The Animals

Album: ‘The Complete Animals‘
Year: 1990

As compilation albums go, ‘The Complete Animals’ is pretty good. It shows the band for who they were: a British rock group that was really good at making blues riffs and songs by black musicians palatable for white ears at the same time their Rolling Stones compatriots were doing the same but for a younger crowd. The Animals were still playing to their present without looking to the future. Frontman Eric Burdon did a great job with his role in the band, but it wasn’t as forward-thinking as tracks like “House of the Rising Sun” made it seem.

Their popularity was predicated on the good music and the fact you didn’t need a pre-punk mindset to really get it. It was straightforward and non-threatening which made it good but not necessarily memorable. It was tracks like “House of the Rising Sun,” “Don’t Let Me Be Misunderstood,” and “We Gotta Get Out of This Place” that made them great because they allowed themselves to push the boundaries of the songs and put their own signature on them.

Track of Distinction: “It’s My Life” is a song about how the hard times should never get you down and how they should inspire you to persevere instead of give up.

The Allman Brothers Band

Album: ‘Brothers and Sisters‘
Year: 1973

Among all of the other musical genres I claim to enjoy but not completely understand, Southern Rock and Blues holds a special place because I feel like I should get it by now. The Allman Brothers Band is one of those great examples of this music forged in the deep south with that fun backwoods twang coupled with the soulful stylings of Southern charm that make it so alluring in the first place. But why can’t I get a bead on anything about it?

To be fair, I’ve never spent much time in the South. Two trips to Atlanta, once to Memphis, once to New Orleans, a handful of trips to Florida, and a regular order at my local Popeye’s does not an expert make. But the Allmans make a good case that the South is more of a state of mind and a feeling more than a location on a map. Their ability to blend folk music with that Southern charm is a testament to them and proof of the versatility of the genre. But I don’t know what makes it tick. Perhaps a trip to Tuscaloosa is in order?

Track of Distinction: “Jessica” is still one of the most quintessential pieces of music to ever come out of the 1970s and we should all revel in its pure sense of joy.

The Zombies

Album: ‘Zombie Heaven‘
Year: 1997

When my dad was in high school, he was in a rock band. He and his friends played music that, by his own admission, wasn’t too hard but was a lot of fun. When you get to know the standard four-chord progression, most rock music is in your wheelhouse, and they all loved The Zombies. When I came across this box set, it was definitely Zombie Heaven for those who still enjoy bare-bones rock music from a simpler time.

Though the themes of love, loss, regret, and renewed life are timeless, The Zombies did their best to make them classic, as well. While tracks like “Tell Her No,” “She’s Not There,” and “Time of the Season” are still classic rock staples, they found a good groove with some of their lesser-known tracks. “The Way I Feel Inside,” “Indication,” and my perennial end-of-year anthem “This Will Be Our Year” all stand as testaments to how complex these “simple” songs could be. Hearing this collection, I get my dad’s fascination all those years ago and why he was inspired to pick up a guitar and play.

Track of Distinction: “I’ll Call You Mine” showed how they deftly and eloquently placed piano interludes in their music to create something more than the cookie-cutter sound. Just the beginning 20 seconds was enough to seal this deal.

The Who

Albums: All of the studio albums. I should have thrown in ‘Meaty Beaty Big and Bouncy‘ into the mix because it has a bunch of cool b-sides, but I messed up. Perhaps on a Catch-Up?

There comes a point where, when I’m listening to some larger discographies, when I ask myself if the artist or band is stuck in a rut, regressing, or progressing. There are bands where the rut is their wheelhouse and getting out of it would betray the spirit of the band and their message. The Who fit into this mold. This band went from two early albums of that early-60s UK pop-rock with a sly lyrical bend on politics to being a full-blown, unabashed power rock group that was poised to lead a political and social revolution on each and every album.

Did it get old? Not really. I think that speaks a lot to the creative vision of Pete Townshend. Lead vocalist Roger Daltrey did infuse his own personal brand of passion into the production of the music but it was Townshend’s words that made the impact. But it wasn’t the same chords beat on time and again. As the band aged and more records came out, it was easy to recognize that the lyrics and perspective tended to mature while never losing the fire.

Track of Distinction: It may seem like a cop-out to name a song as big as “Baba O’Reilly” for this distinction, but it is really their most put-together track and showcases all of their strengths.

Three Dog Night

Album: ‘20th Century Masters: The Millennium Collection – The Best of Three Dog Night‘
Year: 2000

For some reason I have this persistent mindset that Three Dog Night is one of those unknown and underappreciated bands that no one really knows any more. That mindset is shattered any time I’m somewhere and “Joy to the World” comes on because more than a few people stop to sing. It’s like they cannot help themselves. It’s kind of like mind control. It’s really neat to see and hear people of all ages, races, and socio-economic standings belt out “Jeremiah was a bullfrog!” at the top of their lungs. Seriously. Next time you’re in a bar, put this on the jukebox and watch the mayhem ensue.

But, aside from that, Three Dog Night did a good job cementing themselves as one of the unshakable leaders of the classic rock era. Sure, they’re not immortalized like other bands, but they are still lauded and appreciate for their works to this day. Even my sister knows them, and she’s hopelessly lost in the world of shitty pop and hip-hop music. If you can, give them another try.

Track of Distinction: “Mama Told Me (Not to Come)” is one of those fun songs to put on before a night of heavy drinking, bad decisions, and good times.

Styx

Album: ‘Greatest Hits‘
Year: 1995

Mock me if you must, but I have an appreciation for Styx. I don’t know if I would hand over money to see them headline a show, but I appreciate them. Their songs are good enough to keep me from changing the radio station whenever they come on but they’re on the fringe of being a band I would put in my regular rotation. They’re daring but not at a Jethro Tull-level; they’re fun but not like Boston; they’re amiable but they’re not quite Lynyrd Skynyrd. Styx is good filler music in the album rock genre, and that is fine with me.

While they have a very devoted following, and have crossed over to a younger generation, I never felt that Styx was that big of a deal. If I were to compare them to a contemporary band I would compare them to the likes of Third-Eye Blind or Smash Mouth. But the music is solid. I looked back on my accounting for this post and I marked a whopping six tracks for ToD consideration. Sure, they were mostly major hits, but that shows me that perhaps I’m not giving Styx their due (wouldn’t be the first time!). In any case, I can say that this wasn’t wasted time and I may have to give them a closer inspection when it comes to update my rotation when all of this madness is over.

Track of Distinction: “The Grand Illusion” beat out “The Best of Times” and “Blue Collar Man” for this distinction because of its balance and the fact it’s a personal favorite of mine.

Steve Miller Band

Album: ‘Greatest Hits 1974-1978‘
Year: 1978

I have yet to find someone who has never heard “The Joker.” Seriously. For people around my age, the blame squarely lies at the feet of Homer Simpson, but it’s still a solid song. But Steve Miller wrote and performed a lot of other songs that fall into the, “yeah, I know this song (starts humming along )” form of fandom where the melody is familiar but we don’t really know who did it. The short answer for many classic rock songs is simply Steve Miller and his band.

But he’s not just a straight-rock guy. This compilation includes his exploits into pop-fusion rock (“Jungle Love“), country (“Rock ‘N Me“), disco (“Fly Like an Eagle“), and even East Indian funk (“Wild Mountain Honey“) that shows his breadth as a performer. The compilation also shows his shortcomings and shows the heights of his career could be boiled down to a 14-track album spanning four short years. But I know there are artists who would kill for that many hits in that short a time, or any time, really.

Track of Distinction: It’s hard to deny the classic “Take the Money and Run,” a song that is not only infectious but also tells the story of a modern-day Bonnie and Clyde.

The Rolling Stones

Albums:
‘December’s Children (And Everybody’s)‘ (1965)
‘Out of Our Heads‘ (1965)
‘Beggars Banquet‘ (1968)
‘Let It Bleed‘ (1969)
‘Sticky Fingers‘ (1971)
‘Exile on Main St.‘ (1972)
‘It’s Only Rock ‘N Roll‘ (1974)
‘A Bigger Bang‘ (2005)

Here is another artist that I was chomping at the bit to get to because, surprise, I’m a fan. The Stones built their sound on a good mix of rock, blues, and that hony-tonk country you can only find in backwoods dives on a Saturday night. While not always flashy with their sound on a consistent basis, they made good music and established a career that has allowed them to coast for decades. Even their recent concert appearances reveal the band (well, let’s face it–Mick and Keith) are fine with giving the audience the hits that made them famous. And there’s nothing wrong with that. That’s what today’s fans want: the hits.

I was once told that I could either be a Beatles fan or a Stones fan but I couldn’t be both. While this argument on its surface is illogical, deep down there is a subquestion that is more revealing but never asked: would you rather be a fan of a band that called it quits before they destroyed their legacy or would you like it if they held on forever and ever playing the same songs over and over? While the Stones released albums into this century, they are still fleecing the goose who laid the golden eggs. Is it because they know the new stuff cannot hold a candle to the old? Possibly. The market for albums of aging millionaires bitching about their lives is a small one. So, while they are trying to hold on to their relevancy, they are probably better of touring and playing the hits that are expected of them. And as I write this, I realize that if I had to play the same 15 to 20 songs a night for 50+ years, I might develop a Keith Richards-level drug habit, too.

Track of Distinction: “Dead Flowers” from ‘Sticky Fingers’ edges out “Till the Next Goodbye” because, while the theme of losing a woman you love is consistent, the darker drug-fueled world of “Dead Flowers” and the engaging chorus makes for a song that is worthy to represent the Stones as the ToD.

The Police

Album: ‘Every Breath You Take: The Classics‘
Year: 1995

As someone who knows what he likes and what he doesn’t, I find myself often deeply suggestible when it comes to loving a song or a band and writing off another for no more reason than someone planted a thought in my mind and I let it affect my tastes. INCEPTION IS REAL, PEOPLE! WRAP YOUR HEADS IN TIN FOIL NOW!

The Police–Sting in particular–have become the butt of jokes about how artists we believed were gods of Classic Rock were overblown by a susceptible generation wanting something easy to relate to. The Police, though, are a good band. They knew what they were doing, they weren’t trying to be rebels, they were just a bunch of guys who got together and played the music that they liked and that would sell. Sure, “Every Breath You Take” is a deeply disturbing song, “Message in a Bottle” is the plot to a cheesey romantic-comedy movie in song form, “Can’t Stand Losing You” is the love-lorn whiner’s anthem, and “Every Little Things She Does Is Magic” may eventually drive me to self-harm, but these songs are good, they’re catchy, and they’re not trying to be anything more than what they are. Sting, as a solo artist, may have some explaining to do about his attitudes, but the work of The Police stand alone and should be heralded for what it is: Classic Pop at its finest.

Track of Distinction: “King of Pain” is one of those songs that, while poppy, is a pretty straight-forward song about loss and how the feeling of sorrow can lead one to feel alone.

Pink Floyd

Albums:
‘The Piper at the Gates of Dawn‘ (1967)
‘A Saucerful of Secrets‘ (1968)
‘More‘ (1969)
‘Ummagumma‘ (1969)
‘Atom Heart Mother‘ (1970)
‘Zabriske Point‘ (1970)
‘Meddle‘ (1971)
‘Relics‘ (1971)
‘Obscured By Clouds‘ (1972)
‘Dark Side of the Moon‘ (1973)
‘Wish You Were Here‘ (1975)
‘Animals‘ (1977)
‘The Wall‘ (1979)
‘The Final Cut‘ (1983)
‘A Momentary Lapse of Reason‘ (1987)
‘The Division Bell‘ (1994)
‘The Endless River‘ (2014)

I guess even a music novice should be able to surmise that a band that plays “Progressive Rock” does so in a way that progresses, not only with their ability, lives, age, and maturity, but also with the times they find themselves. Being a loyal listener to Pink Floyd’s very recognizable and oft-played renaissance music, it took me a bit to figure out early Pink Floyd hadn’t progressed as far in 1967 as they had six years later when ‘Dark Side of the Moon’ came out. Before that point, the band was a product of its time: lots of instrumentals and some catchy pop-rock that hearkened to the likes of The Who’s ‘Quadrophenia‘ before they settled down (both literally figuratively and literally) and established the sound that would make their mark on music history.

That turning point is almost like the formation of a new band. Listening to it in order, the transition makes sense, but it doesn’t make it any less jarring to go from something that is grandiose for ego’s sake to a sound that is grandiose because of the lack thereof. If you’re looking for a contemporary parallel, I’d say Darius Rucker’s transition from “Hootie” to a brief foray into mainstream pop-rock all the way to country superstar is close. But Pink Floyd has maintained through the ages. They know who they are and they do what they like. While their distinct ability to create something unusual but also popular might have fizzled after ‘The Wall,’ they never compromised themselves and they never went along with the crowd.

Track of Distinction: After looking at the tracks I starred, I noticed a trend of familiarity and of comfortability that really goes against the spirit of this project. Instead of posting one of their hits, I wanted to use a song of theirs that doesn’t get radio play but also is worthy of the attention. “Nobody Home” from ‘The Wall’ is a track that, while keeping with the reluctant soldier libretto of the album, also tells the poignant story of how material wealth can drive those closest to us away.