in my Hand" has a happy feel to the music with a nice acoustic opening, that kicks into a classic Soundgarden dark anthem. Years after the album was released, Cornell related to ArtistDirect.com what the song had come to mean for him: "That was a song that really came from the guitar itself. It was mostly like the guitar was dictating what the lyrics should be and creating a mental image. The mental image was this sort of destitute guy. I guess he'd lost his cool if you want to put it that way. He's sort of coming to grips with what had happened and not necessarily feeling particularly emotional about it either way. He's trying to figure out how he would stand up and put one foot in front of the other—or not—and the song never really resolves any of that. It's just that moment of somebody sitting in the dirt. I had more moments like that after that song was written than I ever had before it was, so it means a lot more to me now than it did then."

Rest in Peace, Chris Cornell.

"Say Hello to Heaven"

The Five Most Underrated Eagles Songs

After releasing seven studio albums, the Eagles are the biggest selling American band of all time (more than 150 million albums sold worldwide), have won six Grammy Awards and had five singles reach No. 1 on the Billboard Charts. But they also have plenty of underrated gems in the catalogue that are just as good, or even better, than the hits. Here are five of the Eagles most underrated tracks:

Ol' 55 from On the Border (1974)

Never released as a single, "Ol' 55" is a standout track featuring those amazing harmonies the Eagles are famous for. It was written by Tom Waits for his debut record Closing Time and the Eagles do a fantastic cover paced by Glenn Frey's lead vocal as he sings of leaving a lover, driving away early in the morning. The trademark Eagles harmonies for the chorus will give you goosebumps when they sing "And now the sun's coming up. I'm riding with Lady Luck. Freeways, cars and trucks." Interestingly, Waits said the Eagles version was too "antiseptic".

Try and Love Again from Hotel California (1976)

Because we love Randy Meisner's voice so much, "Try and Love Again" gets on the list. And it's a fantastic song, to boot. The Eagles lost a lot of their feel when Meisner left the group and was replaced by Timothy B. Schmit, but we can still go back and listen to this gem. Glenn Frey handles the lead guitar, while Joe Walsh adds the Gretsch guitar flavouring. Meisner shows his penchant for writing amazing lyrics with lines like "Right or wrong, what's done is done. It's only moments that we borrow ... But the thoughts will linger on".

I can't Tell You Why from The Long Run (1979)

While I can't Tell You Why was released as the third single from The Long Run album, the reason for its inclusion on this underrated list is Glenn Frey's phenomenal guitar solo. There has been debate about who played the solo, however, both Don Henley and Frey himself point to the latter and not Don Felder, as many believe, for the great-sounding fretwork. While a fairly generic song overall, Frey's fade-out solo brings a deeper feel to the track. It's not technically dazzling, but the notes are perfectly chosen.

Seven Bridges Road from Eagles Live(1980)

Perhaps the pinnacle song when it comes to harmonies for the Eagles. The band used to sing it as a warmup prior to hitting the stage during the Hotel California tour through a single mic for the waiting audience. Written by Steve Young, the Eagles sing it in perfect five-part harmony with a sparkling acoustic guitar accompaniment. Another song that brings goosebumps. We also love the fans screaming during the quiet parts.

Tequila Sunrise from Desperado (1973)

Penned by Glenn Frey and Don Henley, "Tequila Sunrise" has a cool Mexican flare in the guitar, with lyrics most people can relate to or have even lived through, watching the sun come up after a night of drinking. The lyrics were originally intended to refer to the popular drink, Tequila Sunrise, but Henley told Frey to take it from another angle as in the sun rising after drinking tequila all night.

Check out five of the greatest love songs of all time

Five Great Hard Rock Songs About Weed

It's amazing the influence weed has had on the music industry from the old blues right up to today where many bands celebrate the kush. Heck there's even the Stoner Rock music category now. You'll find many other lists with songs celebrating getting high on 4/20, but here are five songs from some of the best bands of all time:

Reefer Head Woman - Aerosmith

Never a band to shy away from drugs during their heyday, Aerosmith were sure reeling when they recorded a cover of Bill "Jazz" Gillum's bluesy "Reefer Head Woman" for the Night in the Ruts album in 1979. Gillum recorded it way back in 1938, and Aerosmith turned it into a hard rock number. No doubt the Boston Bad Boys were firing up the bong, especially after Joe Perry left midway through the recording sessions on the album.

Goddamn Electric - Pantera

When a band is pounding out lyrics like "your trust is in whiskey and weed and Black Sabbath - It's Goddamn Electric" you know they've got a good thing going. Pantera's ode to the weed life and great bands is off their Reinventing the Steel album. While it's a nod to weed, the song is about being yourself and living life for you, not someone else - a foundation Phil Anselmo, Dimebag, et al molded themselves on.

Sweet Leaf - Black Sabbath

Before Sabbath's 1971 album Master of Reality, few had openly celebrated marijuana and getting high. Then listeners checked out "Sweet Leaf" and learned how Ozzy, Geezer Butler, Bill Ward and Tony Iommi enjoyed firing up the fatties. It's an open celebration of weed with Butler's lyrics personifying marijuana as a new love. The coughing at the start of the song is courtesy of Iommi after a huge bong hit.

Amsterdam - Van Halen

Everybody's favourite party band released "Amsterdam" on the hugely underrated Balance album in 1995. Essentially a song about the the famous Dutch city, it was unusual for Van Halen to openly talk about drugs on any previous songs. To that end, Eddie and Alex Van Halen were apparently not in favour of Sammy Hagar's lyrics since they thought it did their birthplace a disservice, but the Red Rocker refused to change the lyrics. Interestingly, a video was shot for the song, but MTV sent it back because of the "score me some Panama Red" reference. It was edited out, but MTV never did play the video. And because it's 4/20, do as Hagar says and "Light 'em up!"

Get Ready - Sublime

From a great band with a short legacy, "Get Ready" is more or less a cover of a reggae song by Frankie Paul from 1987. Paul wrote it as a love song and Sublime changed it into a song about getting high and ratted on for doing so. But you gotta love Bradley Nowell singing "Roll out the bong, crank up the song, let the informa call 911". It's a great song you probably won't find on many lists dedicated to Mary Jane.

Check out the five most underrated Sabbath songs from the Ozzy days.

Five Most Underrated Van Halen Songs with David Lee Roth

With David Lee Roth on vocals, the original Van Halen produced six phenomenal albums from 1978-1984. Among the tracks from those records (especially Fair Warning) are many, many underrated songs that wouldn't be considered "hits", yet they are still amazing and sound fantastic today. So with no further adieu, here are the five most underrated Van Halen songs from their time with David Lee Roth:

D.O.A. (from Van Halen II)

The fifth track from 1979's Van Halen II record, "D.O.A." was on the demo Van Halen pitched to Warner Bros., but never made it onto the first album. The song has a kind of punk feel to the riff but with Eddie Van Halen's rhythm ability, he gives it a fantastic groove with Michael Anthony and Alex Van Halen in the pocket on bass and drums. Anthony brings his usual amazing harmony to the chorus.

Light Up the Sky (from Van Halen II)

Another track from Van Halen's sophomore effort, "Light Up the Sky" is just an amazing song that was finished in the studio after Eddie came up with the main riff right after the band had recorded their debut album. And what a riff it is. It's a testament to Eddie's chops as a rhythm guitarist, not just his soloing ability. When they played their new songs for producer Ted Templeman to see what would make it onto the album, he really loved "Light Up the Sky". It's only a three-minute track, but there's plenty going on with harmonies and a funky drum breakdown. "Light 'em Up!".

Dirty Movies (from Fair Warning)

A bawdy tale of prom queen turned porn star, "Dirty Movies" is a gem off 1981's Fair Warning. The intro is wicked and sets the tone for the rest of the song as Alex Van Halen lays down a cool drum beat, Eddie chirps in some harmonics, some noodling, then it all kicks in with some virtuoso slide playing. Interestingly on his hand-written lyrics, Lee Roth changes the lyric from "go see Genie now" (perhaps alluding to the gal's name) to "go see baby now". The chorus is a perfect Van Halen effort, and Roth's chants of "take it off, take it all off" are perfect. Eddie's slide soloing during the last chorus is a particular highlight of this amazingly underrated track. It's a song that wasn't played live until 2015.

Sinner's Swing (from Fair Warning)

Once you hear that opening guitar riff on "Sinner's Swing", you know you're in for a ride. It's a hard rock anthem with some serious guitar crunch and a spectacular chorus. According to Eddie Van Halen, it was "spontaneous, first take". You can hear the solo was a first take as Eddie gets a tad sloppy near the end, but that makes it all the more better. The working title was "Get Out and Push" and it was a live staple on the Fair Warning tour in 1981.

Girl Gone Bad (from 1984)

Don't count out the second last song from 1984. That amazing riff came to Eddie Van Halen one night in a hotel room he and then-wife Valerie Bertinelli were in. Eddie woke up with the idea in the middle of the night and had to put it on tape. So he ended up recording it in the closet so as not to wake his wife up. The guitar on "Girl Gone Bad" is drivingly frantic - classic Van Halen. If it's a been a while since you listened to it, do yourself a favour and crank it up again.

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Check out how Led Zeppelin created Led Zeppelin IV in 1971.

Five of Mick Taylor's Best Solos with the Rolling Stones

Most Rolling Stones fans know the impact guitarist Mick Taylor had on the band during his tenure from 1969-1974. He brought another layer to the group with his virtuoso guitar playing and influenced the band's songwriting, particularly when Keith Richards wasn't around as the band crafted songs. He also added some very memorable guitar solos that took tracks like "Winter" and "Sway" to new heights. So here are the five best guitar solos Taylor contributed on Stones studio recordings (his live solos would be an entirely different list).

Time Waits For No One

From the last album Taylor recorded with the Stones, It's Only Rock 'n Roll, "Time Waits For No One" features a latin feel and, with the solo, you almost get the sense Taylor knew he was finished as a Stone because there's an aching in the notes he's playing throughout. You can really feel it near the end of the song, at around the 5:20 mark. That solo is one of Taylor's finest moments in the studio and he quit the band (telling Mick Jagger at a party in December, 1974) two months after It's Only Rock 'n Roll was released.

Winter

One of the most underrated songs in the Rolling Stones catalogue, "Winter" is off 1973's Goat's Head Soup album and it's a track Taylor had a hand in writing, but never got credit. While Taylor incorporates some amazing licks during the verses, the solo is a pure work of genius. It's not a barrage of speed, but the feel Taylor brings with the notes that echoes the melancholy of the song, which is one of his trademarks throughout his tenure with the Stones.

Sway

With "Sway", a song from 1971's amazing Sticky Fingers record, Taylor delivers a masterpiece short solo using a bottleneck slide at 1:35 mark, then he cranks things up again for the outro solo which carries "Sway" as it fades out. Here Taylor brings a heavy blues feel with plenty of pull-offs and bends. It's worth it to really crank up the sound for the last 10 seconds, just to hear those last few amazing notes.

All Down the Line

On "All Down the Line", a classic track off Exile on Main St., Taylor lets loose with a blistering slide solo, which is fitting given the song is a double entendre about cocaine. Again, Taylor picks up on the groove of the song and carries it along, while Jagger and the rest of the band have a good 'ol hootin', hollerin' time playing along as it fades out.

Shine A Light

Another Exile on Main St. track, "Shine A Light" is a Mick Jagger song he'd written in 1968 under the name "Get a Line on You" in reference to Brian Jones' ever-worsening condition and his detachment from the band. After Jones died, it was redone for Exile. As usual, Mick Taylor crafts a tasty solo using lots of reverb that serves nicely with the gospel vibe of the song. The highlight is the ending, when Taylor comes out of the solo and tones it down with a few quiet passages.

Check out producer Jimmy Miller's impact on the Stones' best albums.

AC/DC's Most Underrated Songs with Brian Johnson

AC/DC's body of work with Brian Johnson on vocals is impressive, to say the least. With Johnson replacing Bon Scott after he died in 1980, and making his debut on the monster Back In Black album, the Aussie rockers have cranked out some huge hits,. However, it's not the hits we are looking at but the five of the most underrated tracks during the Johnson era featuring his distinct bluesy, raspy vocal style.

Flick of the Switch (1983)

The title track to the Flick of the Switch album is such a powerhouse song. Malcolm Young's riff carries things along at a solid pace, while Johnson's wailing vocals are perfect, as usual, although it's hard to decipher exactly what's he saying in the verses. The song was actually the second single from the record. It got some airplay and video play, but many critics panned it and the rest of the album because it didn't sound as refined as its predecessor, For Those About To Rock, which was produced by Mutt Lange. But the song embodies exactly what the Young brothers wanted the album to sound like: Big and Raw with no studio recording tricks.

Fly on the Wall (1985)

While hair metal was becoming all the rage in 1985, AC/DC were still doing their thing, cranking out great hard rock records. The title track to 1985's "Fly on the Wall" record is such an infectious song, you want to listen to it over and over again. Brian Johnson is an absolute force on this song (listen to him screaming the last chorus), and it's the first time fans heard a drummer (Simon Wright) other than Phil Rudd play on an AC/DC album after Rudd was fired after recording his parts on Flick of the Switch.

Have A Drink On Me (1980)

With lyrics penned by Brian Johnson, "Have A Drink On Me" can certainly be seen as an ode of sorts to Bon Scott who choked on his own vomit after drinking too much on the night of Feb. 19, 1980 at a London club. While some say the band shouldn't have celebrated booze so soon after Scott's death, you kind of know Scott would relish this song and "forget about the cheque, we'll get hell to pay". This romping, all-out celebration of alcohol is AC/DC at their typical, rocking best, with a cool, lurching kind of riff that sort of mimics a stumbling drunk.

Snowballed (1981)

An often overlooked track from the amazing For Those About To Rock album, "Snowballed" is one of AC/DC's most up-tempo songs, and Johnson's delivery during the verses is nothing short of amazing in the intensity he delivers to the lyrics. Then he's at his howling best as the song comes to a close. Certainly Angus Young gets most of the attention and kudos when it comes to AC/DC, but Johnson shows here why he was one of the best hard rock singers of all time.

Bedlam in Belgium (1983)

Another great track off the unheralded Flick of the Switch record, Bedlam in Belgium boasts a bouncy riff, a powerful chorus and lyrics based on a real-life event from back in the Bon Scott days when AC/DC played a one-off gig at Kontich, Belgium in 1977. There was a strict 10 pm curfew in the town, but the band was still rocking and a near riot erupted as police tried to stop the show. According to reports it was Angus who got cracked in the back by a cop as he duck-walked through the crowd after jumping off the stage after being told the show was over. Needless to say, it's a great story from the band's earlier days, and certainly an underrated AC/DC song.

Check out our look at the classic Powerage album

Five Most Underrated Black Sabbath Songs (Ozzy Era)

During the original incarnation of Black Sabbath during the Ozzy days, the band put out eight albums in eight years from 1970-1978. Casual fans will know many of Sabbath's more well known songs like "Paranoid", "War Pigs", "Sabbath Bloody Sabbath" and others. But as prolific as the band was, many of their "lesser known" tracks might be even better than the "hits". So here is our look at the five most underrated Black Sabbath songs from their original lineup.

Hand of Doom (Paranoid, 1970)

You won't find "Hand of Doom" on many Sabbath greatest hit collections, but the song about strung-out heroin addicts returning from Vietnam is one the band's best, period. With a slow, dark bass intro, "Hand of Doom" builds into the heavier second verse, then the band kicks it in for the third verse with a mighty Tony Iommi riff carrying the song to another level. Ozzy's vocals are perfect, while drummer Bill Ward carries the groove with Geezer Butler and Iommi. The song's structure kind of mimics that of a junky from being super low, then getting super high, and crashing back down again, ending with death as the bass notes play out the song.

Under the Sun/Every Day Comes and Goes (Vol. IV, 1972)

The last song on the epic Vol. IV album, "Under the Sun" has a typical Sabbath groove at the start, but it's the frantic middle part of the song that really takes it to soaring heights. Ozzy finds a great vocal harmony to accompany Iommi's powered riff. Then the "Every Day Comes and Goes" section features another stellar Iommi riff starting at 3:56, which carries the song into the outro solo/instrumental.

Looking For Today (Sabbath Bloody Sabbath, 1973)

Sabbath's song about the music industry always looking for the next overnight success acts, which then quickly fade into obscurity, is a fairly accessible track that's more catchy-groovy than heavy. One of the only Sabbath songs to feature a flute, played by Iommi, "Looking For Today" isn't your typical Sabbath song, but that's what makes it so good. One Sabbath staple are plenty of "YEAHS" from Ozzy. And Iommi's outro guitar solo features some stellar fretwork as the song fades out.

The Thrill of It All (Sabotage, 1975)

A track that often goes unnoticed, "The Thrill of It All" opens side 2 of the amazing Sabotage record. It's five minutes of Sabbath at their best in a song that's broken down into three parts starting with the intro riff/solo. The second part comes in with a trademark "Yeah" from Ozzy as the verses get underway, backed by a killer Iommi riff. The last half is like a totally different song with synthesizer underlying Iommi's fretwork as the song soars to a crescendo with Ozzy laying down some powerful vocals. Despite the legal difficulties the band was going through recording Sabotage, the ending of the song conveys a sort of freedom and release that belies the stress they were feeling in the studio.

Junior's Eyes (Never Say Die, 1978)

Looking at the last album from the Ozzy years in the 1970s, "Junior's Eyes" is one of the most poignant tracks Black Sabbath ever wrote. Lyrically, it deals with the death of Ozzy's father, who died shortly before recording the album. The song was actually written by the band after Ozzy temporarily quit for three months. Sabbath hired Dave Walker as his replacement and "Junior's Eyes" was one of the tracks they wrote. The band rewrote it when Ozzy joined the fold again because he refused to sing any of the Walker material. "Junior's Eyes" is made that much better knowing the lyrics come from the heart as Ozzy belts out the chorus: "You're coming home again tomorrow. I'm sorry it won't be for long." Definitely one of Sabbath's most underrated songs from the Ozzy era.

Check out how a mighty Tony Iommi riff helped save Black Sabbath as they struggled to record Sabbath Bloody Sabbath.

The Five Most Underrated Led Zeppelin Songs

When you look at their impressive career from 1969-1979, Led Zeppelin cranked out plenty of well known and loved songs like "Stairway to Heaven" and "Whole Lotta Love", but many of their best tracks are actually the most underrated and least well known. Here's our look at the five most underrated songs from all their studio albums, excluding 1982's CODA, which was released after the band had parted ways following the death of drummer John Bonham in 1980.

Achilles Last Stand (Presence, 1976)

The opening song on what many consider a lacklustre Presence album, Achilles Last Stand is more than 10 minutes of Led Zeppelin thundering along in an epic track that paved the way for the New Wave of British Heavy Metal. Written by Jimmy Page and Robert Plant at Page's Malibu home, the band recorded it in 1975 in Munich at Musicland Studios. Of interest on this song, besides' John Bonham's stellar drumming, is John Paul Jones' use of a custom eight-string bass. Jimmy Page added no less than 12 guitar tracks to the song and orchestrated the guitar parts. This song, with it's relentless energy, virtually crowns Led Zeppelin at their peak.

Custard Pie (Physical Graffiti, 1975)

Boasting a stellar Jimmy Page riff and incredible work by John Bonham that carries the song, "Custard Pie" kicks off the double Physical Graffiti album in a big way. The infectious, funky groove will instantly have your feet tapping, while Robert Plant is at his sexual double-entendre best singing about a woman's vagina. Written by Page and Plant, the singer also handles the harmonica that adds a solid blues element to the riff. Interestingly, Zeppelin never played it live.

The Rover (Physical Graffiti, 1975)

The second track on the Physical Graffiti album is one of those songs that flies under the radar. But from the moment John Bonham kicks it in with the opening drum passage, "The Rover" shows why it's among Zeppelin's best work. It was recorded in 1972 and originally intended to go on the Houses of the Holy album, but the band held it off that record. Robert Plant puts his heart and soul into it, just listen to him sing "You got me rockin when I ought to be a-rollin. Darling, tell me darling which way to go". Page's fretboard work is sound as always, and he used several overdubs to thicken his guitar sound on the track.

The Ocean (House of the Holy, 1973)

"The Ocean" closes out the impressive Houses of the Holy record with John Bonham counting it in "We've done four already but now we're steady and they went 1, 2, 3, 4 ...." as the band supposedly cracks it on the fifth take. It's a fun, funky song where you can tell the group is having a ton of fun playing it. The ending coda features some cool doo-wop grooving (with John Paul Jones and Bonham providing vocals) while Page solos merrily along. Near the end, Plant goes "Oh soo good" and yes, this song is oh. so. good. It was written by the entire band.

Bron-Y-Aur Stomp (Led Zeppelin III, 1970)

Named after the 18th Century Bron-Y-Aur house in Wales where the band wrote most of the songs for Led Zeppelin III, this acoustic track features John Bonham playing spoons and castanets, while John Paul Jones incorporates a fretless bass as the song grooves along nicely. Jimmy Page carries it with a superb sounding acoustic riff that connotes the pastoral side the band found writing at the house, which had no electricity or running water.

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Check out our in-depth look at the making and recording of Led Zeppelin IV

The Five Best Iron Maiden Songs with Paul Di'Anno

Original Iron Maiden singer Paul Di'Anno only appeared on three of the band's records - Iron Maiden, Killers and Maiden Japan - but he certainly left his mark on some of Maiden's best songs with his gruff vocals and snarly East London attitude. Di'Anno, who joined the band in 1978, was ultimately fired in 1981 by manager Rod Smallwood, after bassist and bandleader Steve Harris questioned Di'Anno's commitment to the band, which was being undermined by his affection for booze and cocaine. Nevertheless, Di'Anno had a huge impact with fans and here are five of the best songs he recorded during his brief tenure with Iron Maiden.

Prowler

The opening track from Maiden's 1980 self-titled debut album, "Prowler" is arguably one of Maiden's best songs, period. It's got a punk feel to it that's perfectly suited to Di'Anno's gruff vocal style. Lyrically it's about a perverted creep who gets off masturbating in the bushes as he peeps at various ladies passing by. A major highlight of the track is Dave Murray's blistering guitar solo while the band keeps it rocking in double time. Steve Harris wrote the music and lyrics.

Phantom of the Opera

Another track from their first record, "Phantom of the Opera" features Iron Maiden at their epic, progressive-metal best. At 7:02, it's a longer track with plenty of tempo and feel changes throughout. Penned by Steve Harris, Phantom is a shining example of where the band would go on later albums. The guitar solos by Dave Murray and Dennis Stratton are tastefully executed, while drummer Clive Burr lays down an absolutely furious drum beat during the verses, while also showing his great feel on the slower parts of the song. "Phantom of the Opera" has featured prominently in Maiden's live shows for years and is a favourite of Harris's.

Drifter

A song that maybe flies under the radar a bit, "Drifter" is the last track on 1981's Killers album, but it's an all-out rocker. From the opening guitar notes to Di'Anno's scream of "Walk Away", "Drifter" - written by Steve Harris - delivers thanks to a punky verse offset by a slower bridge with a beautiful, slow Dave Murray solo. After the last verse, Adrian Smith delivers one of the best guitar solos on the entire record (using a wah wah) that carries the track to the end, where Di'Anno shows his vocal chops on that last, ear-splitting scream. It's such a good song, in fact, that Maiden has dusted it off and played it during a few tours over the past decade.

Murders in the Rue Morgue

Based on the Edgar Allan Poe of the same name, "Murders in the Rue Morgue" is a song narrated from the first person with an amazing feel that almost puts the listener on the streets in Paris, harkening to Maiden's ability to paint pictures with music. A highlight comes from the twin guitar solo of Dave Murray and Adrian Smith, while Di'Anno lays down a convincingly menacing vocal track as the killer of two young girls.

Killers

On "Killers", Di'Anno is at his best, whether it's the powerful opening screams or the conviction he brings in the vocal delivery during the verses. It's a song where Di'Anno gets a rare songwriting credit (alongside Steve Harris) and it's one of Iron Maiden's best early tracks with its driving energy and foreboding lyrics about a serial killer who murders with knife. Harris sets the tone with a dark bass intro and it takes off from there. This is arguably Di'Anno's finest moment in his three years with Iron Maiden.

Check out how Iron Maiden forged their sound on the Killers album.

Five of the Greatest Love Songs of All Time

A good love song grabs your heartstrings, making you yearn even more for that special person you're in love with. The best love songs are the ones that perfectly convey the feelings between two people in love ... both the elation and uncertainty of the emotions involved. There are thousands of love songs out there and Whitney Houston could put a greatest hits package of love songs together, but these five great love songs are among the best ever.

The Rose - by Bette Midler

"The Rose" has been covered several times, but Bette Midler's version from the soundtrack to the 1979 movie The Rose is far away the best. Written by Amanda McBroom, the track wasn't originally intended for the movie, but Midler chose it out of 30 other songs. Lyrically the song is a well-crafted tale of loneliness and inspiration to find love "far beneath the bitter snows". Midler's voice is absolutely perfect, while the song starts off quietly with only a piano. Then it builds with a string section while Midler takes it to another place with a beautiful, soaring harmony during the crescendo. If the final 1:20 doesn't give you goosebumps, you aren't feeling anything.

Thank You - Led Zeppelin

From the great Led Zeppelin II record, "Thank You" had Robert Plant writing the lyrics, writing about his then-wife, Maureen. It's a beautiful song about endless love and devotion, through thick and thin. Jimmy Page composed a lovely acoustic passage on a 12-string, while John Paul Jones' work on the organ reminds us of a wedding and a joyous celebration. You won't find "Thank You" on many love song lists, but it deserves to be among the best, and certainly it's one of the most unheralded love songs.

When I'm With You - Sheriff

"When I'm With You" is a song that garnered a lot of airplay in Canada in 1983, after being recorded for the Canadian band's only album Sheriff, which came out in 1982. In 1983, it went to the Top 10 in Canada, while being only a minor hit in the US (No. 61). But in 1989, it rose to the top of the US Billboard Charts after a Minneapolis radio station starting playing it again. It's a power ballad penned by Sheriff keyboardist Arnold Lanni that's backed by a stellar vocal from singer Freddy Curci. Lyrically the song conveys the feelings of being love: "I never cared for nobody, like I care for you" and "I get chills when I'm with you". The universal power of love in a nutshell.

Without You - Harry Nilsson

"Without You" wasn't written by Nilsson, a fine songwriter in his own right, but his version is the most memorable. It was penned by Pete Ham and Tom Evans of British band Badfinger and described by Paul McCartney as "the killer song of all time". Nilsson's version went to No. 1 in many countries in 1971-72. The lyrics deal with the anguish of love lost, while the narrator doesn't want the relationship to end. When he sings the chorus, it almost sounds like Nilsson is crying as the sings. It's a heart-wrenching track that is certainly among the greatest love songs ever written.

Love Hurts - Nazareth

While many think Nazareth wrote the hit "Love Hurts", it was penned by the Felice and Boudleaux Bryant, then recorded by the Everly Brothers in 1960. Covered by the likes of Roy Orbison and Jim Capaldi, Nazareth's power-ballad rendition (from 1975's Hair of the Dog album) was the most popular, peaking at No. 8 in the US. in 1976 and No. 1 in Canada and several other countries. As the title suggests, love hurts and that's all part of the emotions you feel when you're in love. Vocalist Dan McCafferty's rasping vocals perfectly carry this song and the sentiment of the lyrics.

Check out Five of the Saddest Songs ever written.

Five Best Ozzy Osbourne Songs with Randy Rhoads

Randy Rhoads’ time in the spotlight as Ozzy Osbourne’s guitarist was oh so brief, but in the two records he recorded with the former Black Sabbath frontman, Rhoads left an indelible impact thanks to his phenomenal, neo-classical guitar style. Rhoads single-handedly helped spawn the neo-classical metal genre, while also influencing thousands of guitarists after his death (in a plane crash) in 1982. Here are five of the best songs Rhoads recorded with Ozzy from the Blizzard of Ozz and Diary of Madman albums.

Suicide Solution

“Suicide Solution”, off the Blizzard of Ozz record, features Rhoads churning out one of his finest, angry-sounding riffs. With a solid backbeat from bassist Bob Daisley and drummer Lee Kerslake, Rhoads is free to incorporate his signature screams and bends, giving the track added depth. Suicide Solution has become one of Ozzy’s trademark songs over the years. For a really amazing version, check it out live on Ozzy’s Tribute album to hear how Rhoads really flexes his guitar muscle. It’s the track that saw Ozzy getting sued in 1986 by a California family after their son committed suicide while listening to it. The case was dismissed in 1988.

Mr. Crowley

If ever there was a song that can be described as neo-classical heavy metal, it’s “Mr. Crowley” from the Blizzard of Ozz album. The keyboard intro lays down the mood, while the lyrics about Aleister Crowley, who was denounced as a satanist and would surely have been denounced as a heretic in the Middle Ages, add to the aura of the song. Rhoads main riff is intertwined with bursts, string scratches and fills, while the solos are stellar. The mid solo reminds one of a violin virtuoso playing lead guitar. The outro solo is Rhoads using trills, runs and lightning-fast picking. Amazing stuff. Again, the Tribute version kicks ass.

I Don't Know

The opening track from Blizzard, this would have been everyone’s first listen to Randy Rhoads, and he made sure people knew he meant business, laying down a blistering opening riff, then throwing in a classic little run at the 0:28 mark. With that 30 seconds or so, Rhoads announced to the world he was onto something. The song blends heavy power chords with a jazzy interlude in the bridge. Then the solo takes it to another level as Rhoads dazzles with de-tuned phrasings, runs, his classic deep bends and speedy hammer-pull combos. For an Ozzy song, I don’t know is a thrill-a-minute ride on the crazy train.

Over The Mountain

The first song from the Diary of a Madman record, Over the Mountain sees Rhoads showing his rhythm chops with the chugging main riff, interspersed with his usual phrasings. Ozzy’s in fine form, singing about altered reality and getting high. Then the solo is one of Rhoads’ most memorable, marrying a harmonized passage with a series of partially slurred whammy bar phrases for a strangely unsettled vibe that’s almost like two solos in one. The epic string scratch that caps the solo off nicely carries back into the final verse and riff.

S.A.T.O.

One of the most unheralded of Ozzy’s songs, S.A.T.O. (from Diary of a Madman) is one of those tracks that carries you off on a journey, not across the sky, but across the ocean. To that end, most people think S.A.T.O. stands for Sailing Across The Ocean, however, Sharon Osbourne has said it actually stands for Sharon Arden Thelma Osbourne. Sharon is Ozzy’s current wife, while Thelma is his ex. In terms of the music, it’s a tour de force, giving you the feeling you’re stuck on ship, getting tossed about in a heavy storm. The solo is simply phenomenal — a two-part session of amazing lead fretwork from Rhoads. And the final verse carries the song to its climax, with Rhoads using the wah pedal to take it to another level. S.A.T.O. is one of Ozzy’s best songs, period.

Check out why Sharon Osbourne is the biggest bitch in rock.