It’s a thousand pages, give or take a few

If you’re trying to come out of your holiday fog, I think I’ve got just the thing to get your brain revved up for the New Year.

I’m offering a Rock Lyrics Quiz that focuses on The Beatles, which is still probably the most recognizable catalog in pop music history.

It won’t be as easy as it sounds, though. While the roughly 220 songs they recorded include a few dozen widely recognized hits, there were also plenty of album tracks that got less exposure and are therefore more difficult to pick out. So I’ve divided the quiz into three sections — easy, intermediate, and difficult.

I administered the quiz to my wife (who loves the Beatles’ music but I wouldn’t call her a fanatic), and she scored about as I expected she would: She aced the easy lyrics, did fairly well on the intermediate group and struggled with the difficult ones. She said it would have been far easier to recognize the lyrics if she heard them sung as opposed to reading them on a printed page or computer screen, and I’ll bet many readers will feel the same.

In any event, here’s how I suggest you play: Grab a pencil and paper and jot down your answers as you proceed.  When you’re done, simply scroll down to find the correct answers — no peeking! I’ve written a little bit about each song, and there’s the usual Spotify playlist at the end to hear the tunes after the fact.

It’s a good mental exercise to try to recall rock music lyrics. It just might clear your head and test your memory bank, which we all need now and then.  Enjoy!

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EASY

1 “Remember to let her into your heart, then you can start to make it better…”

2   “Well, my heart went ‘boom’ when I crossed that room, and I held her hand in mine…”

3   “He say, ‘I know you, you know me,’ one thing I can tell you is you got to be free…”

4   “I’ll pretend that I’m kissing the lips I am missing…”

5   “Many times I’ve been alone, and many times I’ve cried…”

6   “Say you don’t need no diamond rings and I’ll be satisfied…”

7   “I look at the floor, and I see it needs sweeping…”

8   “All these places had their moments with lovers and friends I still can recall…”

9   “Look at him working, darning his socks in the night when there’s nobody there…”

10   “Baby says she’s mine, you know, she tells me all the time, you know, she said so…”

11   “Why she had to go, I don’t know, she wouldn’t say…”

12   “Nothing you can say, but you can learn how to play the game, it’s easy…”

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INTERMEDIATE

13   “Newspaper taxis appear on the shore, waiting to take you away…”

14   “You don’t need me to show the way, love, why do I always have to say, love…”

15   “If looks could kill, it would’ve been us instead of him…”

16   “I’m taking the time for a number of things that weren’t important yesterday…”

17   “But ’til she’s here, please don’t come near, just stay away…”

18   “‘Cause I couldn’t stand the pain, and I would be sad if our new love was in vain…”

19   “Soon we’ll be away from here, step on the gas and wipe that tear away…”

20   “When you say she’s looking good, she acts as if it’s understood, she’s cool…”

21   “Then we’d lie beneath the shady tree, I love her and she’s loving me…”

22   “Boy, you’ve been a naughty girl, you let your knickers down…”

23   “Gather ’round, all you clowns, let me hear you say…”

24   “Sweet Loretta Martin thought she was a woman, but she was another man…”

DIFFICULT

25   “‘We’ll be over soon,’ they said, now they’ve lost themselves instead…”

26   “In my mind, there’s no sorrow, don’t you know that it’s so?…”

27   “Everybody pulled their socks up, everybody put their foot down, oh yeah…”

28   “You’re giving me the same old line, I’m wondering why…”

29   “But listen to the color of your dreams, it is not living, it is not living…”

30   “I know it’s true, it’s all because of you, and if I make it through, it’s all because of you…”

31   “You could find better things to do than to break my heart again…”

32   “Tell me, tell me, tell me the answer, you may be a lover but you ain’t no dancer…”

33 “Had you come some other day, then it might not have been like this…”

34 “Waiting to keep the appointment she made, meeting a man from the motor trade…”

35 “Don’t you know I can’t take it, I don’t know who can, I’m not going to make it…”

36 “The men from the press said, ‘We wish you success, it’s good to have the both of you back…'”

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Answers:

EASY

1   “Remember to let her into your heart, then you can start to make it better…”

“Hey Jude” (single, 1968)

This tune, their biggest-selling song ever, got its start as “Hey Jules,” Paul McCartney’s song of support for a young Julian Lennon, who was coping with his parents’ divorce in 1968. John Lennon interpreted the lyrics as a message to him and Yoko (“You have found her, now go and get her”). It became a singalong anthem for the ages.

2   “Well, my heart went ‘boom’ when I crossed that room, and I held her hand in mine…”

“I Saw Her Standing There” (from “Please Please Me” LP, 1963)

The Beatles’ set list during their formative years playing clubs in London and Hamburg was full of vintage tunes by Chuck Berry, Buddy Holly and Little Richard, but the first track on the band’s debut LP was an authentic rocker original written by McCartney and fine-tuned by Lennon. It’s every bit as valid an entry in the rock ‘n’ roll canon as “Long Tally Sally” or “Roll Over Beethoven.”

“He say, ‘I know you, you know me,’ one thing I can tell you is you got to be free…”

“Come Together” (from “Abbey Road” LP, 1969)

When Lennon was asked to write a song for LSD maven Timothy Leary’s ill-fated campaign for the California governorship, all he came up with was a chant using the slogan “Come together, join the party.” Lennon later created some whimsically enigmatic wordplay (“ju-ju eyeball,” “mojo filter”) and set it to a funky, bluesy tempo that became a #1 single and one of Lennon’s favorite Beatles tunes.

“I’ll pretend that I’m kissing the lips I am missing…”

“All My Loving” (from “With the Beatles,” 1963)

When millions of Americans got their first glimpse of The Beatles as they performed for the first time on “The Ed Sullivan Show” in February 1964, this is the first song the band played. It’s an infectious McCartney melody with simple lyrics about sending loving thoughts home to his girl while he’s away. It’s one of the better examples of the band’s innocent early songs, and would have made a terrific single.

5   “Many times I’ve been alone, and many times I’ve cried…”

“The Long and Winding Road” (from “Let It Be” LP, 1970)

Because this McCartney ballad was released in 1970 just as the group’s break-up was announced, it’s tinged with sadness and regret. Although it was written more than a year earlier, the song’s lyrics portend the separation and estrangement that was on the horizon (“You left me standing here a long long time ago”). It was the final Beatles single in the US until “Free As a Bird” 25 years later.

6   “Say you don’t need no diamond rings and I’ll be satisfied…”

“Can’t Buy Me Love” (from “A Hard Day’s Night” LP, 1964)

Producer George Martin correctly suggested the group begin this song with the catchy chorus instead of the first verse, and that helped instantly grab the attention of radio listeners much as “She Loves You” had done. It became a linchpin song on the soundtrack of their madcap debut film “A Hard Day’s Night,” accompanying a sequence where the boys ran and jumped around an open courtyard to let off steam.

7   “I look at the floor, and I see it needs sweeping…”

“While My Guitar Gently Weeps” (from “The White Album” LP, 1968)

George Harrison, motivated by the “relativism” taught in Eastern literature, decided to write a song based on the first words he saw upon opening a book. Those words were “gently weeps,” and he chose to use them to describe the sound of an electric guitar. His friend Eric Clapton famously played the solo (uncredited at the time), and the track ignited a prolific period of quality songwriting for Harrison.

8   “All these places had their moments with lovers and friends I still can recall…”

“In My Life” (from “Rubber Soul” LP, 1965)

Lennon always maintained he wrote the bulk of this song of tender reflection, but McCartney claims he wrote “at least half” of the words. Regardless, the tune has become one of the most popular non-singles they ever wrote, and because of its lyrics of remembrance and affection (“Some are dead and some are living, /In my life, I’ve loved them all”), it is often played at weddings and funerals.

9   “Look at him working, darning his socks in the night when there’s nobody there…”

“Eleanor Rigby” (from “Revolver” LP, 1966)

This groundbreaking single features no Beatles playing instruments, with only a string quartet, McCartney’s lead vocal and Lennon and Harrison adding harmonies. The lyrics offer a remarkable commentary on loneliness, describing an old woman sweeping up rice following a wedding and a clergyman dutifully “writing the words to a sermon that no one will hear.”

10   “Baby says she’s mine, you know, she tells me all the time, you know, she said so…”

“I Feel Fine” (single, 1964)

When Lennon heard feedback from a guitar that had been inadvertently left leaning on an amplifier, he wanted the sound included in the intro to the band’s newest single, “I Feel Fine.” It was one of many “happy accidents” that occurred during Beatles recording sessions over the years that brought such unusual sounds to listeners’ ears, even when the accompanying words were just simplistic love songs.

11   “Why she had to go, I don’t know, she wouldn’t say…”

“Yesterday” (from “Help!” LP, 1965)

McCartney fell out of bed one morning, sat at the piano, and this iconic song came out almost fully formed. He was sure he must’ve heard it somewhere before, but it was indeed a brilliant original melody. It was the first group song featuring only a solo Beatle, with Paul playing acoustic guitar and singing lyrics that yearned for easier, happier times (“I said something wrong, now I long for yesterday”).

12   “Nothing you can say, but you can learn how to play the game, it’s easy…”

“All You Need is Love” (from “Magical Mystery Tour” LP, 1967)

When The Beatles were invited to participate in the first live global television link seen by 400 million people, they were asked to write a song with a universal message everyone could understand. Lennon jumped at the assignment and came up with the simple maxim “All you need is love, love is all you need,” set to a happy-go-lucky chant melody that, naturally, went straight to #1 in 1967’s “Summer of Love.”

INTERMEDIATE

13   “Newspaper taxis appear on the shore, waiting to take you away…”

“Lucy in the Sky With Diamonds” (from “Sgt. Pepper’s Lonely Hearts Club Band” LP, 1967)

Because this song title’s three key words start with L, S and D, many observer’s concluded Lennon was writing about the hallucinogenic drug in the lyrics. The colorful images (“Cellophane flowers of yellow and green towering over your head”) reinforced that viewpoint. He always insisted, however, that the impetus for the song was a picture his son Julian drew in kindergarten of his friend Lucy.

14  “You don’t need me to show the way, love, why do I always have to say, love…”

“Please Please Me” (from “Please Please Me” LP, 1963)

Lennon recalled playing around with the word “please,” as in “please listen to my pleas,” but then took it step further with “please please me,” which sends a message about asking for more pleasure. It has since been interpreted as wanting sexual pleasure, but in 1963, this wasn’t something you’d find in a pop song. “Please Please Me” became The Beatles’ first #1 hit in the UK, and reached #3 in the US in 1964.

15 “If looks could kill, it would’ve been us instead of him…”

“The Continuing Story of Bungalow Bill” (from “The White Album” LP, 1968)

While in India on their meditation retreat, Lennon observed an American college boy and his mother going on a tiger-hunting expedition, which he opposed. He wrote a lyrical tale about it as if it were a children’s story, using a decidedly mocking tone (‘he’s the all-American, bullet-headed Saxon mother’s son”) and changing the stereotypical Buffalo Bill to the tongue-in-cheek Bungalow Bill.

16 “I’m taking the time for a number of things that weren’t important yesterday…”

“Fixing a Hole” (from “Sgt. Pepper’s Lonely Hearts Club Band” LP, 1967)

On the surface, this seems to be a song about repairing an actual hole in the roof, but McCartney later said he was venting frustrations about the pressures of fame and people always wanting something from him (“See the people standing there who disagree and never win”). He yearned to be left alone to explore and experiment, a passion that marked many of the tracks on the “Sgt. Pepper” LP.

17 “But ’til she’s here, please don’t come near, just stay away…”

“Don’t Bother Me” (from “With the Beatles” LP, 1963)

In the early years, George Harrison played lead guitar and sang harmonies, occasionally stepping up to sing lead vocals, but he wasn’t yet confident as a songwriter. Still, he came up with “Don’t Bother Me” for the group’s “With the Beatles” LP, a surprisingly strong melody with somewhat moody lyrics about being left alone to wallow in self-pity. It contributed to his reputation as “the quiet Beatle.”

18 “‘Cause I couldn’t stand the pain, and I would be sad if our new love was in vain…”

“If I Fell” (from “A Hard Day’s Night” LP, 1964)

Lennon’s first ballad, written for the “A Hard Day’s Night” soundtrack, is relatively sophisticated for its time, both musically and lyrically. The narrator appears to be thinking about leaving his current love for someone new, but he wants assurances “that you’re gonna love me more than her.” “If I Fell” was also the B-side of the “And I Love Her” single, which peaked at #12 in the US.

19 “Soon we’ll be away from here, step on the gas and wipe that tear away…”

“You Never Give Me Your Money” (from “Abbey Road” LP, 1969)

All four Beatles expressed how frustrated they were in 1969 with how much of their time was consumed with financial meetings and business headaches. McCartney felt the need to write about it in “You Never Give Me Your Money,” the first track of the lengthy suite on Side Two of “Abbey Road.” The lyrics bemoaned the “funny paper” and breakdown in negotiations that hurt their group dynamics at the time.

20 “When you say she’s looking good, she acts as if it’s understood, she’s cool…”

“Girl” (from “Rubber Soul” LP, 1965)

As 1965 was winding down, The Beatles took a major leap forward in their songwriting with the material they wrote for “Rubber Soul.” Among the tunes Lennon penned was the rather complex, philosophical track “Girl,” which cryptically expressed his curious desire for an artistic, intellectual sort of woman to come along — “the kind of girl you want so much, it makes you sorry.”

21 “Then we’d lie beneath the shady tree, I love her and she’s loving me…”

“Good Day Sunshine” (from “Revolver” LP, 1966)

Lennon and McCartney (and Harrison too) were eager to carefully balance the tracks on each album, alternating moods and tempos and styles. On “Revolver,” the switch from Lennon’s hard-edged and lyrically heavy “She Said She Said” to McCartney’s jaunty “Good Day Sunshine” is a good example. On Paul’s simple song, it’s a nice day and he has a nice girlfriend, and that’s about all there is to it.

22 “Boy, you’ve been a naughty girl, you let your knickers down…”

“I Am the Walrus” (from “Magical Mystery Tour” LP, 1967)

When Lennon was told that college professors were teaching courses interpreting the lyrics of Beatles songs, he chuckled and said, “Here’s one they’ll never figure out.” This extraordinary track is a pastiche of literary references, playground nursery rhymes and cryptic, nonsensical phrases set to a lugubrious arrangement inspired by a British police siren. It’s one of Lennon’s most extraordinary works.

23   “Gather ’round, all you clowns, let me hear you say…”

“You’ve Got to Hide Your Love Away” (from “Help!” LP, 1965)

Lennon went through a phase when he was especially enamored with Bob Dylan — his songs, his voice, his overall persona. This manifested itself most overtly in “You’ve Got to Hide Your Love Away,” a Lennon number from the “Help!” film soundtrack. He later said he was furtively writing a message to manager Brian Epstein, who was forced to keep his homosexuality a secret.

24   “Sweet Loretta Martin thought she was a woman, but she was another man…”

“Get Back” (single, 1969)

If you watch Peter Jackson’s 2021 eight-hour documentary “The Beatles: Get Back,” you’ll watch in awe as McCartney comes up with the melody and feel for the song “Get Back” seemingly out of thin air while no one is paying much attention. It’s one of McCartney’s most compelling rockers, with lyrics that focus on the band’s desire to “get back to their roots” on their “Let It Be” album.

DIFFICULT

25 “‘We’ll be over soon,’ they said, now they’ve lost themselves instead…”

“Blue Jay Way” (from “Magical Mystery Tour” LP, 1967)

Harrison was staying at a rented home in the Hollywood Hills (on a street called Blue Jay Way), waiting for a friend to arrive, who was two hours late because of foggy conditions. He busied himself by writing this spacey song about it. Every Beatles tune was combed over for hidden meanings (were they lost on the road, or had they lost their way in life?), but Harrison said this song had no lyrical depth.

26 “In my mind, there’s no sorrow, don’t you know that it’s so?…”

“There’s a Place” (from “Please Please Me” LP, 1963)

The Beatles’ songwriters were working under pressure to produce songs to fill their debut album, and this one, mostly by Lennon, sounds hurried and not particularly noteworthy. Lyrically, the “place” he is writing about is not geographical — it’s his mind, the place he likes to go for solace when he feels down and out. Lennon wrote quite a few songs at this point about feeling “blue.”

27 “Everybody pulled their socks up, everybody put their foot down, oh yeah…”

“I’ve Got a Feeling” (from “Let It Be” LP, 1970)

Lennon and McCartney often wrote separately and then helped each other finish their songs. In this case in early 1969, they took two songs that shared a similar structure and chord pattern and mashed them into one. McCartney’s tune has “a feeling deep inside,” no doubt about his bride-to-be Linda, while John’s wearily points out, “everybody had a hard year.” They recorded it live on the Apple rooftop.

28 “You’re giving me the same old line, I’m wondering why…”

“Not a Second Time” (from “With the Beatles” LP, 1963)

Here’s yet another example of Lennon crying and hurt because some girl has disappointed or betrayed him, and he’s telling her she won’t be getting a second chance with him. He sings it convincingly, and it’s a competent piece of work from the “With The Beatles” album, but it’s unremarkable, like two or three throwaway songs found on each of The Beatles’ first five LPs.

29 “But listen to the color of your dreams, it is not living, it is not living…”

“Tomorrow Never Knows” (from “Revolver” LP, 1966)

George Martin called this Lennon song from “Revolver” to be “absolutely groundbreaking.” It’s based around only one chord, with lyrics about expanding one’s consciousness through recreational drug use (“Lay down all thoughts, surrender to the void”). Surrealistic sound effects created through home-made tape loops gave the track a very trippy sound, paving the way to more sonic experiments.

30 “I know it’s true, it’s all because of you, and if I make it through, it’s all because of you…”

“Now and Then” (single, 2023)

Unfinished demos of songs Lennon was working on at the time of his death in 1980 became the finished Beatles songs “Free as a Bird” and “Real Love” when Paul, George and Ringo collaborated in 1995-1996. A third song, “Now and Then,” was finally completed in 2023 thanks to audio restoration technology advancements. Lyrically, it’s an homage to love and how we mean it even if we don’t always show it.

31 “You could find better things to do than to break my heart again…”

“I’ll Be Back” (from “A Hard Day’s Night” LP, 1964)

Lennon sure seemed to love writing songs that center on someone breaking his heart. This time, though, it’s not so threatening because he’s confused about his feelings (“If you break my heart I’ll go, but I’ll be back again”). I’ve always loved this one because of the tight harmonies and melancholic melody, but it has received very little attention as the final track on the “A Hard Day’s Night” LP.

32 “Tell me, tell me, tell me the answer, you may be a lover but you ain’t no dancer…”

“Helter Skelter” (from “The White Album” LP, 1968)

McCartney was inspired by the latest music from The Who to have a go at writing something that would freak everyone out and prove he wasn’t just a ballad writer. In England, a helter skelter was a fast, scary, spiral fairground ride, and he used that image go make the analogy to a frenetic sexual “ride,” exemplified by harsh guitars, thundering bass and shouted vocals.

33 “Had you come some other day, then it might not have been like this…”

“If I Needed Someone” (from “Rubber Soul” LP, 1965)

Carried by shimmering 12-string guitar and glorious three-part harmonies, Harrison’s “If I Needed Someone” was curiously dismissed by its composer at the time as “like a million other songs written around the D chord,” but I’ve always loved it. Lyrically, the narrator is telling a woman he would love to be in a relationship with her if he wasn’t already in love with someone else.

34 “Waiting to keep the appointment she made, meeting a man from the motor trade…”

“She’s Leaving Home” (from “Sgt. Pepper,” 1967)

McCartney was touched by news reports of girls who ran away from home to join the hippie movement in California, and was inspired to write a short story describing her parents’ despair when they found her farewell note. Lennon added less sympathetic lines that implied the parents “gave her everything money could buy” but apparently not sufficient attention nor affection.

35   “Don’t you know I can’t take it, I don’t know who can, I’m not going to make it…”

“I Call Your Name” (from “Long Tall Sally” EP, 1964)

Lennon said this was among the first songs he ever wrote, around 1960, and even then, his lyrics focused on the pain of unrequited love instead of the happy love songs that would be The Beatles’ stock in trade during their initial releases. “I Call Your Name” appeared on the US-only LP “The Beatles’ Second Album,” and on a British EP at the same time (early 1964). The Mamas and Papas recorded a cover version in 1966.

36 “The men from the press said, ‘We wish you success, it’s good to have the both of you back…'”

“The Ballad of John & Yoko” (single, 1969)

Written almost as a diary entry, Lennon detailed his whirlwind marriage and honeymoon travels with Yoko in March 1969. Despite tensions between Lennon and McCartney at the time, the two collaborated without George or Ringo to quickly record the song and release it as a stand-alone single, and it reached #8 in the US, even with its controversial use of “Christ! You know it ain’t easy” in the lyrics.

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Lost classics from a half-century ago

Back in April, I offered my annual selections of the best 15 album of fifty years ago. Overall, 1975 was a pretty decent year for music, and I wanted to revisit that year one more time with a batch of long-forgotten tracks that made an impact on me. The dozen “lost classics” I’ve selected, culled exclusively from albums released in 1975, provide a healthy cross section of the kind of rock, blues, R&B, jazz and country music I was listening to at that time.

As with most of my lost classics, you might not be even remotely familiar with them…or you might have heard them once or twice back in the day but they’ve been under your radar ever since. By shining a light on them here, I hope to bring these quality 50-year-old songs to your attention. I recommend you punch in the Spotify playlist at the bottom and listen along as you read. I’m wagering you’ll find them worthy of your time.

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“Birmingham Blues,” The Charlie Daniels Band

Daniels is best known for his remarkable fiddle playing, but as his 25-album career clearly demonstrates, he was a solid singer and songwriter as well. He and his band deftly merged country, blues, rock and even jazz, sometimes cracking the Top 20 but mostly just turning out solidly dependable, modestly successful albums that kept them on the concert circuit for decades. Early on in their repertoire came the LP “Nightrider,” which includes the ferocious “Birmingham Blues,” easily my favorite song in their entire repertoire. It focuses on a Southern man who travels to L.A. in search of fame and fortune but ends up alone after his woman back home betrays him: “Sittin’ here in L.A., looking down at my shoes, /Drownin’ my troubles on small talk and blues, /Sittin’ here wonderin’ if I could have been born to lose, /I think movin’ is losin’, and now I can see I let a false-hearted woman make a fool outta me, /And now all I got left now is a bad case of Birmingham Blues…”

“There Will Be Love,” Jefferson Starship

When Jefferson Airplane founder Marty Balin rejoined his old colleagues in their new Jefferson Starship lineup for their “Red Octopus” album in 1975, he brought with him (to no one’s surprise) his predilection for love ballads to complement the counterculture concerns found in the songs by Paul Kantner and Grace Slick. The fact that Balin’s romantic approach dominates the proceedings was evident in the #1 chart success of “Miracles” as well as the big red heart in the album cover artwork. Hidden at the end of Side Two is “There Will Be Love,” another of Balin’s significant contributions, a power ballad co-written by Kantner and guitarist Craig Chaquico, and carried by those time-honored Airplane/Starship vocal harmonies.

“Dreaming From the Waist,” The Who

Following the phenomenal four-album run of “Tommy,” “Live at Leeds,” “Who’s Next” and “Quadrophenia,” The Who’s composer Pete Townshend was showing signs of burnout and exhaustion. The songs on “The Who By Numbers,” released in November 1975, “were written with me stoned out of my brain in my living room, crying my eyes out, detached from my own work and from the whole project… I felt empty.” He had just turned 30 and was troubled by whether he was getting too old to play rock and roll anymore. He also acknowledged he was drinking too much (the subject of “However Much I Booze”) and was challenged by his sexual urges, which he wrote about on “Dreaming From the Waist.” He said he didn’t like performing the song in concert, but the rest of the band really embraced the track.

“Before You Came,” Jesse Colin Young

Young is probably best known for the anthemic single “Get Together” he wrote and sang while with The Youngbloods in the 1960s. I was enamored of the solo albums he recorded in the mid-1970s — “Song For Juli,” “Light Shine” and “Songbird.” About the latter LP, Young said, “Really the heart of that album was a song called ‘Before You Came.’ I had visited the Black Hills of South Dakota and befriended some American Indians there and learned more about their plight and their sad history. After I returned to California, I was up on our ridge top overlooking Drakes Bay near San Francisco, and I saw a four-masted schooner anchored there. I thought I had all of a sudden stepped back in time, and that I was watching the first landing of white settlers. That’s where the idea for ‘Before You Came’ originated.” The music has a jazzy groove that’ll have you fully involved.

“Black Country Woman,” Led Zeppelin

As they were recording songs for their next LP in 1974, the members of Led Zeppelin found themselves with more material than would fit on a single LP, so they decided to make it a double by resurrecting several tracks they’d worked on but shelved during sessions for previous LPs. One of those, “Black Country Woman,” is an acoustic blues romp recorded in 1972 at Stargroves, the English manor owned by Mick Jagger. The microphones picked up the sound of an airplane flying overhead, which made producers reject the track, but Jimmy Page and Robert Plant liked it and left it in. I’m not a big fan of the “Physical Graffiti” album except for a handful of songs like “Kashmir,” “Night Flight,” “Ten Years Gone” and this fun diversion, which would’ve fit well on the largely acoustic “Led Zeppelin III.”

“Right,” David Bowie

The man who sold the world a hunky-dory image of himself as a space-age glam rocker named Ziggy Stardust made his first chameleon-like career change in 1975 with the release of “Young Americans,” his convincing “blue-eyed soul” LP. It proved to be remarkably authentic R&B music for a British rocker like Bowie, first on the marvelous title track and then on his iconic pairing with John Lennon on the #1 hit “Fame.” Forgotten underneath those two tunes were several other fine soul offerings, most notably “Right,” carried by prominent percussion and bass and the earworm repetition of the main lyric (“Taking it all the right way / Never no turning back”). Bowie famously said, “People forget what the sound of Man’s instinct is — it’s a drone, a mantra. And people say, ‘Why are so many things popular that just drone on and on?’ But that’s the point, really.”

“Rose Darling,” Steely Dan

The seven albums Steely Dan released during their initial 1972-1980 run had MAYBE five tracks that could be considered duds.  That’s five out of 63 songs — quite an impressive success ratio!  To my ears, everything else they wrote and recorded is simply awesome music.  On their 1975 masterpiece “Katy Lied,” they could’ve dispensed with the aptly titled “Throw Back the Little Ones,” but otherwise, flawless:  “Black Friday,” “Bad Sneakers,” “Daddy Don’t Live in New York City No More,” “Doctor Wu,” “Everyone’s Gone to the Movies,” “Your Gold Teeth II,” “Chain Lightning,” “Any World That I’m Welcome To.”  For this list, I’ve singled out the irresistible “Rose Darling,” which gives us the great Dean Parks on guitar and a young Michael McDonald making his first appearance with Steely Dan on vocal harmonies.  

“Carol,” Al Stewart

Combining folk-rock songs with tales of characters and events from history, Stewart released five LPs between 1967 and 1973 to little acclaim or sales, but once he hooked up with producer Alan Parsons on 1975’s “Modern Times” LP, his career took off, especially in the US, where “Year of The Cat” and “Time Passages” were Top Ten smashes in 1977-1978. “Modern Times” managed to reach #30 on US album charts even without a hit single, although the opening track “Carol” should’ve filled that bill. An infectious melody and some fine ensemble playing complement Stewart’s intriguing character study of a woman seeking to overcome her unsatisfying childhood: “I know your daddy said he’d talk to you, but he never really found the time, /And your TV mother with her cocktail eyes could never really reach your mind, /Oh Carol, I think it’s time for running for cover…”

“First Things First,” Stephen Stills

All four singer-songwriters in Crosby, Stills, Nash & Young enjoyed successful solo careers, which served to assuage the disappointment fans felt that the foursome couldn’t seem to stick together longer. Stills in particular was pretty prolific, with his Top Five “Love the One You’re With” single in 1970, two solo LPs and the remarkable Manassas double album in 1972. He was near completion of his third solo album in early 1974, but he put the project on hold for the legendary CSNY reunion tour that summer (I saw their three-hour set at Cleveland Stadium), where they each debuted several not-yet-released tracks. One of those was the Stills tune “First Things First,” which ended up appearing on “Stills” in 1975. It had been recorded in late 1973, with David Crosby and Graham Nash providing their trademark harmonies.

“Have a Good Time,” Paul Simon

Simon’s 1973 LP “There Goes Rhymin’ Simon” was a buoyant, rousing success with upbeat singles (“Kodachrome” and “Loves Me Like a Rock”) and tracks brimming with love and optimism. It came as quite a contrast, then, when his 1975 follow-up, “Still Crazy After All These Years,” was so downbeat and melancholy. Simon had just been through a divorce from his first wife, and several of the tunes reflected that difficult emotional upheaval. Even the #1 hit “50 Ways to Leave Your Lover,” with its catchy beat and whimsical lyrical approach, was still about a romantic breakup. The album’s lone moment of hope came on the languid deep track “Have a Good Time,” which urged listeners to set aside their troubles and enjoy life: “I don’t believe what I read in the papers, they’re just out to capture my dime, /I ain’t worrying and I ain’t scurrying, I’m having a good time, /Good time baby, good time, child…”

“Lighthouse,” James Taylor

There are so many great tunes on James Taylor’s many albums that it’s a challenge to choose which one to highlight. Since this playlist focuses on lost classics from 1975, I took a closer look at “Gorilla,” his album from that year, which featured his Top Five cover of Marvin Gaye’s “How Sweet It Is (To Be Loved By You)” and “Mexico.” Every track on the LP is worthy of your attention, but I selected “Lighthouse,” which features a winning melody and the stunning harmonies of (who else?) David Crosby and Graham Nash. Lyrically, Taylor humanizes a lighthouse at the edge of the continent, whose job is to warn ships of the dangerous rocky coastline: “I’m a lonely lighthouse, not a ship out in the night, I’m watching the sea, /She’s come halfway round the world to see the light and to stay away from me, /There is a shipwreck lying at my feet, some weary refugee from the rolling deep, /Ah, could you lose it all and fall for me?…”

“Meeting Across the River,” Bruce Springsteen

On an album as high-profile and legendary as Springsteen’s “Born to Run,” it’s easy to forget there’s a deep track that sounds unlike the rest of the LP and yet absolutely belongs there. The pensive “Meeting Across the River” utilizes just piano, trumpet, light bass and Bruce’s plaintive voice to create what one critic called “a film noir jazz ambience.” The lyrics tell the story of two would-be gangsters (the narrator and Eddie), desperate for a big score, who have to travel to the other side of the Hudson River to close a shady deal that will reap them big bucks and make their girlfriends proud (“And when I walk through that door, I’m just gonna throw that money on the bed, /She’ll see this time I wasn’t just talking, /Then I’m gonna go out walking…”). We don’t learn if they were successful, but that’s almost beside the point. It’s about the calm before the storm, and the music nails the feeling that juxtaposes hope and dread.

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