Music fans, buckle up for a blast from the past as we journey back to the incredible 1970s, a decade synonymous with feel-good anthems and electrifying rock music that made you want to move.
The ’70s were a truly special time for music, especially coming right after the wild ride of the late ’60s. The rise of FM radio was a game-changer, giving artists a place to really stretch out and get experimental with their sound, unlike AM which mostly stuck to pop hits. Sure, landing a Top 40 hit was still cool, but it wasn’t the only thing that mattered anymore. Musicians could dig into deeper musical ideas or more serious lyrical themes, and there was finally a platform where they could be heard and truly thrive. You could hear this awesome new freedom everywhere, from the long, jamming sessions of bands like the Allman Brothers Band and Lynyrd Skynyrd to the edgy, fresh sounds of punk and New Wave from groups like the Ramones and Blondie. R&B was also evolving, getting heavier with bands like Sly & The Family Stone and Funkadelic mixing psychedelic rock with funky rhythms, all while their lyrics tapped into the growing Black consciousness of the day. It was a time of incredible creativity and diversity!
In the realm of ’70s rock, Album-Oriented Rock, or AOR, truly carved out its niche, blending hard rock, progressive rock, and pop into accessible, riff-driven tunes often featuring soaring vocals.
1. **Boston – Boston (Epic, 1976)**: This self-titled debut, largely the vision of guitarist Tom Scholz, exploded onto the scene in 1976, offering a direct and instantly appealing sound that resonated deeply with listeners and became one of the fastest-selling debuts ever.
While the songs were wrapped up in these neat, almost ‘Saccharine-coated shells’ as the text puts it, tracks like “Peace Of Mind,” “Long Time,” and “Rock & Roll Band” weren’t soft – they absolutely ‘fizzed and popped’ with contagious energy. Adding to this vibrant sound were the ‘shrill vocals’ of Brad Delp, whose voice soared over Scholz’s meticulously constructed tracks. It’s fascinating to think that even later rock icons were influenced by this album; the text mentions the bizarre fact that Kurt Cobain of Nirvana was reportedly inspired by the lead track, “More Than A Feeling,” when writing their grunge anthem “Smells Like Teen Spirit.” That’s some serious reach for a debut album!
Product on Amazon: BOSTON (Self-Titled Debut)- Epic Records 1976 – USED Vinyl LP Record – 1976 Pressing PE 34188 – More Than A Feeling – Smokin’ – Hitch A Ride – Peace Of Mind – Foreplay/Long Time – Rock & Roll Band
Binding: Vinyl Product Group: Music
Price: 21.99 USD
2. **Kansas – Leftoverture (Epic/Legacy, 1976)**:Any self-respecting rock enthusiast absolutely *must* be familiar with Kansas’s signature, iconic hit “Carry On Wayward Son.” It’s a staple for a reason! But for anyone who hasn’t dug deeper, “Leftoverture” is the absolutely ‘mesmerising album’ where that classic song was born. This 1976 release showcases the six-man group at a peak, delivering something truly special that hasn’t quite been matched, even though Kansas went on to release many more albums.
What makes “Leftoverture” stand out is its incredible ‘diverse mixture.’ It perfectly balances ‘uplifting, melodious pop’ sensibilities with powerful, ‘hard-driving prog-style instrumentation.’ It’s not an easy feat to pull off, but Kansas did it masterfully. Steve Walsh is noted as being ‘at the peak of his vocal powers’ on tracks like “Miracles Out Of Nowhere” and “The Wall.” Even the album’s longer, six-part piece, “Magnum Opus,” manages to be ‘politely demanding’ – it’s complex and engaging, but never feels too difficult or ‘hard on the ear,’ which is a hallmark of the best prog-leaning AOR.
3. **Styx – The Grand Illusion (A&M, 1977)**: Released in 1977, ‘The Grand Illusion’ marked the beginning of Styx’s legendary run, becoming their first album to achieve platinum status and kicking off a streak of four consecutive triple-platinum records that cemented their place in rock history.
The band’s lineup, with the charismatic Tommy Shaw, certainly attracted female fans, but the music was the real star, featuring ‘sturdy’ tracks that captured the ‘archetypal rock dream,’ alongside Dennis DeYoung’s ‘interstellar epic,’ ‘Come Sail Away,’ a song so grand it even found itself parodied on South Park.
4. **Starz – Violation (Capitol, 1977)**:Alright, let’s talk about Starz and their 1977 album, “Violation.” This band, featuring Michael Smith (brother of ’70s US pop star Rex Smith) on vocals, played a style described as ‘mildly sleazy yet unmistakably classy rock.’ How cool is that description? They infused their sound with ‘smart, poppy choruses’ that the text says ‘dimly recalled all-night parties and wild women in tight dresses.’ Sounds like a good time, right?
Produced by Aerosmith collaborator Jack Douglas, ‘Violation’ aimed for the stars, with tracks like ‘Cherry Baby’ nearly becoming a career-defining hit; the album’s songs, including ‘Rock Six Times’ and ‘All Night Long,’ continue to exude the same raw energy they possessed upon release.
5. **Foreigner – Foreigner (Atlantic, 1977)**: This self-titled 1977 debut was a massive success, defying the disco-dominated charts of the year and proving the doubters wrong after ‘every label in America had snubbed the sextet’ before John Kalodner recognized their potential at Atlantic.
The album kicks off with the iconic ‘Feels Like The First Time’ and quickly follows with the anthemic ‘Cold As Ice,’ showcasing Foreigner’s mastery in blending hard rock, R&B, and pop, all elevated by Lou Gramm’s uniquely ‘sashaying’ and soulful vocals.
6. **The Babys – Broken Heart (Chrysalis, 1977)**: Though originally from Britain, The Babys found their signature sound in the U.S. with ‘Broken Heart,’ embodying a ‘quaintly effective balance of understated power and delicious melody’ that perfectly captured the AOR sweet spot and appealed to both headbangers and melody lovers.
The Babys’ sound on ‘Broken Heart’ was enhanced by Michael Corby’s ‘estimable keyboard contribution,’ and producer Ron Nevison’s inspired decision to incorporate strings, which, as the text notes, ‘allowed the quartet to add extra colour’ to their already compelling material, making each track uniquely vibrant.
