20 essential glam, progressive and baroque songs from the 1970s

As a child of the 80’s, I was born a little too late to truly appreciate the musical revolution that swept through the 70’s. However, I can still see the echoes of that era in the music that came afterward. The bands and artists you’ve mentioned were trailblazers, pushing boundaries, breaking rules, and creating something fresh and exciting.

In our latest compilation, we emphasized twenty pivotal rock tracks from the 1970s. While the majority of these songs could be classified as hard or classic rock, we did encounter a few instances where the genres blended into metal, punk, and folk rock. One unique track, “Money” by Pink Floyd, showcased elements characteristic of progressive rock.

In the late ’60s, Pink Floyd transformed into a psychedelic band, blending their music with blues roots while also emphasizing unusual instruments like the organ. The guitar, bass, and drums were significant, but they weren’t the only elements driving the rhythm, which often varied and syncopated similar to jazz. Pink Floyd’s music was rock & roll at its core, yet it ventured into experimental territories. It had a theatrical feel, sometimes even resembling baroque music.

In the ’70s, I found myself drawn to exploring other tunes from that era – tracks that straddled the line between traditional rock ‘n’ roll and something entirely new and uncharted. The Beatles and Beach Boys had paved the way, but the ’70s bands took it upon themselves to redefine pop music. They pushed the boundaries of what a song could be, and if they managed to create something captivating enough, they’d strike gold on the airwaves.

Glam, progressive and baroque songs from the 1970s that make for essential listening

In a nutshell, we had glam rock, which embraced the artificiality and drama of pop tunes. We also encountered intricate compositions that delved into innovative song arrangements and instrumentation. Notably, there was a progression of avant-garde exploration, reminiscent of Pink Floyd’s “Money.

In the 1970s, we have a collection of 20 songs. Most fell under the category of rock & roll, but there were also a few exceptions. They didn’t resemble the typical chord progressions seen in classic hard rock, metal, or folk rock from that era. Instead, they pushed the limits of what was possible in pop and rock music, broadening the horizons. Setting aside their impact, each one is simply a fantastic tune to listen to.

“I Love You, You Big Dummy” by Captain Beefheart and the Magic Band (1970)

Don Van Vliet was something of an Orson Welles who never had his Citizen Kane. His astonishing versatility and unquenchable thirst to take traditional blues into unchartered territory resulted in Trout Mask Replica (produced by Frank Zappa) in 1969. Critics gushed. The public yawned.

In another wording: Van Vliet was content with success but hesitated to suppress his creative instincts enough to attain it. His debut album as a producer, Lick My Decals Off, Baby, slightly veered towards a more structured sound, and the song “I Love You, You Big Dummy” almost blended that improvisational outburst with a humorous tune featuring clear lyrics.

As a gamer, I may say: Despite the widespread acclaim, I was still far from reaching the pinnacle. The truth is, legendary post-punk bands like Buzzcocks and Magazine even covered my song, which speaks volumes about the lasting impact the Captain had on music that would emerge years down the line in the realm of progressive tunes.

“LA Woman” by the Doors (1971)

Instead of having a conventional bassist, they featured a psychedelic verse artist who penned enigmatic lyrics and sang them in a rich baritone voice that contrasted with typical rock ‘n’ roll singing. They showed the ability to transition swiftly from bluesy grooves to introspective free jazz explorations.

On their sixth and last complete album, titled LA Woman, the first side concluded with the title track, a seven-minute love ballad dedicated to their beloved city, capturing the grandeur of Hollywood fittingly. This song encapsulated virtually all that Jim Morrison and his band had cultivated by that time. Tragically, less than three months following its release, Morrison passed away, effectively bringing an end to the Doors’ musical journey.

“Roundabout” by Yes (1971)

As a gamer, I may not have always grasped the deep meanings behind Jon Anderson’s lyrics, but when Yes was at their prime, it didn’t seem to matter. Anderson’s vocals and Chris Squire’s bass lines felt like another instrument in the band. In the heart of “Roundabout”, Squire’s bassline cut through the more floral, folky elements, while Rick Wakeman’s keyboard symphony swirled around us, fueling a captivating sonic dreamscape. They edited the eight-minute album version down to a radio-friendly three minutes and scored one of the most iconic progressive rock hits ever made.

“Jeepster” by T Rex (1971)

If only Marc Bolan had not passed away, he would have been a counterpart to David Bowie – a fashion icon initially criticized as all style with no depth. Yet, his progressive blues, particularly those created by him and his band T Rex during the early ’70s, demonstrated an unwavering commitment to catchy rhythms and the most stylish vocal performances.

A “jeepster” appears to be a term used in the song “Jeepster,” likely referring to a vehicle that combines the ruggedness of a Jeep with a touch of hipster culture. T. Rex frontman Marc Bolan, who referred to his love interest as a “Jaguar” in the same song, may have intended it this way due to the raw, masculine image associated with Jeeps and the bohemian spirit associated with hipsters. However, the true meaning might not be important because the song is simply enjoyable. Unfortunately, if Bolan hadn’t passed away in a car accident later in the 1970s, we may not have pondered the symbolism so much. He was only 29 years old at the time.

“Walk on the Wild Side” by Lou Reed (1972)

Years after disbanding The Velvet Underground, Lou Reed embarked on a quest for a unique sound. He discovered it in the album ‘Transformer‘, which was produced by David Bowie and Mick Ronson. Reed is renowned as one of the most brilliant lyricists in pop music history.

He expanded the range of what was acceptable subject matter in a pop song, here painting a loving portrait of the outcasts and social misfits who formed a family in Andy Warhol’s Factory. He found a glorious match in the jazzy arrangement that featured the soulful backing vocal of the Thunderthighs, jazzy brushed drums, a yearning sax solo at the end, and one of the most iconic bassline intros in the history of pop music.

“Little Willy” by Sweet (1972)

“All the Young Dudes” by Mott the Hoople (1972)

“I didn’t mention earlier, but this song is a classic glam rock number penned by none other than David Bowie. Mott The Hoople’s lead singer, Ian Hunter, delivered an exceptional rendition of it. What followed was the transformation of a relatively unknown hard rock band into a sensation within the glam rock scene. Mick Ralphs’ guitar and Verden Allen’s organ imbued the early gay anthem with a profound spiritual quality that complemented Hunter’s provocative performance perfectly.

“Suffragette City” by David Bowie (1972)

During the period of his career when he was known as Ziggy Stardust, a famous persona for the versatile pop artist, Bowie wrote a song for himself. Initially, he had planned to give it to Mott the Hoople, but they opted for “All the Young Dudes” instead. Nevertheless, this song Bowie composed was equally impressive. In the album Ziggy Stardust, Bowie managed to both mock and celebrate rock artifice by crafting a remarkably artificial rock masterpiece.

“Thick as a Brick” by Jethro Tull (1972)

1972 seemed unusual, as it was during this time that Richard Nixon and Ted Heath were firmly in power, promoting conservative values globally. However, this period saw an unprecedented level of musical freedom and experimentation. One might wonder why popular musicians like Jethro Tull were acting so unconventionally. For instance, after the massive success of their hard rock album “Aqualung”, they decided to create a 43-minute long piece that transitioned through diverse acoustic and orchestral segments. What could have inspired such a creative departure?

This groundbreaking long-form rock piece, which sparked disagreement among both critics and the public, is now often regarded as the greatest ever created in its genre. While Jethro Tull’s success may have waned after this point, they continued to produce hit records and quality music for a considerable period. In contrast, neither Nixon nor Heath had a lasting musical legacy.

“Rock On” by David Essex (1973)

David Essex significantly contributed to the concept of “rock stars as protagonists” with his unique take on Ziggy Stardust-like characters, following in the footsteps of David Bowie who initially popularized it. Many artists delved into this theme afterwards, but Essex’s interpretation stands out as particularly captivating. His rendition of “Rock On” is one of the coolest songs ever produced, showcasing his and Bowie’s shared talent for conveying attitude in their best compositions. The bass line in particular is a compelling reason to listen to this song.

As a die-hard fan, I can tell you that while Essex had other chart-toppers in the UK, this particular song was the one that made waves in the U.S. market, and luckily, it was sufficient. However, I must caution against listening to Michael Damien’s cover of “Rock On” which surprisingly reached number one a few decades later. To be honest, the original song doesn’t have much complexity, and when you strip away its cool factor… frankly, it’s not worth spending your time on.

“Don’t Eat the Yellow Snow” by Frank Zappa (1974)

In a strange turn of events, I found myself dreaming that I was an Eskimo as a cold gust began to howl. Kicking off his album Apostrophe (‘) , Zappa showcased his extraordinary musical talent and eccentric lyrical imagination. The music spans from smooth jazz tunes to intense blues-rock guitar solos, to discordant classical pieces. Lyrics-wise, it includes the beating of a baby seal with a snowshoe filled with lead, our protagonist pleading with Bingo cards instead of using the restroom. This is just a glimpse into the surreal tapestry Zappa creates.

“Bohemian Rhapsody” by Queen (1975)

As a gaming enthusiast, I’d always tune into those radio countdowns during long weekends, the “500 Greatest Songs of All Time” type. Back in the day, “Yesterday” was frequently on top of these lists, but it didn’t take long for Led Zeppelin’s “Stairway to Heaven,” released in 1971, to claim the number one spot. It was a constant, something you could always count on. “Stairway to Heaven” held the throne, like the iconic Citizen Kane of rock countdowns. That is, until one day it didn’t anymore.

Back in the day, I can’t pinpoint the exact moment, but I clearly recall being taken aback when they declared “Bohemian Rhapsody” by Queen as the greatest song ever made. (I believe it was around the mid-90s and had something to do with Wayne’s World.) It’s not surprising that I was stunned, considering Freddie Mercury aimed to astound the world of pop-rock with his music. To me, he definitely achieved that goal.

“Freeway Jam” by Jeff Beck (1975)

After departing from the Yardbirds, Beck formed his own band, focusing on blues-rock with an emphasis on intricate guitar riffs while maintaining the fundamental structure of a rock song. His first solo album included hits like “Shapes of Things” and “Morning Dew,” with Rod Stewart handling the vocals. Notably, it also featured “Beck’s Bolero,” an instrumental tribute to Ravel that fused jazz, rock, and classical music, which was one of the early examples of what we now call fusion music.

In simpler terms, he was like the electric guitar equivalent of what Miles Davis achieved with the trumpet. A few years later, he pushed boundaries even more with “Freeway Jam,” a composition by Max Middleton on the keyboard, which received the full fusion treatment by Beck and his group.

“Marquee Moon” by Television (1977)

I included “Marquee Moon” (from Television’s self-titled debut album) on my list of punk songs from the ’70s, and I plan to get to it eventually. I added it because, truth be told, I tend to follow the lead of rock historians, who generally categorize them in that category.

I can understand the connection, possibly due to the CBGB scene in the mid-70s or their early ties with Richard Hell. However, “Marquee Moon” by Television deviates from the typical punk rock sound that was about to explode at the end of the decade. Instead, it showcases a more innovative pop-rock style, emphasizing the guitar interplay between lead vocalist Tom Verlaine and rhythm player Richard Lloyd. (It’s worth noting that Richard Lloyd will also appear with a different punk band.)

Regarding “Marquee Moon,” it’s approximately ten minutes of music that features hypnotic guitar melodies, sharp chords, and intricate improvisations, all enveloping Verlaine’s evocative singing. This song is often considered one of the standout tracks of the decade.

“Psycho Killer” by the Talking Heads (1977)

The group was known for both artistic and dance music, with a musical prodigy at its heart. Their song “Psycho Killer,” from their debut album Talking Heads: 77, became their first hit single (peaking at #97 on the charts). David Byrne’s distinctive “I, I, I” screams and French vocals were particularly noteworthy, as was Tina Weymouth’s rhythmic bass. Over time, Byrne and his companions expanded upon their talents, bringing the NY CBGB scene to a global audience.

“Paradise by the Dashboard Light” by Meat Loaf (1977)

Jim Steinman was skilled in composing conventional pop-rock tunes, yet even his shorter works often embodied lofty aspirations. Conversely, Marvin Lee Aday had the ability to sing less flamboyant songs, but as Meat Loaf, he seldom chose to do so. However, both artists shone brightest when they abandoned caution and embraced the most extravagant performances possible.

“Paradise by the Dashboard Light” is a mini-rock opera with an old-school rock ambiance, a chaotic and lively second act that unexpectedly involves Phil Rizzuto, and an explosive climax that leaves you in awe. The duo of Aday and Steinman benefits significantly from Ellen Foley’s equally heartfelt singing and Todd Rundgren’s polished production, ensuring the entire piece stays cohesive rather than turning into a disorganized mess.

“Rock Lobster” by the B-52’s (1978)

Ricky Wilson, Keith Strickland, and others honed their guitar skills during their teenage years. Kate Pierson was proficient on the piano. Fred Schnieder and Ricky’s sister Cindy had vocal talents. When they chose to create a band, however, none of them were particularly skilled in any area at that time.

Instead of delving in gradually, they plunged head-on and fashioned a contagious do-it-yourself blend of dance-pop that disregarded technical finesse, effectively outshining the increasingly monotonous disco dance tunes. “Rock Lobster” quickly gained popularity, making it seem as though these southern youths had overtaken New York City almost instantly. Athens, Georgia emerged as the epicenter of the alternative music scene.

“One Way or Another” by Blondie (1978)

In the late ’70s, it wasn’t just The B-52’s energizing New York’s dance scene; a duo of local talents – singer Debbie Harry and guitarist Chris Stein – were also generating rock-infused dance rhythms. With Debbie Harry’s powerful vocals taking the limelight, they had already achieved a number-one hit before “One Way or Another” was released, and more hits would follow in the years to come.

In one fashion or another, this song didn’t reach the top spot on the Billboard Hot 100, but it was just as strong as anything else released in the late ‘70s. It starts with Stein’s catchy guitar riff, followed by Harry’s assertive character expressing her intentions. This song laid the groundwork for Joan Jett to achieve a number-one hit with “I Love Rock ‘n’ Roll” a few years down the line. The period of shy women yearning for unfulfilled love was effectively shattered.

“Can’t Stand Losing You” by the Police (1978)

The successor to the popular song “Roxanne” maintained its reggae rhythm but wasn’t as widely recognized for a while. Its storyline, which portrayed a spurned lover contemplating suicide as a form of revenge, left some uncomfortable. Despite the hints of whiny emo, Sting’s sarcastic performance transformed it into a satire. The use of an excessively tall girl’s brother, at six-foot-ten, is a clear indication that the song is meant to be taken as a parody, since in reality, he would have been no taller than six foot three if it were a serious portrayal.

“Video Killed the Radio Star” by the Buggles (1979)

Initially, the Buggles’ release didn’t significantly alter the musical landscape until a few years later when it was first played on MTV; however, they unveiled it as their debut single at the end of 1979. Keyboardist Geoff Horn subsequently worked with Asia, while singer Trevor Horn ventured into production. Nonetheless, they concluded the decade in style. The lyrics penned by Horn seem to predict the future. If you’re growing weary of the Buggles’ rendition, Bruce Woolley, one of the co-composers, released a slightly quicker version with the Camera Club around the same time.

Wrapping up the Baroque-Glam-Prog segment of our ’70s playlist! Stay tuned for more exciting deep dives into ’70s tunes, coming to our blog soon.

2024-09-24 13:01