Classic Rock Album Olympics

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

Podcast Facebook: ⁠⁠⁠Facebook⁠⁠⁠

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

Podcast Facebook: ⁠⁠⁠Facebook⁠⁠⁠

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

Podcast Facebook: ⁠⁠⁠Facebook⁠⁠⁠

LinkedIn: ⁠⁠⁠(17) Gary Wenstrup | LinkedIn⁠⁠

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In this episode of Classic Rock Album Olympics music historians Gary Wenstrup and Robert Rodriguez take Marvin Gaye’s What’s Going On for a spin and award gold, silver and bronze medals for their favorite tracks.

Medal Winners

What’s
Going On

Flyin’
High (In The Friendly Sky)

Mercy
Mercy Me (The Ecology)

What’s
Happening Brother

Inner
City Blues (Makes Me Want To Holler)

The album was released in the summer of 1971 and is widely regarded as one of the greatest albums ever made. It marked a dramatic artistic transformation for Marvin Gaye and for Motown itself. Rather than focusing on romantic love songs, Gaye created a deeply personal concept album that addressed war, poverty, racial injustice, environmental concerns, police brutality, drug abuse, and spiritual renewal. Inspired in part by conversations with his brother Frankie, who had recently returned from service in Vietnam, What’s Going On captured the hopes, frustrations, and uncertainty of America during one of the nation’s most turbulent periods.

What’s Going On was produced by Marvin Gaye, making him one of the first Motown artists to exercise complete creative control over a major project. Recording sessions took place at Detroit’s Hitsville U.S.A. studio and at Golden World Studios, also in Detroit. Gaye experimented with layered vocals, sophisticated orchestration, jazz-influenced harmonies, and seamless transitions between songs, creating one of the first truly unified concept albums in soul music.

Marvin Gaye handled the lead and background vocals and worked with Motown’s famous house band – The Funk Brothers. They included bassists James Jamerson and Bob Babbit, drummer Chet Forest, percussionist Jack Ashford, keyboardist Earl Van Dyke and guitarists Robert White and Joe Messina. The album’s lush orchestral arrangements and rich vocal textures combined elements of soul, jazz, classical music, gospel, and rhythm and blues into a sound unlike anything Motown had previously
released.

Commercially, the album became one of the biggest successes of Marvin Gaye’s career, reaching #6 on the Billboard 200. Three singles emerged from the album. The title track, “What’s Going On,” reached #2 on the Billboard Hot 100, “Mercy Mercy Me (The Ecology)” climbed to #4 and became one of popular music’s earliest environmental anthems. “Inner City Blues (Make Me Wanna Holler)” reached #9.

The cultural significance of What’s Going On is difficult to overstate. It transformed expectations of what soul music could address and
demonstrated that pop music could also confront serious social and political issues. The album challenged Motown’s traditional business model, expanded creative freedom for recording artists, and influenced generations of musicians across soul, R&B, jazz, rock, hip-hop, and pop.

Artists ranging from Stevie Wonder to Prince, Bruce Springsteen, D’Angelo, and many others have cited it as a landmark achievement.
More than five decades after its release, What’s Going On continues to appear near the top of virtually every list of the greatest albums ever recorded and remains a timeless statement about empathy, justice, faith, and our shared humanity.



Hashtags: #WhatsGoingOn #MarvinGaye #Motown
#SoulMusic #ClassicAlbums #MusicHistory #ConceptAlbum #FunkBrothers #1971Music
#ClassicSoul #VinylCommunity #AlbumHistory #MercyMercyMe #InnerCityBlues
#WhatsGoingOnAlbum



Bonus Tracks

I
Can’t Get Next To You – Temptations

Stoned
Love – The Supremes

War
– Edwin Star

Ball
of Confusion – Temptations

Love
Is God

Right
On

Save
The Children

Sadly, a demo version of What’s Going On does not exist



Track Listing

Side One

What’s Going On

What’s Happening Brother

Flyin’ High (In The Friendly Sky)

Save The Children

God Is Love

Mercy Mercy Me (The Ecology)

Side Two

Right On

Wholy Holy

Inner City Blues (Makes Me Wanna Holler)

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

Intro & Outro Music by Flwers
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