Just one dork's opinion, but I think "Tin Soldier" is as close as I'll ever get to admitting there's a perfect song out there. The song opens with this cool, mid-tempo melody, and through the first verse Steve Marriott slowly builds until he sounds like he's about to lose it completely...and then the chorus comes in with British soul star of that moment, guest singer P. P. Arnold handling most of the vocal chores. And then they come out of that first chorus into my favorite rock and roll moment of all time. Ian MacLagen starts pounding that Hammond organ like he's beating it with his fists, and drummer Kenny Jones starts smacking the crap outta his crash cymbal on every 2nd beat--which you're sort of not supposed to do, and especially not supposed to do a minute and change into a 3-minute song. And so then Little Stevie Marriott comes roaring in on vocals in that second verse like he's been possessed by James Brown and Aretha both, just shrieking and wailing away on mic and off (what the hell did the studio session for that look like?) They get to the chorus and he's just vamping and wailing off mic and on like his hair's on fire....and then in the third verse they bring it all back down and Marriott's crooning sweetly but slowly building. By the end of the verse he's back in full-on Otis mode, howling and barking the words into a "YEAH BABY!" as the band goes to the final chorus, and here he's matching Arnold's vocals in the same high register, roaring over them and sweeping the song into a final coda that sounds like a hurricane. For me that song is one of the great confluences of everything that was great about so many genres in the sixties, from the pop craftsmanship of The Beatles to the raw emotion of Memphis soul to the "anything goes" ethos that rock seemed to lose for a while after Woodstock.