My Generation
Entwistle's bass solo needed a Fender after his Danelectro strings snapped, and Daltrey stuttered his way into history.
Entwistle's bass solo needed a Fender after his Danelectro strings snapped, and Daltrey stuttered his way into history.
Recorded in Hollywood with Cale on piano, the rhythm pushing like a subway train under Reed's flat delivery.
Three chords, sleigh bells, and Cale leaning on a single piano note throughout. Punk starts here.
Pop lifted the title from a Time column on Vietnam, and Bowie's mix made Williamson's guitar a threat.

A Vox Continental organ, a Michigan basement studio, a tiny local label, and somehow the number one record in America.
Ray Davies's publisher wanted to sue the Doors over the riff; Davies declined, and the snarl outlived the argument.
Richman borrowed two chords from Sister Ray and turned Route 128 after midnight into the happiest song about driving.

Straightforward Kink copying, by Townshend's own admission, with the Ivy League on harmonies and Shel Talmy at the desk.

Eight days at the Record Plant with Rundgren, and Johansen's strut arrived years before punk had a name.
The album's opening shot, cut with Cale at the Hit Factory, and Iggy making boredom sound like a threat.
Mann and Weil wrote it about Gerry Goffin's drug problems, by Mann's account; the Raiders took it to number four.