20 essential hard rock classic from the 1970s

As a child of the ’70s, these songs and bands defined my teenage years and continue to resonate deeply with me even today. The raw energy, the rebellious spirit, and the sheer brilliance of these artists were like a beacon of light guiding me through the murky waters of adolescence.

During the 1970s, I spent my childhood years. The radio played a constant soundtrack, shifting from AM at the start of the decade to FM by the end. I’d ride my bike to the record store to purchase singles (45s), and later, when I became older, I’d drive my car to the same store to buy albums. If rock & roll was born in the ’50s and reached its rebellious adolescence in the ’60s, the ’70s marked its full maturity – and the start of its gradual decline into middle age. It was a golden era, but also the dawn of tougher times ahead.

Rock and roll was destined to persist, as Neil Young proclaimed in 1978 with his lyrics “Hey hey, my my – Rock and roll will never die.” However, it was inevitable that it would evolve. I found it intriguing to examine this evolution by focusing on significant songs from the decade, and I decided to approach it in a way similar to my previous work, by analyzing a diverse range of timeless pop music.

As a gamer, I’ve got to keep things straightforward today. Let’s dive into the world of basic hard rock, a genre that offers enough diversity while still being simple at its core. You see, even within this narrow focus, we’ve got a variety of sub-genres to explore. There’s classic, guitar-driven blues rock that’s steeped in tradition, and then there’s more progressive rock that pushes the boundaries with complex structures and innovative sounds.

20 hard rock classics from the 1970s that still makes for essential listening today

Perhaps later on, let’s delve deeper into that genre of tunes. Today, though, we’ll have a mix – a pop art number now and then, followed by a touch of folk music here and there. However, predominantly it will be a lineup of hard rock tracks today.

In the early 1970s, rock and roll saw a significant boom. Some of its key pioneers like the Beatles and Velvet Underground were still active, laying strong foundations for the future. As new bands from the UK joined the veterans, a distinct type of hard rock started to take shape in America. This genre didn’t entirely abandon its blues origins, but it was born from the heartland with a powerful sound that paid homage to pop and folk music while maintaining its aggressive tempo.

By the close of this current decade, the charm of live concerts played on massive stages started losing its edge and became overly polished for radio play, which diminished some of their raw energy. This trend inevitably sparked a reaction, leading to the emergence of fresh styles or approaches in music.

But the entire decade, from beginning to end, yielded a treasure trove of classics.

“Lola” by the Kinks (1970)

Ray Davies was blending punk music with traditional musical hall elements throughout the 1960s. He started the new decade by merging these styles uniquely, as only he could, in a song that tells the story of an innocent young man meeting an intriguing character who exhibited traits of both femininity and masculinity.

“Paranoid” by Black Sabbath (1970)

Hailing from Birmingham, The Boys (in this band) boasted a thundering bassline by Geezer Butler, relentless guitar riffs courtesy of Tommy Iommi, and the divine, metal-approved vocals of Ozzy Osborne. Their second album featured iconic tracks like “War Pigs” and “Iron Man”.

“I’d Love to Change the World” by Ten Years After (1971)

As a music enthusiast, I can confidently say that Alvin Lee has mastered the art of blending lightning-fast blues guitar solos with impeccable melody and tone – a skill that guarantees him a lasting spot in rock & roll. And on this particular bluesy/spacey hit, he truly showcases his talent. Contrary to some speculations suggesting they might veer towards pop after the chaotic “I’m Going Home” from Woodstock catapulted TYA into American stardom, I can assure you that their sound is far from it. Pop music, while enjoyable in its own right, doesn’t even come close to capturing the raw energy and soulfulness that Alvin Lee and his band deliver.

“Crash Course in Brain Surgery” by Budgie (1971)

In a fair world, the fundamental heavy metal trio from Cardiff would share recognition with Metallica, who remade this song for their Garage Inc. album in 1998. Metallica’s rendition has a stronger sound. However, Budgie’s original, featuring Burke Shelley’s high-pitched tenor and powerful bass, is generally preferred.

“Me and Bobby McGee” by Janis Joplin (1971)

It was uncertain how the renowned female blues artist of the era would handle a folk rock song penned by Kris Kristofferson, who is known as a pioneer in outlaw country music. The country singer Roger Miller had a moderate success with this song on the country charts back in 1969. However, when it came to Joplin’s rendition with Full Tilt Boogie Band, her powerful vocals were backed by guitar, piano, and organ, propelling the record to number one on the Billboard Hot 100. Regrettably, Joplin did not get to witness this success as she passed away three months prior to its release.

“Highway Star” by Deep Purple (1972)

Under ideal circumstances, Machine Head thrived. Ritchie Blackmore’s guitar and Jon Lord’s organ collided spectacularly, while Ian Paice and Roger Glover relentlessly drummed the rhythm. Above it all, Ian Gillan let out deafening screams. This powerhouse band delivered their finest assortment of hard rock anthems, starting with the epic “Highway Star.

“Money” by Pink Floyd (1973)

Intriguingly, did those devices appear to be cash registers that played a part in the song? They harmoniously merged with the well-known bass line, which swiftly ensued. Subsequently, the guitar and keys were heard – followed by more of those cash registers. The lyrics, laced with cynicism about affluence and capitalism, were particularly biting for a rock track. Notably, they boldly used the term “bullshit” in the midst. A saxophone solo and matching guitar melody added to the understanding that progressive rock is not confined to lengthy, psychedelic journeys. It can also produce chart-topping hits.

“Over the Hills and Far Away” by Led Zeppelin (1973)

It’s common knowledge among people who’ve been isolated on distant islands for the past fifty years that Led Zeppelin unveiled one of the most iconic rock songs ever created – possibly the greatest of all time – back in 1971. In this particular instance, I’d opt for “Stairway to Heaven” as my pick. However, I personally believe that this song boasts a superior acoustic introduction and harder rock segment compared to “Stairway to Heaven.” I have my doubts about whether “Stairway to Heaven” concludes better, but that’s a subjective debate.

“Band on the Run” by Paul McCartney & Wings (1973)

Initially, McCartney saw success following the breakup of The Beatles, yet after a few ordinary albums with Wings, critics began to question his abilities. While “Red Rose Speedway” was commercially successful, its most popular track, “My Love,” was considered one of McCartney’s weaker compositions.

1973 saw the release of “Band on the Run,” a standout album that quickly overshadowed its predecessors, with few exceptions like Robert Christgau who didn’t care for it. At the heart of Paul McCartney’s refreshed fusion of pop and rock was the five-minute mini-opera titled track, “Band on the Run.

“It’s Only Rock ‘N’ Roll (But I Like It)” by the Rolling Stones (1974)

In 1974, Mick Jagger boldly declared that The Rolling Stones would not disband like The Beatles, signaling a shift in the band from guitarist Mick Taylor to newcomer Ronnie Wood. This statement marked a turning point and is still considered one of rock music’s authentic anthems today.

“Born to Run” by Bruce Springsteen (1975)

For those who pay attention, you might have noticed that many artists on this list are British. However, starting now, we’re going to see a shift, and we’ll begin with an individual who rose from being comparable to the fifteenth singer-songwriter to being hailed as “the next Dylan,” eventually becoming the leading figure of American rock & roll for several decades. His first two albums served as warnings, but this song – the title track from his third album – delivered on that promise.

“Walk This Way” by Aerosmith (1975)

To some, they resembled the American Yardbirds or Zeppelin, but to many others, including myself, Steven Tyler and Joe Perry were Boston’s equivalent of the Glimmer Twins. However, the labels didn’t matter much. By the time they released their third album, “Toys in the Attic,” with hits like “Sweet Emotion” and a song that would later become a fusion of rock and roll and hip hop, it was clear to all that they were simply known as Aerosmith.

“Crazy on You” by Heart (1976)

Just as the American variant of those Zeppelin-like hybrid instruments, it initiates with Nancy Wilson’s energetic acoustic guitar strums followed by Roger Fisher’s straightforward descending riff, which would later be iconic for the band. Subsequently, Ann Wilson, a remarkable singer in the realm of rock & roll, took over and began her performance.

“Cherry Bomb” by the Runaways (1976)

In a different time, they might have been too young, arrived too early, and not quite fitting for a punk band in the mid-’70s. If they had emerged five years later, the Runaways would have been massive, and “Cherry Bomb” would have been a huge hit. As it stands, they will be remembered as one of the most raw rock songs from that decade instead.

“American Girl” by Tom Petty and the Heartbreakers (1976)

Tom Petty gave a fresh twist to The Byrds’ style, creating a distinctly American rock ‘n’ roll vibe that wasn’t influenced by The Rolling Stones or Led Zeppelin. “American Girl” embodied this unique American sound, although it was the British who initially appreciated it first. A few years later, the song made an appearance in the Oscar-winning film, Silence of the Lambs, and its place in music history was solidified.

“Because the Night” by Patti Smith (1978)

It’s said that during the challenging recording of “Darkness on the Edge of Town,” Springsteen found himself stuck with an unfinished song. His producer, Jimmy Iovine, suggested inviting Patti Smith to give it a try. Bruce consented, and Patti completed the lyrics, proving that women could be just as powerful in rock music as men – a fact already demonstrated by acts like the Wilson sisters, among others.

“Radio Radio” by Elvis Costello and the Attractions (1978)

Originating from his second album, and his debut with the Attractions, “Radio Radio” packs a punch both musically and lyrically. It embodies the fierce indignation of an exceptionally talented songwriter taking aim at the gatekeepers of rock music. The lyrics express a desire to retaliate against the source of his sustenance: “I long to sink my teeth into the hand that feeds me, I yearn to bite that hand so deeply.” Costello’s defiance continued for many years afterward.

“Eruption” by Van Halen (1978)

On their first album, Van Halen kicked off with “Running with the Devil,” a track that quickly dominated FM radio waves with its fierce guitar riffs and intense vocals. If this piqued your interest enough to purchase the album, you were treated to an astounding 90 seconds of Eddie Van Halen’s unparalleled guitar prowess in 1978 – a performance that was nothing short of extraordinary for any time period. Opening for bigger acts in those days, Van Halen left their contemporaries awestruck because Eddie Van Halen’s abilities surpassed anything they could do, and it took just 90 seconds to witness this.

“Highway to Hell” by AC/DC (1979)

Eddie Van Halen was known as a lead guitar virtuoso, while Malcolm Young held down the rhythm guitar for AC/DC with equal skill and influence. Under the guidance of producer Mutt Lange, their riffs became the blueprint for hard rock, serving as its genetic material. Unfortunately, six months after the release, vocalist Bon Scott passed away.

“Overkill” by Motorhead (1979)

The main track on Motorhead’s second album is driven powerfully by Phil Taylor’s double bass drum rhythm. While Fast Eddie’s swift guitar, Lemmy’s distinctive bass, and voice certainly contribute to its intensity, it’s those drums that leave everything else in their wake. This composition marked the transition of what was once considered just heavy metal into the faster, more aggressive speed and thrash metal genres, which would later become some of the most widely loved music styles globally.

2024-09-23 13:01