Classic Rock Album Olympics

In this episode of Classic Rock Album Olympics music historians Gary Wenstrup and Robert Rodriguez open The Doors' L. A. Woman, select their favorite tracks and award their gold, silver and bronze medals accordingly.
Medal Winners
The Changeling
Riders On The Storm
Love Her Madly
Hyacinth House
L. A. Woman
Bonus Tracks
Til The End Of Time – Perry Como
Cheek To Cheek – Fred Astaire
Riders In The Sky – Vaughn Moore
Roadhouse Blues (Live) – Doors
Light My Fire – Doors
Been Down So Long - Doors
Crawling King Snake – John Lee Hooker
 
Released in 1971, L.A. Woman is the sixth studio album by the Doors and the last album recorded with Jim Morrison before his death on July 3, 1971. It stands as one of the band's finest achievements, a gritty, blues-based return to the sound of their early years after the more elaborate production of albums such as The Soft Parade.
The album emerged during a difficult period for the band. Morrison's legal troubles following the infamous 1969 Miami concert had damaged the Doors' reputation and concert prospects, while his increasingly unpredictable behavior created tension within the group. Yet musically, the band was reconnecting with its roots, drawing heavily on Chicago blues, boogie, and the loose, spontaneous feel of a live performance.
A key change was the departure of longtime producer Paul A. Rothchild, who had worked on the band's previous studio albums. Rothchild reportedly became dissatisfied with the sessions and the band's performances, leading him to leave the project. The Doors then produced the album themselves with their longtime engineer, Bruce Botnick, recording much of the music in a relaxed, informal atmosphere at their own Workshop studio in Los Angeles.
The resulting album is rawer and more direct than much of the Doors' earlier work. Morrison sounds particularly comfortable singing the blues, while Robby Krieger's guitar and Ray Manzarek's keyboards weave around John Densmore's flexible, jazz-influenced drumming.  Two additional musicians helped shape the sound. Jerry Scheff, best known for his work with Elvis Presley, played bass throughout the album, providing a remarkably strong foundation that gave the Doors' music a more conventional blues-rock groove. Marc Benno added rhythm guitar on a handful of tracks.
The album reached No. 9 on the U.S. Billboard 200.  The first single, "Love Her Madly," was released in March 1971, ahead of the album, and peaked at No. 11 on the Billboard Hot 100. The second single, "Riders on the Storm," was released in June 1971 and reached No. 14.  It was the last song Morrison recorded with the band before his death.
L.A. Woman is significant because it captured the Doors at a moment of artistic renewal. The band had stripped away much of the elaborate studio polish of earlier records and rediscovered the blues-based chemistry that had made them compelling in the first place.
Side 1
The Changeling
Love Her Madly
Been Down So Long
Cars Hiss By My Window
L. A. Woman
Side 2
L'America
Hyacinth House
Crawling King Snake
The WASP (Texas Radio And The Big Beat)
Riders On The Storm
Contact Info
Website: ⁠⁠⁠⁠Gary Wenstrup⁠⁠⁠⁠
Podcast Website: ⁠⁠⁠⁠Home - Classic Rock Album Olympics⁠⁠⁠⁠
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In this episode of Classic Rock Album Olympics music historians Gary Wenstrup and Robert Rodriguez roll Linda Ronstadt's Heart Like A Wheel to select their favorite tracks and award their gold, silver and bronze medals accordingly.
Medal Winners
Faithless Love
Heart Like A Wheel
You're No Good
Keep Me From Blowing Away
When Will I Be Loved
Bonus Tracks
Different Drum – Stone Ponys
Different Drum- Mike Nesmith
Long Long Time – Linda Ronstadt
Dark End Of The Street – Flying Burrito Brothers
The Dark End Of The Street – James Carr
Making Love (At The Dark End Of The Street) – Clarence Carter
It's So Easy – Linda Ronstadt
That'll Be The Day – Linda Ronstadt
Blue Bayou – Linda Ronstadt
Heart Of Gold – Neil Young
You're So Vain – Carly Simon
Lonely Boy – Andrew Gold
Thank you For Being A Friend – Andrew Gold
You're No Good – Betty Everett
The Game Of Love – Mindbenderrs
The Thrill Is Gone – B.B. King
Heart Like A Wheel – Anna McGarrigle
Drop Kick Me, Jesus - Paul Craft/Bobby Bare
I Will Never Marry – Linda Ronstadt
You Can Close Your Eyes – Jame Taylor
You Can Close Your Eyes – Linda Ronstadt
You're No Good – Van Halen
Cathy's Clown – Everly Brothers
Willin' – Little Feat
Willin' – Linda Ronstadt
I Can't Help It (If I'm Still In Love With You) – Hank Williams
It Doesn't Matter Anymore – Linda Ronstadt
It Doesn't Matter Anymore – Buddy Holly
You're Having My Baby – Paul Anka
One Man Woman/One Woman Man – Paul Anka
 
Released in November 1974, Heart Like a Wheel was Linda Ronstadt's fifth solo studio album and the record that made her into a major pop superstar. The album was produced by Peter Asher, who had also become Ronstadt's manager and was instrumental in establishing the polished yet emotionally powerful sound that would define her great albums of the 1970s. 
The musicians were an extraordinary collection of Los Angeles studio players and Ronstadt associates. Andrew Gold played guitar, piano, electric piano, drums and percussion and became one of the album's most important musical architects, while Kenny Edwards, Ronstadt's former Stone Poneys bandmate, played bass. 
The singles were particularly successful. "You're No Good" reached No. 1 on the Billboard Hot 100, giving Ronstadt her first No. 1 pop single and "When Will I Be Loved" reached No. 2 on the Hot 100.  The album itself was an even bigger success. Heart Like a Wheel became Ronstadt's first No. 1 album on the Billboard.
Its impact went far beyond sales. Heart Like a Wheel helped establish the template for the sophisticated country-rock/pop crossover that would dominate much of Ronstadt's career and influence artists who followed. She demonstrated that an album could move effortlessly between rock, country, R&B, folk and pop without sounding stylistically confused. Just as importantly, Ronstadt became a major interpreter of songs by emerging writers such as J.D. Souther, Lowell George and Anna McGarrigle, often bringing their work to audiences far larger than those they could reach themselves. 
Ultimately, Heart Like a Wheel was the album that established the Linda Ronstadt formula: an extraordinary singer, first-rate musicians, carefully chosen songs, country roots and rock muscle, all held together by Peter Asher's elegant production. It was both a commercial breakthrough and an artistic statement—and the beginning of one of the most successful recording careers by an American female artist of the 1970s.
Track Listing
Side 1
You're No Good
It Doesn't Matter Anymore
Faithless Love
The Dark End Of The Street
Heart Like A Wheel
Side 2
When Will I Be Loved
Willin'
I Can't Help It (If I'm Still In Love With You)
Keep Me From Blowing Away
You Can Close Your Eyes
 
#LindaRonstadt #HeartLikeAWheel #PeterAsher #AndrewGold #CountryRock #ClassicRock #RockHistory #1970sMusic #YoureNoGood #WhenWillIBeLoved #MusicHistory #AlbumHistory #Grammy #ClassicAlbums
Contact Info
Website: ⁠⁠⁠⁠Gary Wenstrup⁠⁠⁠⁠
Podcast Website: ⁠⁠⁠⁠Home - Classic Rock Album Olympics⁠⁠⁠⁠
YouTube: ⁠⁠⁠⁠(556) Classic Rock Album Olympics - YouTube⁠⁠⁠⁠
Facebook: ⁠⁠⁠⁠(7) Facebook⁠⁠⁠⁠
Podcast Facebook: ⁠⁠⁠⁠Facebook⁠⁠⁠⁠
LinkedIn: ⁠⁠⁠⁠(17) Gary Wenstrup | LinkedIn⁠⁠⁠
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We know "the people" liked it. Did you?
In this episode of Classic Rock Album Olympics music historians Gary Wenstrup and Robert Rodriguez analyze R.E.M.'s Automatic For The People add award their gold, silver and bronze medals to the album's strongest tracks.
Medal Winners
Ignoreland
Everybody Hurts
Monty Got A Raw Deal
Drive
Find The River
 Released in October 1992, Automatic For The People is widely regarded as one of the defining albums of the 1990s and a peak artistic statement in R.E.M.'s career. Following the massive success of Out of Time, the band moved away from jangly college rock toward a more introspective and melancholic sound. The album's themes revolve around mortality, aging, loss and memory, giving it a reflective tone that feels both intimate and cinematic.
The album was produced by Scott Litt alongside R.E.M.  A defining feature of the record is its use of orchestral instrumentation arranged by John Paul Jones (of Led Zeppelin).  The production emphasizes acoustic guitars, piano, mellotron, strings, and restrained percussion, marking a stark contrast from the more energetic sound of their earlier work.
R.E.M. at this time consisted of Michael Stipe, whose abstract, emotionally direct lyrics and distinctive vocal delivery anchor the album; Peter Buck, whose guitar work shifted toward mandolin, acoustic textures, and subtle melodic layering; Mike Mills, whose bass lines and harmony vocals provide emotional depth; and Bill Berry, whose understated drumming supports the album's slower, more contemplative pacing. Together, the band created a unified sound that prioritizes mood and atmosphere over traditional rock dynamics.
Commercially, Automatic for the People was a major worldwide success. It reached #2 on the Billboard 200 in the United States and charted highly across Europe, including #1 in the UK Albums Chart. The album produced several major singles. "Drive" became a top 30 hit in the United States and a standout track on alternative radio. "Man on the Moon" became one of the band's signature songs, reaching #30 on the Billboard Hot 100.  "Everybody Hurts" became one of R.E.M.'s most emotionally powerful and enduring songs, receiving extensive airplay worldwide and becoming an anthem for empathy and resilience.
The cultural significance of Automatic for the People lies in its ability to bring introspective, even somber themes into mainstream rock at a massive commercial scale. At a time when alternative rock was becoming dominant in popular culture, R.E.M. demonstrated that vulnerability and emotional honesty could coexist with chart success.
Bonus Tracks
Radio Free Europe – R.E.M.
Sexual Healing – Marvin Gaye
The Right Profile – The Clash
Rock On – David Essex
This Is The Day – The The
Fall On Me – R.E.M.
Harbor Town - R.E.M.
Nightswimming - R.E.M.
New Orleans Instrumental #1 - R.E.M.
Man On The Moon - R.E.M.
Rockin' In The Free World – Neil Young
Cinnamon Girl – Neil Young
Track Listing
Drive Side
Drive
Try Not To Breathe
The Sidewinder Sleeps Tonite
Everybody Hurts
New Orleans Instrumental No. 1
Sweetness Follows
Ride Side
Monty Got A Raw Deal
Ignoreland
Star Me Kitten
Man On The Moon
Nightswimming
Find The River
 
Hashtags: #AutomaticForThePeople #REM #AlternativeRock #IndieRock #1992Music #ManOnTheMoon #EverybodyHurts #Drive #Nightswimming #ClassicAlbums #MusicHistory #AlbumHistory #90sMusic #WarnerBros #ScottLitt
Info
Website: ⁠⁠⁠Gary Wenstrup⁠⁠⁠
Podcast Website: ⁠⁠⁠Home - Classic Rock Album Olympics⁠⁠⁠
YouTube: ⁠⁠⁠(556) Classic Rock Album Olympics - YouTube⁠⁠⁠
Facebook: ⁠⁠⁠(7) Facebook⁠⁠⁠
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LinkedIn: ⁠⁠⁠(17) Gary Wenstrup | LinkedIn⁠⁠
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In this episode (#28) of Classic Rock Album Olympics music historians Gary Wenstrup and Robert Rodriguez turn their attention to Moondance by Van Morrison and award their gold, silver and bronze medals for the strongest tracks. 
Released in January 1970, it was Morrison's third solo album and transformed him from a critically admired cult artist into a major commercial success. While his previous album, Astral Weeks, had been celebrated for its poetic ambition and jazz-influenced experimentation, Moondance struck a perfect balance between artistic sophistication and accessibility. Blending rock, soul, jazz, folk, blues, rhythm and blues, and Celtic influences, the album showcased Morrison's extraordinary songwriting while introducing a warmer, more up-tempo sound. 
Medal Winners – Remarkably Gary and Robert picked the exact same 3 songs in the exact same order – a first and probably a last…
Moondance
Into The Mystic
Caravan
Dissatisfied with having limited creative control during the making of Astral Weeks, Morrison assumed responsibility for producing Moondance, carefully shaping the arrangements and performances. The result was a polished yet organic recording that featured tight ensembles, memorable horn arrangements, and an effortless blend of jazz improvisation and pop craftsmanship. The album marked the beginning of Morrison's long career as a self-directed recording artist and established the musical style that would define much of his greatest work.
Van Morrison and John Platania played guitar with Jack Schroer and Collin Tilton on horns, Jef Labes on keyboards, John Klingberg on bass and Gary Mallaber on drums.  The musicians created an intimate, swinging sound that perfectly complemented Morrison's soulful voice songwriting.
Commercially, Moondance became Van Morrison's breakthrough album. It reached #29 on the Billboard 200 in the U.S., #32 on the UK Albums Chart while remaining a steady seller for decades.  Come Running was the only single released from the album and reached #39 on the charts. Over time, however, "Moondance," "Into the Mystic," "Caravan," and "And It Stoned Me" became FM radio staples. 
Moondance has influenced generations of musicians across rock, folk, jazz, Americana, and soul, including Bruce Springsteen, Bonnie Raitt and Elvis Costello.  More than fifty years after its release, Moondance remains a beloved album, celebrated for its effortless musicianship and timeless melodies.  It is consistently ranked among the greatest albums ever and stands as the defining work in Van Morrison's remarkable career.
Bonus Tracks
Moondance – Michael Buble
East Of The Sun (And West Of The Moon) – Frank Sinatra
Autumn Leaves – Nat King Cole
Brown Eyed Girl
Domino
Gloria – Them
Chuck E's In Love – Rickie Lee Jones
Midnight At The Osis – Maria Muldar
Caravan from The Last Waltz
Punky's Dilemma – Simon & Garfunkel
Come Running
And It Stoned Me
Glad Tidings
Crazy Love
Brand New Day
Everyone
I Shall Be Released – The Band
I Shall Be Released – Joe Cocker
I Shall Be Released – Nina Simone
I Shall Be Released from The Last Waltz
Rainy Day Women #12 & 35 – Bob Dylan
Doo Doo Doo Doo (Heartbreaker) – Rolling Stones


Track Listing
Side One
And It Stoned Me
Moondance
Crazy Love
Caravan
Into The Mystic
Side Two
Come Running
These Dreams of You
Brand New Day
Everyone
Glad Tidings
 
Hashtags: #Moondance #VanMorrison #ClassicRock #SingerSongwriter #JazzRock #FolkRock #SoulMusic #IntoTheMystic #Caravan #1970Music #ClassicAlbums #MusicHistory #AlbumHistory #VinylCommunity #WarnerBros #TimelessMusic


Contact Info
Website: ⁠⁠⁠Gary Wenstrup⁠⁠⁠
Podcast Website: ⁠⁠⁠Home - Classic Rock Album Olympics⁠⁠⁠
YouTube: ⁠⁠⁠(556) Classic Rock Album Olympics - YouTube⁠⁠⁠
Facebook: ⁠⁠⁠(7) Facebook⁠⁠⁠
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LinkedIn: ⁠⁠⁠(17) Gary Wenstrup | LinkedIn⁠⁠
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In this episode of Classic Rock Album Olympics music historians Gary Wenstrup and Robert Rodriguez turn on Remain In Light by Talking Heads and award gold, silver and bronze medals to their favorite songs.
Medal Winners
Crosseyed And Painless
Once In A Lifetime
The Overload
Listening Wind
 Remain In Light, released in the fall of 1980, was the band's fourth studio album and was an artistic leap as they blended new wave, funk, African polyrhythms, electronic music, and experimental rock into a new sonic texture. 
Building on ideas first explored on Fear of Music, the album challenged conventional rock songwriting by emphasizing rhythm, layered textures, and hypnotic grooves over traditional verse-and-chorus structures.
The album was produced by Brian Eno, whose creative partnership with Talking Heads reached its peak during these sessions. Rather than recording songs in the traditional manner, the band developed many of the tracks through extended group improvisations that were edited into intricate rhythmic patterns before lyrics and melodies were added.
Inspired by the work of Nigerian musician and activist Fela Kuti, as well as electronic pioneers and minimalist composers, Eno and the band crafted a dense, layered production that pushed the boundaries of what a rock album could be.
Talking Heads consisted of David Byrne, lead vocals, guitar, and many of the album's lyrics; Jerry Harrison, keys and guitar; Tina Weymouth, bass and Chris Frantz, drums.
Commercially, Remain in Light became Talking Heads' highest-charting album to that point. It reached #19 on the Billboard 200 and earned widespread critical acclaim upon release. Two singles were issued from the album. "Once in a Lifetime" became the band's signature song, though it only reached #103 on the Billboard Hot 100.  It became a cultural phenomenon thanks to its groundbreaking music video and has since become one of the defining songs of the MTV era. The second single, "Houses in Motion," did not chart.
The cultural significance of Remain in Light is immense. It helped introduce African musical concepts to mainstream rock audiences in a respectful and creatively transformative way while demonstrating that experimental music could also be accessible. 
Remain In Light influenced artists across alternative rock, electronic music, art rock, indie rock, and even hip-hop including Radiohead, Peter Gabriel and Arcade Fire.  The album consistently ranks among the best albums ever made, celebrated for its experimentation, intellectual depth, and rhythmic vitality.
Bonus Tracks
Take Me To The River
And She Was
The Lady Don't Mind
Burning Down The House
Road To Nowhere
Artist Only
Water Got No Enemy – Fela Kuti
Zombie – Fela Kuti
Take Me To The River – Al Green
Love Will Tear Us Apart – Joy Division
Little Red Book – Love
Interstellar Over Drive – Pink Floyd
DJ – David Bowie 
 
Hashtags: #RemainInLight #TalkingHeads #DavidByrne #BrianEno #OnceInALifetime #NewWave #ArtRock #PostPunk #ClassicAlbums #1980Music #MusicHistory #AlbumHistory #VinylCommunity #FunkRock #AfricanRhythms #ClassicRock


Contact Info
Website: ⁠⁠⁠Gary Wenstrup⁠⁠⁠
Podcast Website: ⁠⁠⁠Home - Classic Rock Album Olympics⁠⁠⁠
YouTube: ⁠⁠⁠(556) Classic Rock Album Olympics - YouTube⁠⁠⁠
Facebook: ⁠⁠⁠(7) Facebook⁠⁠⁠
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LinkedIn: ⁠⁠⁠(17) Gary Wenstrup | LinkedIn⁠⁠
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