25 album cuts from iconic musical acts worth checking out

Fitting the overall theme of the Beatles' eclectic self-titled record, otherwise known as the "White Album." "Happiness Is a Warm Gun" is a short but enjoyable ride that might be an acquired taste. A creation of John Lennon, reports vary when talking about the title's origin. Regardless, we can spend days trying to decide upon the best Beatles deep cut, but this should be in the running.

Perhaps Floyd's Meddle album does not get the credit it deserves, especially when put up against the band's more commercially successful efforts later in the 1970s. One of the true gems of the record is this B-Side to the thundering "One of These Days." It's one of the band's finer acoustic tracks and perhaps its most underrated melodic option. However, the song is probably best known for concluding with a Liverpool FC fan's recording of "You'll Never Walk Alone."

The possibilities are endless when delving deep into the Grateful Dead catalog. The Dead's true success came from live shows, and they dug deep into the arsenal. However, "Ramble on Rose" was more than just a "jam" song. There's plenty of substance, and Jerry Garcia delivers the lyrics in a conversational way. Introduced in 1971, this head-bopping, subtle romp might not enjoy the commercial appeal of tracks like "Truckin,'" "Casey Jones," or "Touch of Grey," but it should be celebrated nonetheless.  

We know the Stones had a thing for country music. And while "Honky Tonk Woman" is usually associated with that genre from the group, "Sweet Virginia," off the classic Exile on Main St., might truly capture the Stones' love of that country sound. A Jagger/Richards production, this song features Bobby Keys on the sax, Charlie Ward's "shuffle" rhythmic drumming, and a harmonica solo from Jagger himself. Easily one of the band's unbridled tunes when it comes to celebrating the influences that led to its greatness.

The final song of the Sabbath Bloody Sabbath record was something fans were not used to hearing from the band. One of Sabbath's most progressive songs showed that the band was capable of more than just heavy riffs and pounding bass. There's almost a theatrical flare to the piece, which makes sense that years after the album's release, the song was often part of symphony programs throughout Europe.

According to band legend, this bluesy number and amalgamated ode to those musical influences off Skynyrd's sophomore effort Second Helping was played live just once with the original lineup before the tragic plane crash took the lives of lead singer Ronnie Van Zant, guitarist Steve Gaines, and others in 1977. Since then, it's become a favorite among fans of the band despite not garnering extensive radio play like hits such as "Free Bird," "Sweet Home Alabama," and "Simple Man."

The B-side to the classic "Bohemian Rhapsody" tends to get lost amid the greatness of Queen's stellar A Night At The Opera record. Written and sung by drummer Roger Taylor, this poppy but modestly bombastic number was his baby and one of his great solo contributions during the band's glorious run. The tune reportedly was influenced by one of the group's roadies, who was obsessed with his 1960s Triumph TR4.

When classic rock fans think of Zeppelin's Physical Graffiti album, they usually go to "Kashmir" or maybe "Custard Pie." But many dedicated Led Zeppelin supporters will offer this melodic, "hypnotic" ballad as the best the record has to offer. According to Zeppelin lore, guitarist Jimmy Page intended it to be an instrumental piece before Robert Plant's memory of an old girlfriend inspired the lyrics.

The final cut off Aerosmith's exceptional Toys in the Attic effort. The ballad features some of Steven Tyler's best shrieking and wailing. It's also said to be daughter Liz Tyler's favorite Aerosmith song once she realized her father was the band's frontman. It's a special climax to a great rock record that certified the band as true musical stars of the 1970s.

This is the finale of the widely celebrated self-titled debut by the beloved punk band. Over time, this raw and powerful closer became a regular part of the band's live sets. When looking into the Ramones' arsenal, there are plenty of options, but this tune offers just the right mix of esthetic punk and dirty pop that seems to stand out when going to that next level from its more well-known songs.

From The Clash's stellar debut album, the track is less than two minutes long. But it's a non-stop trip that offers all we love about these punk heroes. It's straight-to-the-point punk but catchy and rhythmic enough to appeal to a mass audience. It's one of those punk songs that pop-punk groups like Green Day or Rancid often cite when talking about influences.

The track right after "Roxanne" on The Police's exceptional debut Outlandos d'Amour. Sure, that's not an enviable position on the track listing, but "Hole in My Life" is one of the record's highlights. It's vintage Police — back when they were raw, a little punky, and owning some new-wave sheen. It was also an example of Stewart Copeland's strong drum work, bringing out the element of jazz that was a major influence on his playing.

"The Boss" has his share of "party" songs. Loud, raucous, a musical free-for-all. That was the case early on The River. Songs like "Sherry Darling" and "Out in the Street" have that feel-good vibe, but "Crush On You" never really gets the credit it deserves as one of Springsteen's best deeper cuts. It's no-nonsense, just a good time for the ears and one we wish he would devote some live time to.

In fairness to the 1980s country band Southern Pacific, with the great Emmylou Harris featured on vocals, that outfit earned a mid-'80s hit by covering this underrated Petty gem from the Hard Promises record. It's one of his more country-tinged songs, with a poppy pace that also features a hint of early-'80s new wave. 

Like most every other band on this list, it's not easy deciding on one deep cut that's worthy of a mention. It might be doubly tough when talking Rush. To some, Signals is a forgotten album in the Rush catalog. What should not be lost is this song that once again highlights the talent of late legendary drummer Neil Peart. There's also a certain groove element to the piece through Geddy Lee's bass, while Alex Lifeson delivers some strong axe work of his own.

Hard-core fans of these thrash-metal pioneers will likely admit that Master of Puppets is perhaps Metallica's best album. While the title cut, "Battery," and "Welcome Home (Sanitarium)" are all classics within the band's catalog, "The Thing That Should Not Be" often does not get the appreciation it deserves. It's a roller coaster of sound, haunting yet punishing at times and fitting amid the album's dark theme.

In the spirit of earlier Van Halen romps like "Beautiful Girls," "Summer Nights" is an unabashed celebration of wild times with your favorite people to usher in the Sammy Hagar era of the band. Off the 5150 LP, it's perhaps the one song that encapsulates both periods of the band's history. Though never a hit, it featured the campy Van Halen feel of the David Lee Roth years and the heavy, pop-fused work that Hagar became known for as a solo artist during the early 1980s.

The Joshua Tree delivered U2 to the masses, and it's one of those albums that one can listen to from start to finish and never feel cheated. "Red Hill Mining Town" should be considered one of the unsung heroes of the record — a semi-ballad that symbolized the group's progression as a more mainstream outfit. Yet, it's still a tune that would fit right at home on earlier projects such as The Unforgettable Fire or even War.

We can go in-depth into the R.E.M. catalog, and plenty of deep cuts are worthy of consideration. So, why a ballad from an album that some devoted fans of the group felt was too poppy and maybe even a little sappy? Because it's simply one of R.E.M.'s most beautiful ballads. And there's something about Michael Stipe's vocals that exudes honest emotion. Plus, how can you go wrong with a song that features an accordion and a mandolin? 

Paul's Boutique is one of the best rap records of all time and is easily listenable from start to finish without getting bored. Among the album's greatness is this fun, funk-filled number, which is a good example of the trio's maturity and progression as artists. Yet, it was never released as a single but paid homage during an episode of the popular ABC sitcom The Goldbergs.

Maybe we took a bit of liberty by defining the Crowes as "legendary." Still, they were one of the most popular bands of the 1990s. The band's smashing 1990 debut Shake Your Money Maker was an international success, but unless you dug deep into the project, "Sister Luck" was mistakenly overlooked. It was never a single or earned radio play but might be the most honest blues track on the record. 

Clocking in at 10 minutes and change, "Coma" is an emotional thrill ride from the first installment of the Use Your Illusion double dip. While other extended pieces like "November Rain" and "Estranged" became radio and MTV gold, "Coma" was left for the die-hard Guns fans to enjoy. When some original members reunited in recent years, "Coma" became a regular part of the setlist. 

"10 Club" members and other die-hard Pearl Jam fans are well aware of the impact of "Release" on the band's live experience, even though it was never a single and didn't enjoy much radio play. The final track of the sensational Ten debut, the nine-minute melodic and somewhat haunting tune often opens up Pearl Jam shows. Because, as the band has stated, it's long enough to play while fans get in the gates and grab their seats before the show kicks into gear.

Casual grunge fans want to talk Superunknown or Down on the Upside when bringing up Soundgarden, but Badmotorfinger earned the band mainstream love. Somewhat hidden on that record is this underrated track with its haunting open and plenty of trademark Chris Cornell shrieking. While the song never earned any commercial success, it became a staple of Soundgarden's live shows — often opening its sets with bassist Ben Shepherd slowly prowling the stage with his instrument slung low to the ground. 

Nevermind was groundbreaking. It undoubtedly changed the music culture of the early 1990s and took mainstream rock from the big-hair, lipstick schlock of the Sunset Strip to the down-and-dirty, rain-soaked streets of Seattle and elsewhere in the Pacific Northwest. However, Nirvana's follow-up In Utero didn't seem to receive the acclaim it deemed worthy. This Kurt Cobain-penned track about the mental struggles of Seattle actress Francis Farmer was like an outlet for the late tortured singer's own inner pain and anguish.