CLEVELAND, Ohio – You don’t hear the term B-side much these days. Back in the day (as they say), a B-side was a song placed on the back of a single with the A-side – the song intended to be a hit on the radio -- on the front.
Even as vinyl has made a comeback, the art of a double-sided single has been lost outside of collector circles. Still, it’s a rich part of rock and roll history. Some of the greatest recordings of all time began their life as B-sides.
This list collects the greatest B-sides of all time. But first, there are rules. Because this is Cleveland, we framed the list under the umbrella of the Rock and Roll Hall of Fame. Meaning, that to be eligible, a song had to have been recorded by a Rock Hall inductee.
We also focused on true B-sides. Some singles functioned as double A-sides, meaning while they may have been intended to be B-sides, the label quickly caught on and issued two A-sides for promotional runs. Think Elvis Presley’s “Hound Dog,” The Beatles’ “Strawberry Fields Forever” and The Beach Boys’ “God Only Knows.”
It’s a lost art form. Thus, we admit some fan favorites may have gotten lost in the shuffle. But here are our rankings of the 45 best B-sides that ever existed.
45 | Bruce Springsteen - “Pink Cadillac” (1984)
A-side: “Dancing in the Dark”
Bruce Springsteen’s career is not heavy on fantastic B-sides. But his best-known one, “Pink Cadillac,” arrived when flipsides started to become a bit of a force in the record industry. It helps that it was the music boom of the 1980s and that “Pink Cadillac” was attached to “Dancing in the Dark,” Springsteen’s biggest single ever. There isn’t much to “Pink Cadillac” other than Springsteen using a car as a metaphor for sex. It’s hard to believe its origins date back to Springsteen’s writing sessions for “Nebraska,” as “Pink Cadillac” is a driving rocker that fits perfectly with the vibes of “Born in the U.S.A.,” an album it was bumped from in favor of “I’m Goin’ Down.”
44 | Yes - “Long Distance Runaround” (1971)
A-side: “Rundabout”
You’re not going to find many B-sides from the golden era of progressive rock. If a band like Yes or Rush had anything left over, you could rest assured it was making it somewhere in a composition on an album. Indeed, “Long Distance Runaround” did make its way onto Yes’ masterful 1971 album “The Fragile.” But the Jon Anderson track earned more attention when it was featured as the B-side to “Roundabout,” earning its own share of radio airplay.
43 | The Go-Go’s - “Speeding” (1982)
A-side: “Get Up and Go”
The Go-Go’s “Vacation” is as essential a California album as you’ll find. And though it’s not featured on the album, “Speeding” fits the mold as a song about getting a car and going fast. It was featured as the B-side of the album’s second single, “Get Up and Go,” “Speeding” mixes elements of new wave and old-school pop and found its way onto the soundtrack to “Fast Times at Ridgemont High.”
42 | Ray Charles - “Born to Lose” (1962)
A-side: “I Can’t Stop Loving You”
If you’re looking for a way to further appreciate Ray Charles’ “Modern Sounds in Country and Western Music” -- one of the most influential albums in the history of popular music -- listen to the original versions of the 12 songs. Charles’ uncanny knack for interpretation is never more apparent than on “Born to Lose,” which served as the B-side to the hit “I Can’t Stop Loving You.” The original “Born to Lose” is an old-school western swing anthem by Ted Daffan’s Texans. Charles turns it into a majestic mix of pop and soul with an orchestral backing.
41 | ZZ Top - “Just Got Paid” (1974)
A-side: “La Grange”
There’s a reason “Just Got Paid” has stuck around in ZZ Top’s setlist to this day (often with an extended intro). The second track from 1972′s “Rio Grande Mud” was a sign of things to come, foreshadowing the thrilling Southern blues of 1973′s “Tres Hombres.” “Just Got Paid” would later get slapped on the B-side to ZZ Top’s signature song “La Grange,” where it fits perfectly.
40 | Blondie - “Fade Away and Radiate” (1978)
A-side: “Picture This”
Ballads may not have been Blondie’s thing. But there’s as much intensity oozing from “Fade Away and Radiate” as any song the band ever released. The track was featured on “Parallel Lines” and included as the B-side to lead single “Picture This.” If the guitar parts on “Fade Away and Radiate” feel extra special, it’s because they’re the work of King Crimson guitarist Robert Fripp in a guest appearance.
39 | The Rolling Stones - “Bitch” (1971)
A-side: “Brown Sugar”
It says a lot about the quality of “Sticky Fingers” that “Bitch” might be the least spectacular song on the album. That’s only because it lacks a little bit of the blistering guitar work of the album’s other tunes. Thankfully, the saxophone and trumpet work from Bobby Keys and Jim Price, respectively, more than makes up for it. “Bitch” continues to the exceptional groove from Side One to Side Two of “Sticky Fingers” and was a worthy B-side to “Brown Sugar.”
38 | Stevie Wonder - “Contusion” (1977)
A-side: “As”
Stevie Wonder and his team of session players were in full virtuoso mode throughout “Songs in the Key of Life.” And it doesn’t take long to show. “Contusion,” a stunning blend of jazz and rock that’s mostly instrumental,” shows up as track-four on the album’s first side. It’s ultimately a brilliant setup for the smash “Sir Duke” and served as the B-side to the single version of Wonder’s iconic love song “As.”
37 | Albert King - “Down Don’t Bother Me” (1987)
A-side: “Crosscut Saw”
“Down Don’t Bother Me” is a song that can get lost on Albert King’s iconic blues album “Born Under a Bad Sign” given the colossal blues tracks that surround it. Even as the B-side to the funkier “Crosscut Saw,” “Down Don’t Bother Me” takes a back seat. And still, it features brilliant guitar work from King whose voice carries a hefty swagger.
36 | Tina Turner - “Don’t Turn Around” (1986)
A-side: “Typical Male”
When Albert Hammond and Diane Warren teamed up to write “Don’t Turn Around” for Tina Turner, they felt they had a huge hit on their hands only to have the song relegated to the B-side of 1986′s “Typical Male.” But “Don’t Turn Around” would live on in cover versions by Luther Ingram, Aswad, Bonnie Tyler, Eyes, Neil Diamond and Hammond himself in 2010. But the version you know best came from Ace of Base in 1993, which was a massive global hit in reggae fusion/dance music form.
35 | Def Leppard - “Tear It Down” (1992)
A-side: “Animal”
Everything about Def Leppard’s “Hysteria” album was meticulously constructed, from the band’s song craftsmanship to Mutt Lange’s glossy production. Even the B-sides were plotted. “Tear It Down,” which arrived on the flipside to lead single “Animal,” was part of an extra recording session intended to produce B-sides for the band’s upcoming singles. None of them were better than “Tear It Down,” which got its own radio airplay and was so liked by Def Leppard that the band rerecorded it for 1992′s “Adrenalize.”
34 | Duran Duran - “Khanada” (1981)
A-side: “Carless Memories”
It didn’t take long for Duran Duran to become a force with its B-sides. “Khanada,” the flipside to the group’s second single “Careless Memories,” has become the bigger fan favorite through the years thanks to its euphoric mix of guitar, bass and synths, not to mention Simon Le Bon’s emotional vocal performance.
33 | Jerry Lee Lewis - “You Win Again” (1957)
A-side: “Great Balls of Fire”
“You Win Again” is a prime example of how diverse a performer Jerry Lee Lewis was and why he’s now been inducted into the Rock & Roll Hall of Fame and the Country Music Hall of Fame. The blissful song peaked at No. 4 on the country charts and it couldn’t be more different than its A-side -- “Great Balls of Fire.”
32 | The Cure - “The Exploding Boy” (1985)
A-side: “In Between Days”
“The Exploding Boy,” the B-side to one of The Cure’s greatest songs “In Between Days,” is the sound of Robert Smith bursting with joy. It’s arguably the happiest-sounding song he ever wrote with his voice and the band’s instrumentation feeling as vulnerable as ever.
31 | Nirvana – “Dive” (1990)
A-side: “Sliver”
“Sliver” was Nirvana’s final single on Sub Pop. But it was the B-side, “Dive,” that suggested what was to come. The track was Kurt Cobain and company’s first collaboration with producer Butch Vig, previewing the layered, more polished sound that would drive “Nevermind” to massive fame.
30 | The Beatles - “Revolution” (1968)
A-side: “Hey Jude”
The Beatles recorded three versions of “Revolution” in 1968. The one that served as the B-side to “Hey Jude” was, arguably, the least dynamic. And that was the point. “Revolution” is the more pop-friendly version of “Revolution 1″ (and anything is more pop-friendly than “Revolution 9″). And it does the trick as a bouncy anthem with hard guitar sounds that eventually spiral out of control.
29 | Crosby, Stills & Nash - “Long Time Gone” (1969)
A-side: “Suite: Judy Blue Eyes”
The members of Crosby, Stills & Nash were capable of writing songs that captured the times. It was David Crosby’s turn on “Long Time Gone.” He wrote the song in response to the assassination of Bobby Kennedy in 1968. The joy and innocence of the 1960s were coming to an end and Crosby saw it for what it was.
28 | Carl Perkins - “Honey Don’t” (1956)
A-side: “Blue Suede Shoes”
When it was recorded in late 1955, “Honey Don’t” looked to be Carl Perkins’ big single on Sun Records. Ultimately, however, it took up the B-side to “Blue Suede Shoes.” Some rockabilly fans will swear to this day “Honey Don’t” is the better tune and Perkins’ singing and guitar playing certainly make a case for it. “Honey Don’t” would become a standard in its own right with nearly two dozen notable cover versions, including one by The Beatles.
27 | The Kinks - “I’m Not Like Everybody Else” (1966)
A-side: “Sunny Afternoon”
The Kinks’ “I’m Not Like Everybody Else” never reached the mainstream heights of A-side “Sunny Afternoon. But it’s gone on to be a fan favorite. Ray Davies wrote the anthem of rebellion, but it’s Dave Davies who sings lead, delivering a menacing vocal over a roaring blues-guitar that stays with you.
26 | Radiohead - “Polyethylene (Parts 1 & 2)” (1997)
A-side: “Paranoid Android”
You’re not going to find many B-sides from the 1990s and later on this list, simply because the concept of a B-side mostly went out the window as vinyl declined. But “Polyethylene (Parts 1 & 2)” did arrive on the flipside to Radiohead’s vinyl version of “Paranoid Android,” the lead single from “OK Computer.” And it’s the perfect B-side, consisting of multiple parts just like the A-side, thrillingly moving from Thom Yorke on acoustic guitar to endless layers of distortion.
25 | Prince - “How Come U Don’t Call Me Anymore?” (1982)
A-side: “1999″
If there’s a king of the B-sides, it’s Prince. So much so that we had to exclude songs like “Shockadelica,” “She’s Always in My Hair” and “Another Lonely Christmas” from this list to make it fair for everyone else. It’s hard to believe “How come U Don’t Call Me Anymore?” wasn’t the A-side of something, rather than a B-side to “1999.” It was very stripped down for Prince during that era. But what a vocal performance, highlighted, even more, when it was showcased on his 2002 live album “One Nite Alone... Live!”
24 | Depeche Mode - “Dangerous” (1986)
A-side: “Personal Jesus”
“Dangerous” was left off the original release of 1990′s “Violator.” But DJs didn’t care. The song, which was released as the B-side to “Personal Jesus,” still got play on alternative radio. It’s quintessential Depeche Mode, showcasing a sense of darkness that’s as sensual as it is terrifying.
23 | Michael Jackson - “Workin’ Day and Night” (1979)
A-side: “Rock with You”
It’s crazy how Michael Jackson’s “Off the Wall” has defied any negative classifications as a “disco album.” I suppose when you make music that good, who can hate it? “Workin’ Day and Night” isn’t an earth-shattering pop song. It’s simply a joyous dance tune (like most of the tracks on “Off the Wall”). In single form, it gave fans a piece of the album experience, serving as the B-side of the hit “Rock with You,” the song that precedes it on the “Off the Wall.”
22 | Led Zeppelin - “Hey, Hey, What Can I Do” (1970)
A-side: “Immigrant Song”
Believe it or not, this is the only non-album B-side Led Zeppelin ever released. The band wasn’t much about 45 singles. “Hey, Hey, What Can I Do” takes a back seat to its A-side “Immigrant Song” (as most songs would). But it’s no stretch to say “Hey, Hey, What Can I Do” would have fit nicely as another gem on the backend of “Led Zeppelin III.”
21 | Patti Smith - “Piss Factory” (1974)
A-side: “Hey Joe”
In typical Patti Smith fashion, “Piss Factory” pulls no punches. The track, written by Smith and Richard Sohl, began as a poem Smith wrote during her time as a factory worker and documents the life of the poor, working woman. “Piss Factory” served as the B-side of Smith’s first single, “Hey Joe,” and was an early example of her influential proto-punk sound.
20 | The Pretenders - “My City Was Gone” (1982)
A-side: “Back on the Chain Gang”
Nicknamed “The Ohio Song,” the Pretenders’ “My City Was Gone” was the B-side of “Back on the Chain Gang,” the group’s first single released following the death of James Honeyman-Scott. Needless to say, frontwoman Chrissie Hynde was at her most reflective. “My City Was Gone” documents her return to her native Akron to find an area that was in decay. The Pretenders may have formed in England, but Hynde remained an Ohio woman at heart.
19 | Little Richard - “Ready Teddy” (1956)
A-side: “Rip It Up”
“Ready, set, go man go...” Though it was a B-side, you’d be hard-pressed to find a Little Richard song with a hotter opening than “Ready Teddy.” The release’s A-side, “Rip It Up,” is equally fiery. But “Ready Teddy” drew attention with covers by Elvis Presley, Buddy Holly and others. But no one could touch the original, one of the great performance records of early rock and roll.
18 | Peter Gabriel - “Don’t Break This Rhythm” (1986)
A-side: “Sledgehammer”
Peter Gabriel’s landmark solo album “So” was all about his fusion of pop, rock and world music. Thus, it’s odd that “Don’t Break This Rhythm” -- the Gabriel song from that era that most embodies his sound – didn’t make the cut. It did find life on the B-side of his mega-hit “Sledgehammer” and remains a fan-favorite.
17 | The Velvet Underground - “Here She Comes Now” (1968)
A-side: ”White Light/White Heat”
Short, simple and still stunning. Lou Reed intended “Here She Comes Now” to be a Nico song. Once it became a Velvet song, Reed sang the lyrics himself during its barely more than two-minute runtime. “Here She Comes Now” is one of The Velvet Underground’s shortest and sweetest tracks, but there was something magical about its aura to the point where Nirvana recorded an excellent cover of the song.
16 | The Jimi Hendrix Experience - “51st Anniversary” (1967)
A-side: “Hey Joe”
As the B-side to “Hey Joe,” “51st Anniversary” would get overshadowed by the guitar wizardry Jim Hendrix would showcase with future singles. But the track, powered by his heavy guitar sound, is an early example of Hendrix’s ability to write a simple, straightforward hard rock song, making it look very easy.
15 | Prince - “17 Days” (1984)
A-side: “When Doves Cry”
While most Prince songs, especially those from his “Purple Rain” era, feature endless amounts of swagger, “17 Days” finds Prince wallowing in self-pity over a hypnotic drum beat and magnetic synths. And you can’t get enough of it. As the B-side to “When Doves Cry,” “17 Days” rates among Prince’s finest hidden gems.
14 | The Beatles - “Rain” (1966)
A-side: “Paperback Writer”
Like its A-side, “Paperback Writer,” The Beatles recorded “Rain” during the sessions for “Revolver.” Neither song made the album, but both would prove essential. The John Lennon-penned “Rain” marked the first song released using a reversed sound (the vocals) technique, something The Beatles would make famous on the groundbreaking “Revolver” cut “Tomorrow Never Knows.”
13 | Ritchie Valens - “La Bamba” (1958)
A-side: “Donna”
“La Bamba” existed for a while as a Mexican folk song. But it wasn’t until Ritchie Valens recorded it that it became a seminal rock and roll record. Del-Fi Records originally released it as the B-side to Valens’ single “Donna,” which was a huge hit in its own right, reaching No. 2 on the charts. However, it’s “La Bamba” everyone remembers as a landmark moment in Chicano rock.
12 | Smokey Robinson & The Miracles - “A Fork in the Road” (1965)
A-side: “Tracks of My Tears”
One of the great album closers in music history, The Miracles’ “A Fork in the Road” didn’t get much attention when it was released as the B-side to the group’s smash “Tracks of My Tears” in the summer of 1965. But as The Miracles’ “Going to a Go-Go” album reached legendary status, “A Fork in the Road” became a highlight of Smokey Robinson and company’s live shows.
11 | Sly & the Family Stone - “Sing a Simple Song” (1968)
A-side: “Everyday People”
At a certain point, it just seemed like Sly Stone was messing with his listeners. In 1968, Sly & the Family Stone released the brightest, most radio-friendly single of the band’s career with “Everyday People.” Yet, on the flip side was “Sing a Simple Song,” a funk odyssey that would take psychedelic soul to new heights, while showcasing Stone’s mastery in the recording studio. It was as if Sly was mocking what he’d just done on the flipside.
10 | Buffalo Springfield - “Mr. Soul” (1967)
A-side: “Bluebird”
“Mr. Soul” is one of the most personal and important songs in Neil Young’s career. Released as the B-side to Buffalo Springfield’s “Bluebird,” “Mr. Soul” documents Young’s dismissal of rock and roll stardom (He wrote it after having an epilepsy attack at a show). “Mr. Soul” would set the stage for the rest of Young’s career, both thematically and sonically. The double drop D tuning would become a hallmark of his greatest songs, including “Cinnamon Girl.”
9 | Aretha Franklin - “Do Right Woman, Do Right Man” (1967)
A-side: “I Never Loved a Man (The Way I Love You)”
The history behind the recording of “Do Right Woman, Do Right Man” is rather tumultuous. It was the final track recorded, but only partially, at FAME Studios for Franklin’s first album on Atlantic Records. As the story goes, Franklin’s husband Ted White got into a racially charged argument with session trumpeter Ken Laxton. Franklin and White left with an unfinished version of the song. No matter. Franklin would go on to finish “Do Right Woman, Do Right Man” in New York City, in just one take.
8 | Creedence Clearwater Revival - “Born on the Bayou” (1969)
A-side: “Proud Mary”
Creedence Clearwater Revival recorded so much music in such a short period in the late 1960s, some of those songs were bound to end up as B-sides, even if they sounded like A-sides. That was the case with “Born on the Bayou,” featured on the flip side of CCR’s “Proud Mary.” It’s quite the compliment to say “Born on the Bayou” may very well be the better song, featuring one of the most powerful vocal performances of John Fogerty’s career.
7 | Simon & Garfunkel - “The Only Living Boy in New York” (1970)
A-side: “Cecilia”
Paul Simon and Art Garfunkel’s relationship was complex. Consider that “The Only Living Boy in New York,” a moving song about loneliness, was written by Simon after Garfunkel headed to New Mexico to make his acting debut. You can feel heartbreak over friendship in every lyric Simon sings. It’s pure poetry that takes on a mythical vibe as Garfunkel sings the background in the chorus.
6 | Neil Young - “Sugar Mountain” (1977)
A-side: “Loner”
Neil Young was a poor 19-year-old who could barely afford food when he penned “Sugar Mountain.” But the song, which would serve as the B-side of “Loner” (and then “Cinnamon Girl”), marked a huge breakthrough, earning Young critical acclaim and applause from his fellow folk artists. Joni Mitchell famously recorded “The Circle Game” as a response to Young’s ultimate coming-of-age manifesto.
5 | Fleetwood Mac - “Silver Springs” (1977)
A-side: “Go Your Own Way”
“Silver Springs” was supposed to be Stevie Nicks’ ultimate song about her relationship with Lindsey Buckingham on “Rumours.” But the track in its original form (10 minutes) was too long for the album (Nicks wasn’t told about it being cut until after the fact). Thus, it became the B-side to “Go Your Own Way.” It wasn’t until a live version was released as a single from 1997′s “The Dance” that “Silver Springs” got its worthy recognition as an emotional tour de force and one of the finest songwriting showcases of Nicks’ career.
4 | The Beatles - “I Am the Walrus” (1967)
A-side: “Hello, Goodbye”
“I am the walrus, goo goo goo joob...” I think most people can agree that “I Am the Walrus” is one crazy piece of work, which of course was the point. John Lennon wrote the track as a jab at scholars who were devoting seemingly endless think-pieces to The Beatles’ catalog. For a while, Lennon’s intentions paid off. “I Am the Walrus” would serve as a key component of The Beatle’s “Magical Mystery Tour,” considered by many to be among the Fab Four’s most uneven efforts. But time has been kind to “I Am the Walrus,” now recognized as a genius moment of surrealism with stunning production.
3 | David Bowie - “The Man Who Sold the World” (1970)
A-side: “Life on Mars?”
David Bowie’s mainstream breakthrough wouldn’t come until 1971′s “Hunky Dory.” But some in the rock and roll world began to take notice of his genius a year earlier with the haunting rock song that served as the title track to his third album. “The Man Who Sold the World” would eventually serve as the B-side to reissues of “Space Oddity” and “Life on Mars?,” where it finally got public attention. And while “The Man Who Sold the World” would never become a big hit, it’s one of Bowie’s most celebrated songs, magnified by Nirvana’s stunning cover during the band’s “MTV Unplugged” performance in 1993.
2 | Prince - “Erotic City” (1984)
A-side: “Let’s Go Crazy”
If there was to be a photo next to the term “B-side” in a dictionary, it should be the vinyl cover of “Erotic City.” It’s not just the quality of Prince’s flipside to 1984′s “Let’s Go Crazy” or the sexual nature of the song. It’s that “Erotic City” has taken on mythical status in Prince’s catalog, being released in multiple versions. It doesn’t just top the list of greatest Prince rarities but ranks among the 10 best tracks of his storied career. “Erotic City” is, arguably, the funkiest Prince ever got, channeling George Clinton and Parliament-Funkadelic for one of the most memorable B-sides of all time.
1 | Pearl Jam - “Yellow Ledbetter” (1992)
A-side: “Jeremy”
You can’t go wrong labeling any one of the songs from this top-10 as the greatest B-side of all time. But there is only one track on this list that can potentially lay claim as being the greatest song of an artist with a lengthy career. Pearl Jam’s “Yellow Ledbetter” was an outtake from the band’s debut album “Ten” and became the B-side to “Jeremy,” a song whose video would take over MTV. Historically, “Jeremy” marked the moment Pearl Jam ascended to superstar status. But go to any Pearl Jam concert these days and “Yellow Ledbetter” -- equipped with Mike McCready’s incendiary guitar solo -- is sure to be a standout, singalong moment. It’s truly iconic.
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