Clash of the Titans: Rock’s Heavyweights Go Head-to-Head in the 70’s
The 1970s were a battlefield of sound. Thunderous drums, screeching vocals, bone-rattling bass, and guitar riffs that carved themselves into rock history. But while the spotlight always shone on the hits, the B-sides often held the purest essence of each band’s firepower.
Today, we pit rock’s heavyweights head-to-head, not through the overplayed classics, but through their hidden gems — the B-sides that reveal their true musical DNA.
Moon vs. Bonham – Chaos vs. Thunder
Keith Moon (The Who)
B-side: “Heaven and Hell” (flip of “Summertime Blues”)
Moon didn’t play drums; he detonated them. On “Heaven and Hell,” his fills tumble like avalanches, rolling across John Entwistle’s bass line. It’s unrestrained, anarchic — the very definition of controlled chaos.
John Bonham (Led Zeppelin)
B-side: “Hey, Hey, What Can I Do” (flip of “Immigrant Song”)
Bonham was the hammer of the gods, his kick and snare locked into the earth’s core. On “Hey, Hey, What Can I Do,” his drumming is groove-driven but unshakably heavy. No frills, just raw power that anchors the entire song.
👉 Moon was the storm. Bonham was the earthquake.
Daltrey vs. Jagger – The Voice vs. The Swagger
Roger Daltrey (The Who)
B-side: “Here for More” (flip of “The Seeker”)
Daltrey belts like a man ripping his lungs out for rock ‘n’ roll salvation. His delivery is operatic, urgent, and larger-than-life, giving this deep cut its fire.
Mick Jagger (The Rolling Stones)
B-side: “Child of the Moon” (flip of “Jumpin’ Jack Flash”)
Jagger oozes through this track with a psychedelic slither. It’s less about power and more about sly delivery — a sneer wrapped in velvet.
👉 Daltrey roared. Jagger sneered.
Townshend vs. Page – The Architect vs. The Sorcerer
Pete Townshend (The Who)
B-side: “I Don’t Even Know Myself” (flip of “Won’t Get Fooled Again”)
Here’s Townshend in full architect mode, building riffs like foundations, chord stabs like concrete slabs. He doesn’t just play guitar — he constructs entire sonic cathedrals.
Jimmy Page (Led Zeppelin)
B-side: “Ozone Baby” (flip of “Fool in the Rain”)
Page plays like a man possessed. Wild bends, cascading solos, and a loose, untamed energy make “Ozone Baby” one of those tracks where the guitar itself becomes unhinged magic.
👉 Townshend built empires. Page conjured fire.
Entwistle vs. Jones – The Ox vs. The Alchemist
John Entwistle (The Who)
B-side: “Heaven and Hell” (his composition, often played live as a B-side showcase)
Entwistle’s bass doesn’t just rumble — it leads. His stoic precision gives the chaos of The Who its backbone. He was “The Ox” for a reason: immovable, unstoppable.
John Paul Jones (Led Zeppelin)
B-side: “Poor Tom” (flip of “Fool in the Rain”)
Jones was the secret weapon of Zeppelin, weaving grooves that made everything swing. “Poor Tom” is proof: his bass doesn’t just support — it dances.
👉 Entwistle was a machine. Jones was a magician.
Final Word: No Winners, Only Legends
The truth? There are no losers here. The 70’s were a time when titans clashed on vinyl, and the B-sides often carried their rawest punches.
Moon’s chaos vs. Bonham’s thunder
Daltrey’s roar vs. Jagger’s sneer
Townshend’s architecture vs. Page’s sorcery
Entwistle’s machine vs. Jones’s alchemy
Each player carved their sound into rock’s DNA, shaping generations to come.
So who takes the crown in your eyes? Drop your pick — or better yet, your favorite B-side — in the comments. Let’s settle this battle on the turntables.
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