4a) THE Reason the 70's Rocked

4a1) The Who "Baba O'Riley" Who's Next (1971)

4a2) A ferocious cry of freedom with the heart of a ballad, it echoes the album cover–the monolith both desecrated, and untouched by man. The profane, insane, and transcendent. The higher gods leading rock into new horizons. This is the birth cry of the starchild called RAWK. It's shadow looms even today. On everything from punk to grunge to motorik kosmische to operatic narratives. Preceding or following, all bow to "Baba O'Riley." Happy birthday. 

5a) In Which More Cowbell is Needed...

4a1) SNL - More Cowbell

4a2a) ...and in which Will Farrell gives one of his great unhinged performances, Jimmy Fallon cracks up halfway through, Horatio Sanz gives his "I'm just lucky to be here" performance, and Cristopher Walken tries to keep the whole thing going.

4a2b) Which is all to say the skit itself is not that good. The concept is hilarious, especially to classic rock fans (see next item), but what saves it is that no one can really hold it together once things really get going. SNL often operates more on charm than actual comedic chops, and this is a prime example. One that never gets old. 

4a2c) And like a true music geek, I have to point out that Bruce Dickinson's (he, the lead singer of Iron Maiden, and fencer of Olympic medalists), first production credit was in 1984, nearly ten years after Blue Öyster Cult's "(Don't Fear) The Reaper" was released. Arguably putting them in the influence seat, not the other way around. But then, you knew that. And so did whomever wrote the script. 

4a) Daily Zen

4a1)  Lee Hazlewood and Suzi Jane Hokum "Sand" The Very Special World Of Lee Hazlewood (1966)

4a2) One of the better subtle sex songs. While the metaphors may not be subtle, the intertwining vocals, the backing vocal sighs, and the rhythmic strumming produce a hypnotic simulation within the style of the time. Just another example of Lee Hazlewood's unique genius. 

This version is better than the Hazlewood/Sinatra version, recorded later. The slower tempo of Hokum's version, and her far more seductive vocals round off the Spector-ish wall of sound pop of the Sinatra version. While I love a good sitar, it feels added on, and does little to make up for the sex-stoned atmosphere of the Hokum version.