Perhaps the show's most mob-movie-sounding track, this doo-wop classic kicks in the first time we see Tony roughing up a guy. The sound screams old-time New York, but the scene takes place in a golf-course-meets-corporate-office setting. Apparently, times have changed, and Tony's lamenting the good old days, when a man was "the strong, silent type," isn't far off.

Not just a reminder that Eric Clapton, in fact, used to be cool, Cream's hit highlights what we never expected from this new show about the mafia: a character's quest for existential salvation. Tony, animal fixations and all, never gets there. Then again, who the hell does?

Recorded the same year as the Stones version, this one always sounded like the genuine article (though it's not -- the original was released a year before). Produced by Allen Toussaint, the Soul Queen of New Orleans' gospel yelps ended the second season's premiere with a fitting bang.

The Graduate has its "Sounds of Silence," Mean Streets its "Jumpin' Jack Flash." For our money, this one belongs to The Sopranos. Thunders' post-New York Dolls opus is dirty, violent and angry -- but, like the show, delicate at the core.

No stranger to The Sopranos, this time around Bobby Z. covers Dino's classic exclusively for the show. It's a pretty standard cover, but Dylan's aged, raspy voice adds a layer of skepticism. When Dino sang it, we always assumed he got the girl back.

Valli had a seven-episode stint on The Sopranos as Rusty Millio, and according to fellow cast member Steven Van Zandt, the only reason he agreed to do so was because of the show's music. There's an obvious New Jersey boy-done-good connection (Chase also utilized tracks from the Boss and Little Steven), but Valli's repetition of "go away, I'm no good for you" here sums up just about every romantic relationship on the show.

Another song about nonconformity used in a commercial? Thanks, IBM. Originally, this was a B-side to the Kinks' "Sunny Afternoon," which was supposedly about singer Ray Davies, a proud blue-collar kid, scoffing at rumors that Dylan and the Beatles smoked pot. "Everybody Else" is also about identity and underlines a big problem between Tony and Carmela. They may live in upper-class suburbia, she may drink wine with the girls at book club, but no matter how hard Tony tries, he's ultimately a fish out of water.

Van the Man pops up, in some form or another, a few times throughout the series (with Them for "Gloria," Roger Waters for "Comfortably Numb"). This song's sprightly, almost optimistic soul lightens things up after Adriana's too-tough-to-watch murder. But then, in true Sopranos fashion, it's followed by Tony Blundetto's (Steve Buscemi) death.

Stones songs capture everything from urban cool to the sweetly emotional so well, it's not surprising Chase uses them more than any other band. "Moonlight Mile" falls into the latter category and heightens a tranquil (if brief) moment of the family having dinner.

"I have had my fun if I don't get well no more," sings Howlin' Wolf. And as anticipation builds about Tony's fate during the final season, that pessimistic question mark of a lyric never quite fades away.