Find songs

Cash's official catalog lists the original single on May 1, 1956, with Get Rhythm on the other side. Sam Phillips produced it. Later recordings of the song should not be assumed to be that original master.

Sweet Little Sixteen belongs to Chuck Berry's early Chess period. The label's catalog history dates its release to 1958 and identifies Reelin' and Rockin' as the reverse side. The recording session took place in late...

Twilight Time is part of the Platters' original 1958 single repertoire. The later Magic Touch anthology places it among the vocal quintet's 1955-1962 hit recordings. That anthology is useful for locating the...

Money (That's What I Want) is represented here by Barrett Strong's original single in mono, as explicitly identified in the licensed track metadata. The supported release year is 1959. This version preserves the...

Hank Ballard wrote this song and recorded it with the Midnighters for King Records. The 1960 single also appeared on Mr. Rhythm and Blues and crossed from the R&B chart into the pop market. A later recording is a...

Buddy Killen wrote and produced this recording. The Anita Kerr Singers recorded it under the Little Dippers name in 1959, before the single appeared in 1960. The composition also received later recordings by Billy...

Hoagy Carmichael and Stuart Gorrell wrote the song decades before Ray Charles recorded it for The Genius Hits the Road in 1960. Accounts of the original title's inspiration differ: a frequently repeated family...

Berry Gordy produced Marv Johnson's recording, with backing vocals by the Rayber Voices. The writing credit includes Gordy, Mike Ossman, Al Abrams and John O'Den. Issued by United Artists in 1960 and included on More...

The melody began as the Italian song Per tutta la vita, written by Pino Spotti and Alberto Testa and performed at the 1959 Sanremo festival. Kim Gannon supplied English lyrics. Brenda Lee recorded that adaptation...

Paul Anka wrote and performed the song, issued as a single in 1959. Its narrator faces the end of a relationship, and the recording places that sadness against orchestral and choral backing. This describes the...

The composition is credited to Lloyd Price and Harold Logan. Its repertoire history extends beyond Price: Billy Eckstine included it on the 1960 live album No Cover, No Minimum. That parallel recording provides...

Carl Spencer and Henry Glover wrote the song released by Billy Bland on Old Town in 1960. Its R&B recording crossed into the pop chart, and other performers later adapted the composition, including Ernest Tubb and...

Clint Ballard Jr. and Fred Tobias wrote the song recorded by Bobby Rydell. It appeared on the other side of his 1960 Wild One single, and both sides received attention. These paired songs retain separate identities...

Jeff Barry and Ben Raleigh created a teenage-tragedy narrative in which a young man enters a stock-car race to earn money for a wedding ring and dies in a crash. Ray Peterson recorded the song with Hugo and Luigi...

Jerry Reed wrote this lively rockabilly song, and Owen Bradley produced Brenda Lee's Nashville recording. It shared a 1960 single with the contrasting ballad I'm Sorry. Both sides attracted chart attention, but the...

Wayne Shanklin wrote and produced the recording. Its unusual sound came from a studio experiment: engineer Larry Levine ran a second tape at a slightly different speed while trying to strengthen the mix. The...

Nat Simon and Charles Tobias wrote the composition in 1946. It looks back nostalgically at the lamplighter who once lit and extinguished street lamps. The Browns revived it in a country-pop setting with Chet Atkins...

Charles Williams originally composed this music as Jealous Lover for the 1949 film The Romantic Age. Ferrante and Teicher's later recording used the title Theme from The Apartment, with Don Costa arranging and...

Reginald Hall brought the song to Joe Jones after Fats Domino declined it. Jones added it to his club act and later recorded it, with Sylvia Robinson involved in the New York session. The lyric complains about an...

Jerry Livingston and Mack David wrote the ballad recorded by Ricky Nelson for Imperial. In 1960 it was paired with Right by My Side. The documented writing and release credits distinguish the composition from...

Breakfast at Tiffany's is an instrumental from Henry Mancini's music for the 1961 film. The later Greatest Hits compilation places it at track 7, matching the screenshot's visible number and album context. It is...

Percolator (Twist) belongs to the studio identity Billy Joe and the Checkmates. The licensed artist biography identifies Billy Joe Hunter as a pseudonym used by Lew Bedell, who worked with Ernie Freeman on the...

The hit comes from the live performance released on The 12 Year Old Genius. Its onstage energy, rather than a conventional studio ballad arrangement, was central to the young performer's breakthrough.

Mickey's Monkey was first released as a Miracles single in 1963, before the following album. Motown's label history and the licensed mono-single listing establish that sequence. The album's later 1964 chart...

Need to Belong is the title recording of Jerry Butler's 1963 Vee-Jay album. Curtis Mayfield, Butler's former colleague in the Impressions, wrote the song. Its place among Butler's interpretations of other writers...

The official Motown biography describes this early hit as autobiographical. It helped establish Gaye after his initial attempts at a more traditional vocal career.

Burl Ives recording from 1964, not later annual holiday chart appearances. This recording is included in the 1964 editorial listening list. A documented songwriting-inspiration account has not been established.

Holland-Dozier-Holland supplied the Four Tops' breakthrough Motown hit in 1964. The museum identifies it as the beginning of their major chart run.

Goin' Out of My Head is part of Little Anthony and the Imperials' 1964 catalog. The group's own archive credits the composition to Teddy Randazzo and Bobby Weinstein, a writing partnership also responsible for Hurt...

This is the Beatles' recording of the song associated with Little Richard, credited to Enotris Johnson, Robert Blackwell and Richard Penniman. Their version was recorded in March 1964 with George Martin producing and...

Opportunity became a national hit for the Washington, D.C. vocal group the Jewels in 1964. Their history traces the singers through earlier names and local recording work before this breakthrough. The screenshot...

This Lennon-McCartney song, developed from McCartney's original idea, was recorded at EMI Studios in October 1964 with George Martin producing. It appeared on Beatles for Sale in December 1964; the US single followed...

Motown identifies Holland-Dozier-Holland as the writing team behind this Gaye hit. This is a songwriting credit, not autobiographical testimony.

The Motown Museum places this 1965 hit in the group's successful partnership with Holland-Dozier-Holland.

Motown identifies this hit with Gaye's creative collaboration with Smokey Robinson; it does not identify a private event behind the lyrics.

Make It Easy on Yourself belongs to the Walker Brothers' 1965 group catalog. It is associated with the original Take It Easy With the Walker Brothers program and also appears on later retrospectives. The digital...

This recording brought David Ruffin to the lead microphone and became the group's first U.S. pop number one. The official Motown history treats it as a turning point in their career.

People Get Ready was released by the Impressions in 1965. The Library of Congress included the single in the National Recording Registry and described it in the context of the civil rights movement. The recording...

The Ramsey Lewis Trio recorded The In Crowd at the Bohemian Caverns in Washington, DC, during a 1965 engagement. Lewis later recalled the audience's spontaneous response to the performance in his National Endowment...

The Tracks of My Tears appeared as a Miracles single in 1965 before its inclusion on Going to a Go-Go that November. Motown's history identifies Marv Tarplin's guitar contribution and the songwriting partnership of...

Paul McCartney recalled that the central idea was largely John Lennon's and that they then worked on it together. The single was promoted while the group was making the Help! film. This account avoids treating...

This Paul McCartney composition presents a melancholy reflection on a relationship that has ended. The recording pairs his voice and acoustic guitar with a string quartet, without the other Beatles performing. The...

You Didn't Have to Be So Nice was a Lovin' Spoonful single before its appearance on Daydream. The Kama Sutra issue credits John Sebastian and Steve Boone as writers and Erik Jacobsen as producer. Sundazed's...

You'd Better Come Home belongs to Petula Clark's 1965 English-language singles. The original release paired it with Heart and appeared through Pye in Britain and Warner Bros. in the United States. Later greatest-hits...

(I Know) I'm Losing You is the Temptations' original 1966 studio recording, documented in the historical Motown singles program for that year. Its original group performance and release year are retained separately...

A Sign of the Times is a Petula Clark recording from 1966. Its original single paired it with Time for Love, and it also appeared on My Love. The later Platinum & Gold compilation in current streaming metadata...

Johnny Rivers recorded Jimmy Webb's By the Time I Get to Phoenix for his 1966 album Changes. Rivers recalled hearing the song on a tape of Webb's work and then meeting the writer to record it. He published the song...

Primarily written by Paul McCartney, the song centers on loneliness and overlooked lives rather than a conventional romance. George Martin's arrangement uses a double string quartet. These documented subject and...

I Couldn't Live Without Your Love was released as a Petula Clark single in 1966 and also became the title of an album that year. That album combined the title song with contemporary covers. The screenshot's...

Poor Side of Town marked Johnny Rivers' move toward an orchestrated ballad sound. Rivers recalled recording his vocal with Larry Knechtel, Joe Osborn and Hal Blaine before Marty Paich's strings were added. The song...

The museum highlights the song as a statement of support and solidarity, delivered through Levi Stubbs' powerful lead. That is an interpretation of the song's message, not a claim about a private relationship.

Secret Agent Man developed from the theme used for the American presentation of the television series Danger Man. Johnny Rivers recalled that P.F. Sloan and Steve Barri first supplied a shorter theme. Additional...

The museum lists this among the group's defining Motown hits in its history of the Four Tops and their classic songwriting partnership.

The 59th Street Bridge Song (Feelin' Groovy) appears as the sixth song on Simon and Garfunkel's Parsley, Sage, Rosemary and Thyme. The duo's official archive places the album in 1966. Its later expanded edition adds...

Otis Redding recorded Try a Little Tenderness for his fifth studio album at Stax in Memphis. Booker T. & the M.G.'s, Isaac Hayes and the Memphis Horns participated in those 1966 sessions. The original album...

Motown identifies this as the 1965 hit that helped establish Wonder beyond his child-performer image and as a growing songwriter.

Ringo Starr sings the lead on this Lennon-McCartney recording. It appeared on Revolver in 1966 and shared a single with Eleanor Rigby before becoming the title song of the 1968 animated film. The official song notes...

This belongs to the Four Tops' Holland-Dozier-Holland hit-making period. The museum identifies it among the records that cemented their place at Motown.

Break on Through (To the Other Side) opens the Doors' self-titled 1967 debut. The band paired Jim Morrison's voice with Ray Manzarek's keyboards, Robby Krieger's guitar and John Densmore's drums. Its placement at the...

Andy Williams made his own Columbia recording of Can't Take My Eyes Off You, a song written by Bob Crewe and Bob Gaudio. Sony's recording credits identify Nick DeCaro as producer and explicitly date this performance...

Love Affair's Everlasting Love was issued by CBS in December 1967, following Robert Knight's earlier recording of the Buzz Cason and Mac Gayden song. Steve Ellis sang over backing played by session musicians, with...

Foxey Lady belongs to the Jimi Hendrix Experience's debut-album repertoire. The official archive retains that spelling in its Are You Experienced program. This selection refers to the original 1967 album recording,...

Peter, Paul and Mary included John Denver's Leaving on a Jet Plane on Album 1700 in 1967. Their own career history distinguishes that album appearance from the recording's later success as a single in 1969. The 2004...

Little Ole Man appears on Silver Throat: Bill Cosby Sings, a music album built around blues and R&B repertoire with the Watts 103rd Street Rhythm Band. The performance places a spoken comic narrative over...

More Love is the original 1967 Miracles recording associated with Make It Happen. The licensed historical singles program distinguishes its mono presentation from other stereo presentations. The catalog retains the...

John Lennon drew on childhood memories of the garden at Strawberry Field, a Salvation Army home near where he grew up. Originally recorded during work toward Sgt. Pepper, the song instead appeared as a double A-side...

Sunday Will Never Be the Same is an early Mercury recording by Spanky and Our Gang, written by Terry Cashman and Gene Pistilli. Its folk-oriented vocal-pop arrangement introduced a sound different from the group's...

The Look of Love connects Dusty Springfield with the Burt Bacharach and Hal David repertoire associated with Casino Royale in 1967. The licensed Very Best of Dusty Springfield track retains that year. This entry...

Justin Hayward's Tuesday Afternoon was released with the Moody Blues' Days of Future Passed in 1967. The song forms part of The Afternoon suite; the screenshot does not establish the precise edit or mix.

Abraham, Martin and John marked Dion's return to Laurie in 1968. Ace's reissue notes describe the single pairing it with Daddy Rollin', followed by the Dion album. This is part of his solo career, so the recording...

The Jimi Hendrix Experience recorded All Along the Watchtower for the 1968 Electric Ladyland era. It retains a separate performer and recording identity from Bob Dylan's earlier recording.

Face It Girl, It's Over appeared in Nancy Wilson's Capitol catalog in 1968, both as a single paired with The End of Our Love and on Easy. The same recording family subsequently appeared in Capitol retrospectives. The...

Paul McCartney developed the song from an idea called "Hey Jules," intended to comfort Julian Lennon during his parents' separation. The piano-led ballad gradually expands into a long communal-sounding ending. The...

Norman Whitfield shaped Gaye's distinctive interpretation after the song had already succeeded for Gladys Knight and the Pips. These are different recordings of the same composition.

The Beatles recorded this song in February 1968 before leaving for India. The basic track paired McCartney's piano with Starr playing drums using brushes. Released with George Harrison's The Inner Light on the...

Like to Get to Know You is the title recording associated with Spanky and Our Gang's second Mercury studio album. The original LP discography identifies that release in 1968. Some present-day streaming pages assign...

Motown places this recording in the group's later, socially conscious period rather than the uncomplicated romance of their early hits. It belongs to the Diana Ross-led era.

The Lettermen made Paul Anka's Put Your Head on My Shoulder the title track of a 1968 Capitol album and also issued it as a single. The album placed the vocal trio's treatment alongside other contemporary material,...

Wynette and Billy Sherrill wrote the song together. The museum places its release in 1968 and discusses the debate surrounding its message of loyalty and forgiveness.

Motown connects the record's change of direction with Sly and the Family Stone's fusion of styles and Dennis Edwards' more forceful lead voice. That supports a musical influence, not a personal-life explanation of...

John Lennon wrote this Abbey Road opener, which carries the Lennon-McCartney credit. The band recorded it at EMI Studios in July 1969 with George Martin producing. It also shared a double A-side single with George...

Everyday With You Girl is documented on the Classics IV album Traces with Dennis Yost explicitly named in the licensed credit. The 1969 album context places it alongside the group's better-known title song, while...

Fortunate Son appears on Creedence Clearwater Revival's Willy and the Poor Boys, released in 1969. Craft's album notes place it among the record's politically engaged songs. The original program sets it alongside...

The song was central to the project first known as Get Back, intended to capture the band playing together rather than relying on extensive overdubs. The single paired "Get Back" with "Don't Let Me Down" in April...

Norman Whitfield shaped Gaye's distinctive interpretation after the song had already succeeded for Gladys Knight and the Pips. These are different recordings of the same composition.

Long Time Gone is part of Crosby, Stills & Nash's original 1969 debut-album program. Its later appearance on the group's 2005 Greatest Hits explains the compilation title visible in the screenshot. The original album...

This was the last Supremes number-one single with Diana Ross before her solo career. Its place in the group's transition is documented; the title alone does not establish an autobiographical inspiration.

Suite: Judy Blue Eyes opens Crosby, Stills & Nash's 1969 debut album. Rhino lists the original extended performance separately from later bonus material. Selecting the complete album track preserves the suite as one...

That's the Way God Planned It is selected in the complete Parts 1 & 2 form documented on Billy Preston's 1969 album. The licensed edition identifies a 2010 digital remaster, which describes later mastering work. That...

Wooden Ships is part of Crosby, Stills & Nash's original 1969 debut album. This addition identifies the trio's studio recording. The screenshot's truncated performer credit and generic Real Audio Tracks tag do not...

Carry On opens Crosby, Stills, Nash & Young's 1970 album Deja Vu. Rhino later identifies that performance as Carry On/Questions in its Stephen Stills anthology, separately listing Buffalo Springfield's Questions. The...

Hand Me Down World appears on Share the Land, the Guess Who album released in October 1970. The official album description identifies this as the first release after Randy Bachman's departure and the introduction of...

Have You Ever Seen the Rain was part of Pendulum, Creedence Clearwater Revival's 1970 studio album. Craft identifies it in the original program alongside Hey Tonight and other John Fogerty songs. Its album...

Only Love Can Break Your Heart appears in the original eleven-song program of After the Gold Rush. Neil Young's official anniversary edition distinguishes that 1970 album from later bonus outtakes. The screenshot...

Our House belongs to the original program of Deja Vu, released by Crosby, Stills, Nash & Young in 1970. A later Crosby, Stills & Nash compilation includes the song, which accounts for the shorter anthology credit in...

Motown identifies Syreeta Wright among the writers associated with this 1970 record. It comes from Wonder's increasingly self-directed phase at the label.

Southern Man is one of the original recordings on Neil Young's After the Gold Rush. The official album archive establishes a 1970 release, despite this file's inclusion among the user's sixties screenshots. The later...

The recording grew out of the Let It Be project, originally conceived around live-in-the-studio performance. Phil Spector later added an orchestral and choral arrangement. The official album history explains that...

This is a post-Diana Ross Supremes recording, from the period when Jean Terrell had joined the group. It should not be credited as a Diana Ross lead performance.

Written by Paul Williams, An Old Fashioned Love Song was the first single from Three Dog Night's 1971 album Harmony. The album also drew on material associated with Marvin Gaye, Stevie Wonder and Joni Mitchell. The...

Bread's Baby I'm-a Want You was released in 1971 before becoming the title track of the band's fourth album in 1972. David Gates produced that album during the transition from founding member Robb Royer to...

Dave Edmunds released I Hear You Knocking as a solo single on MAM in 1970. The recording was already in the British chart that November, before its appearance in the app's 1971 U.S. annual list. Its later inclusion...

I Need You appeared on America's self-titled debut, originally released late in 1971. Ian Samwell and Jeff Dexter produced the album, whose acoustic guitars and vocal harmonies also frame Sandman and Three Roses. The...

Eddie Kendricks sings the delicate lead. Motown places this ballad just before his departure from the group, distinguishing its vocal character from the increasingly psychedelic records around it.

That's the Way I've Always Heard It Should Be opens Carly Simon's 1971 debut album. Eddie Kramer produced the record at Electric Lady Studios in New York, with Ed Freeman arranging strings for this song. The original...

Together Let's Find Love belongs to the 5th Dimension's live repertoire. Arista/Legacy identifies the performance on Live!! as an original 1971 release and credits J. W. Alexander and Willie Hutchison as composers....

Walk Away opens Thirds, the James Gang's 1971 studio album. It remains separate from the band's later Live in Concert performance and from Kelly Clarkson's same-titled recording.

The official Motown history connects the album to war, racial injustice and the social tensions of its period. Its scope goes beyond a conventional love song.

Carole King revisited Will You Love Me Tomorrow on Tapestry in 1971, performing a song she had written with Gerry Goffin for the Shirelles. Her own recording belongs to the Lou Adler-produced Ode/A&M album. It is...

Carole King's own recording of You've Got a Friend opens the second half of the original Tapestry program from 1971. Lou Adler produced the album, recorded at A&M studios, with King credited on piano and vocals. The...

Aubrey appeared on Bread's 1972 Guitar Man album. Its arrangement centers on classical guitar, orchestral strings and a music box, providing a more intimate setting than the electric guitar featured in the album's...

Elton described wanting to capture the sound of nostalgic rock and roll, naming the Beach Boys, Eddie Cochran and earlier pop hits as touchstones. The recording features him on piano and Farfisa organ. It was already...

Day by Day belongs to the original Godspell song program, with music and new lyrics by Stephen Schwartz. The off-Broadway recording features Robin Lamont and the Godspell ensemble. It is distinct from the later...

Diary is one of the original songs on Bread's January 1972 album Baby I'm-a Want You. The David Gates-produced record introduced Larry Knechtel into the band's album lineup after Robb Royer's departure. Diary became...

I Saw the Light opens Todd Rundgren's 1972 album Something/Anything?. The original Bearsville recording credits Rundgren as writer and vocalist. Its placement at the beginning of that large studio program provides a...

I'd Love You to Want Me belongs to Lobo's 1972 Big Tree album Of a Simple Man. The recording credits identify Roland Kent LaVoie, the performer known as Lobo, as its writer and lead singer, with Phil Gernhard...

It Wouldn't Have Made Any Difference is the second track on Todd Rundgren's 1972 album Something/Anything?, with Rundgren credited as its writer and singer. The Almost Famous soundtrack later included this original...

The song appeared on All Directions. Motown credits Norman Whitfield, Barrett Strong and arranger Paul Riser in its account of the record's Grammy success.

Summer Breeze is the title recording of Seals and Crofts' fourth album, released by Warner Bros. in 1972. Jim Seals and Dash Crofts had already spent years in music before this release broadened their audience. The...

This recording is associated with Talking Book in Motown's account of Wonder's early-1970s creative expansion. The album setting is documented; it is not proof of a particular real-life romantic subject.

David Gates wrote The Guitar Man, which Bread released as a single in the summer of 1972 before the Guitar Man album. Larry Knechtel played the featured lead guitar, developing its wah-wah phrases after earlier solo...

Producer Billy Sherrill helped shape Rich's crossover sound. The museum identifies this record as a landmark of their collaboration.

Elton described wanting to capture the sound of nostalgic rock and roll, naming the Beach Boys, Eddie Cochran and earlier pop hits as touchstones. The recording features him on piano and Farfisa organ. It was already...

Led Zeppelin included D'yer Mak'er on Houses of the Holy in 1973. The original album source establishes the year; its later remastered anthology appearance is a separate packaging event.

Don't Expect Me to Be Your Friend appears on Lobo's 1972 album Of a Simple Man. The recording credits name Roland Kent LaVoie as the writer and lead vocalist, with Phil Gernhard producing. Its original album release...

The song appeared on All Directions. Motown credits Norman Whitfield, Barrett Strong and arranger Paul Riser in its account of the record's Grammy success.

This recording is associated with Talking Book in Motown's account of Wonder's early-1970s creative expansion. The album setting is documented; it is not proof of a particular real-life romantic subject.

Woman from Tokyo opens Deep Purple's 1973 album Who Do We Think We Are in the band's official archive. The track sits in the original seven-song program alongside Mary Long and Rat Bat Blue. Its documented album year...

This recording is associated with Talking Book in Motown's account of Wonder's early-1970s creative expansion. The album setting is documented; it is not proof of a particular real-life romantic subject.

Bad Company is the title song of Bad Company's 1974 debut album. The original album performance is the destination for the requested title; the later 10 from 6 compilation date is not its first release year.

Haven't Got Time for the Pain closes Carly Simon's 1974 Hotcakes album, produced by Richard Perry. Simon wrote the music and Jacob Brackman the words. The song's official credits identify Simon on piano, James Taylor...

The museum credits Billy Sherrill, Rory Bourke and Norro Wilson with writing this Charlie Rich hit.

Tin Man is part of Holiday, the 1974 America album that began the trio's studio partnership with George Martin. Gerry Beckley, Dewey Bunnell and Dan Peek's vocal blend remained central while the production setting...

Daisy Jane belongs to Hearts, America's 1975 album recorded in Sausalito with producer George Martin and engineer Geoff Emerick. The album's arranged pop setting also included Sister Golden Hair and Woman Tonight,...

Bachman-Turner Overdrive included Hey You on Four Wheel Drive in 1975. The Canadian band's recording is separate from Pink Floyd's later song with the same title.

Love Is the Drug was Roxy Music's first single from Siren in 1975 and also opens the album. Siren credits Bryan Ferry on vocals, John Gustafson on bass and Chris Thomas as producer. The group's official archive...

Miracles appears on Jefferson Starship's Red Octopus, released in June 1975 after Marty Balin joined the lineup. The album brought several former Jefferson Airplane musicians together in this newer band. It preceded...

Never Gonna Fall in Love Again belongs to Eric Carmen's first solo album, issued by Arista in 1975 after his work with the Raspberries. The same original album introduced All by Myself, establishing his separate solo...

Billie Jean King recalled Elton offering to write a song for her in 1974 and choosing a title connected with her Philadelphia Freedoms tennis team. Their friendship and love of the Philadelphia sound informed the...

Jigsaw recorded Sky High for the 1975 film The Man from Hong Kong. The British group's songwriting partnership centered on keyboardist Clive Scott and drummer-singer Des Dyer. The song became its first single for...

Elton's official history traces this song to a conversation with Long John Baldry at London's Bag O'Nails pub. Baldry urged the conflicted young musician to reconsider an impending marriage and protect his future....

Ted Nugent's Stranglehold is associated with his 1975 self-titled studio album in the recording-specific licensed listing. Later live versions and conflicting anthology metadata are not substituted for that program.

Swearin' to God is selected in Frankie Valli's explicitly labeled single version. Licensed metadata associates this edit with 1975, while the later Very Best compilation supplies the screenshot's album context....

You Got the Love opens Rufus' 1974 album Rags to Rufus and credits Chaka Khan and Ray Parker Jr. as its writers. The album was produced by Bob Monaco and Rufus. Issued as a single alongside the album's other major...

Blue Oyster Cult identify this recording as a track from their 1976 Agents of Fortune. Later performances of that complete album are separate recordings; the screenshot does not establish a particular single edit.

All by Myself helped introduce Eric Carmen's solo recording career after the Raspberries. It belongs to his original 1975 Arista album, which also contains Never Gonna Fall in Love Again. That album is a separate...

This is the live Beautiful Loser released on 'Live' Bullet in 1976. The official history places the album's performances at Detroit's Cobo Hall in September 1975. The generic Bob Seger Live screenshot label does not...

This Bluebird performance is the live recording released on Wings Over America in 1976. The album was assembled from recordings at several US concerts and mixed to play as a continuous show. Bluebird is track 12 in...

This KISS recording opens Destroyer, the band's 1976 studio album. The official original program supports the recording's year, before its later Greatest Kiss compilation appearance in the screenshot.

Disco Duck grew from Rick Dees's work as a Memphis radio presenter and club entertainer. He described devising a disco parody after hearing a duck imitation and remembering Jackie Lee's The Duck. First recorded for...

KISS included Do You Love Me on Destroyer in 1976. It is a separate song and recording from the Contours and Dave Clark Five catalog entries sharing that title.

Flight '76 gives Rimsky-Korsakov's Flight of the Bumblebee a disco arrangement under the Walter Murphy Band credit. Released in the period of A Fifth of Beethoven, it continued Murphy's approach of adapting classical...

McCartney wrote this brass-colored Motown homage for Revolver. The Beatles recording first appeared in 1966, while its US single release followed in 1976 alongside the Rock 'n' Roll Music compilation. That later...

Lost Without Your Love came from Bread's reunion period and brought David Gates' singing and songwriting back together with the group's studio musicians. The title recording circulated in 1976 before the surrounding...

Lowdown comes from Boz Scaggs's 1976 Silk Degrees. The artist's album history places it alongside Lido Shuffle among the recordings that established the album's wider audience. Its studio setting also connects Scaggs...

Mainstreet appears on the 1976 Night Moves album under the Bob Seger and the Silver Bullet Band credit. The original studio recording is retained separately from live performances and later Greatest Hits packaging.

Nadia's Theme connects the work of Barry De Vorzon and Perry Botkin Jr. with the screen repertoire of Bless the Beasts and Children and The Young and the Restless. The melody was earlier known as Cotton's Theme. Its...

Rhiannon belongs to Fleetwood Mac's 1975 self-titled album, the first made with Lindsey Buckingham and Stevie Nicks in the lineup. Rhino's reissue separates the original album from later single mixes and concert...

Paul McCartney's official archive describes Silly Love Songs as a response to critics who considered his songwriting too sentimental. Wings released it on At the Speed of Sound and as a single in 1976. The group...

Boston's Something About You appears on the group's 1976 debut. This retains Boston's recording separately from the Level 42 song already represented in the annual catalog.

Takin' It to the Streets is the title track of the Doobie Brothers' 1976 album. The licensed album notes identify that release as the group's first with Michael McDonald.

The selected Travelin' Man is the concert recording from 'Live' Bullet, released in 1976. Its performance belongs to the album's September 1975 Cobo Hall recordings. The screenshot does not identify a venue or...

This live performance of Turn the Page comes from the Detroit shows recorded in September 1975 for Live Bullet, released in April 1976. Seger's official Greatest Hits program explicitly labels its selection Live. The...

Boz Scaggs closes the original Silk Degrees album program with We're All Alone. This 1976 Scaggs performance is a separate recording from Rita Coolidge's later version already represented in the catalog.

Young Hearts Run Free became the title song of Candi Staton's second Warner Bros. album in 1976. Written and produced by David Crawford, it brought Staton's soul and gospel background into a disco setting. The...

The track was a studio addition to Live at the London Palladium, despite that album's live framing. Do not describe the hit itself as an onstage recording solely from the album title.

I Wouldn't Want to Be Like You appears on the Alan Parsons Project's 1977 album I Robot. Lenny Zakatek sings the lead, with Ian Bairnson on guitars, Eric Woolfson on keyboards, David Paton on bass and Stuart Tosh on...

Lido Shuffle appeared on Boz Scaggs's 1976 Silk Degrees album. Scaggs made that record with Los Angeles session musicians who would later be associated with Toto. The album also introduced Lowdown and We're All...

Lost Without Your Love came from Bread's reunion period and brought David Gates' singing and songwriting back together with the group's studio musicians. The title recording circulated in 1976 before the surrounding...

This track belongs to Van Halen's original 1978 debut program. Later greatest-hits packages preserve the song's history without becoming its original release event.

Baby Hold On was part of Eddie Money's self-titled 1977 Columbia debut, alongside Two Tickets to Paradise. The publisher's biography places that album at the start of Money's recording breakthrough after Bill Graham...

The Cars recorded Bye Bye Love for their 1978 debut. Their performance is distinct from the Everly Brothers recording of a different song with the same title.

Good Times Roll opens The Cars' 1978 debut album. Its original album association is retained when tracing the later greatest-hits compilation named in the screenshot.

The title track belongs to the original nine-song Head First album by The Babys. Chrysalis' licensed program establishes 1978; the later Anthology label in the screenshot is a compilation association.

Joe Jackson's debut single Is She Really Going Out with Him? was issued by A&M in October 1978. It preceded the January 1979 Look Sharp album, produced by David Kershenbaum, and became a broader hit after the album...

One of the songs on The Cars' 1978 debut. Its licensed track date precedes the album within the same year; this entry uses year precision.

The full MacArthur Park Suite closes Donna Summer's 1978 Live and More album. It joins MacArthur Park to One of a Kind and Heaven Knows before returning to a MacArthur Park reprise, with Giorgio Moroder and Pete...

Moving in Stereo is part of The Cars' 1978 debut studio program, immediately before All Mixed Up. The screenshot's later anthology is retained as provenance.

The Cars included this recording on their 1978 debut album. The source identifies the original studio program, while the screenshot shows its later Complete Greatest Hits appearance.

The J. Geils Band included One Last Kiss on Sanctuary in 1978. The later Flashback compilation shown in the screenshot collects that earlier song; its compilation date is not used as the original album year.

Gerry Rafferty included Right Down the Line on City to City in 1978. Its appearance on later retrospective packages is distinct from the release of this original album recording.

Runnin' with the Devil opens Van Halen's 1978 debut. The original licensed studio program is separate from later live albums and the greatest-hits packaging visible in the screenshot.

Running on Empty leads Jackson Browne's 1977 album about touring life. The project assembled new material recorded while the musicians were traveling, using concert stages and other places they occupied on the road....

REO Speedwagon included Time for Me to Fly on You Can Tune a Piano, But You Can't Tuna Fish in 1978. The Hits compilation in the screenshot draws on that earlier album recording.

Whenever I Call You Friend is the Stevie Nicks collaboration on Kenny Loggins's Nightwatch. Loggins wrote the song with Melissa Manchester, while Nicks joined him for the recorded vocal performance. The 1978 album...

This recording is track six of The Cars' 1978 debut program. It joins several other songs from that album in the supplied Complete Greatest Hits screenshot.

Dance Away belongs to Roxy Music's 1979 return on Manifesto. The band's official archive lists it among the album's original tracks and identifies it as the second single. The album followed Siren and brought Roxy's...

Dangerous Type closes the original eleven-song Candy-O program by The Cars in 1979. It is part of the original album, not one of the later expanded edition's bonus recordings.

Hold the Line introduced Toto on the band's 1978 self-titled album. Guitarist Steve Lukather recalls that the album was recorded in 1977 and that hearing the single on Los Angeles radio in 1978 felt like the...

GQ included I Do Love You on Disco Nights, its 1979 Arista album. The recording belongs to the band's soul-oriented repertoire alongside its dance material and remained in circulation on later expanded editions. An...

Jefferson Starship included Jane on Freedom at Point Zero in 1979. The artist credit belongs to Jefferson Starship; later compilations that span both Jefferson Starship and Starship can use broader package-level...

Lay It on the Line is a song from Triumph's 1979 Just a Game. The band's history identifies that album as an early international breakthrough for the Canadian trio.

Lotta Love opens Nicolette Larson's 1978 debut album Nicolette. Her work as a backing vocalist had connected her with Neil Young, whose song became a key part of her move into solo recording. Ted Templeman produced...

Elton chose producer Thom Bell for sessions shaped by the Philadelphia soul sound in 1977. Mama Can't Buy You Love reached listeners on a three-song EP in 1979; a later release expanded the sessions. The recording...

We Live for Love is part of Pat Benatar's 1979 In the Heat of the Night. The later Best Shots compilation named in the screenshot does not establish its first release year.

Van Halen included Women in Love... as track nine of Van Halen II in 1979. The published title ends with an ellipsis; this is not a truncated unknown song.

Van Halen open their second album with this 1979 recording. It is a different performer's recording from the Linda Ronstadt version already in the catalog.

Ah! Leah! grew from Donnie Iris' writing partnership with Mark Avsec. An official Allegheny County career retrospective connects its sessions with Agnes and the other Back on the Streets recordings, made with...

The opening song on Van Halen's Women and Children First, released in 1980. The ellipsis belongs to the published title and does not indicate a missing subtitle in this entry.

Crazy Train appears on Ozzy Osbourne's solo debut Blizzard of Ozz, released in 1980. The official expanded program distinguishes that studio recording from later live versions.

Bobby Braddock and Curly Putman wrote the song. Jones initially considered it too sad, but producer Billy Sherrill persisted with the recording.

Her Strut is a song from Against the Wind, released in 1980. Bob Seger's official anniversary notes identify the album and its Silver Bullet Band association; a later live rendition is separate.

I Could Be Good for You appears on 707's self-titled 1980 album. The licensed recording credits Duke McFadden and Jim McClarty as the writers; the numeric band name is retained as its own artist identity.

Living After Midnight appears on Judas Priest's British Steel, originally released in 1980. The official studio program is separate from later concert performances carrying the same song title.

Make It Real opens Scorpions' 1980 Animal Magnetism. It is a different song and recording from the Jets' later same-titled annual entry.

Kim Carnes recorded More Love for 1980's Romance Dance. Her official biography identifies it as a new interpretation of a Smokey Robinson song and as her first solo Top 10 hit. This is Carnes's recording, separate...

Ride Like the Wind was included on Christopher Cross's self-titled debut, released by Warner Bros. in 1979 and produced by Michael Omartian. Cross's own songbook lists it in that original program. The 1979 album...

Contemporaneous Billboard and Cash Box reviews in October 1979 identify the original A&M SP4782 album and its title cut. These establish 1979 public availability before the 1980 year used by the artist and songwriter...

Sailing appears on Christopher Cross's 1979 debut. Cross provides his original guitar voicings in the official album songbook. The album was produced by Michael Omartian; its 1979 release precedes the 1980...

Should've Never Let You Go is the Neil Sedaka and Dara Sedaka duet promoted from In the Pocket in 1980. Elektra's contemporary advertisement explicitly billed both performers and credited production and arrangement...

GQ recorded Sitting in the Park for its second Arista album, Two, released in 1980. The song is credited to Billy Stewart, with Emanuel Raheim LeBlanc providing the lead vocal and Jimmy Simpson producing. This soul...

The Kings' 1980 album The Kings Are Here includes Switchin' to Glide as its own track. The combined This Beat Goes On / Switchin' to Glide radio segue is separately identified in the licensed catalog; this entry...