Classic Hit Quiz: Song + Year (2)

[B] Yesterday | McCartney woke with the tune and placeholder lyrics about ‘scrambled eggs.’ A lone Beatle with a string quartet changed radio breakfast forever.

[D] A Day In The Life | Spliced Lennon’s headlines to McCartney’s morning sprint, then detonated an orchestral glissando. Alarm clock included. Sgt. Pepper’s strangest sunrise still dazzles.

[A] Hotel California | Cut in Miami, mixed in LA. Felder and Walsh’s trading solos are a road‑trip PhD. ‘You can never leave’ doubled as tour prophecy.

[C] Unfinished Sympathy | Pre‑trip‑hop trip‑hop. One Steadicam take on Melrose; Shara Nelson glides over strings like the bus that never quite stops.

[B] Dancing Queen | Working title ‘Boogaloo.’ Piano glissandos, glittering harmonies, and the rare pop song that turns any Friday into sequins and plausible twirls.

[D] Like A Prayer | Gospel choir, distorted guitars, and a Pepsi commercial turned PR grenade. Pop learned incense pairs nicely with controversy.

[C] All Along The Watchtower | Dylan wrote it; Hendrix made it explode. So definitive that Dylan later played it Hendrix‑style. Layered guitars like weather systems.

[A] Creep | Greenwood’s pre‑chorus ‘clang’ tried to ruin the take and accidentally made it. The band grew to hate playing it; fans never did.

[C] Billie Jean | A bassline that walks by itself, and sidewalk tiles that light up on cue. Thriller turned TV into a 24‑hour pop cinema.

[A] My Generation | A stutter that sneers and a bass solo that growls. Youth rebellion found three chords and a demolition budget.

[B] Wuthering Heights | Written at 18 after finishing the Brontë novel. First UK female to top charts with a self‑penned song. That sky‑high final key change.

[D] Paranoid Android | Four movements stitched from jams, titled after a depressed robot. ‘Rain down’ made prog dramatic again without capes.

[C] Teenage Kicks | John Peel’s favorite forever. Two chords, ninety seconds of jet fuel. Punk discovered blushes are louder than poetry.

[A] Love Will Tear Us Apart | Released weeks after Ian Curtis’s death. Synth arpeggios with heartbreak lyrics make despair disturbingly hummable.

[D] Bridge Over Troubled Water | Garfunkel’s cathedral tenor over Knechtel’s piano. The coda almost got cut; instead it taught stadiums to hold their breath.

[B] Born To Run | A Spector‑sized wall of hope and chrome. Jersey escape myth, saxophone as exit ramp. 1987 reissue finally drove it to UK No.1.

[C] No Woman No Cry | The hit version is live at London’s Lyceum. Title means ‘don’t cry,’ not ‘ban women.’ A friendly correction from Kingston.

[B] Sweet Child O' Mine | Slash’s warm‑up riff accidentally became rock’s stickiest hook. The warehouse video sold a million leather jackets in people’s heads.

[A] Suspicious Minds | Memphis comeback single with a fake fade‑out that barges back in. If jealousy had a chorus, it’d sound like this.

[D] Let It Be | McCartney dreamed his mum Mary saying the line. Spector’s brass made the single bolder. Final Beatles single before the paperwork split.