Badfinger - Day After Day

Also written by Pete Ham, “Day After Day” features slide guitar work from George Harrison and piano from Leon Russell.

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Badfinger - Baby Blue

“Baby Blue” is textbook power pop, featuring catchy riffs and longing melodies.

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King Crimson - Sailor's Tale

This instrumental follows “Formentera Lady” and stands out for its intensity and progressive structure. It features some of Robert Fripp’s most inventive guitar work, including a banjo-like solo and dramatic Mellotron passages.

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King Crimson - Islands

The piece includes a stunning cornet solo by Mark Charig, blending classical and jazz influences into a melancholy, almost dreamlike panorama.

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The track features Stewart’s raspy vocals, Wood’s slashing slide guitar riffs, and Ian McLagan’s electric piano—the combination became Faces’ signature sound.

"Spoon” was notable for being Can’s first use of a drum machine in combination with live drums, performed by Jaki Liebezeit. This approach was highly unusual for popular music in the early 1970s and contributed to the song’s distinctive, rhythmic pulse.

It was written collectively by the band—Alice Cooper, Glen Buxton, Michael Bruce, Dennis Dunaway, and Neal Smith—and produced by Bob Ezrin.

Yes - Roundabout

Perhaps Yes’s best-known song, composed by Anderson and Steve Howe. Built on an instantly recognizable acoustic guitar riff, the track moves through changing meters and moods, featuring dynamic organ and bass performances.

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Yes - Heart of the Sunrise

The album’s most epic track (over 10 minutes), lauded for its energetic, complex opening in 6/8 time, intricate bass work, shifting dynamics, and soaring vocals.

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Yes - South Side of the Sky

A heavier, dramatic track co-written by Jon Anderson and Chris Squire. The song mixes thunderous, riff-driven sections with atmospheric piano interludes by Wakeman.

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Yes - Long Distance Runaround

Written by Jon Anderson, this concise, melodic piece stands out for its inventive bass line (by Chris Squire), polyrhythmic structure, and precise interplay between band members.

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The song is celebrated for its extended jams, jazz-rock fusion sound, and distinctive two-chord vamp, all contributing to its reputation as a classic of 1970s rock radio.

Dave Davies, who played guitar, called it one of the band’s most “important” and “perceptive” songs, crediting its enduring relevance and the thoughtful atmosphere created by its subdued instrumentation—particularly the slide guitar.

The song features a raw, guitar-driven sound, stripped of orchestration and vaudeville influences to create an urgent, lived-in mood.

Happy End is a landmark band in Japanese rock history credited for pioneering rock lyrics in Japanese. “風をあつめて” stands out for its gentle, melancholic melody and poetic lyricism, and has become one of the group’s best-known songs, recently gaining renewed attention through its use in films and media

Genesis - The Return of the Giant Hogweed

It features complex, aggressive riffing, unusual time signatures, and dramatic organ work, reflecting the band’s newfound confidence and ambition with Collins and Hackett in the lineup.

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