Top 35 Southern Rock Songs

Like so much rock 'n' roll from the earliest and most formative years, Southern rock took a little bit from here and a little bit from there.

Not to be confused with its lighter-touched country rock cousin, Southern rock mixes blues, soul and country and spins it through heavy rock's affinity for loud guitars and improvisational spirit for a genre truly distinct in tone and style.

In the below list of the Top 35 Southern Rock Songs, as chosen by the UCR staff, the twin pillars of the music - the Allman Brothers Band and Lynyrd Skynyrd - are well-represented, checking in, in one form or another, with more than a third of the entries. But Southern rock doesn't end with them, even if the story begins there. Records from the '70s through the '00s all find a place. As the late Ronnie Van Zant famously once asked, "What song is it you wanna hear?"

35. The Allman Brothers Band, "Ain't Wastin' Time No More" (From Eat a Peach, 1972)

Two months after Duane Allman died in a 1971 motorcycle accident, his brother Gregg and bandmates laid down this tribute to the late guitarist. Gregg Allman had already written the music for "Ain't Wastin' Time No More" before his sibling died (the group had started recording its third album, Eat a Peach, too); he then penned new lyrics for an anthem about living every day to the fullest and moving on amid tragedy.

34. The Allman Brothers Band, "Jessica" (From Brothers and Sisters, 1973)

Rebounding from the deaths of guitarist Duane Allman and bassist Berry Oakley, the Allman Brothers Band streamlined on their fourth album. The result paid off with their only No. 1. Written by guitarist Dickey Betts for his infant daughter, the instrumental  "Jessica" (shortened by nearly half of its album length when released as the follow-up single to "Ramblin' Man") became a concert showcase for Betts and the Allmans.

33. 38 Special, "Caught Up in You" (From Special Forces, 1982)

More than any other Southern rock band, Jacksonville, Florida's 38 Special benefited from MTV's introduction in 1981. Their pop hooks went a long way to getting the band's videos in heavy rotation on the nascent music video network. "Caught Up in You," the lead single from their fifth LP, was their first Top 10 hit and like most of the group's other chart songs it's sung by Don Barnes, who cowrote the song with members of Survivor.

32. Blackfoot, "Train, Train" (From Strikes, 1979)

Formed by Rickey Medlocke, an early and then later Lynyrd Skynyrd member, Blackfoot rarely reached the commercial highs of many of their Southern rock peers. They hit their peak on 1979's Strikes, which includes their only Top 40 single, "Highway Song." For the follow-up, they chose a song written and first recorded by Medlocke's grandfather, Shorty. "Train, Train" powers along a rhythm as old as the South.

31. Lynyrd Skynyrd, "Tuesday's Gone" (From [Pronounced 'Lĕh-'nérd 'Skin-'nérd], 1973)

Southern rock draws as much from the region's vintage soul music as it does from the boogie-laced guitars that can be traced to rock 'n' roll's blues connection. Three key tracks from Lynyrd Skynyrd's genre-defining debut are rooted in '60s soul, starting with "Tuesday's Gone," the slow-burning second song on (Pronounced 'Lĕh-'nérd 'Skin-'nérd) that includes adorning strings supplied by producer Al Kooper's Mellotron.

READ MORE: Top 35 Country Rock Songs

30. Hank Williams Jr., "All My Rowdy Friends Are Coming Over Tonight" (From Major Moves, 1984)

Hank Williams Jr. has always played a tougher form of country music than his peers and trailblazing father. But his 1984 hit "All My Rowdy Friends Are Coming Over Tonight" grazes the edges of Southern rock with its blazing guitars and raucous subject. The song took on a life of its own later in the decade when it was tapped as the opening theme song to Monday Night Football, a position it held for the next two decades.

29. 38 Special, "Hold On Loosely" (From Wild-Eyed Southern Boys, 1981)

38 Special was more pop-oriented than many of their Southern rock brethren, unafraid to go for the big hook when needed. Inspired by an equal mix of the Cars and Lynyrd Skynyrd, the group's first Top 40 single was one of three songs on their fourth LP, Wild-Eyed Southern Boys, not sung by Donnie Van Zant, the younger brother of late Skynyrd singer Ronnie. Vocal duties here fall to "Hold On Loosely"'s cowriter Don Barnes.

28. Lynyrd Skynyrd, "That Smell" (From Street Survivors, 1977)

Lynyrd Skynyrd's fifth album was covered in a dark cloud. As band members' drug and alcohol abuses increased, singer Ronnie Van Zant stood back and assessed the situation in a song that warned of the dangers of their excess. "That Smell" even references an incident where guitarist Gary Rossington wrecked his car. Three days after Street Survivors' release, a plane crash claimed the lives of Van Zant and others.

27. Lynyrd Skynyrd, "What's Your Name" (From Street Survivors, 1977)

Using their fifth album to dip into the Southern soul music around them, Lynyrd Skynyrd infused Street Survivors songs with horns and backing vocals, recorded parts of it at Muscle Shoals and enlisted Tom Dowd to produce. The opening track and first single "What's Your Name" is a life-on-the-road tale punctuated with an R&B base that crosses the line from the band's usual Southern rock. A new era cut short (see above entry).

26. Georgia Satellites, "Keep Your Hands to Yourself" (From Georgia Satellites, 1986)

The Dan Baird-led Georgia Satellites came out of the South in the mid-'90s with a sound equally informed by college radio as the Southern rock of the '70s. Structured as a basic 12-bar blues, "Keep Your Hands to Yourself" (the band's debut single) seemed like an anomaly in 1986: a throwback rock 'n' roll song with greasy Southern rock grit and even greasier intentions. That it made it to No. 2 is an achievement in itself.

25. ZZ Top, "I'm Bad, I'm Nationwide" (From Deguello, 1979)

When ZZ Top arrived at their sixth LP, Deguello, in 1979, they were returning from a two-year break that marked a world of difference for the Texas trio. No longer chained to the Southern boogie of their first five records, the band, particularly Billy Gibbons, discovered new inspiration in the punk and new wave sounds they were hearing, as well as developing technology. "I'm Bad, I'm Nationwide" links their old and new styles.

24. The Black Crowes, "Hard to Handle" (From Shake Your Money Maker, 1990)

Never shying away from their heritage, Atlanta's Black Crowes gave Otis Redding's posthumous 1968 song "Hard to Handle" a Southern rock makeover on their 1990 debut, Shake Your Money Maker. The band so effortlessly slid into their role that the track is barely distinguishable from their originals. After a couple of tries, the Crowes' version peaked at No. 26, their highest ranking ever on the main singles chart.

23. Little Feat, "Fat Man in the Bathtub" (From Dixie Chicken, 1973)

With two new members (including ace guitarist Paul Barrere) added in 1973, Little Feat arrived at the classic lineup that was together until the death of leader Lowell George in 1979. Their first album as a sextet also set them on a course for a thicker mix of R&B and Southern rock, exemplified by many of their live performances from the era. George's "Fat Man in the Bathtub," a highlight of Dixie Chicken, became a live staple.

22. Kings of Leon, "Notion" (From Only by the Night, 2009)

Kings of Leon's fourth album, Only by the Night, is best known for containing the hits "Sex on Fire" and "Use Somebody" that helped drive the Tennesseeans into the Top 10 for the first time. The record's closest tie to the group's Southern heritage appears later: At a compact three minutes, "Notion" doesn't seem to share much with the band's Southern rock forebearers, but the woozy guitar and chugging rhythm are pure South.

21. Elvin Bishop, "Fooled Around and Fell in Love" (From Struttin' My Stuff, 1976)

As a founding member of the Paul Butterfield Blues Band, Elvin Bishop had earned his status among modern American blues guitarists a decade earlier. As a solo artist, he'd been blending blues, soul and Southern rock on albums since the late '60s. Future Jefferson Starship singer Mickey Thomas was a backing vocalist in Bishop's band at the time and was given the mic on "Fooled Around and Fell in Love," a No. 3 hit in 1976.

NEXT: Lynyrd Skynyrd Albums Ranked

20. ZZ Top, "Heard It on the X" (From Fandango!, 1975)

As ZZ Top entered into the planning stages for their fourth album, and first following the breakthrough of 1973's Tres Hombres, they were torn between the obligatory live release and their next studio record. So they compromised and made a side consisting of each. The studio half, Side Two, includes their first Top 40 hit, "Tush," as well as "Heard It on the X," a fan favorite about influential border radio station X-Rock 80.

19. Outlaws, "Green Grass and High Tides" (From Outlaws, 1975)

At nearly 10 minutes, the closing song on Outlaws' debut album comes on like a shaggy sibling of both the Allmans and Skynyrd. Named after a Rolling Stones compilation and inspired by late rock 'n' roll artists, "Green Grass and High Tides" quickly became a showpiece in Outlaws' barnstorming concerts, often stretching past the 20-minute marker. The twin guitar solos owe a debt to Southern rock peers, especially Skynyrd.

18. The Allman Brothers Band "In Memory of Elizabeth Reed" (From At Fillmore East, 1971)

"In Memory of Elizabeth Reed" - named after a headstone spotted in the Allmans' hometown of Macon, Georgia - first appeared on the band's second LP in 1970, Idlewild South. A year later the group included an expanded version on their breakthrough live album, At Fillmore East, where the instrumental takes on truly epic proportions as guitarists Duane Allman and Dickey Betts weave in and out of each other's notes.

17. The Black Crowes, "She Talks to Angels" (From Shake Your Money Maker, 1990)

The Black Crowes came on like a mix of the Stones and Faces ran through a Southern rock filter on their debut album in 1990. Their first Top 40 single, however, brings the stew to a simmer with a semi-acoustic ballad about heroin abuse. "She Talks to Angels" fits in with tradition, though, going back to the Allman Brothers and Lynyrd Skynyrd's penchant for ballads and acoustic songs about deeper and darker subjects.

16. Lynyrd Skynyrd, "Saturday Night Special" (From Nuthin' Fancy, 1975)

Lynyrd Skynyrd's third album is often overlooked when judged against their other LPs. Still, Nuthin' Fancy was their first to make the Top 10. "Saturday Night Special," the record's only single, takes a staunch anti-gun stance that still managed to climb into the Top 30 in 1975. "Handguns are made for killin' / They ain't no good for nothin' else," Ronnie Van Zant matter-of-factly sings over tough, chugging rock 'n' roll guitars.

15. Drive-By Truckers, "Outfit" (From Decoration Day, 2003)

When Drive-By Truckers added Jason Isbell to their lineup on their fourth LP, they got more than a third guitarist in their Skynyrd-like attack. They also got a singer-songwriter whose words belied his 24 years. "Don't call what you're wearing an outfit, don't ever say your car is broke / Don't sing with a fake British accent, don't act like your family's a joke," he sings in "Outfit," advice passed down from one generation to the next.

14. ZZ Top, "Beer Drinkers & Hell Raisers" (From Tres Hombres, 1973)

After a somewhat rocky start on their first two albums, neither of which captured the dynamic energy of the in-sync trio, ZZ Top zeroed in on their collective strengths for their third album, the breakthrough Tres Hombres. After the opening one-two punch of "Waitin' for the Bus" and "Jesus Just Left Chicago," Billy Gibbons, Dusty Hill and Frank Beard tear into "Beer Drinkers & Hell Raisers" like it's a new statement of purpose.

13. Ram Jam, "Black Betty" (From Ram Jam, 1977)

Using Lead Belly's 1930s recording of an old folk song as its basis, "Black Betty" wasn't even attached to a group when it was recorded by ex-Lemon Piper Bill Bartlett in 1975. Two years later, producers Jerry Kasenetz and Jeffry Katz built a band for Bartlett as a vehicle for the song. Ram Jam released two albums; only their debut charted. "Black Betty" was their only hit single, making the Top 20 before the group broke up.

12. Molly Hatchet, "Flirtin' With Disaster" (From Flirtin' With Disaster, 1979)

Jacksonville, Florida's Molly Hatchet came on heavier and harder than most of their Southern rock contemporaries, peaking on their second album, Flirtin' With Disaster from 1979. The title song sealed their legacy. Trimmed 60 seconds from its five-minute album length, the single stopped short of the Top 40, robbing the band of its only big hit. No matter, the song is a rock radio favorite that kept Molly Hatchet busy into the '80s.

11. The Black Crowes, "Remedy" (From The Southern Harmony and Musical Companion, 1992)

The Black Crowes collected lots of Faces and Rolling Stones comparisons with their debut album; they didn't stop with the follow-up, though the band aligned more closely with its Southern roots, especially on "Remedy," The Southern Harmony and Musical Companion's first single. With a hip-shaking rhythm and snaky swagger, the song is '90s-style Southern rock - a boiling pot of influences that's more than mere tribute.

10. Lynyrd Skynyrd, "Simple Man" (From [Pronounced 'Lĕh-'nérd 'Skin-'nérd], 1973)

More than any other Southern rock band of the era, Lynyrd Skynyrd played up the Southerness of their roots - from the barroom honky-tonk politics of "Gimme Three Steps" to the bottle-tipping "Poison Whiskey," both from their debut album, a cornerstone of the genre. "Simple Man," however, could be the most Southern track on the LP, an advice song passed on from mother to son about not forgetting those roots.

9. Lynyrd Skynyrd, "Gimme Three Steps" (From [Pronounced 'Lĕh-'nérd 'Skin-'nérd], 1973)

Lynyrd Skynyrd's debut plays like a greatest-hits record, from concert staples such as "Free Bird" to sleeper fan favorite "I Ain't the One" found among its eight songs. Their debut single "Gimme Three Steps" got a boost with a rousing version found on the band's 1976 live album, One More From the Road, but there's an all-too-real sense of surprise to the studio take, complementary to the song's out-of-his-depth narrator.

8. The Marshall Tucker Band, "Can't You See" (From The Marshall Tucker Band, 1973)

The centerpiece of South Carolina's Marshall Tucker Band's self-titled debut, "Can't You See" begins with an instrumental passage featuring the flute, not exactly the instrument of choice for Southern rock bands. The song was the group's first single and stalled outside the Top 100; four years later a live version hit No. 75. It's since become a favorite to cover, with Waylon Jennings and Zac Brown Band among its fans.

7. Little Feat, "Dixie Chicken" (From Dixie Chicken, 1973)

Little Feat's second album, Sailin' Shoes from 1972, helped set the template for the band's easy groove going forward, but it's their third record where they finally put it all together, blending funk, soul, country and Southern rock with an assured grace that also translated effortlessly to the stage. Dixie Chicken's title track quickly became the band's signature song, a distillation of their warm-to-hot allure in four sweat-escalating minutes.

6. ZZ Top, "La Grange" (From Tres Hombres, 1973)

Borrowing a rhythm base and vocal lines from John Lee Hooker's classic blues "Boogie Chillen," ZZ Top turbo-charge "La Grange" into something else by the end of the song. The highlight of their breakthrough third album, Tres Hombres," "La Grange" is part blues, part boogie and part Southern rock, gliding along a scuzzy guitar line rivaled by Billy Gibbons' scratchy haw-haw-haw-haw vocal. A nod and a bridge from the past.

READ MORE: Allman Brothers Albums Ranked

5. The Allman Brothers Band, "Ramblin' Man" (From Brothers and Sisters, 1973)

After Duane Allman died in 1971, the Allmans' other guitarist, Dickey Betts, stepped up to learn his late bandmate's slide parts and, in turn, progressed into one of the group's most relied-upon players. Borrowing its title and country foundation from a Hank Williams song, "Ramblin' Man" was demoed two years before its appearance on 1973's Brothers and Sisters. It hit No. 2, the band's only Top 10 hit in a decades-long career.

4. Gregg Allman, "Midnight Rider" (From Laid Back, 1973)

The Allman Brothers Band had already recorded, in what many may say is the definitive version, "Midnight Rider" on their second album, Idlewild South. When the song's main writer Gregg Allman was putting together his first solo album in 1973, he rerecorded it as a moodier update that emphasized the dark nature inherent in the song's groove. The new version went Top 20, surpassing the commercial peak of the earlier track.

3. Lynyrd Skynyrd, "Sweet Home Alabama" (From Second Helping, 1974)

Written as a reaction to Neil Young's South-baiting "Southern Man," "Sweet Home Alabama" quickly grew beyond its answer-song origins. Lynyrd Skynyrd's debut was a modest hit, denting the Top 30, though it placed no songs in the Top 10. That changed with "Sweet Home Alabama," which made the Top 10 (the band's only single to do so) and provided the band with the steam to claim the Southern rock crown by mid-decade.

2. Lynyrd Skynyrd, "Free Bird" (From [Pronounced 'Lĕh-'nérd 'Skin-'nérd], 1973)

Lynyrd Skynyrd knew what they had with "Free Bird." As the epic closing song on their debut album, it was designed as a showstopper and centerpiece of both their record and live shows. Not so surprisingly, "Free Bird" grew even more epic onstage, where it was expanded to 15-plus minutes, with dueling guitars acting as the cathartic moment when the wistful ballad becomes jam-band standard. A Southern rock milestone.

1. The Allman Brothers Band, "Whipping Post" (From At Fillmore East, 1971)

The Allman Brothers band made "Whipping Post" the closing anchor song of their self-titled debut album in 1969, but it didn't become a Southern rock classic until it appeared on their 1971 breakthrough live LP At Fillmore East. In studio form, the song was one of Gregg Allman's first compositions with the new family band formed with brother Duane. Riffing on old blues themes, and working along a fairly standard musical scale of the genre, "Whipping Post" took on another life on the stage. As the centerpiece of the band's shows, the song was often pushed to the half-hour mark, allowing ample room for Duane's mesmerizing guitar to weave itself in and out of the music. The 22-minute version found on At Fillmore East is truly an epic experience: a good song made masterpiece by Southern rock royalty operating at the peak of their powers.

The Yardbirds, 'Five Live Yardbirds' (1964)

The album that made Eric Clapton a god to guitar-worshiping kids across the U.K. is also an explosive document of a British blues band fueling a decidedly American music with power, fireworks and amped-up resourcefulness.

Cream, 'Wheels of Fire' (1968)

The studio half of this double album is great ("White Room" kicks it all off), but the four live songs are even better, as the trio tears through the blues standards "Crossroads" and "Spoonful" like they were theirs from the start.

MC5, 'Kick Out the Jams' (1969)

In their prime, the MC5 were scary, fearless and one of rock's most explosive bands. They were at their best onstage, where all sorts of lunacy would take place. This is punk's ground zero and one of rock's finest live albums.

Grateful Dead, 'Live/Dead' (1969)

The definitive live album from the definitive live band. The Dead were still building their reputation onstage when they released a spaced-out classic that takes its own long, strange path getting to wherever it's going.

Jimi Hendrix, 'Band of Gypsys' (1970)

Hendrix debuted his new trio onstage on New Year's Eve 1969, and this live souvenir reveals a more soulful group at the core. The highlight is his 12-minute "Machine Gun," flaming guitar pyrotechnics taken to the extreme.

Cream, 'Live Cream' (1970)

These May 1968 shows may have focused on one of Cream's slightly less heralded studio albums, 1966's 'Fresh Cream,' but they nevertheless found this meant-to-be-heard-live power trio at the peak of their considerable powers. Cream discovers cool new wrinkles in the old material, too.

The Rolling Stones, 'Get Yer Ya-Yas Out' (1970)

The Stones have released lots of live albums over the years, but only this one comes close to backing their claim as the world's greatest rock 'n' roll band. After hearing these 1969 performances, you'll likely agree.

The Who, 'Live at Leeds' (1970)

The Who were at their live peak during their historic 'Tommy' tour. They were especially "on" the night they recorded 'Live at Leeds,' ripping through both old and new cuts with a ferocity that showcased their onstage presence. It doesn't get much better than this.

Various Artists, 'Woodstock: Music from the Original Soundtrack and More' (1970)

Musically, this triple album has lots of unnecessary bumps (Sha-Na-Na?). But it's a historically significant document of one of music's most monumental festivals, and the highlights (Joe Cocker, Jimi Hendrix) are magical.

Joe Cocker, 'Mad Dogs & Englishmen' (1971)

Overstuffed with music and sound – there are 80 minutes of song here, with dozens of players backing the vocalists – 'Mad Dogs and Englishmen' was more than a showcase for Joe Cocker. You're also reminded – again – of the overlooked genius of Leon Russell.

Grand Funk Railroad, 'Live Album' (1970)

Millions bought their albums, even as a million more critics sniffed about it. But Grand Funk just kept selling records – and kept selling out arenas, where they offered muscular, crowd-pleasing performances like the one captured on this double-platinum hit.

Crosby, Stills, Nash & Young, 'Four-Way Street' (1971)

Everyone got their chance to shine on this note-perfect, smartly titled live set. Unfortunately, it didn't herald a follow up to their 1970 studio debut, but instead a lengthy period where CSNY's collaborative spirit went dark.

Elton John, '17-11-70' (1971)

At this early point, there are no hits to feature. Despite that, Elton John has called this his best live album, and he's right. A lean trio format provides a stirring showcase for the power of a then-unknown star in waiting.

The Allman Brothers, 'At Fillmore East' (1971)

The Allmans had a pair of so-so studio albums out when they recorded this historic live set in 1970. Once fans heard what they were capable of onstage, everything changed. They became overnight stars, and their concerts must-see events.

Chicago, 'At Carnegie Hall' (1971)

Their first live album is marred a bit by sound problems, and these guys are clearly (I mean, seriously) high. Yet there remain these stunning moments of musical prowess, and an increasingly rare bond of onstage brotherhood.

Grateful Dead, 'Grateful Dead' (1971)

Like 'Live/Dead' but without the daring explorations, this 1971 album (known as Skull and Roses) is a more structured work. Still, the band was entering its most productive years, and this LP chronicles the bridge between eras.

Humble Pie, 'Performance Rockin' the Fillmore' (1971)

Steve Marriott's collaborative years with Peter Frampton went out with a bang on an album that included the nominal hit "I Don't Need No Doctor" and a simply incredible, side-long version of Dr. John's "I Walk on Gilded Splinters."

Various Artists, 'The Concert for Bangladesh' (1971)

George Harrison gathered some of his famous friends (including Bob Dylan and Ringo Starr) for one of rock's first benefit albums. The performances are loose, worldly and, in Dylan's case, breathlessly engaging.

The Band, 'Rock of Ages' (1972)

The Band's 1972 live album (documenting December 1971 New York City shows) was expanded to a box set in 2013. Either way, Allen Toussaint's horn arrangements add depth and complexity to songs that were already brimming with them.

Deep Purple, 'Made in Japan' (1972)

Come for "Smoke on the Water," but stay for a band at the peak of its creative and on-stage powers. Deep Purple was in the midst of a career-making run of studio albums, and those songs are given furiously inventive live readings here.

Derek and the Dominos, 'In Concert' (1973)

Following the release of Derek and the Dominos' only album, 'Layla and Other Assorted Love Songs,' Eric Clapton took the band (without its ace in the hole, Duane Allman) out on the road for a brief tour. This souvenir is heavy on long jams.

Hawkwind, 'Space Ritual' (1973)

'Space Ritual' found Hawkwind offering a patented blend of sci-fi themes, thunderous jams and whacked-out electronics. Save for the far-out spoken-word interludes from Bob Calvert, these mind-blowing explorations still sound fresh.

Yes, 'Yessongs' (1973)

Dramatic, both in scale and in style, 'Yessongs' must have felt like a brief pause as Yes took an extended live look back at a three-album swing that defined their legend. In reality, they'd reached a creative crossroads.

Lou Reed, 'Rock N Roll Animal' (1974)

Post-Velvet Underground, Reed transformed into a glam rocker, an art rocker and a rambling storyteller. For this buzzing live album, he became a rock 'n' roll star, with some help from future Alice Cooper guitarists Steve Hunter and Dick Wagner.

Van Morrison, 'It's Too Late to Stop Now' (1974)

Morrison is a notoriously unreliable live performer. Sometimes he's barely watchable, other times – like on this album from on his 1973 tour – he's on fire. The nine-minute "Caravan" is one of the most electrifying performances ever recorded.

Bob Dylan and the Band, 'Before the Flood' (1974)

In 1974, Dylan reunited with the Band for a blockbuster tour. This double album collects highlights – some by the Band, some by Dylan and some together. It's raucous, celebratory and even manages to capture some of the freewheeling excitement of their 1966 jaunt.

Emerson Lake & Palmer, 'Welcome Back My Friends to the Show That Never Ends' (1974)

A final moment of cohesion from a group that was blowing apart after the success of 'Brain Salad Surgery.' There are sound problems typical of the era, but even that can't diminish an authoritative, 36-minute run through "Karn Evil 9" – to say nothing of their brawny 27-minute take on "Tarkus," two of many highlights.

Velvet Underground, 'Live 1969' (1974)

The fidelity is spotty, and, depending on the night, the band could be off too. But this set culled from two shows months after the release of the Velvet Underground's third album is revelatory for its reworking of old songs and debut of new ones.

Joni Mitchell, 'Miles of Aisles' (1974)

Appearing for the first time with backing musicians, rather than as a solo acoustic act, Mitchell presented a career-spanning set that included the hit version of "Big Yellow Taxi" and a smart reworking of "Woodstock," which by then had become a hippie-rock standard.

King Crimson, 'USA' (1974)

By the time this arrived, Robert Fripp's collaboration with John Wetton and Bill Bruford was over. As such, 'USA' is a final testament to the lost majesty of a period that saw the release of three enduring prog studio classics.

Kiss, 'Alive!' (1975)

After their first three studio albums failed to capture the energy of the group's dynamic stage show, Kiss took a big risk by putting out a double-live album. Luckily – and justifiably – 'Alive!' catapulted them to super-stardom, thanks to amazing performances of songs like "100,000 Years," "Deuce" and what became the definitive version of the anthemic "Rock and Roll All Nite."

Peter Frampton, 'Frampton Comes Alive' (1976)

It made Frampton a star and was one of the biggest-selling albums ever, even if most people can name only three songs on it. No matter. 'Frampton Comes Alive!' is a cultural touchstone, as much a part of the '70s as Watergate and disco balls.

Bob Seger, 'Live Bullet' (1976)

Seger seemed to come out of nowhere with 'Live Bullet,' but in actuality he arrived at this multi-platinum, career-making moment having already developed a tough, focused demeanor through more than half a dozen studio albums and years on the road.

J Geils Band, 'Blow Your Face Out' (1976)

The rare album in which the music bests the studio versions it references, 'Blow Your Face Out' was the album that should have broken the J. Geils Band. Instead, as the song says, they "Musta Got Lost" – at least until an '80s revival.

Lynyrd Skynyrd, 'One More From the Road' (1976)

"What song is it you wanna hear?" The definitive version of "Free Bird" is here, which is reason enough for this project's durability. But the band is on fire throughout, tearing through the repertoire like they were out to prove something.

Rush, 'All the World's a Stage' (1976)

The monstrous opening combination of "Bastille Day" and "Anthem" tells you all you need to know about what's coming: One of the hardest-edged, most free-spirited albums that Rush ever released. Turn it up!

Iggy & the Stooges, 'Metallic KO'

This title isn't hyperbole, as one of the most unhinged, violent performances in Stooges' history – and that, friends, is say a whole lot – ends with Iggy Pop getting mauled by an angry crowd. No, really.

Wings, 'Wings Over America'

At the time, this was considered a career exclamation point, and it's easy to see why. The initial trio of tunes is, even now, the best opening McCartney’s ever constructed. Then there’s a definitive version of “Maybe I’m Amazed,” and his first pass at some old Beatles songs.

Foghat, 'Live' (1977)

Foghat rose to boogie-rocking fame via their tireless stage presence, so it's fitting that perhaps their best-ever album features extended live workouts of most of the band's best-known songs, including "Fool for the City," "Slow Ride" and others.

Genesis, 'Seconds Out' (1977)

Genesis' transcendent 'Seconds Out,' the final album to be released by this group's four-man edition, is a testament to what might have been had they not turned from prog toward more commercial waters. Steve Hackett's departure, however, seemed to only hasten things in that direction.

Kiss, 'Alive II' (1977)

Of course, this doesn't deserve quite the adoration justifiably heaped on its predecessor – too much of the essential scruff and texture of the band's earlier songs was jettisoned in favor of the more highly-polished, compact material. But it's still one of the best sequels in rock history, and gets our vote for the best gatefold image of all time. Now, how about a deluxe edition with the songs from the first three studio records added back into the set?

Jackson Browne, 'Running on Empty' (1977)

Dig the concept: a live album about being on the road featuring all new songs recorded onstage, backstage, on the tour bus and at soundcheck. And it all flows as perfectly as Browne's other albums from the period.

Ted Nugent, 'Double Live Gonzo' (1978)

Although his first three solo albums certainly had better production than the aforementioned Kiss efforts,Ted Nugent's classic songs still didn't come fully to life until they hit the stage. This 11-song, 90-minute adrenaline fest tells the story perfectly, delivering extended jams on classics such as "Motor City Madman" and "Stranglehold."

Little Feat, 'Waiting for Columbus' (1978)

Little Feat, to this point, was still powered along by Lowell George, whose wily vocals, gritty playing and winking lyrics provide the framework here. But the band was becoming more of a democracy, adding jazzier thoughts to their groove-based stew. George would soon begin shifting to solo thoughts.

Thin Lizzy, 'Live and Dangerous' (1978)

Sure, 1975's 'Fighting' and 1977's 'Bad Reputation' had vim and vigor. But the aptly named 'Live and Dangerous,' made complete with a few studio fixes from producer Tony Visconti, simply took things to an entirely different level.

Various Artists, 'The Last Waltz' (1978)

The Band is radiant – Levon Helm's take on "Dixie Down" is definitive, while Rick Danko’s darkly emotional “It Makes No Difference” arguably outdoes the studio version – but there's much to enjoy elsewhere from Bob Dylan, Muddy Waters, Emmylou Harris and the Staple Singers.

Blue Oyster Cult, 'Some Enchanted Evening' (1978)

Sure, there are scorching new takes on "(Don't Fear) The Reaper" and "Godzilla," but what makes this one really fun is hearing an in-their-prime BOC streak through "We Gotta Get Out of This Place" by the Animals and "Kick Out the Jams" by the MC5.

David Bowie, 'Stage' (1978)

Bowie is paired here with Adrian Belew in the midst his vaunted Berlin period, meaning lots of darkly intriguing moments from 'Low' and 'Heroes,' plus updates of older material given the same treatment.

AC/DC, 'If You Want Blood You've Got It' (1978)

AC/DC's first official live album finds the band in peak form just a year before 'Highway to Hell' would help them conquer the world, with electrifying versions of 'Riff Raff,' 'Bad Boy Boogie' and, especially, 'Let There Be Rock.'

Aerosmith, 'Live Bootleg' (1978)

This LP captures Aerosmith at their '70s zenith as they roared through all of their early classics on a 1977-78 tour, and with little or no overdubs. There are also choice bonus tracks dating back to 1973.

Cheap Trick, 'At Budokan' (1978)

A career-defining album, and one of rock's greatest concert souvenirs. Cheap Trick were barely known in the States when they stormed Tokyo, which treated them like they were the Beatles. After 'Budokan,' they conquered their homeland.

Sammy Hagar, 'All Night Long' (1978)

Sammy Hagar laid the groundwork for his early-'80s commercial breakthrough with nearly a decade of relentless touring, and the talent, energy and charisma on which he built his reputation are displayed wonderfully here. Plus, the thing ends with an honest-to-goodness guitar duel!

Todd Rundgren, 'Back to the Bars' (1978)

There are plenty of expected favorites here, but also a slew of typically idiosyncratic deep cuts that really tell us more about Rundgren than those more familiar moments. The stuff from 'A Wizard, a True Star' is particularly revelatory.

UFO, 'Strangers in the Night' (1979)

Michael Schenker's final classic-era appearance should have sent UFO into the stratosphere, as he simply set fire to the old studio versions. Instead, they imploded, as Schenker split – at least until an early-'90s reunion.

Ramones, 'Its Alive' (1979)

Too often, we have no definitive album to document classic-era bands at their peak. (Van Halen, we're looking at you.) Not so with the Ramones, captured here blissfully immolating nearly 30 songs in about an hour on New Year's Eve 1977.

Queen, 'Live Killers' (1979)

They were arena-rattling rock stars, with a balletic, multi-octave lead singer. And those kind of juxtapositions, those molecular contradictions, made Queen – in particular on this, their's only live album released in the '70s – a galvanizing force.

Neil Young, 'Rust Never Sleeps' (1979)

Leave it to the uncompromising Young to make a live album consisting of entirely new songs. The first half is acoustic, just Young and his guitar. He's joined by Crazy Horse on side two, and that's where things get totally electric.

Judas Priest, 'Unleashed in the East' (1979)

Great controversy once raged over how much of this was actually, you know, done live. (Some wags even took to calling it "Unleashed in the Studio.") That kind of sweetening is, of course, old hat now. And it's hard to stay mad with an album that rocks with such fleet aggression, no matter where it was recorded.

Neil Young, 'Live Rust' (1979)

Neil Young followed up 'Rust Never Sleeps' (itself a live album featuring brand new songs) with a more traditional concert LP that spanned his entire career – from acoustic Buffalo Springfield to a searing "Powderfinger."

Eric Clapton, 'Just One Night' (1980)

Most famous for its scuffed-up take on "Cocaine," this double-album live set also features a staggering, eight-minute excursion through Otis Rush's "Double Trouble." No matter the missteps of his studio albums of the period, Clapton always returned to the blues in concert – and all was forgiven.

Kinks, 'One for the Road' (1980)

The Kinks were on their way to a huge comeback when they made this popular concert album, which revisited their past and present with equal amounts of flash, reverence and cheese.

Eagles, 'Live' (1980)

'Live' produced the Top 40 hit "Seven Bridges Road," a closely sung vocal feature that sounded like the portrait of brotherly love. In reality, this career-spanning double-live album – mixed by Glenn Frey and Don Henley via Fed Ex while living on opposite coasts – was anything but. They wouldn't get back together again until 1994.

Warren Zevon, 'Stand in the Fire' (1980)

Despite being newly sober, Zevon sounds like he's barely holding it together on this live album recorded in Los Angeles in the summer of 1980. The loose-cannon performances give the songs an abrasive nastiness that fit Zevon like a glove.

Journey, 'Captured' (1981)

The final testament to an all-too-brief period with both Steve Perry and Gregg Rolie, 'Captured' finds Journey with one foot still in its muscular jam-rock phase. That said, it also provides a peek into the stadium-filling pop-rock sound to come with the bonus studio track, "The Party's Over (Hopelessly in Love)."

Motorhead, 'No Sleep 'Til Hammersmith' (1981)

No sleep indeed. Motorhead didn't exactly come into these 1980-81 shows as a band known for taking it easy. But, somehow, Lemmy, Fast Eddie Clarke and Philthy Animal Taylor manage to take it up a notch, playing with this blinding fury. Heck, several notches.

Billy Joel, 'Songs in the Attic' (1981)

A trip back to Billy Joel's first four albums, but with a tight and tough working group that gives them new life on stage. If you missed those early records, or if you're fascinated by the idea of hearing a legend find new meaning in his own work, 'Songs in the Attic' is a must hear.

Rush, 'Exit ... Stage Left' (1981)

Recorded as Rush toured the huge hit records 'Moving Pictures' and 'Permanent Waves,' this project doesn't have the primal energy of 'All the World's a Stage' but it has better-known songs. A nice companion piece.

Simon & Garfunkel, 'The Concert in Central Park' (1982)

Ever wondered what Paul Simon's solo stuff would have sounded like had he never broken up with Art Garfunkel? Here's your chance. They sound great on all of it, though, providing a pleasant jolt of nostalgia more than a decade after S&G's initial split.

Peter Gabriel, 'Plays Live' (1983)

Peter Gabriel offers a note-perfect summation of his early solo period, touching on four albums that saw him quickly establish a new persona separate from Genesis. Of course, songs from the then-new 'Security' only hint at the creative zenith to come with 'So.'

U2, 'Under a Blood Red Sky' (1983)

'Under a Blood Red Sky' documents a band coming into its own as a stadium act in the wake of 'War,' making the most of their songs' big statements with an electrifying mix of earnestness and theatricality.

Dire Straits, 'Alchemy' (1984)

An artifact from a time when bands would completely rework their music in the live setting, 'Alchemy' is just that – a heady concoction that's one part low-key Mark Knopfler rumination, one part fizzy Dire Straits interplay and one part audience participation.

Talking Heads, 'Stop Making Sense' (1984)

Even without the visuals (and David Byrne's big-ass suit), this soundtrack to Talking Heads' concert movie is killer, reworking old favorites into funky new jams with an expanded onstage lineup. An exciting piece of '80s music history.

Scorpions, 'World Wide Live' (1985)

The essential Scorpions concert recording, 'World Wide Live' showcases a group peaking commercially, so there is plenty from 1984's breakout 'Love at First Sting.' They look back for smart runs through favorites from 'Blackout,' 'Lovedrive' and 'Animal Magnetism,' too.

Iron Maiden, 'Live After Death' (1986)

Dotted with great songs, this album is also strengthened by its narrative arc – since music from only two stops (Long Beach Arena in Los Angeles and then the Hammersmith Odeon in London) is included, rather than cherry-picked from shows throughout their 1984-85 tour.

Tom Petty and the Heartbreakers, 'Pack Up the Plantation: Live!' (1985)

This first-ever live album doesn't work as a summation so much as a chance for Petty and the Heartbreakers to draw new ideas out of their music. That's particularly true with the then-new 'Southern Accents,' which had gotten so off track through the recording process.

Jimi Hendrix, 'Jimi Plays Monterey' (1986)

Hendrix's breakthrough moment was at the 1967 Monterey Pop Festival and, even without the sight of him making sweet love to his guitar before setting it on fire, it's as if pyrotechnics burst from the grooves. The set-closing "Wild Thing" made him a star.

Bruce Springsteen & the E Street Band. 'Live 1975-85' (1986)

Springsteen capped his mid-'80s domination with a three-disc live box that collected 40 songs from his star-making decade. The early theater performances are revealing, but the stadium-shaking 'Born in the U.S.A.' era proves that no audience was too big for the new Boss.

Guns N' Roses, 'Live ?!*@ Like a Suicide' (1986)

The songwriting hadn't reached the magical chemistry found on 'Appetite for Destruction' yet, but in terms of official live albums this is the best example of the raw energy and fury to be found at Guns N' Roses' early shows.

Ozzy Osbourne and Randy Rhoads, 'Tribute' (1987)

A tutorial on modern technique from the only player who challenged Eddie Van Halen for guitar supremacy, 'Tribute' shows how Randy Rhoads added new depth charges to Ozzy Osbourne's 'Blizzard of Ozz'-era material. The only quibble is that they waited so long to unleash this.

Roy Orbison, 'Black and White Night' (1989)

Seeing as there are no classic-era performances of Orbison around, this would have been an important historical document no matter what. Add in full-bodied contributions from Bruce Springsteen and Elvis Costello, and 'Black and White' becomes a must-hear set.

Queen, 'Live at Wembley '86' (1990)

One of the most electric performances ever broadcast on live television — despite Queen’s being given just 18 minutes to perform on a star-studded Live Aid bill, and a throat ailment for Freddie Mercury that had doctors cautioning against the performance. They rose to the challenge.

Neil Young, 'Arc / Weld' (1991)

Young and Crazy Horse went on the road in 1990 to promote their excellent 'Ragged Glory' album. They came back with this three-disc collection, including a 35-minute collage made up of guitar feedback and other random blasts of noise.

Eric Clapton, 'Unplugged' (1992)

On a commercial comeback following the success of "Tears in Heaven," Clapton took time to survey his past with 'Unplugged,' often with stripped-down poignancy. It's a grown-up look back at a life spent in the spotlight.

Metallica, 'Live S---: Binge & Purge' (1993)

Metallica has probably released about 4,000 live albums by now, but this massive three-concert monster from the days when they first conquered the world remains the most vital.

The Beatles, 'Live at the BBC' (1994)

Familiar songs become frisky live statements, as this set tracks Beatles performances from 1962-65. But the most interesting part is finding a whopping 29 never-before-released covers, not to mention "I'll Be on My Way," a Lennon-McCartney original that they handed over to Billy J. Kramer.

Nirvana, 'Unplugged in New York' (1994)

Alternative nation's biggest band stripped down and paid tribute to its heroes on this intimate and harrowing set. 'Unplugged in New York' grew more poignant following Kurt Cobain's death mere months after it was recorded.

The Police, 'Live' (1995)

The second disc, recorded during the Police's final tour in 1983, is only OK. That's more than made up for, however, by the first one. Plucked from a 1979 tour in support of 'Reggatta de Blanc,' it absolutely bristles with energy and intellect.

Paul Butterfield Blues Band, 'East-West Live' (1996)

That arguably the first psychedelic album came from a blues band was one thing. That arguably one of the most influential blues albums of all time came from a white guy, well, that was another. That both things were wrapped up inside 'East-West,' however, is undeniable – and this live exploration of the Paul Butterfield Blues Band's second album only underscores its groundbreaking importance.

Santana, 'Live at the Fillmore 1968' (1997)

Santana was still rounding into shape, personnel wise, on this pre-Woodstock recording. But the cornerstone interplay between Carlos Santana and Gregg Rolie was already in place through a set that includes five never-before-heard songs and a remarkable half-hour jam.

AC/DC, 'Bonfire' (1997)

AC/DC's loving box set tribute to their former singer includes not one but two live albums – the soundtrack to their incredible 1979 concert film 'Let There Be Rock,' and a rare "live in the studio" set from 1977. Either one of them is totally worth the price of the entire package on its own.

Led Zeppelin, 'BBC Sessions' (1997)

Before they got too huge and some bloat set in, Zeppelin were an explosive live act, as these two dozen songs recorded in 1969 and 1971 prove. The earliest songs, especially, uncover a fierce hunger that's downright exhilarating at times.

Bob Dylan, 'The Bootleg Series Vol. 4 - Bob Dylan Live 1966, The 'Royal Albert Hall' Concert' (1998)

Dylan's 1966 U.K. tour is legendary, not only for the music, but for the confrontational tone between artist and audience almost every single night. Half acoustic, half electric (with members of the Band), this concert is one of rock's most famous. And for good reason.

The Clash, 'From Here to Eternity' (1999)

Five years' worth of Clash concerts are gathered on this after-the-fact collection, which bounces between hometown London gigs during their late-'70s breakthrough over there to a show at Shea Stadium from 1982, when they finally conquered the States.

Led Zeppelin, 'How the West Was Won' (2003)

Way better than the snoozy 'Song Remains the Same,' which was recorded a year later, these 1972 performances capture a band on top of the world. Every single swagger, monster riff and bombastic moment is earned here.

Bruce Springsteen With the Sessions Band, 'Live in Dublin' (2007)

Bruce Springsteen's 2006 folk project was documented on 'Live in Dublin.' He combined traditional protest songs, campfire singalongs and reworked versions of his classics to produce some of the loosest, most joyous music he's ever made.

Levon Helm, 'Ramble at the Ryman' (2011)

This stirring live document was both a solo showcase and an important reminder: The Band’s principal songwriting credits may have gone to Robbie Robertson, but they were then – and were here again – often completely inhabited by Levon’s carnal Arkansas drawl.

ZZ Top, 'Live In Germany 1980' (2011)

For years, ZZ Top's barnstorming 1980 appearance on the German TV show Rockpalast was the crown jewel of any true fan's video bootleg collection. Three decades later, angels from heaven above finally saw fit to make it this dazzling set the official career-defining live album it was always meant to be.

Led Zeppelin, 'Celebration Day' (2012)

The 2007 reunion among Led Zeppelin's surviving members was way better than anyone could have expected, with the band pulling out some of its best-loved songs (including an epic, 11-minute version of "In My Time of Dying") for one (probably) final spin.

Crosby Stills Nash & Young, 'CSNY 1974' (2014)

This tour was notorious for the offstage (and sometimes onstage) friction among the four members. Some of that seeps into CSNY's music, which is the most raw, haunted and scarred it's ever been.

Bruce Springsteen & the E Street Band, 'The Agora, Cleveland 1978' (2015)

Springsteen was in his glory days in 1978, releasing one of his greatest albums and hitting the road for a historic tour. There are many great live bootlegs out there, but this official release from Cleveland ranks among his all-time best.

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