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"Take Me Out" famously changes direction midway through, slowing its opening section into the stomping guitar riff that made Franz Ferdinand instantly recognisable. Alex Kapranos compared the structure to two people taking aim at each other, neither willing to make the first move. Taken from the band's self-titled debut... show more

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With its provocative lyrics and glam-inspired guitar sound, "Nancy Boy" announced Placebo as one of the most distinctive new bands of the 1990s. Featured on their self-titled debut album, Placebo, the song challenged conventions while becoming the band's breakthrough hit. This performance at the Loreley Festival in 1996 captures Placebo's fearless style as they began making their mark on alternative rock.

With its provocative lyrics and glam-inspired guitar sound, "Nancy Boy" announced Placebo as one of the most distinctive new bands of the 1990s. Featured on their self-titled debut album, Placebo, the song challenged conventions while becoming the band's breakthrough hit. This performance at the Loreley Festival in 1996 captures Placebo's fearless style as they began making their mark on alternative rock.

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Inspired by Damon Albarn's reflections on heroin use and the people around him, "Beetlebum" revealed a darker, more introspective side of Blur. Released as the lead single from the self-titled album Blur, it became the band's second UK number-one single while marking a clear move away from the sound that had defined Britpop. This live performance from 1997 captures Blur at a turning point in their career.

Inspired by Damon Albarn's reflections on heroin use and the people around him, "Beetlebum" revealed a darker, more introspective side of Blur. Released as the lead single from the self-titled album Blur, it became the band's second UK number-one single while marking a clear move away from the sound that had defined Britpop. This live performance from 1997 captures Blur at a turning point in their career.

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Every great band has a song that changes everything. "Supersonic," the debut single from Definitely Maybe, was famously written and recorded in a single day, introducing Noel Gallagher's razor-sharp songwriting and Liam Gallagher's unmistakable swagger to the world. This performance from Familiar to Millions, recorded at Wembley Stadium in 2000, captures Oasis in front of a vast home crowd, proving how the song that launched their career had grown into one of the defining live anthems of the Britpop era.

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“What You Want” is the lead single from Evanescence’s 2011 self-titled album. The track marked the band's return after a lengthy hiatus, featuring Amy Lee's signature powerful vocals blended with heavier production. It peaked at #7 on the US Billboard Alternative Airplay chart and helped propel the album to debut at #1 on the Billboard 200. The five-year gap between studio albums was influenced by lineup changes, legal disputes with the band's record label, and a serious accident suffered by Amy Lee during the writing process. Lee deliberately chose "What You Want" as the lead single to move away from Evanescence's familiar "piano ballad to heavy chorus" formula.

“What You Want” is the lead single from Evanescence’s 2011 self-titled album. The track marked the band's return after a lengthy hiatus, featuring Amy Lee's signature powerful vocals blended with heavier production. It peaked at #7 on the US Billboard Alternative Airplay chart and helped propel the album to debut at #1 on the Billboard 200. The five-year gap between studio albums was influenced by lineup changes, legal disputes with the band's record label, and a serious accident suffered by Amy Lee during the writing process. Lee deliberately chose "What You Want" as the lead single to move away from Evanescence's familiar "piano ballad to heavy chorus" formula.

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On this day in 1968: The Beatles released their self-titled double album, commonly referred to as 'The White Album,' in the United States. The album features Eric playing lead guitar on "While My Guitar Gently Weeps." This performance of the song, featuring Paul McCartney, #RingoStarr, and other musicians, is from The Concert For George, a benefit concert for The Material World Foundation that took place at London's Royal Albert Hall in November of 2002.

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A distorted vocal, an instantly recognisable bassline and sudden bursts of guitar noise turned “Cannonball” into The Breeders’ breakthrough hit. Kim Deal even sang through a harmonica microphone to create the strange vocal sound heard on the recording. The track came from their 1993 second album Last Splash, produced by Deal and Mark Freegard, and its success helped push the album to platinum status in the US. Its memorable video was co-directed by Kim Gordon and Spike Jonze. At Pinkpop on 23 May 1994, “Cannonball” captured The Breeders at the height of their breakthrough, just months before they joined that summer’s Lollapalooza tour.

A distorted vocal, an instantly recognisable bassline and sudden bursts of guitar noise turned “Cannonball” into The Breeders’ breakthrough hit. Kim Deal even sang through a harmonica microphone to create the strange vocal sound heard on the recording. The track came from their 1993 second album Last Splash, produced by Deal and Mark Freegard, and its success helped push the album to platinum status in the US. Its memorable video was co-directed by Kim Gordon and Spike Jonze. At Pinkpop on 23 May 1994, “Cannonball” captured The Breeders at the height of their breakthrough, just months before they joined that summer’s Lollapalooza tour.

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A pounding industrial rhythm helped make “The Beautiful People” Marilyn Manson’s breakthrough anthem. Inspired by the idea of a social hierarchy built around power, beauty and status, the track appeared on 1996’s Antichrist Superstar. Its title was taken from a phrase associated with the fashionable elite of the 1960s. At Bizarre Festival in 1997, the song captured Manson during the controversial era that transformed the band into international stars.

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A burst of guitar noise originally intended to sabotage the song became its most recognisable moment. Jonny Greenwood disliked how quiet “Creep” sounded and attacked his guitar just before each chorus, creating the explosive crunch that ended up defining the recording. The track appeared on Radiohead’s 1993 debut album Pablo Honey, produced by Sean Slade and Paul Q. Kolderie, and became the band’s first international hit after initially struggling in the UK. Its success soon became complicated, with Radiohead growing tired of being defined by a single song. At Rock am Ring in 1994, however, “Creep” was still the track introducing huge festival audiences to the band.

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The hypnotic guitar figure in “A Forest” emerged from a song The Cure had been experimenting with long before they recorded its definitive version. Producer Mike Hedges helped strip the arrangement down, creating the cold, spacious atmosphere that became central to the band’s developing sound. Released in 1980, “A Forest” came from their second album, Seventeen Seconds, and gave The Cure their first UK Top 40 single. Its repetitive structure also allowed the band to stretch it far beyond the studio recording onstage. At Belgium’s Werchter Festival on 5 July 1981, that darker, increasingly intense live approach was already transforming the song into a Cure concert staple.

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Few opening songs have become as iconic as "Baba O'Riley." First heard on The Who's landmark 1971 album Who's Next, the track fused rock with pioneering synthesiser loops inspired by the teachings of Meher Baba and the minimalist music of Terry Riley, whose names combined to create the title. This 1979 live performance shows why it remained one of the band's most powerful concert moments, building from its hypnotic opening into a full-throttle rock anthem.

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Gary Lightbody wrote “Run” after a drunken night ended with him falling down a flight of stairs at the Glasgow School of Art, splitting his head open and losing teeth. Soon afterwards, while playing a battered guitar in his room, the words “light up, light up” arrived and gave him the image of a beacon in the darkness. The song became the emotional centrepiece of Final Straw and Snow Patrol’s breakthrough single, reaching the UK Top 5. This 2004 television performance captures the moment the band were beginning to move from indie survivors to mainstream success.

Gary Lightbody wrote “Run” after a drunken night ended with him falling down a flight of stairs at the Glasgow School of Art, splitting his head open and losing teeth. Soon afterwards, while playing a battered guitar in his room, the words “light up, light up” arrived and gave him the image of a beacon in the darkness. The song became the emotional centrepiece of Final Straw and Snow Patrol’s breakthrough single, reaching the UK Top 5. This 2004 television performance captures the moment the band were beginning to move from indie survivors to mainstream success.

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Tim Commerford’s bass opens “Bombtrack” almost alone, quietly setting a trap before the entire band crashes in around him. The song became an early blueprint for Rage Against the Machine, combining hip-hop rhythms and heavy riffs with Zack de la Rocha’s attack on inequality, exploitation and those who profit from division. It opened their self-titled debut album and quickly became one of the most explosive parts of their live set. At Rock am Ring in 1994, the controlled opening lasts only moments before the performance erupts into the kind of chaos the riff seems designed to unleash.

Tim Commerford’s bass opens “Bombtrack” almost alone, quietly setting a trap before the entire band crashes in around him. The song became an early blueprint for Rage Against the Machine, combining hip-hop rhythms and heavy riffs with Zack de la Rocha’s attack on inequality, exploitation and those who profit from division. It opened their self-titled debut album and quickly became one of the most explosive parts of their live set. At Rock am Ring in 1994, the controlled opening lasts only moments before the performance erupts into the kind of chaos the riff seems designed to unleash.

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