10 Great Songs You May Have Forgotten Or Never Heard (Vol.1)

Feature Photo: Bellminer, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons

Our 10 Great Songs You May Have Forgotten or Never Heard article begins a new series that we hope takes flight here at Classic Rock History. This series intends to showcase musical artists and songs that mainstream music fans might not have heard of or perhaps simply forgotten about. We’re well aware that hardcore music fans are probably familiar with the artists and songs on this list, but there’s always a chance that even some devoted listeners may discover something new. Our goal is to spotlight ten different artists and some of their most essential, spectacular songs, hopefully introducing great music and great artists to a broader audience. We hope you enjoy this list—and let us know what other artists and songs we should include in Volume Two!

# 10 – Starry Eyes – The Records

Launching our list, Starry Eyes by The Records is a quintessential power-pop anthem that captures the band’s signature style of catchy hooks and sharp lyrical wit. Written by band members John Wicks and Will Birch, the song emerged as the highlight of their debut album, Shades in Bed (also titled The Records in the U.S. version), released in 1979. This song reflects the tumultuous experiences the band had with their management, with its lyrics unfolding as a frustrated letter to a negligent manager. Starry Eyes may not have reached the top of the charts, but its infectious beat and memorable melody have earned it a lasting place in the hearts of pop-rock enthusiasts.

Recorded at Wessex Sound Studios and Townhouse Studios in London from February to April 1979, Starry Eyes was initially produced by Robert John “Mutt” Lange, with Tim Friese-Greene later stepping in to complete the album. The Records’ lineup for this track included John Wicks on vocals and guitar, Will Birch on drums, Phil Brown on bass, and Huw Gower on lead guitar, each adding layers of crisp instrumentation and harmonies that define the band’s sound. The song’s production quality is remarkable, with clean guitar tones and polished vocals that elevate the track, allowing its lyrical punch to shine through.

The lyrics of Starry Eyes dive into the dissatisfaction and betrayal felt by the band, with lines like, “Get me out of your starry eyes and be on your way,” highlighting their call to break free from toxic professional ties. The chorus resonates with an urgency and frustration that’s relatable to anyone who’s felt trapped in a one-sided relationship, be it personal or professional. Musically, the song showcases the power-pop charm of The Records, with jangly guitar riffs and a tight rhythm section, making it a fitting opening song on a list dedicated to tracks you may have missed or forgotten.

Despite its modest chart performance, peaking at No. 56 on the Billboard Hot 100, Starry Eyes has since gained a cult following and is praised by critics as a timeless pop masterpiece. Its bright, bouncy sound contrasts with its biting lyrics, a classic juxtaposition that gives the song depth and replay value. The Records might not have achieved mainstream fame, but with Starry Eyes, they crafted a track that remains beloved in the power-pop genre, proving that sometimes the best gems are those that fly just under the radar.

Read More: 1979’s Best Rock Albums

# 9 – Cool World – Karla Devito

As the second song on our list, Cool World by Karla DeVito complements the unique spirit of the tracks that follow, blending rock and theatrical pop in a style that sets her apart in the early ’80s. DeVito’s debut solo album, Is This a Cool World or What? released in 1981, highlights her transition from a background vocalist to a front-and-center performer. Known for her strong stage presence with Meat Loaf and bands like Blue Öyster Cult, DeVito’s solo work carries an unapologetic energy that matches well with the thematic elements found in the songs on this list.

Produced by Jim Steinman and Paul Jacobs, Cool World brings a rock opera quality reminiscent of the theatrical vibe we’ll also see in tracks like Leather and Lace later on this list, yet with a sharper edge. Recorded in Los Angeles, the track weaves bold guitar riffs and synth lines, giving a sweeping, cinematic feeling that underscores DeVito’s powerful voice.

Lyrically, Cool World captures the essence of resilience and introspection, wrapped in a question that resonates: “Is this a cool world or what?” DeVito’s words explore ambition and disillusionment, mirroring themes of exploration and defiance that define many tracks on this list. Her line, “I keep my eye to the main chance,” rings with a spirit of self-determination, fitting alongside other songs in this collection that emphasize personal grit and perseverance.

Though Cool World didn’t chart as broadly, it aligns with the atmosphere of discovery that fuels this list of hidden gems. Its introspective yet lively character captures a different, engaging perspective that shines through each song.

Read More: 1981’s Best Rock Albums

# 8 – Damn Dog – Robin Johnson

Damn Dog by Robin Johnson kicks off as an electric, rebellious anthem on our list, capturing the fierce energy of punk rock as few songs can. Featured in the gritty 1980 film Times Square, the song epitomizes the raw power of teenage defiance and the unfiltered spirit of New York’s underground music scene. Johnson’s portrayal of Nicky Marotta—a runaway finding solace in music—perfectly aligns with the intensity of Damn Dog, a track that feels like a declaration of independence from authority and convention. It’s a song that charges forward with a bold punk attitude, setting the stage for an unforgettable list of great tracks that some listeners may have overlooked.

Produced under the Robert Stigwood Organization, Damn Dog captures the essence of punk through its stripped-down production and Johnson’s fierce, raspy vocal style. The song’s recording sessions, though not widely documented, echo the gritty, spontaneous atmosphere of New York’s late ’70s punk scene, delivering fast-paced guitar riffs and relentless drum beats that underscore the raw emotion. Johnson’s snarling vocal presence, paired with the relentless musical backdrop, allows the song to vibrate with energy, a fitting soundscape for the edgy and untamed world of Times Square.

Lyrically, Damn Dog taps into themes of anger, survival, and a primal need for autonomy, with lines like “Feed me, feed me / Can’t you hear me howl,” as Johnson embodies the fierce spirit of someone breaking free. The imagery of hunger and survival resonates with the defiant energy coursing through the song. Lyrics such as “I’ve a taste for flesh / Got a taste for danger” capture the heart of the punk ethos, speaking less to a literal craving and more to an insatiable urge for freedom and self-expression.

# 7 – Hot Cherie – Danny Spanos

Danny Spanos’ “Hot Cherie,” from his 1983 Passion in the Dark EP, remains a fiery slice of ’80s rock that showcases Spanos’ raw energy and edge. Originally written by Canadian band Streetheart, Spanos’ version turns up the intensity, with gritty vocals that match the punch of its bold guitar riffs. Produced by John Ryan, known for his high-octane work with bands like Styx, the song grabs listeners with its unfiltered passion.

Musically, “Hot Cherie” is all about high stakes and high heat, a blend of driving rhythms and soaring solos that embody the energy of the era. Spanos delivers each line with the fervor of someone caught in the thrill of a fleeting connection, channeling the song’s desire and obsession straight through to the listener. It’s no surprise that the song found an audience on the Mainstream Rock Tracks chart, becoming one of Spanos’ defining hits.

The lyrics capture a whirlwind romance, brimming with urgency and anticipation. Lines like “I’ve got this fire burning in me” mirror the song’s pulse, building tension and conveying the visceral pull of infatuation.

# 6 – Never Be Enough Time – Joe Grushecky & The Houserockers

As the opening track on Joe Grushecky & The Houserockers’ American Babylon (1995), “Never Be Enough Time” captures a raw, gritty essence that blends heartland rock with blue-collar storytelling. Produced by Bruce Springsteen, the album features Grushecky’s heartfelt lyricism and Springsteen’s hallmark sound, recorded over 18 months at Springsteen’s home studio in Los Angeles. The production itself feels personal, an intimate collaboration that highlights the honest spirit of Grushecky’s music, a style he honed with his long-time band, The Houserockers.

The song’s structure is straightforward, with a driving rhythm that perfectly complements Grushecky’s narrative of youthful love, heartache, and regret. Lyrics like “there’ll never be enough time to forget about you” emphasize the enduring impact of lost love. Grushecky’s gruff vocals underscore the anguish of a man reminiscing about the passion and eventual disillusionment of a relationship that felt invincible yet fell apart. With a robust backing of guitar, bass, and drums, the song invites listeners into an anthem of nostalgia for good times gone by, offering both resilience and a tinge of sadness.

Critical reception has praised “Never Be Enough Time” as a standout on American Babylon, particularly for its timeless exploration of love and loss. The song’s themes of inevitable change and heartbreak offer universal resonance, establishing it as a powerful piece within Grushecky’s catalog.

# 5 – Annalee – Ellis Paul

As we journey deeper into the list, “Annalee” by Ellis Paul stands out as a beautifully crafted folk-pop gem that captures the heart with its haunting melody and timeless lyrical themes. Released in 2010 on The Day After Everything Changed, this track epitomizes the extraordinary songwriting Paul has cultivated over his career, influenced by the greats of folk but layered with a contemporary melodic sensibility. With a sound evocative of the Eagles at their most wistful, “Annalee” intertwines storytelling with lush, flowing chords and intricate musical transitions, creating an atmosphere as immersive as it is emotionally resonant.

The song unfolds along the river’s edge, with Paul’s vocals taking on an almost cinematic quality. Lyrics like, “The river’s so smooth, it could shatter with a rock,” paint a vivid scene that pulls listeners into a world of young love and fleeting moments. There’s an almost magical harmony to the melody, as Paul’s voice blends seamlessly with gentle, acoustic layers, producing a haunting, ethereal quality reminiscent of classic rock ballads that linger in memory. The chorus, which chants, “Annalee, Annalee,” echoes with a heartfelt intensity that’s both nostalgic and tender, embodying a beauty that feels almost destined for a larger spotlight.

It’s remarkable that “Annalee” didn’t become a chart-topping hit because the song is structured with the kind of undeniable, infectious melody that begs for repeat listening. The interplay of Paul’s vocals with the understated instrumentals crafts an experience that feels universally relatable yet deeply personal—a rare and impactful combination. The song’s flow through reflective verses and the powerful hook in its chorus make “Annalee” an overlooked masterpiece, embodying the essence of a song that’s beautiful in both simplicity and depth.

# 4 – Nothing but a Miracle – Diane Birch

In our journey through these unforgettable tracks, “Nothing but a Miracle” by Diane Birch stands as a testament to pure soul-pop brilliance—a song that echoes the golden tones of ’70s greats like Hall & Oates, Carole King, and even hints of Motown. This track, from her debut album Bible Belt (2009), displays Birch’s knack for combining heartfelt, raw lyrics with intricate, soulful melodies that carry an undeniable sense of longing and heartache. The song’s lush, orchestral arrangements, recorded in the musically rich environments of New Orleans and New York, envelop the listener in a soundscape that feels at once timeless and achingly modern.

The lyrics of “Nothing but a Miracle” delve deep into the frustration and exhaustion of unrequited love. Birch’s vocal delivery perfectly captures the weariness and emotional confusion of holding onto a relationship that seems doomed. With lines like, “I’m so tired of giving a damn about an absent-hearted man,” Birch channels the heartache of trying to let go while still holding out hope for a miracle that might rekindle a lost connection. The chorus resonates with poignant desperation, as she sings, “And nothing but a miracle is gonna bring you back, bring you back to me now,” underscoring the painful realization that sometimes, love isn’t enough.

The production on “Nothing but a Miracle” is exceptional, showcasing Birch’s Wurlitzer piano, whose warm, vintage sound complements her soulful, bluesy voice. Producer Steven Greenberg masterfully brings together subtle strings, layered backup harmonies, and gentle percussion to create a deeply atmospheric track that is polished yet emotionally raw. This song not only stands out on Bible Belt but has all the hallmarks of a classic that should have reached the same heights as the best-known tracks of its era. It’s astonishing that more people haven’t discovered this song, as its beauty and depth make it one of the hidden gems of modern soul-pop.

Read More: Top 10 Diane Birch Songs

# 3 – Breath – Maria McKee

For those who have followed rock music across the decades, Maria McKee is a name that resonates with depth and a rare vocal power. Known for her time as the magnetic lead singer of Lone Justice—a band that only released two albums but left a lasting impression—McKee has carved a niche as an artist unbound by trends. Her brief, fiery stint with Lone Justice showcased a rock-infused sound with a country edge, but as a solo artist, McKee fully embraced the personal and the profound. One of her most compelling works is “Breathe,” a song from her 1991 self-titled debut solo album. While she’s widely recognized for her chart-topping hit “Show Me Heaven,” “Breathe” presents a different side of McKee: intense, introspective, and artistically fearless.

“Breathe” was written by McKee and her collaborator Gregg Sutton, with production by the renowned Mitchell Froom, known for his work with Crowded House, Elvis Costello, and Suzanne Vega. The track was recorded with the aim of highlighting McKee’s unmistakable vocal presence and was subsequently released as the fourth single from her debut album. “Breathe” entered the UK Singles Chart, peaking at No. 59 and remaining in the Top 100 for a brief period, though it never achieved the mainstream success of “Show Me Heaven.” The music video, directed by Angela Conway, was filmed in the hauntingly beautiful landscapes of Carlow in southeast Ireland, lending an ethereal quality to the song’s visual presentation.

As McKee expressed in an interview with Sounds in 1991, her intention behind releasing “Breathe” was to reveal another facet of her artistry, distinct from the pop appeal of “Show Me Heaven.” She aimed to surprise listeners, to show them the full breadth of her vocal and emotional range, and to create a connection with those who resonated with her more introspective side. In “Breathe,” McKee’s voice is raw yet controlled, delivering lyrics that dive into themes of interconnectedness, love, and vulnerability. The lyrics speak to an intimate, almost haunting bond, as she sings lines like, “I will let you breathe through me, I will let you be with me,” capturing a relationship so intense it feels almost supernatural. There’s a reverence in her voice, a sense of surrender as she acknowledges the depth of this connection.

Musically, “Breathe” exudes a reflective, atmospheric quality enhanced by Froom’s production style, which brings out the richness of McKee’s vocals without overpowering them. The instrumentation is subtle, using gentle guitar, piano, and atmospheric effects that underscore the song’s introspective mood. The song doesn’t push for a climactic moment but instead builds a steady, emotional resonance, like the ebb and flow of a tide—fitting for a song whose lyrics explore themes of elemental connection and the merging of spirits. McKee’s voice moves through the song with an almost hymnal quality, offering a space for listeners to immerse themselves fully in its emotional landscape.

In contrast to McKee’s more commercial work, “Breathe” is a song of substance rather than spectacle. Its appeal lies in its quiet power, its ability to communicate love as something that transcends physicality and becomes almost mystical. The song’s lyrics paint images of boundless intimacy, as McKee sings about shared breath and blood, symbolizing a love that feels eternal and essential. There is something almost spiritual in her delivery, which makes this song unforgettable for those who truly listen.

While it may not have achieved mainstream success, “Breathe” remains a gem for those who seek out music with genuine emotional depth. It’s a song that, like much of McKee’s work, requires patience and openness from its audience, rewarding listeners with a profound sense of connection that’s as rare in rock music as it is memorable. As we kick off this list, “Breathe” represents the essence of what this collection of songs aims to capture: exceptional artistry that resonates deeply, even if it didn’t top the charts. McKee’s soulful performance here reminds us why her work, though sometimes overlooked, deserves a revered place in rock history.

# 2 – New York Skyline – Garland Jeffreys

Garland Jeffreys’ “New York Skyline” encapsulates the grit, beauty, and unbreakable spirit of New York City, a theme that runs deep in his music and reflects his lifelong connection to the metropolis. Released on his acclaimed 1977 album Ghost Writer, “New York Skyline” is as much an ode to the city’s iconic urban landscape as it is a snapshot of the challenges and transformations within it. Jeffreys, a singer-songwriter known for blending rock, reggae, blues, and soul, pours his experiences of life in New York into this track, creating a powerful, soul-stirring anthem that resonates deeply with anyone familiar with the city’s energy and resilience.

Recorded in the renowned Atlantic Studios in New York City, “New York Skyline” was produced by Jeffreys himself, with Roy Cicala co-producing. The song features a roster of talented musicians, including Jeffreys on vocals, with accompaniment from Dr. John on piano, Richard Davis on bass, and David Spinozza on guitar. Together, this lineup gives the song a layered, full sound, with a rawness that complements Jeffreys’ lyrics and the spirit of the city he describes. The instrumentation captures the bustling, almost chaotic life of New York while underscoring Jeffreys’ vocal intensity. The dynamic synergy between the musicians elevates the song’s narrative, making it more than just a tribute; it’s an experience of the city through Jeffreys’ eyes.

Lyrically, Jeffreys takes listeners through the heart of the city, painting vivid images of its towering skyline, diversity, and complexities. His words are both celebratory and reflective, mirroring the highs and lows of life in New York. Jeffreys doesn’t shy away from highlighting the struggles that underlie the glamour of the skyline; he weaves in stories of survival, resilience, and the relentless spirit of the city’s people. Lines like “people coming and going, everyone trying to make it” reflect the city’s dual nature as a place of opportunity and hardship. His narrative style recalls similar artists who have paid homage to New York, but Jeffreys’ unique blend of influences sets “New York Skyline” apart as both a love letter and a critique.

In contrast to other tracks on Ghost Writer, such as “Wild in the Streets,” which touches on more personal themes of alienation and urban tension, “New York Skyline” leans into an almost reverent tone, celebrating the city’s place as a beacon for dreamers and strivers. The song’s production mirrors this duality: while polished, it retains a rough edge, evoking the sense of unpredictability inherent to New York City. By capturing both the physical and emotional landscapes of New York, “New York Skyline” stands as a timeless tribute to the city and as a significant highlight on Jeffreys’ album.

Read More: Top 10 Garland Jeffreys Songs

# 1 – Power Windows – Billy Falcon

Closing out this list with “Power Windows” by Billy Falcon brings an emotional resonance and a touch of classic wisdom. Released in 1991 on Falcon’s album Pretty Blue World, “Power Windows” is a song that perfectly captures the timeless conflict between material success and emotional fulfillment. Falcon, who first signed to Columbia Records in the late 1970s, was once hailed as a promising talent by critics and industry insiders. Despite this early endorsement, widespread fame eluded him. Yet his commitment to crafting introspective, well-written songs like “Power Windows” has cemented his reputation as an artist of substance.

The narrative of “Power Windows” unfolds through the contrast between two characters, Charlie and Louis. Charlie has everything money can buy—“power windows,” “power brakes,” and “a power bed” that shakes with the press of a button—yet he’s haunted by loneliness and the absence of meaningful connections. Falcon’s lyrics emphasize Charlie’s isolation with poignant lines about “tears rolling down his face,” a vivid image of emotional emptiness amidst wealth. In contrast, Louis has none of the trappings of wealth, driving a beat-up ’69 Dodge Dart that barely stays intact. However, he has “the power of love,” symbolized by Gracie, who rides by his side, her arm around him. This simple, profound joy underscores Falcon’s message: true happiness isn’t found in possessions but in love and companionship.

Falcon recorded Pretty Blue World with an emphasis on stripped-back instrumentation, allowing his storytelling to take center stage. Produced with a warm acoustic arrangement, “Power Windows” resonates with the laid-back soulfulness of 1970s rock, evoking a sound reminiscent of troubadours like Jim Croce or Jackson Browne. Falcon’s vocals are imbued with authenticity and a raw sincerity that make this narrative feel universal. The arrangement lends a timeless quality to the song, capturing the contemplative spirit of the folk-rock era with a touch of folk wisdom that resonates even today.

Though “Power Windows” was Falcon’s only hit on the Billboard Hot 100, peaking at number thirty-five, it reflects the kind of enduring songwriting that critics and fans have long celebrated. Throughout his career, Falcon has weathered personal and professional setbacks, yet his songwriting has never lost its heartfelt sincerity. Later collaborations with artists like Jon Bon Jovi and his recent turn toward Christian music reflect Falcon’s evolution as an artist who continues to stay true to his core values, creating music that speaks to life’s deeper truths.

In closing out our list with “Power Windows”, we celebrate a song that encapsulates the themes of love, simplicity, and contentment over material gain. The song’s message rings clear: while material wealth may buy comfort, it’s the power of love that ultimately brings joy.