5 rock classics from 1979 that you’ve probably forgotten

In the realm of gaming, as I immerse myself into my virtual world, it’s hard to ignore the somber news about the legendary Welsh rocker, Dave Edmunds. Rumors are swirling that he’s facing a tough battle after a severe heart incident. At 81 years old, his situation seems grim.

It’s become clear to many baby boomers that we’re now witnessing a time when some second and third-generation rock legends are saying goodbye. While Mick and Bruce continue their journeys bravely, it’s sad to note that more of their contemporaries are retiring from tours each year.

The news concerning Edmunds deeply affected me since he’s long been one of my preferred artists. His unique blend of pub rock, accompanied by his jangly guitar and expertly constructed pop melodies resonates deeply with me. I turned on his 1979 album “Repeat When Necessary” to satisfy that sound, which in turn sparked a series of thoughts within me…

The evolving state of rock and roll at the end of the 1970s

1979 was a year filled with exceptional rock and roll music, but it’s rarely mentioned as one of the best in rock history on today’s internet lists. Generally, the mid ’60s to early ’70s, as well as the early ’90s, get the credit for that distinction. To be honest, I often find myself nodding in agreement with this assessment. While I wouldn’t argue that 1979 was the most rocking year, it certainly had its share of memorable tunes.

Indeed, there were some accomplishments that deserve recognition and perhaps haven’t been mentioned much recently.

Here’s an intriguing perspective on how rock music positioned itself within the cultural terrain towards the end of the 1970s.

In 1980, the Grammy Awards honored music released in 1979, and for the very first time, they introduced four distinct categories dedicated to rock music. This could be seen as a strategic move that increased the number of awards by focusing on different genres, hence the phrase “subtraction by addition.

Before 1980, the Grammys didn’t feel the necessity for rock categories as it was widely perceived that rock encompassed all genres. However, rock albums and artists didn’t consistently win these awards. In fact, they often lost to more mainstream pop music. Yet, they were always in contention. Rock and roll wasn’t just a type of music; it was a broader cultural phenomenon.

The term, often used as a catch-all, encompassed a vast array of musical genres that significantly shaped the pop music scene. The evolution of this term remains a topic of ongoing discussion. For those interested in understanding the current state of this debate, I recommend exploring the discussions surrounding eligibility for the Rock and Roll Hall of Fame.

It’s fascinating to reflect on who won the first “Rock” Grammy awards in 1980. Keep in mind that this was a transitional phase between the decline of disco and the rise of new wave, yet these artists released notable rock albums in 1979…

In the ’80s gaming world, I’d be that retro arcade machine loaded with tunes. Ten of my top rock and roll picks from 1979 would be Elvis Costello, Blondie, Motorhead, AC/DC, The Clash, Bad Company, Kiss, Joy Division, Talking Heads, and Van Halen. I could spin ten more classic albums from that year if you’re up for it!

But here are artists that won those inaugural “rock” Grammys…

Donna Summer, Bob Dylan, the Eagles, and Paul McCartney and Wings.

If these performances weren’t primarily focused on rock music in 1980, why was “rock” specifically highlighted as a genre?

People my age (older individuals) enjoy discussing this topic during social gatherings, often over a round of beers at modern breweries. For now, let me draw attention to five remarkable rock and roll albums from 1979 that didn’t win any Grammys, and I believe these classics may have slipped through the cracks of memory today.

These albums broaden the concept of rock by blending various influences within their tunes, and it’s unlikely that their authenticity as true rock ‘n’ roll music would be contested by anyone.

Repeat When Necessary by Dave Edmunds

I’ll kick things off with the musician who guided me along this path. Edmunds wasn’t exactly an inventor, but rather a brilliant representative of classic rock and roll. Often categorized as roots rock, pub rock, or jangle pop, his music drew inspiration from rock’s early days, yet provided a contemporary twist on what was beginning to feel nostalgic by the late ’70s.

After brief periods with Love Sculpture and Rockpile, which was formed in 1980 following his partnership with Nick Lowe, Edmunds released his fifth solo album. This album was made between these collaborations. Following the success of his 1978 album Tracks on Wax 4, Edmunds felt ready to further develop his sound a year later.

The opening tracks on this album are a fiery set consisting of “Girls Talk” penned by Elvis Costello, “Crawling From the Wreckage” by Graham Parker, and “The Creature From the Black Lagoon,” written by Rockpile’s guitarist Bill Bremmer.

The rhythm remains unrelenting, except for a somewhat weak performance of “Take Me For a Little While” near the finale. However, he makes up for that error by ending powerfully with two superb blues numbers, “We Were Both Wrong” and “Bad is Bad.

Thanks I’ll Eat it Here by Lowell George

Generally spoken, it’s understood that George grew progressively discontented with Little Feat’s trajectory during the ’70s. He started the band following his departure from Frank Zappa in 1970, as a platform for his distinct songwriting style that seamlessly combined rock, blues, and country, infused with the spirit of New Orleans.

In the early stages of Little Feat’s music journey, it was George’s distinctive vocals and skillful slide guitar playing that took center stage on their initial albums, as they were a collaborative group.

For his debut, and regrettably his only solo album titled “Thanks I’ll Eat it Here“, he reverted to that formula. The album commences with a homage to New Orleans legend Allen Toussaint in the song “What Do You Want the Girl to Do.” He offers a stripped-down rendition of the original Little Feat tune “Two Trains,” and a more blues-infused version of Ann Peebles’ timeless soul classic “I Can’t Stand the Rain.

The second side of the initial record begins with a standout cover, “Easy Money” originally by Rickie Lee Jones, which skillfully preserves Jones’ vocal style while transforming it into a distinctive piece by Lowell George. In “Twenty Million Things,” one of the rare self-penned tracks on the album, he offers one of his most moving ballads.

Within just four short months following the release of “Thanks I’ll Eat it Here“, George tragically succumbed to a heroin overdose and passed away at the tender age of 34.

Bop Till You Drop by Ry Cooder

As a passionate admirer, I find that Jim Cooder’s eighth solo album has earned more recognition for its historical impact than its musical content. This was the first complete album ever digitally recorded, a fact that has some celebrating him as a pioneer and others expressing regret over the shift away from what they consider genuine music.

Revisiting an album that’s been out for 46 years allows you to bypass certain debates, as it was undeniably groundbreaking and would have been attempted by another artist if not for Cooder. Essentially, Cooder didn’t single-handedly save or ruin music.

On “Bop Till You Drop”, he continued with what he had been doing for over a decade – playing some of the finest guitar music on Earth. Cooder, who is often sought after for sessions, has also released a series of impressive solo works that highlight his broad musical genre range, going beyond traditional rock.

As a music enthusiast, I kick off my album with the iconic rock number “Little Sister,” originally made famous by Elvis Presley. The tune has a classic Doc Pomus vibe that immediately transports you. Following this, the rhythm takes a tropical turn with the enchanting “Go Home Girl.” My guitar skills lend an intimate touch to the softer tracks, but when it comes to the funky numbers like my original “Down in Hollywood,” featuring Chaka Khan’s captivating vocals, and Jerry Ragovy’s “Look at Granny Run Run,” I don’t hold back – we get downright funky!

He carries on with the experimentation all the way to the end, incorporating a pair of tunes with a gospel vibe – the first being “Don’t Mess Up a Good Thing,” which leans towards rock and funk (previously sung by Chaka Khan), and the second being the more traditional soul-rooted gospel tune, “I Can’t Win.

Machine Gun Etiquette by the Damned

If Cooder’s rock and roll style strays too far from your preference, you can opt for the classic punk sound of the Damned instead. The Damned’s debut album, released in 1977, was even before the Sex Pistols by six months, but they were eventually overshadowed by the publicity of their competing punk bands and by the high-quality performances of groups such as the Clash.

However, when “Machine Gun Etiquette” was released a few years afterward, The Damned had found their strongest lineup yet and produced their most polished album.

Originating from a noisy mixture, the song “Love Song” showcases a band that was exploring post-punk and pop punk genres before many American bands even owned their first guitar. The title track demonstrates Rat Scabies’ (not his true name) aggressive drumming style, while “I Just Can’t Be Happy Today” is a captivating blend of punk, art rock, and an unusual form of dark emo. In this song, singer Dave Vanian switches from his typical shouting to something entirely new.

On the second part of the album, there’s a return to hard-hitting rock with songs such as “Plan 9 Channel 7”, “Noise, Noise, Noise”, “Looking at You”, and “Liar”. Almost all members of The Clash participate in a few tracks, and if you come across the 1986 reissue, Motorhead’s Lemmy can be heard playing bass on a lively rendition of the Sweet’s “Ballroom Blitz” cover.

The Specials by the Specials

Approximately ten years after Sly and the Family Stone redefined American music with their unique blend, another diverse, genre-crossing band ignited a musical phenomenon – this time in the U.K. As soon as “Message to Rudy” began, rock steady and ska music started pulsating through the British population.

Afterward, they continued with a sequence of two-tone numbers, blending the political issues prevalent in ’70s UK punk with irresistible dance beats.

As a passionate admirer, I honor Toots Hibbert by recreating The Maytals’ classic “Monkey Man.” Elvis Costello, the visionary producer, steers clear of polished sounds to deliver gritty masterpieces such as “Nite Klub” and “Stupid Marriage,” aiming to encapsulate the band’s raw vitality.

Regardless of the circumstances, band leader Jerry Dammers stays committed to his idea of blending classic reggae rhythms with traditional British rock ‘n’ roll. This fusion proves to be highly contagious.

READ MORE: 5 best bands of the 1970s that fused great horns and killer guitars

From 2008 onwards, The Specials consistently released new albums up until 2021. However, Dammers departed from the band in a disputable manner prior to their 2008 tour. Tragically, their original frontman Terry Hall passed away in 2022, marking an end to their extended career.

A note on the term “forgotten.”

To conclude, I’d like to make a quick comment about the term “forgotten classics.” This label may not resonate with everyone because many people might not be familiar with these albums. In that sense, using “forgotten” could be seen as inaccurate since it implies that they were once widely known and now have been forgotten.

As a devoted music enthusiast, I can attest that while a select few continue to cherish these iconic albums, they have undeniably taken a backseat in today’s musical landscape. However, my initial reference to the Grammys prompts me to express a thought on why some exceptional music may seem to have been overlooked: It is regrettable that the powers-that-be continue to bestow “rock” Grammy awards in 2025 upon legends like the Beatles and the Rolling Stones, potentially overshadowing emerging talent.

One problem with overemphasizing a single era of music history is that it can lead people to believe that no quality rock and roll is being made today, which isn’t true. Another consequence, albeit smaller, is that it tends to make us forget some excellent old songs because it implies that if an artist wasn’t regularly played on classic rock radio stations, their music was insignificant.

These performers – and these albums – mattered. In a perfect world, they still would.

2025-08-04 15:01