Deep Tracks. The lesser-known songs from our favorite established artists can be even more enjoyable than their big hits. It’s the true fans that know a band’s deeper album tracks instead of just the singles on the radio. We can only hear “Stairway to Heaven” or “Blue Monday” so many times. That’s why the classic rock station Deep Tracks on Sirius XM radio (recently moved from channel 27 to 308) is such a treat. I wish Sirius had the equivalent for its First Wave channel. They have forever ruined “Friday, I’m in Love,” “How Soon is Now,” and “The Killing Moon” for me.
My list below (in no particular order) is probably better termed deeper tracks. I didn’t want to go too deep with rare or obscure songs. More like b-sides of singles, songs buried in albums, and songs from a band’s early or later days, and not so much from their heyday. For each song, I offer another deeper track by the band for further listening.
– “In Hiding” by Pearl Jam (Yield, 1998): Inspired by the writings of Charles Bukowski, “In Hiding” is classic Pearl Jam with Stone Gossard’s guitar riffs and Eddie Vedder’s soaring baritone leading the way. Despite not being released as a single, the song had some commercial success but nothing like Yield’s big hit, “Given to Fly.” Also “Present Tense” (off the No Code album) prominently featured at the end of ESPN’s sports documentary The Last Dance.
– “Discoverer” by R.E.M. (Collapse into Now, 2011): With its surging melody and powerful chorus, the lead track from R.E.M.’s final album made us realize what we’d be missing. Also “The Lifting” from the sun and breeze of 2001’s Reveal.
– “Pressure Drop” by The Clash (b-side of “English Civil War,” 1979): This 1979 cover of The Maytals (Toots Hibbert) honors The Clash’s love of reggae. Also, the peppy song about the Spanish Civil War, “Spanish Bombs,” from London Calling.
– “Awaken” by Yes (Going for the One, 1977): “Awaken” is 15 minutes long, but hey, this is Yes we’re talking about. It’s a medley of choral passages, Steve Howe’s showcase guitar, and Rick Wakeman’s keyboards. Also, “Parallels” with Wakeman’s church organ is another fine song off the same album. The title song and “Wondrous Stories” were the two singles.
– “Hand of Fate” by the Rolling Stones (Black and Blue, 1975): This song has appeared here before (Ten Guitar Solos That Will Live Forever). Wayne Perkins’ electrifying guitar equals a guest performance for the ages. Also, how ’bout the funk and wah-wah pedal of “Fingerprint File” from 1974’s It’s Only Rock ‘n’ Roll (but I Like It)?
– “The Three Sunrises” by U2 (Wide Awake in America, 1985): Wide Awake in America is an EP with live performances of two songs from Unforgettable Fire and two b-sides both previously available only in the U.K. The chiming guitars and glorious harmonies shine on this hidden gem. Also, “Crumbs From Your Table” from 2004’s How to Dismantle an Atomic Bomb.
– “Jump They Say” by David Bowie (Black Tie White Noise, 1993) Both of these songs were released as singles but failed to secure a prominent spot in the Bowie discography. “Jump They Say” is a funky, jazzy rumble, complete with a trumpet solo, about the suicide of Bowie’s half-brother. “Beauty and the Beast” was lost in the shuffle after being released right after the monumental “Heroes.” It leads off Heroes with one hell of a disjointed, menacing crescendo of keyboards, guitar (Robert Fripp), and Bowie’s ominous vocals.
– “Naked Eye” by The Who (Odds & Sods, 1974): This song had me at, “Take a little dope and walk out in the air.” Off the studio outtakes LP, Odds and Sods, “Naked Eye” is vintage combustible Who. Also, “Heart to Hang Onto.” Ok, while not a Who song, I took this opportunity to highlight one of the overlooked albums of the decade, 1973’s Rough Mix, by Pete Townshend and Ronnie Lane of the Faces. The song exemplifies the folk and rock elements of the album along with the exquisite collaboration of the two trading off lead vocals.
– “Nightingale” by Roxy Music (Siren, 1975): Siren is known for “Love is the Drug” and the album cover featuring Bryan Ferry’s then girlfriend Jerry Hall (she left him for Mick Jagger.) But it’s so much more. I’ll nominate Side Two and one of the best album sides. The band was less artsy and more rock on Siren as the stomping “Nightingale” makes clear. Also, “Manifesto” from the album of the same name (1979). I would have loved to see this album’s tour as the song’s long instrumental opening, highlighted by the brooding bass, is a perfect concert opener.
– “Harold and Joe” by The Cure (b-side of “Never Enough,” 1990): The electronic ecstasy of “Harold and Joe” is a standout from a group known for its b-sides. Also, “Play for Today” from the group’s darker, minimalist early days, in this case, their second album, 1980’s Seventeen Seconds. The song was released as a single, but “A Forest” from this album was the lasting impression for many.
– “Half a Person” by The Smiths (b-side of “Shoplifters of the World Unite,” 1986): I was introduced to “Half a Person” from the compilation double album, Louder Than Bombs, made up of b-sides and singles. The gorgeous melancholy of “Call me morbid, call me pale.” And for something completely different, “I Like You.” Not a Smiths song, but a kick to hear Morrissey singing such sentiments (from his 2004 You Are the Quarry album).
– “Memories Can’t Wait” by Talking Heads (Fear of Music, 1979): Ready for another best side nomination? How ’bout Side One of Fear of Music? Coming after “Life During Wartime,” “Memories” closes out the side in a cauldron of impending doom. Also, “The Books I Read” from their debut, Talking Heads 77. 77 has their iconic hit Psycho Killer. Every other song is worthy of this list. Pick one.
– “Primitive Notion” by New Order (Get Ready, 2001): I wanted to show some love for New Order’s guitar albums of the aughts. “Primitive Notion” is definitive proof that New Order can rock. Also, “Dreams Never End,” their first song on their first album, 1981’s Movement. It’s an uneven debut record as the band transitions from Joy Division and gets used to Bernard Sumner’s singing. But “Dreams” is a treat – guitar, bass, and drums, with no synths, and Peter Hook on lead vocals.