Officials: Florida Man Buys Lamborghini, Rolex With COVID Funds
Investigators say a Florida man and his accomplices fraudulently filed for $4.2 million dollars in aid for COVID-19.
Problem is, the man and his crew didn’t need any of it. According to CBS News, federal prosecutors say 27-year-old Valesky Barosy bought millions of dollars in luxury items with the proceeds from the scam, such as a new Lamborghini Huracan, a Rolex watch and many other expensive things.
Florida man buys Lamborghini, Rolex and Louis Vuitton with Covid-19 money. https://t.co/6pPq0U5DU5 pic.twitter.com/ltzvfkIybi
— Florida Man (@FloridaMan__) January 8, 2022
Among the merchandise were clothes by Louis Vuitton and Chanel. Detectives say the south Florida man teamed up with several other people to defraud the government for approximately $4.2 million dollars in pandemic relief, eventually winding up with approximately $2.1 million.
The payments were intended to help business owners continue to pay their employees throughout the crisis. The man faces several charges, such as five counts of wire fraud, three counts of money laundering and identity theft.
The government doesn’t take kindly to such things. If the man is convicted of the charges, he faces 132 years in prison.
[SOURCE: CBSNews.com]
Every Led Zeppelin Song RANKED!
Led Zeppelin: All 92 Songs Ranked
Much of Led Zeppelin’s catalog hasn’t aged at all... but this song about underage groupies has. The ick-factor on this track goes to 11. (EB)
This was a previously unreleased track from the recent Zeppelin catalog reissue campaign orchestrated by Jimmy Page. Sometimes, bonus tracks on reissues deliver hidden gems, and sometimes, they’re tracks that should’ve just been hidden. This instrumental is a case of the latter. (EB)
Similar to “10 Ribs & All/Carrot Pod Pod,” this is just another unreleased track used to justify a reissue campaign. (EB)
An instrumental jam that didn’t make it to the band’s second LP, it was poppier sounding than the rest of the album, opening with a bright, R&B-tinged organ riff. It’s interesting to imagine what this could have turned into, but as it stands, it’s a curiosity, not a classic. (BI)
There are plenty of “epics” in the Zeppelin catalog, but this is the only one you’ll likely find yourself thinking, “Is it over yet?” Much like an actual carousel, this song goes around and around without really going anywhere. (EB)
For a band whose catalog is so steeped in blues, this blues track is just one big “meh.” (EB)
Long bootlegged and finally getting an official release on the reissue of ‘The BBC Sessions,’ the less-than-sterling audio quality doesn’t do this track any favors. The song as a whole didn’t bring anything alarmingly great to the BBC reissue other than just simply being something we hadn’t heard before. (EB)
A previously unreleased outtake from the 2015 ‘Coda’ reissue, it oddly sounds more like something Greta Van Fleet would release now than Zeppelin. (EB)
The band performed this song just once, on June 6, 1969, on the BBC show ‘Chris Grant's Tasty Pop Sundae.’ Unreleased until 1997’s ‘BBC Sessions’ collection, the band shared the songwriting credit with bluesmen Sleepy John Estes, Willie Dixon and Robert Johnson, whom they borrowed from here (and elsewhere in their catalog). (BI)
This track starts off with a bang thanks to a dueling Page and Bonham, but it doesn’t go anywhere further than that. (EB)
There were a handful of standouts on ‘Coda,’ but unfortunately, this ‘Houses of the Holy’ outtake wasn’t one of them. (EB)
“Darlene” was perceived as likely being a hooky track, but it comes off more repetitive (almost boring) than anything. (EB)
This would be a throwaway track on any other Zeppelin album, but it holds its own on ‘Presence.’ But if it weren’t for the beyond catchy “la-la’s” this song would be a tough listen. (EB)
The only single released from ‘Presence,’ “Candy Store Rock” is an attempt at a rockabilly romp, but it just lacks the Bo Diddley energy Zeppelin were clearly trying to channel. (EB)
An undoubtedly pleasant acoustic tune from the ‘Houses of the Holy’ recording sessions, but it just doesn’t stand out among the other stellar tracks on ‘Physical Graffiti.’ (EB)
Perhaps it suffered from having to follow “Achilles Last Stand,” but “For Your Life” just seems to drag. Plant’s vocals sound strained, but that’s likely due to him still recovering from a nasty car accident. It makes you wonder what could have been if he was at full health. (EB)
The elements of a great song are here, but “Night Flight” just doesn’t take off. (EB)
“Poor Tom” would be an album track for an average band, but Zeppelin cut it from the ‘Led Zeppelin III’ sessions. The harmonica at the end of the song is absolutely killer. (EB)
The “Stu” in the song’s title is Ian Stewart, a founding member of the Rolling Stones, who was relegated to non-membership status by their original manager Andrew Loog Oldham; he deemed the pianist’s cleancut image inappropriate for the band. A fan of early rock and roll and “boogie-woogie,” Ian Stewart was the perfect guy to tickle the ivories on this song. The songwriting credit was split between all four Zep members, Stewart and “Mrs. Valens,” the widow of Ritchie Valens, as they built the song around Valens’ ‘50s-era hit “Ooh My Head.” (BI)
Based on the Ben E. King song “Groovin’,” “We’re Gonna Groove” was originally intended for ‘Led Zeppelin II.’ While that record has no fat on it at all, this would have fit in well if Zeppelin decided to make their sophomore album ten tracks long instead of just nine. (BI)
Another blues arrangement. This time the inspiration was based on Bukka White’s Delta blues song “Shake ‘Em On Down” as an ode to Zeppelin friend and folk singer Roy Harper. (Fun fact: Harper provides lead vocals on Pink Floyd’s “Have a Cigar.”) It’s a weird closing song for ‘Led Zeppelin III’ but nonetheless enjoyable. (EB)
This cover of Willie Dixon’s “You Shook Me” isn’t bad, but compared to other Zeppelin blues arrangements and interpretations, it just doesn’t measure up. (EB)
An outtake from ‘Led Zeppelin IV,’ its dreamy, Neil Young-influenced twang would’ve been a bit out of place on that album but fits in nicely on the mellow side three of ‘Physical Graffiti.’ (EB)
An outtake from ‘In Through The Out Door,’ this showed that the band could be as aggressive as the punk rock and new wave bands that were all the rage by the end of the ‘70s. Why it wasn’t included on the album is a mystery. (BI)
A subtly brilliant instrumental track that serves as a great transition between the mellow “Your Time Is Gonna Come” and the intense “Communication Breakdown.” (EB)
The closer of side one on ‘Led Zeppelin III,’ “Out On the Tiles” starts off well enough with a strong riff, but it comes off as repetitive by the song’s end. It’s not bad by any stretch, but it just always feels like the song as a whole could’ve been more. (EB)
Zeppelin would sample from the well of Willie Dixon multiple times, but sometimes they got a bit too close to that well, and didn’t give credit, resulting in legal battles. And like many times in their history, they would settle out of court and rectify the song credit omission. Regardless, “Bring It On Home” still brings ‘Led Zeppelin II’ to a solid close. (EB)
A lovely instrumental from Jimmy Page, this was an outtake from ‘Led Zeppelin III,’ but it made a nice home for itself as a palate cleanser of sorts on ‘Physical Graffiti’ after “In the Light.” (EB)
A fun honky-tonk jam, Jones on the piano is the obvious highlight to this track. (EB)
Essentially a John Bonham solo song. “Bonzo’s Montreux” features his powerful and innovative drumming; Jimmy Page added some electronic effects to the percussion-fest. Most drum pieces are only interesting to drummers; that’s not the case here. If this had been released during his lifetime (it was recorded in 1976), it may have become as iconic as his “Moby Dick” drum solo. (BI)
A live cover of a 1959 rockabilly classic by Eddie Cochran, this is Zeppelin at their most raw, and their most fun. (BI)
Plant really wails on this album closer accompanied by Jones’ synth, but it’s hard not to get wistful when listening to it now, knowing that what it really was was the end of Zeppelin. (EB)
Another cover of yet another 1959 rockabilly classic by Eddie Cochran, it was recorded by the band in ‘69 for the BBC show ‘Chris Grant’s Tasty Pop Sundae.’ John Paul Jones seems to be having a blast on the piano; indeed, it’s one of Zeppelin’s most joyful performances. (BI)
While Zeppelin always wore their blues influences on their sleeves, on “Hot Dog” they put their love for rockabilly and ‘50s rock and roll on full display. Is it their greatest song? No, but it’s fun hearing Robert Plant’s Elvis Presley impression. It may have worked better as a B-side, though. (BI)
The other standout track from ‘Presence’ (along with “Achilles Last Stand”) “Nobody’s Fault But Mine” is Zeppelin’s take on Blind Willie Johnson’s “It’s Nobody’s Fault But Mine” and features a mean harmonica solo from Plant. The start-stop nature of the song can be jarring, but like many other effects and techniques, Zeppelin finds a way to make it work. (EB)
One of the highlights from ‘Coda’ that was leftover during the recording of ‘In Through The Out Door.’ If the then-current state of Zeppelin was different, it would’ve been fascinating to see what more they could’ve done with this track in studio. (EB)
John Paul Jones and his synthesizer are front and center on this track, the second longest on ‘Physical Graffiti,’ with ebbs and flows that are utterly hypnotic. (EB)
You almost feel like you’re intruding on Jimmy Page and Robert Plant when you listen to this acoustic jam from the “Led Zeppelin III’ sessions. “Key To The Highway” was popularized by Big Bill Broonzy, and was also covered by Eric Clapton with Derek and the Dominoes, John Lee Hooker, the Band and the Steve Miller Band. “Trouble In Mind,” meanwhile, is a blues song from the 1920s that has appeared in the repertoires of Nina Simone, Jerry Lee Lewis and the Spencer Davis Group. (BI)
Of the two Willie Dixon covers on Zeppelin’s debut, “I Can’t Quit You Baby” is the superior by leaps and bounds, even though it doesn’t stray too far from the source material. Plant’s acrobatic vocals don’t hurt either. (EB)
Zeppelin’s tribute to James Brown wasn’t quite as successful as their many tributes to their blues heroes, but “The Crunge” is one of their funniest songs, particularly when Robert Plant puts his spin on Brown’s “take it to the bridge!” cry: “Has anybody seen the bridge? Have you seen the bridge? I ain't seen the bridge! Where's that confounded bridge?” (BI)
It makes sense why many of Zeppelin’s “unreleased” cuts didn’t make it onto whatever album their respective recording session was attached, but “Hey, Hey What Can I Do” not making it on ‘Led Zeppelin III’ is still baffling. It was notably the b-side to “Immigrant Song” on the track’s U.K. release but wouldn’t get an official release stateside until 1990. (EB)
A standout on side four of ‘Physical Graffiti,’ “The Wanton Song” is certainly one of the more straightforward hard rock tracks on the entire album thanks to the energetic riff from Page. (EB)
Known for its unusual time signatures and John Bonham’s use of two sets of drum sticks (hence its title), “Four Sticks” is truly a showcase for Bonzo and yet another example of his brilliance. (EB)
John Paul Jones and his clavinet makes its first appearance on the opening track of ‘Physical Graffiti,’ but it wouldn’t be the last, and the best was yet to come. As for the lyrics, it doesn’t take a cunning linguist to figure out what this one’s about. (EB)
“Squeeze me baby, 'till the juice runs down my leg.” Even the less-than-astute could figure out what’s going on here. Howlin’ Wolf, of course, would soon after receive a writing credit on the track, which was more than a little inspired by his own “Killing Floor.” (EB)
A somewhat underrated song in the Zeppelin canon, the band never performed it in its entirety. The “if we could just join hands” chorus may have seemed trite, especially as punk rock’s influence was making everything remotely hippie-ish seem out of touch. “The Rover” had a long gestation period: Jimmy Page and Robert Plant allegedly started work on the song during the writing sessions for 1970’s ‘Led Zeppelin III,’ and they started recording it during the ‘Houses Of The Holy’ sessions. It was definitely worth the wait. (BI)
“Baby Come On Home” was recorded during the ‘Led Zeppelin I’ recording sessions, but it wasn’t released until 1993 as the focal point of ‘Led Zeppelin Boxed Set 2.’ It makes sense why it was left off Zeppelin’s debut, but this Hammond organ-fuelled beauty of a tune still managed to net success on the Billboard Mainstream Rock Songs chart peaking at number four over a decade after Zep’s demise. (EB)
The second appearance of Jimmy Page’s bowed guitar on Zeppelin’s debut, “How Many More Times” brings ‘Led Zeppelin I’ to a close in epic fashion and sets the table for what was to come a mere nine months later on ‘Led Zeppelin II.’ (EB)
An undeniable, incredible groove, “Friends” served as the first acoustic taste on the mostly unplugged ‘Led Zeppelin III’ (“Immigrant Song” opens the album, “Friends” is track two). The John Paul Jones-arranged string section on the track takes things to a whole new level of sublime. (EB)
Side two of ‘Led Zeppelin I’ kicks off with this track, and it brings a complete mood change to the album thanks to John Paul Jones’ organ playing. (EB)
Another arrangement triumph, the source material for “Gallows Pole” comes via the traditional folk song "The Maid Freed from the Gallows," which was covered by Lead Belly in 1939, but Zeppelin more than made it their own. (EB)
One of the few true gems released after their breakup, Zeppelin’s take on this Robert Johnson song was originally recorded in 1969, but upon its official 1990 release, it made its way up the Billboard Mainstream Rock Songs chart peaking at number seven. (EB)
It wasn’t Zeppelin’s first song about heartbreak and it certainly was not the last, but thanks to the steel guitar, it might be the band’s loveliest song about love lost. (EB)
Easily one of the coolest songs ever to feature spoons and castanets, which were somehow made badass thanks to John Bonham, this jam sees Zeppelin go “ham” on folk music without losing their edge. The song title, of course, is a shout out to the infamous Wales cabin where they wrote a majority of ‘Led Zeppelin III.’ (EB)
An about-face on side two of ‘Houses of the Holy’ following upbeat jams “Dancing Days” and “D’yer Mak’er,” it’s one of the most haunting tracks in the entire Zeppelin catalog and shows just how much John Paul Jones can change the mood of the room with his piano playing. (EB)
Three years on from their last album, ‘Presence,’ rock fans may have wondered if Zeppelin still “had it.” “In The Evening,” which opened ‘In Through The Out Door,’ established that the band was still powerful (if not quite as great as they’d been a few years earlier). Jimmy Page unleashes one of his best riffs here, and also melts faces with his amazing guitar solo. (BI)
Not just a classic song, but the title of the band’s one and only full-length reunion concert from November 19, 2012 (and the subsequent live album). Although oddly enough, they didn’t actually perform “Celebration Day” at the show. “My, my, my, I'm so happy… I'm gonna join the band” was how thousands of budding musicians reacted to hearing Zeppelin’s music in 1969 and 1970… and in the decades since. (BI)
Is it a love song about two lovers from different worlds or is it a song about two friends from different worlds? Perhaps, it’s both. One thing for certain is that it’s one of Zeppelin’s best acoustic songs in their entire catalog. (EB)
Led Zeppelin wasn’t all about lust, and they proved that with “Thank You,” which is an unbelievably sweet love song. With lyrics like, “When mountains crumble to the sea/There will still be you and me,” it’s hard not to swoon, regardless of your gender… or your dating status. (EB)
Plant’s vocals dance beautifully with the late Sandy Denny’s on this mandolin ballad, which is also one of the more subtle nods to Lord of the Rings from the Zeppelin catalog. Fun fact: Denny was the only guest vocalist to ever record with Zeppelin. (EB)
One of Zeppelin’s funkiest numbers, the song is powered by John Paul Jones’ electric piano and John Bonham’s heavy drums. The “misty mountains” are a clear Tolkien reference, but the song’s lyrics deal more with hippies and cops than Hobbits and dragons: after “sitting on the grass” with people who had “flowers in their hair” asking, “Hey, boy, do you want to score?” a police officer showed up. “[He] Said please, hey, would we care/To all get in line… Well, you know, they asked us to stay for tea And have some fun.” If only all busts were that friendly! (BI)
In the realm of songs about loss, this one doesn’t get enough of its due. A tribute to Plant’s 5-year-old son, Karac, who died from a stomach virus, “All My Love” is as beautiful as it is devastating. (EB)
This track was the b-side to “Whole Lotta Love,” which is strange considering how it’s literally inseparable from “Heartbreaker,” and radio still plays both tracks together as if they are one song. But the riffs on “Living Loving Maid (She’s Just A Woman)” are oddly complementary to those in “Whole Lotta Love.” (EB)
It’s difficult to choose the best example of how great Zeppelin was at song arrangements, but “In My Time Of Dying” certainly has to be in the running. Zeppelin transformed a traditional gospel tune into a blues-rock opus; the song clocks in at 11-minutes, but it feels like much less. (EB)
Robert Plant himself has cited this as his finest vocal performance with Zeppelin, and who are we to argue? It also has one of his best lyrics: “Upon us all a little rain must fall,” indeed. (BI)
An uninitiated listener might mistake this for a Who song for the first minute and a half: Jimmy Page’s clean and rhythmic guitar sounded like something Pete Townshend might play, John Paul Jones’ bass is reminiscent of John Entwistle’s “lead” bass playing and John Bonham’s heavy drumming is a bit Keith Moon-y. Also, the song has the epic feel of Tommy’s opening “Overture.” Of course, when the song slows down and Robert Plant comes in with “I had a dream…” you know that you’re listening to Zep. It’s a perfect opening to the sprawling and ambitious ‘Houses Of The Holy’ album. (BI)
One reason why Zeppelin defies categorization is that they were so good at so many things. Sure, they influenced every hard rock and metal band who followed them, but they were also amazing at creating beautiful acoustic songs. “Going To California” is a prime example. (BI)
Ostensibly an instrumental Page/Jones/Bonham jam, Page and Jones split after about a minute (and return at the end), giving John Bonham a showcase for his powerful yet tuneful playing. Most drum solos get old after you’ve heard them a few times: that’s not the case with “Moby Dick,” which stands proudly alongside the rest of ‘Led Zeppelin II,’ and alongside the rest of the band’s catalog. (BI)
On “D’Yer Mak’er” (pronounced more like “did you make her” than “dire maker”), Led Zeppelin looked to Jamaica for inspiration. Like the Beatles’ “Ob-La-Di, Ob-La-Da” a few years earlier, it may not have been legit reggae, but it became a rock radio classic in the States. And the “Oh, oh, oh, oh, oh, oh!” chorus makes the song an irresistible earworm. (BI)
“Did you ever really need somebody/And really need 'em bad/Did you ever really want somebody/The best love you ever had.” Plant’s lyrics add significant heft to the track, which Page had planned to be an instrumental. While the instrumental could have stood alone, the lyrics take “Ten Years Gone” to another level. (EB)
There’s a lot of competition for the title of “Jimmy Page’s Greatest Riff,” but “The Ocean” may own it; at the very least, it’s in the top five. It also has pretty cute lyrics, a rarity in the Zeppelin canon. “I'm singin' all my songs to the girl who won my heart,” Robert Plant wails. “Now, she's only four years old, and it's a real fine way to start!” He was, of course, singing about his daughter. (BI)
Considering the state of the band at this point, with Plant mourning the loss of his son, Karac, and Page and Bonham battling addiction, it’s amazing they were able to produce such an upbeat song. Then again, once you commit to a samba rhythm, you’re probably going to end up with an upbeat song. Sadly, however, this would be Zeppelin’s final single released before the untimely death of Bonham. (EB)
When thinking of Led Zeppelin, the old ‘American Bandstand’ phrase “It's got a good beat and you can dance to it” isn’t probably the first thing that comes to mind, but it definitely applies to “Dancing Days.” It’s one of the poppiest tunes in the band’s catalog. Sure, there are those who don’t care for it, but those people hate fun and should be ignored. (EB)
At ten and a half minutes long, it’s one of the band’s lengthiest tracks, and showed that they could be as proggy as their peers in Yes, King Crimson and Emerson Lake & Palmer. Its length may not have helped its popularity, but the song definitely has its fans: Chris Cornell and Temple of the Dog covered this song on their too-brief 2016 reunion tour. (BI)
Led Zeppelin weren’t blues purists, but they could have gone down that path, judging by this song. Propelled by John Paul Jones’ Hammond organ playing, the song features one of Jimmy Page’s best guitar solos. (BI)
More cowbell! Years before Blue Oyster Cult’s “Don’t Fear The Reaper,” John Bonham was hitting the cowbell on this song, originally recorded for the band’s 1973 album. Plant’s lyrics aren’t too subtle: “Let me take you to the movies/Can I take you to the show?/Let me be yours ever truly/Can I make your garden grow?” (BI)
Most punk rock bands either hated Led Zeppelin, or denied being influenced by them. And, of course, all punk bands love the Ramones. So, there’s a bit of irony in the fact that Johnny Ramone developed his guitar style by playing along to “Communication Breakdown,” as he revealed in the documentary ‘Ramones: The True Story.’ It’s one of Zep’s shortest songs, and one of their most powerful. (BI)
The clavinet is more closely associated with the funk music of the ‘70s (notably Stevie Wonder) than Led Zeppelin, but John Paul Jones’ playing of that electric keyboard is what makes this track so damn catchy and memorable. It’s perhaps the most toe-tapping hook in Zeppelin’s entire catalog. (EB)
A Plant/Page composition, it showed Zeppelin’s range, veering back and forth between crushing heavy rock and laid back jazz. Towards the end of the song, Plant starts scatting (“Oh the wind won't blow and we really shouldn't go…”) in what sounds like a precursor to rap and hip-hop. (BI)
‘The Lord of the Rings’ film franchise may have grossed an obscene amount of money, but never did director Peter Jackson make Tolkien’s trilogy this cool! Gollum would probably consider this song precious. Zeppelin fans sure do. (EB)
While Plant’s voice can move mountains, even a sustained vocal performance could still deliver the chills. This might be the best example of that in the entire Zeppelin catalog. (EB)
A song about moving on after heartbreak,”Over The Hills And Far Away” is a lyrical departure for Zep. Surely countless souls recovering from a breakup have taken solace in “Many have I loved, and many times been bitten/Many times I've gazed along the open road.” Translation: sure, you’ve been dumped, but this, too, shall pass. (BI)
Side one of ‘Led Zeppelin II’ closed with the beautiful love song “Thank You,” but when you flipped over to side two, listeners were greeted by this tale of lust coupled with another monster riff and solo from Jimmy Page. (EB)
There’s probably a lady (or man) who’s sure this song is ranked too low, but there’s good reason for it. Part of what made “Stairway” legendary was the legend behind it involving the band writing the song at Bron-Yr-Aur, an isolated cottage in Wales. However, Jimmy Page testified during the recent “Stairway” copyright lawsuit that the song wasn’t written at Bron-Yr-Aur after all. Is the song still an influential, incredible piece? Yes, but there’s no doubt that in recent years, “Stairway” just doesn’t glitter like it once did. (EB)
Zeppelin’s update of the Kansas Joe McCoy and Memphis Minnie blues song released in 1929 was one of their finest moments. John Bonham in particular shines with one of his most iconic drum performances, but Robert Plant also adds some of his best harmonica playing and vocals. Many of Zeppelin’s peers covered early blues songs, but few of them captured the sense of dread that Zep did here. (BI)
Despite this track lifting and arranging Jake Holmes’ 1967 track of the same title -- initially without credit -- “Dazed and Confused” remains one of Zeppelin’s best songs thanks in large part to the soulful, angst-ridden lyrics and Robert Plant’s vocal performance. Oh, and Jimmy Page breaking out the bow doesn’t hurt things either. (EB)
A crushing Jimmy Page riff. John Bonham’s funky but powerful drumming. A 20-year old Robert Plant wailing, “In the days of my youth/I was told what it was to be a man.” And John Paul Jones’ understated but vital bass playing. Those elements kicked off the first song on side one of Led Zeppelin’s debut. It was also the band’s first single, so “Good Times Bad Times” provided a powerful introduction to the band for rock fans in 1969. At the end of the song, Plant sings, “Realize, sweet babe, we ain't ever gonna part,” and it was sort of prophetic: although the band would last only a little over a decade, millions of fans have never stopped loving Zeppelin, and they keep picking up new followers with each new generation. (BI)
Zeppelin had a knack for picking out the perfect opening album track and with “Black Dog,” it was a bold signal of what was to come on ‘Led Zeppelin IV.’ It's hard rock perfection, from Plant’s opening acapella intro to Page’s rolling solo bringing the track to a fading close. It’s also one of Zeppelin’s most successful singles peaking at number 15 on the Billboard Hot 100. (The only other Zeppelin single to perform better was “Whole Lotta Love,” which peaked on the Hot 100 at number four.) For any other band, a track like this would be the highlight of an album, but Zeppelin weren’t any other band, and ‘Led Zeppelin IV’ is certainly not any other album. (EB)
“Kashmir” was the closest thing a hard rock band came to Phil Spector’s “Wall of Sound.” It’s the best example of Zeppelin at their most ambitious. It’s so good, we’ll even forgive the band for allowing Puff Daddy to rap over it for the 1998 track “Come With Me” (which actually featured Jimmy Page!) from the Godzilla soundtrack. (EB)
While Zeppelin never liked being associated with heavy metal, this song did quite a bit to create the template for that genre: Page’s percussive riffing, Bonham’s heavy drumming, and of course, Robert Plant’s banshee vocals telling tales of vikings that come from “the land of the ice and snow.” Plant and Page may wince when asked about metal, but the feeling definitely isn’t mutual. (BI)
From Jimmy Page’s iconic riff and solo to the dizzying overdubs to Robert Plant’s wailing roar, “Whole Lotta Love” is perhaps the perfect example of Zeppelin’s overall bravado. Dripping with hard rock lust, “Whole Lotta Love” is the sound of a band that is confident and quite aware of the sheer force they are and aren’t afraid to share that with the world. (EB)
There have been a lot of rock and roll songs about rock and roll, and this one is surely one of the very best. Borrowing elements from the early days of rock and roll - a Chuck Berry-esque riff, rolling Jerry Lee Lewis piano and a drum intro reminiscent of Little Richard’s “Keep A-Knockin’” - Zep’s “Rock And Roll” is a love letter to the founders of the genre. Led Zeppelin’s members have always been passionate music fans so it’s fitting that on this, their greatest song, they pay tribute to the music that inspired them. Fun fact: Years later, Jerry Lee Lewis actually covered the song -- with Jimmy Page on guitar -- on his 2006 album, ‘Last Man Standing.’ (Brian Ives)
Every Guns N’ Roses Song RANKED!
Guns N’ Roses: All 87 Songs Ranked
There are two songs in particular in the GN'R catalog that are top contenders for the band's worst song. One of them is a stylistic nightmare, while the other is a racist/homophobic/xenophobic mess that was controversial when released over three decades ago. The latter is "One in a Million" from 'GN' R Lies.' It's so bad that when 'Lies' was included on the reissue of 'Appetite For Destruction' in 2018, "One in a Million" was omitted. Just look up the lyrics to figure out why.
Is Axl Rose trying to rap or put his take on industrial music? Perhaps it's both. Regardless of what exactly is going on here, this brought an underwhelming and bizarre end to an otherwise solid double album. While it only clocks in at 1:26, it's 1:26 too long. But hey, at least it doesn't contain hate speech!
No one asked for a cover of a Charles Manson song back in 1993, and frankly, no one wants the cover now. The song was a hidden track on 'The Spaghetti Incident?' for a reason...or maybe reasons. Let's just move on, shall we?
"The Plague" was a germ of an idea, but it didn't really develop past the 55 second clip recorded as part of the 1986 Sound City Studio Sessions. The band obviously had better ideas in the tank that they pursued and understandably so.
"Oh My God" would be the first song released under the GN'R name in five years, with the previous being the band's cover of "Sympathy for the Devil" featured on the soundtrack of 'Interview with the Vampire.' Another soundtrack song, "Oh My God" sounds like Axl trying to channel his best Marilyn Manson but coming up short.
Give credit to GN'R for taking such a risk with this Skyliners cover, but this cover just doesn't land.
Believed to be about the then-Iraq war, "Riad N' the Bedouins" just fails to truly impress unlike other songs on 'Chinese Democracy.'
A lot of double albums could use some pruning, and 'Use Your Illusion I & II' is no exception. "Bad Apples" is definitely a track that could've been left off, and no one would really miss it.
Look...this U.K. Subs cover is in no way bad, but Axl Rose's attempt at an English accent while singing is far too distracting to truly enjoy the song.
Not sure if there's an award for "Catchiest Songs About Murdering Your Significant Other," but if there is, "Used to Love Her" would at the very least be in the running. The only thing about this song that has really aged well is its melody, which is still a solid earworm.
Covering T.Rex's "Buick Makane" totally makes sense considering Marc Bolan's influence on glam and punk, but mashing the song together with Soundgarden's "Big Dumb Sex" is still a head scratcher all these years later.
"Perfect Crime" follows "Don't Cry" in the 'Use Your Illusion I' tracklisting, and perhaps it was included as a quick pallet clenser after such a bombastic ballad. The song isn't bad by any stretch, but GN'R have plenty other songs in their catalog that are more memorable.
Clocking in at 10:13, "Coma" is the longest song in the entire GN'R catalog. While they have plenty of epics, this one just struggles to hold the listener's attention.
I took a "History of Rock and Roll" class in college, and the instructor said he wasn't a "big lyrics guy" and cared more about the musical composition of the song. If you're looking for a prime example of lyrics mattering, look to the alt. version of "Don't Cry" found on 'Use Your Illusion II.' The song is musically the same as the version of "Don't Cry" on 'Use Your Illusion I,' but the lyrics just don't land the same and it's difficult to ignore.
"Locomotive" is quite the journey clocking in at 8:42. Fortunatley, there's some stops along the way in the form of guitar solos from Slash. (There's four to be exact.)
If you ever imagined what Axl Rose would be like if he were a professional wrestler, just listen to the very appropriately titled "Get In The Ring," which is basically Axl cutting an angry promo on various music journalists. The lyrics seem almost right at home during "Attitude Era" WWE, but they're a bit cringy now, much like a lot of "Attitude Era" WWE.
The industrial influence is strong with this track, as is its incredibly catchy chorus. "Shackler's Revenge" was the first 'Chinese Democracy' song to receive an official release when it was included on 'Rock Band 2.'
Banjo, piano AND the return of Axl's whistlling? There's something here for everyone! No really...there's even a spoken word portion of Axl reciting a monologue from the 1971 film 'Vanishing Point.' Bonus points, however, go to this lyric: "Funny how everything was roses when we held on to the guns." We see what you did there, Mr. Rose.
Axl's signature wail is on full display on "Scraped," as is the feeling of exreme defiance which is made pretty clear in lyrics like, "Sometimes I feel like the world is on top of me/Breaking me down with an endless monotony/Sometimes I feel like there's nothing that's stopping me/All things are possible, I am unstoppable."
Nothing says "jilted lover" quite like calling on the President, a private eye, the I.R.S and the F.B.I. in order to "make this a federal case...wave it right down in your face." Basically, if you ever wanted to get the feeling of what it would be like to have a messy breakup with Axl Rose, just listen to "I.R.S."
Notable for the guest vocals of Sebastian Bach, "Sorry" is super moody and makes you wonder who exactly pissed Axl off with lyrics like, "You know that I got under your skin/You sold your soul but I won't let you win/You talk too much, you say I do/Difference is nobody cares about you." Sick burn!
"I hoped she'd never leave me/Please God you must believe me/I've searched the universe/And found myself/Within' her eyes." Seriously, Axl...who did this to you?!
The 6:41 "There Was A Time" is a ballad with a hard rock chorus that also features some very dramatic strings and piano. To put it lightly, there's a lot going on here. Then again, that is kind of the overarching theme of 'Chinese Democracy' as a whole.
"Don't Damn Me" is perhaps the most impish song about censorship ever. It's also punctuated with one of the most unintentionally funny lyrics ever: "Smoke 'em if you got 'em/Alright, that sucked!"
Is it a rock song or an exercise in how to regulate your breathing while singing at a break-neck pace? Maybe it's both. Also, it's difficult to hear this song and not think about its fish eye lens music video, which was the effect of choice in so many '90s music videos.
Four tracks into 'Chinese Democracy,' listeners are greeted to this grandiose left-turn of a ballad. Once you adjust to the sudden genre whiplash, it's rather enjoyable. The kids on 'Glee' would've sang the s--- out of it, and I do mean that in a nice way.
By time "Back Off Bitch" came out on 'Use Your Illusion I,' the song had been ten years in the works. The origins for the song are far more deeper than any breakup, too. Rose said of the song in a 1992 'Rolling Stone' interview, "I’ve been doing a lot of work and found out I’ve had a lot of hatred for women. Basically, I’ve been rejected by my mother since I was a baby. She’s picked my stepfather over me ever since he was around and watched me get beaten by him. She stood back most of the time. Unless it got too bad, and then she’d come and hold you afterward. She wasn’t there for me. My grandmother had a problem with men. I’ve gone back and done the work and found out I overheard my grandma going off on men when I was four. And I’ve had problems with my own masculinity because of that. I was pissed off at my grandmother for her problem with men and how it made me feel about being a man. So I wrote about my feelings in the songs."
Another woman done broke Axl's heart, but fortunately this time he gets pretty clever with the lyrics: "I was only a small child when the thought first came to me/That I'm a son of a gun and the gun of a son that brought back the devil in me."
"Anything Goes" alluded to S&M, but "Pretty Tied Up" dives right into the world of kink and brings the sitar along for the metaphorical ride.
GN'R's take on Fear's "I Don't Care About You" would've been the perfect way to close out 'The Spaghetti Incident?'. It's a screaming delight! But no, the perfect ending was mucked up with the hidden track of the Charles Manson song "Look at Your Game, Girl," which, once again, no one asked for.
"Black Leather" was a deep-deep cut from the Sex Pistols that would later be recorded and released by The Professionals, the post-Pistols group formed by Steve Jones and Paul Cook. Considering the punk influence on 'The Spaghetti Incident?', it's no surprise a song like this made the cut. Jones and McKagan are noted pals in the rock world and even were in a band together, the Neurotic Outsiders, following McKagan's exit from GN'R.
Whomever or whatever Axl is mad at on "Shotgun Blues" clearly brought out some of his most colorful insults this side of "Get In The Ring": "And you, you can suck my ass an' I think it is so low class/Me? I'm just so concerned, I'm still waitin' for your ass to burn."
There's no other way to explain this, but "If the World" is the sound of Axl Rose trying to seduce someone, and to seal the deal, he's brought some hot-ass bass to the party. Despite how that reads, these are not bad things.
Best song about an annoying neighbor ever? Okay, so maybe it's the only known song about having an annoying neighbor, but thank goodness Axl (alegedly) hit his neighbor with a wine bottle, was sued over the incident which let to him being pissed off enough to write this aggressive tune.
A instrumental track from the 1986 Sound City Studio Sessions, "Ain't Goin' Down No More" is yet another example that even before Guns N' Roses became the biggest band in the world, they were definitely rock stars in the making and some serious magic was cooking between these musicians.
GN'R's resident punk Duff McKagan shines on this track, which he wrote and serves as a tribute to one of McKagan's late heroes, Johnny Thunders. As great of a frontman as Axl Rose is, it's amazing that GN'R still had two incredible singers-- McKagan and Izzy Stradlin' -- in the band, too.
A jaunty instrumental, "New Work Tune" is the sound of Slash and Izzy Stradlin just messing around with a great groove. Even before they became guitar gods, "New Work Tune" serves as an early sign that there was something very special about their partnership.
As far as GN'R's covers go, this is perhaps one of the deepest cuts they have in their catalog. Off of Black Sabbath's 1976 album 'Technical Ecstacy' and sung by drummer Bill Ward, this stripped live cover featuring Axl at the piano shows Mr. Rose's range and his obvious appreciation for the legends that paved the way for him and the rest of the band.
Once again, have we mentioned there's a lot going on on 'Chinese Democracy'? Well, to drive home that point, take a listen to "Madagascar," which features audio clips from 'Cool Hand Luke' (clearly a favorite film of Axl's), 'Braveheart' and 'Seven.' As if that weren't enough, also included in the track's audio samples is Dr. Martin Luther King, Jr.'s "I Have a Dream" speech.
Brash and fast (both in literal tempo and time length), this Misfits cover is yet another showcase for resident punk Duff McKagan and yet another example of maybe GN'R should've featured more punk elements in their sound.
The guitars of Ron "Bumblefoot" Thal and Paul Tobias are simply outstanding on "Catcher in the Rye," an incredibly over-the-top ballad.
Duff McKagan is the star of this cover, literally. Not only is he the lead vocalist, he also provides the guitar, bass and drum tracks, too. Seriously, if you needed a reminder of how badass McKagan is, just take a listen to "You Can't Put Your Arms Around a Memory."
The title track of 'Chinese Democracy' was the only official single release from this infamous album, and considering the pressure there was upon its release, it fair pretty well on the charts where it peaked on the Billboard Hot 100 at no. 34. It also was a regular part of the setlist on GN'R's "Not In This Lifetime" reunion tour with Slash and Duff McKagan. And yes...while it's been said countless times, it is still weird to see Slash and Duff play 'Chinese Democracy'-era songs.
Elvis Presley didn't live to hear GN'R's cover of "Heartbreak Hotel." It's anyone's guess what he would've thought of it, but he probably would've got a kick out of a bunch of kids in 1986 embrassing the song, who would also go on to make parents nervous similar to how he did in the 1950s. The Sound City Studios Sessions track surfaced thanks to the 2018 reissue of 'Appetite.'
If you're a fan of acoustic slide guitar, then you probably love "You Ain't the First," a solid, straight-forward breakup song. Also, if you aren't a fan of acoustic slide guitar, what is wrong with you?
GN'R's 1986 Sound City Studios Sessions featured on the massive 2018 reissue of 'Appetite' features a number of interesting gems, including this cover of the Rolling Stones' "Jumpin' Jack Flash," which really just sounds like a bunch of young musicians rocking out to one of their favorite songs and having a lot of fun in the process. If you haven't listened to this cut before, do so because there's a lot of joy to be had here.
If you would've told Axl Rose back when this live cover of "Whole Lotta Rosie" was recorded that he'd be fronting AC/DC three decades later, he probably wouldn't believe you, and you couldn't blame him, really. However, this cover is definitely early proof of Axl's fandom of the Aussie icons. Unrelated note: Axl really doesn't get enough credit for getting deeper Bon Scott cuts added to the set list when he was on the road with AC/DC.
A supremely over-the-top album should have a grand conclusion, and "Prostitute" more than fits the bill. The guitars are big, as is Axl's voice, and supposedly, actor Nicolas Cage loves this song. (You can file that fun fact under, "Huh...neat.")
"Turned into my worst phobia/A crazy man's utopia/If you're lost no one can show ya/But it sure was glad to know ya." Between the song's lyrics and its music video full of Manhattan visuals, "The Garden" is almost like a New York answer to The Eagles' "Hotel California," which is very weird considering GN'R is based firmly in Los Angeles. Bonus points for featuring vocals from Alice Cooper, who is like the bacon of rock and roll; adding him to anything just makes it better.
Much like "November Rain," it's difficult to think of "Estranged" and not think about its music video. (FYI: It's the final installment of the Del James-inspired trilogy following "Don't Cry" and the aforementioned "November Rain." Personally, I refer to the video as "The one where Axl jumps off a massive ship and swims with dolphins.") Anyway, this song is good, but it could've been great if it just trimmed a verse/bridge or two. I understand excess, but sometimes "more" is "too much."
In case you didn't think The Stooges' "Raw Power" couldn't get more frenetic, just take a listen to GN'R's version. Plus, Axl and Duff sharing the lead vocals is just a nice touch.
'The Spaghetti Incident?' is really just a fun experiment of what GN'R would've been like if they leaned more into their punk influences and if Duff McKagan had more control of the reins. Their cover of The Damned's "New Rose" with McKagan on lead vocals is one of the best examples of that.
Fact: If everyone listened to the New York Dolls more often, we'd just be better people. Considering the energy brought to this cover, GN'R likely concured. Also, who doesn't love the fact Axl's kazoo playing was so prolific that it warranted credit on the track?
If you ever questioned whether Guns N' Roses were the rowdier, bastard children of Aerosmith, just listen to their take on "Mama Kin." They don't stray too far away from the source material, but with a classic like this, you really don't have to.
Simply put, this cover of this Nazareth classic is one of the highlights on 'The Spaghetti Incident?' The song already dripped with attitude, and then GN'R put their stank on it. Just a fun jam all around.
Guns N' Roses was born from the group Hollywood Rose, and "Reckless Life" was written while this group was still active. Think of it as almost GN'R's origin story of sorts. It's gritty, memorable, and it showed the potential of the musicians who wrote it.
If you weren't familiar with Dead Boys, you might be tricked into thinking GN'R snuck some lost original track on their covers album, but that's not the case. Add in Hanoi Rocks' Michael Monroe on co-lead vocals, and you really have a bright spot on an album that would be the last studio appearances under the GN'R name from Slash, Duff McKagan and Matt Sorum.
There's something very admirable about Guns N' Roses and their ability (or chutzpah) for taking on some of the biggest, most popular rock songs of all time and making them their own while also paying tribute to those who made those songs famous. GN'R was certainly the Rolling Stones for a new generation and that sentiment was driven home with this cover of "Sympathy for the Devil."
"Shadow Of Your Love" was released as part of the 1988 'Guns N' Roses' EP that was only released in Japan, but the track would finally get its first official release in the United States in 2018 as part of the Super Deluxe reissue of 'Appetite for Destruction.' It's kind of amazing it took so long for the track to get an official release, because it certainly stands up to much of 'Appetite'-era tracks. I guess file this one under "Better late than never."
When it comes to 'Appetite,' most might point to "Sweet Child O' Mine" as the prime example of GN'R showing their softer side, but people shouldn't sleep on "Think About You." It may not have been a massive hit single like "Sweet Child..." but it's just as sweet.
Anyone who thinks horns don't belong in hard rock really needs to listen to "Move to the City." Izzy Stradlin is the lead songwriter on this track, and even if you didn't know that, the entire song drips with his style and influence.
Before making a big splash with "You Could Be Mine" in 'Terminator II,' GN'R's first big soundtrack appearance came with this recorded cover of Bob Dylan's "Knockin' on Heaven's Door" for the 1990 Tom Cruise vehicle 'Days of Thunder.' Certainly less gritty than the version featured in an MTV GN'R concert special from 1988, it's just as powerful.
Another 'Chinese Democracy'-era song heavily featured on the set list of the "Not In This Lifetime" reunion tour with Slash and Duff McKagan, the song is put over the top thanks to the backing vocals of Tommy Stinson, Dizzy Reed and Chris Pitman.
"Anything Goes" isn't going to win points for subtlty or romance, unless you think lyrics like "Panties round your knees/With your ass in debris" is romantic. (If you do, no judgement.) Where it does win points is for being a straight forward, gritty, unapologetic hard rock song. Nothing fancy, just badass.
"You're Crazy" is an incredibly strong track, but there are so many iconic tracks on 'Appetite' that it can almost just lost in the shuffle. Of course, you'll read more about the acoustic vesion of "You're Crazy" in a little bit.
A bitter-sweet tune about growing up and moving on, "Yesterdays" is the type of tune that hits right in the feels if you're not fond of taking trips down memory lane. After all, "Time just fades the pages/In my book of memories."
Another song written by Izzy Stradlin, and it's yet another example of just how damn cool he is and what he brought to GN'R. It can't be stressed how much he would've brought to GN'R's "Not In This Lifetime" reunion, especially with killer grooves like "Double Talkin' Jive."
A standout track on 'Use Your Illusion I,' think of "Bad Obsession" as the bluesier sister song to "Mr. Brownstone." Its heavy blues influence makes loads of sense since its primary songwriter was Stradlin.
Few individuals can make paranoia sound badass quite like Axl Rose. Who knows what he's being accused of, but by the end of the song, it's hard not to side with Axl in being "f*cking innocent."
Easily one of the best covers in GN'R's catalog (and there are plenty), the band's take on the Wings classic gives the song a heavy dose of edge and attitude. The cover would earn GN'R a Grammy nomination for Best Hard Rock Performance with Vocal, but they would lose out to the Red Hot Chili Peppers' "Give It Away."
Music history is litered with beautiful songs that feature womens' names in the title, but this one is far from a warm, fuzzy ode. The real-life influence for this track was Michelle Young, a classmate of Slash and Steven Adler's. Michelle said in passing to Axl Rose while in the car with him how she wished someone wrote a song about her after hearing Elton John's "Your Song" on the radio. So, this wasn't really what she'd envisioned. On the plus side, Michelle would go on to live a pleasant life.
In what might be a mild controversial pick on this entire list, the acoustic version of "You're Crazy" outranks the electric version from 'Appetite.' Truthfully, the acoustic version somehow has more bite, but it just wouldn't have worked on 'Appetite' for obvious reasons.
One of the most underrated contributions Guns N' Roses made to rock was introduce a number of people to Rose Tattoo thanks to their cover of the Aussie band's "Nice Boys" from their 1978 self-titled debut. GN'R put their own blistering take on the track, and it's a standout cover in their catalog that's littered with covers.
"14 Years" is yet another example to point to at how cool and missed Izzy Stradlin is, especially with the current GN'R reunion. If you're not convinced, track down the live version of "14 Years" from 2012 when Stradlin made a surprise appearance during the band's show at London's O2 Arena. (And no, the fact that "14 Years" is number 14 on this ranking wasn't planned. That was just a happy accident.)
The last thing fans likely expected from GN'R post 'Appetite' and 'Lies' was an anti-war song, but that's what they got with "Civil War." The track first appeared on the 1990 compilation album 'Nobody's Child: Romanian Angel Appeal' before being released as the opening track to 'Use Your Illusion II.' Its poignancy still resonates today and likely will for many years to come.
Mixing raunch and tenderness, "Rocket Queen" brings 'Appetite' to a unique and very memorable ending. Its lyrics are surprisingly loving, but then there's the infamous bridge with the...ahem...actual sounds of love making between Axl and Adriana Smith, the then-girlfriend of Steven Adler, in the recording studio. However, once the sounds of GN'R (and the moaning) bring the album to a close, you realize that you heard one of the greatest albums of all time.
"I used to do a little, but a little wouldn't do, so the little got more and more. I just keep trying to get a little better, said a little better than before." With lyrics like those and the title itself, the only other song in rock history that's more obvious about being about heroin is the Velvet Underground's "Heroin." Despite its grizzly subject matter, "Mr. Brownstone" remains one of the strongest songs in GN'R's entire catalog.
Izzy Stradlin was sorely missed on GN'R's "Not In This Lifetime" reunion tour for many reasons, but "Dust N' Bones" might be the biggest reason why. While pretty much everything the band released before 'Use Your Illusion' dripped with swagger, Stradlin's vocals added a heavy dose of bluesy sophistication to the equation that no one in the band's lineup history has been able to come close to breaching. Had Stradlin rejoined the band and if "Dust N' Bones" was part of the setlist, it would undoubtedly be a standout moment every night.
As far as songs about cheap wine go, "Nightrain" is definitely the most badass and for sure has the best hook. Also, it features easily one of the best uses of cowbell ever. (No one tell Gene Frankel/Will Ferrell.)
When most think of Guns N' Roses, they think of a badass rock band, but their catalog is filled with plenty of downright sweet love songs, and "Don't Cry" is certainly one of their best. Plus, when you add in the guest vocals of the late Shannon Hoon (before Blind Melon's debut was released) harmonizing with Axl Rose, it just puts this song over the top.
This song could just be Duff McKagan's opening bass riff and it would still be incredible. Of course, everyone is firing on all cylinders, epecially Axl who ends this hard rock gem with some of the best screeching in recorded history.
The only thing more stunning than the thought of an actual Paradise City (where the grass is green and the girls are pretty) is the fact that this nearly seven minute banger doesn't seem that long at all AND it still gets played on the radio today in its entirety. Aside from "Sweet Child o' Mine," "Paradise City" is easily the most accessible track on 'Appetite for Destruction' proving that hard rock can be for everyone.
"November Rain" is both a sonic and visual epic. Axl and his piano and Slash and his two massive guitar solos are the stars of this nearly nine-minute ballad, which technically qualifies as a power ballad but manages not to cross into the relm of cheese. Of course, even when listening to "November Rain," you can't help but think of its decadent music video. From Slash walking out of the church to Stephanie Seymour's mullet wedding dress, some of the scenes are the most-memorable in music video history. Fun fact: "November Rain" was the first music video released before the invention of YouTube to reach 1 billion views.
Great whistle solo or greatest whistle solo? Wherever you fall on that debate, there's no question that "Patience" is one of the best rock ballads of all time and proof that even when performing acoustic and when Axl brings his trademark wail and growl down to a purr, GN'R could still manage to move mountains.
"You Could Be Mine" provided two intros (besides the sweet 1:06 one on the song itself): It was the first peek at what fans could expect from the 'Use Your Illusion' albums, and it was the first track from GN'R to feature new drummer Matt Sorum who was brought in after Steven Adler was kicked out of the band after infamously taking too many drugs. Sorum's drum track is outstanding as is everyone on "You Could Be Mine." It's big without sounding bloated and polished but not lacking grit. James Cameron couldn't have asked for a better theme for 'Terminator II.'
For those that aren't hard rock fans and don't really know a lot about Guns N' Roses, they likely at least know "Sweet Child o' Mine." Slash, of course, shines on this classic from his instantly recognizable intro riff to his massive solo. And let's face it: most of us at point or another has thrown on a headband and did that swaying dance Axl Rose does in the video while lip syncing the song in the mirror. (Don't make that face. Yes, you did! No one likes a liar!)
What can really be said about "Welcome to the Jungle" that hasn't already been said? One of the best, if not THE best opening track on a debut album ever? Yes. A warning shot to sub-par hair bands taking up too much space on the Sunset Strip? Undoubtedly. In the passing years, "Welcome to the Jungle" has become a magical tune that's a staple on Active Rock and now Classic Rock radio. Sure, the song may fall under the Classic Rock label based on its age, but "Welcome to the Jungle" still sounds as fresh as ever. It's the timeless statement that every rock band dreams of writing, and this will likely be so until the sun finally explodes and the world ends or climate change finally gets us. Whichever comes first!