"I am the root/I am the progress/I am the aggressor," James Hetfield bellows like vengeance itself in the thundering spaces between Lou Reed's dry, unpitying harangue, in this song of destructive passion from Lulu, the strange-bedfellows record of the year. The full album runs the gamut of Reed and Metallica's respective extremes: his literary violence and love of drone, their wild-boy thrash and crushing power chords. But "The View" – with its crippled-march rhythm, sudden jump to double time and smeared-blues guitar outbursts by Kirk Hammett – is an effective introduction to the logic of this collaboration. Metallica are as raw and punishing, in their Motörhead-loving way, as the original Velvet Underground, while the sadistic need in Reed's lyrics and you-dare-to-fuck-with-me? voice, in this setting, are real doom metal. "Pain and evil have their place sitting here beside me," he sings, armed with the badass band to make you believe him.

Listen to "The View":

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“Everyday People”

"Everyday People" managed to trailblaze in two different ways -- it was one of the first pop hits to deal with the subject of racial harmony, and it utilized Larry Graham's "slap" technique on the bass guitar, which would soon be copied by countless other bassists. Graham once said about his pulsating style, "I'd never done that before … that's where the freedom of creativity came in for the band, that we'd be allowed to do that." In 1978, the song's line "Different strokes for different folks" would be borrowed for the title of the hit television show Diff'rent Strokes.