The greatest albums of the 1970s

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Just for the hell of it, in no particular order, let's make a list of the greatest albums of the 1970s. Feel free to add your own entries as well, but please include a sentence or two explaining why, as there's nothing more annoying than lists of "the hundred greatest whatevers" that just list names without explanation. No "greatest hits" or soundtrack compilations count as they are not actual artistic statements, although concert recordings such as Frampton Comes Alive! would be acceptable. Voros Voros, you know you want to add your own entries! I don't want to rank the records as I don't think you can really compare two great LPs and list them as "#1 best" and "#6 best": London Calling, Mothership Connection, Songs in the Key of Life, and Tapestry have virtually nothing in common aside from all being fantastic records by artists at the top of their game. (The reason I'm doing the 1970s is just because I've been listening to a lot of records from 1970-1977 lately.) For the first post, I'll list three records everyone should have on his or her shelf.

I'll start with Rumours, which contains eleven songs all thematically linked by romantic troubles or hopes, all wonderfully produced with a lot of attention to color and timbre. If you ever get a chance, play the whole thing with headphones on or place yourself in the middle of two good stereo speakers so you can hear how well it was mixed. They cared so much about the sound quality of the final product they actually had the label use a closer pressing plant to make the vinyl albums because the longer you leave the masters sitting, the more they can degrade before they get to the plant. Every song is a winner. It's also the album where Lindsey Buckingham felt comfortable enough as a member of the band to really take over and oversee the sound. His fingerprints can be found on every track.
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Layla and Other Assorted Love Songs is almost like a mirror image to Rumours, inasmuch as it's dirty blues rock where Rumours is (mostly) more polished and attentive to detail, which is not to say Layla isn't also wonderfully produced; it's just aiming for a different, rawer sound and whereas the Fleetwood Mac album was recorded and overdubbed sporadically over the course of nearly a year (with tour dates in between recording dates), Eric Clapton and crew finished their double-LP in two weeks. Another difference is that Fleetwood Mac was a real band and "Derek and the Dominos" didn't even exist, just being a handful of Eric Clapton's musician friends. Finally, for another contrast, this record is all about romantic longing and Clapton's blues over being desperately in love with his friend's wife, rather than the destruction of close personal relationships.
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Just to add a third album of emotional turmoil, Paul Simon's Still Crazy After All These Years is a departure from his previous singer-songwriter fare as it's a collection of jazz-influenced pop songs of romantic disillusionment (albeit undercut by his usual cynical humor). It's got a really nice consistent sound to it. If you can only own one Paul Simon LP, this is the one I would get. I rank it over Graceland if only because he actually wrote all of this himself; Graceland, though still a great record, was largely written over tracks already created by South African musicians.
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Van Halen - Van Halen (1978)

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One of the greatest albums of the 70s and one of the greatest debut albums ever by any artist. Eddie Van Halen reinvented the six string for an entire generation of guitarists that followed. Diamond Dave took being a front man to a whole new level; without his charisma, Van Halen would never have reached the heights of popularity they enjoyed later on MTV. Great background vocals by Michael Anthony and Alex Van Halen laid down some great drumming that would be sampled years later. Includes the classic rock staples "Runnin' With The Devil", "Eruption/You Really Got Me", "Ain't Talkin' 'Bout Love", "Jamie's Cryin'" and "Ice Cream Man".
 
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From Wikipedia:

"Horses is the debut studio album by American musician Patti Smith, released on November 10, 1975, on Arista Records. Smith, a fixture of the then-burgeoning New York punk rock music scene, began recording Horses with her band in 1975 after being signed to Arista Records, with John Cale being enlisted to produce the album. With its fusion of simplistic rock and roll structures and Smith's freeform, Beat poetry-infused lyrics, Horses was met with widespread critical acclaim upon its initial release.

Horses has since been viewed by critics as one of the greatest and most influential albums in the history of not only the American punk rock movement, but also of all time. Horses has also been cited as a key influence on a number of succeeding post-punk, and alternative rock acts, including Siouxsie and the Banshees, Sonic Youth, Hole, The Smiths, R.E.M. and PJ Harvey."
 


AC/DC’s most underrated album. Bon Scott’s lyrics demonstrated that they were a step above the bathroom stall poetry of earlier albums. Keith Richards favorite AC/DC album.


Building on the early work of groups like MC5 and Iggy Pop and the Stooges, The Ramones first album was a hot knife through the over produced self indulgent mainstream music of the time.


The culminating album of the Stone’s heroin period, Exile on Main St was the perfect blend of blues rock, country, and all the fiddle bits the group had been working into their music since Beggar’s Banquet.

Rob
 
In my view, the greatest concentration of iconic albums to be found in pop & rock music is to be found in the 1970s. This is interesting as many people at the time were bemoaning the end of the 1960s as being the deathknell of rock. However, I think a lot of bands that were established in the 1960s were able to mature and produce their best work in the 1970s, while a lot of new bands emerged in often new, or at least evolved genres of music that have since become classic. The list could go on and on, but for me they include:

Led Zeppelin IV - Led Zeppelin. Although, actually, I think all of the first four albums were excellent - but this was the most polished album - where they kranked up the symbolism and mysticism to the max. It also has the best bookending rock songs to begin and finish I think.

Paranoid - Black Sabbath. Very angry album and an interesting counterpoint from the fantasy escapism of Led Zeppelin. Paranoid is more significant, arguably, but actually Master of Reality is what I prefer to listen to.

Machine Head - Deep Purple. Completing the 'Holy Trinity' of iconic heavy metal albums, this one is the most 'boy's own'. Instead of talking about fantasy and mysticism, or war, drugs and death…this just sticks to the worthy themes of fast cars, fast women and being lazy. Oh and burning down a music theatre after Frank Zappa and The Mothers had performed, or something.

Over-Nite Sensation - Frank Zappa. Nowhere near the first Zappa album, but I think a breakthrough one for many. It's basically a sort of satirical funk-rock album, built off the idea of pushing music to absurd limits. I have been told, reliably, that some of the tracks are unbelivably difficult to perform - so the guy must have had talent!

The Rise and Fall of Ziggy Stardust and the Spiders from Mars - David Bowie. His most celebrated album, but he had a really really good backing group on this. I actually felt that Bowie went too much 'chameleon' after this in a way, where he kept flitting through genres too much. Creative work though.

The Hall of the Mountain Grill - Hawkwind. This is the best produced of the Hawkwind albums, in my view, although I do enjoy the sheer anarchy of X -In Search of Space. I thought most of the other albums were a bit hit and miss, although you can find good stuff on all of them if you hit the mood right. The problem for the band was that they were all on different drugs at the same time, so getting any type of co-ordinated recording seemed to be impossible for them.

Goodby Yellow Brick Road - Elton John. I gave this a re-listen to after recently watching Rocket Man - it really is a master craft piece of work and although he is more remembered as a pop star, this is a substantial load of music.

Atom Heart Mother, Meddle and Dark Side of the Moon - Pink Floyd. The last is by far the most popular mainly because it has the most plain talking lyrics. Meddle, which has the complete version of Echoes on one side and some pretty good tracks (Fearless) on the other. My favourite is Atom Heart Mother which was a hit in the UK, rather than the US and is apparently despised by some of the band members as being over the top and meaningless. For me, this is the reason why I like it - it kinda bridges the gap between their earlier, almost fey-like psychedelic music and the more serious arty, prog-rock - and is pure escapism. I lose interest in the later Pink Floyd stuff, post Dark Side of the Moon which all sounds a bit tired to me.

Tubular Bells - Mike Oldfield. The ultimate Prog Rock album, in my view. Changed the way albums were recorded by itemising all parts into seperate, layered recordings. Also the first album produced by Richard Branson's Virgin Records, incidentally. Made famous as the theme from The Exorcist, although from what I understand, the tune actually originates from the composer Bach, where his Toccata and Fugue are inverted to create the tune most noted.

Never Mind The Bollocks - The Sex Pistols. A lot of journos these days try to talk up The Clash or The Ramones as being more significant punk rock bands, but they really aren't. If you have a look at a lot of bands from the New York scene, then you can find a lot of similar anticedent bands to The Ramones (the kinda short, loud DIY sound). I'd probably cite the main influence back to The Stooges or even The Velvet Underground in some ways. If we look at The Clash, I actually think there best work was really post-punk fusions of reggae and other styles, but again their earlier punk songs were much of a muchness. The Sex Pistols, on the other hand were like aliens dropped out of the sky - almost like a parody of a rock band. They were more iconoclastic than the others - even if they only lasted around long enough to make one album before completely imploding. If I had to choose one other 'punk' album it would probably be The Slits' Cut.

New Boots and Panties - Ian Dury & The Blockheads. If The Sex Pistols provided the primal scream, it was Ian Dury that added wit and er…poetry to whatever the movement was. Not sure if it qualifies as punk or even post-punk (actually, is it just a weird type of jazz/funk?), although Plaistow Patricia is as offensive as it gets……although if you want to go one step further, try Pete And Dud's Ad Nauseam.

Unknown Pleasures - Joy Division.
Arguably the definitive post-punk rock album, although I see it more as the prototype gothic-punk album (it's almost a soundtrack for the WoD games). Somewhat immortalised in the 24 Hour Party People movie (must see).

Parallel Lines - Blondie. Very pop-y album, with an iconic front-woman and lots of catchy tunes. Interesting as much as anything in how it fused punk, disco and pop all together.

Exodus - Bob Marley & The Wailers. With it's Rastefarian/politicised roots, even though Bob Marley had been around for ages, this seemed to be the reggae album that was as culturally significant and musically influential as any on this list. Good for a summer backing track, too. Look at how it influenced The Clash, for example.

The Specials - The Specials. Also emerging from a fusion of Jamaican culture and punk sensibility (with a 'Two Tone' label signifying it's mixed race band set up), this ska album seems to go in and out of fashion every decade or so. I love it. One of the first albums that working class white blokes would ever dance to...

I'm sure there are plenty of others, but it's a few of my favourites!
 
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From Wikipedia:

In a retrospective review, AllMusic's Mark Deming hailed Fun House as "the ideal document of The Stooges at their raw, sweaty, howling peak", and wrote that it features better songs than their debut, significant improvement from each member, and Don Gallucci's energetic and immediate production. Dalton Ross of Entertainment Weekly wrote that the "radical" album sounded "primal, unpredictable, dangerous". Pitchfork critic Joe Tangari felt that the music's aggression has rarely been matched. He recommended it to "any rock fan with a sense of history" and asserted that, along with the Stooges' debut, Fun House is one of the most important predecessors to the punk rock movement. Barney Hoskyns called it a "proto-punk classic".

In 2003, Rolling Stone ranked Fun House number 191 on their list of the 500 greatest albums of all time. Melody Maker said that it is, "no contest, the greatest rock n' roll album of all time". Lenny Kaye, writing for eMusic, called it a "rock and roll classic" and "one of the most frontal, aggressive, and joyously manic records ever". In The Rolling Stone Album Guide (2004), Scott Seward claimed that, although saying so "risks hyperbole", Fun House is "one of the greatest rock & roll records of all time" and that, "as great as they were, the Stones never went so deep, the Beatles never sounded so alive, and anyone would have a hard time matching Iggy Pop's ferocity as a vocalist."
 
Jimi Hendrix - Band of Gypsies 1970

Why? Machine Gun.
 
Lots of excellent choices so far.

The 70s are such a rich decade because you get the flowering of psychedelic rock and folk into prog, hard rock, krautrock and several masterpieces in country, soul, funk and RnB early in the decade and then the explosion of revitalized punk, so-called post-punk, early electronica, reggae in the late 70s.

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Breaking away from Berry Gordy's grip Marvin recorded one of the most ambitious, thematically focused albums in soul/RnB up to this point and it still stands as a towering achievement and inspiration. The arrangements are funky but elegant and dense and Marvin's singing of course is heavenly. There's no filler at all it is one of those records you can always put on, listen all the way through with ease and discover something new everytime.

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Can, formerly a cult band, is a group whose reputation grows more and more every year even though their records are decades old. Probably the greatest of the many fine German psych/prog bands of the 70s who are often called Krautrock. I love pretty much every record by them from the late 60s to the mid-70s but Tago Mago is the one that is their most sustained, trippy, catchy, funky and hypnotic. Their not-so-secret weapon is the motorik drumming of Jaki Liebezeit, one of the all time greats who developed a style as important as Clyde Stubblefield did in James Brown's classic band.

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I remember being told Television wasn't punk rock because they had long guitar solos. That kind of bullshit is what killed punk rock. Ironically now most budding underground bands ape Televison's sound almost more than any other. Like any classic this stands up amazingly well to re-listens, beautiful long, interweaving guitar lines to get lost in, the strange yelping vocals and hypnotic pulse of the songs. They helped define the look and style of what became known as punk rock in England but live they also performed wonderous covers of Dylan and the Stones. They challenged punk orthodoxy before it had even begun.
 
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My personal favourite VU album as they emerge from art-rock murkiness into the light, via Lou Reed's songwriting sensibilities. Sweet Jane and Rock & Roll are both joyous, life-affirming feelgood anthems. And the rest is just gravy :happy:
 
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I'm just gonna mention The Cars' first album from '78. "Good Times Roll", "Best Friend's Girl", "Just What I Needed" are all great tracks. A few of the others are memorable as well. They are some kind of pop perfection.

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Also, how about CCR's "Cosmo's Factory" from '70? "Travellin' Band", "Lookin' Out My Back Door", "Run Through the Jungle", "Up Around the Bend", "Who'll Stop the Rain", "I Heard it Through the Grapevine", "Long As I Can See the Light"... That's a pretty well packed album of CCR goodness.
 
There is too much nostalgia porn in this thread. My teeth fell out. Put that glory away and know it will never return.
 
Riffing off what Voros Voros listed, I think What’s Going On is the best album of the 70s. James Jamerson was not getting a lot of work as a session player at the time, hard to believe considering he’s the greatest bass player ever. They apparently found him down at the bar having some drinks when they wanted to start tracking the album. He played the bass riff for the song “What’s Goin’ On” laying on his back.
 
There is too much nostalgia porn in this thread. My teeth fell out. Put that glory away and know it will never return.
On the other hand, someone might list a record I'm not familiar with and I could be inspired to check it out. :thumbsup:

Riffing off what Voros Voros listed, I think What’s Going On is the best album of the 70s. James Jamerson was not getting a lot of work as a session player at the time, hard to believe considering he’s the greatest bass player ever. They apparently found him down at the bar having some drinks when they wanted to start tracking the album. He played the bass riff for the song “What’s Goin’ On” laying on his back.
Fun fact: Sly & the Family Stone's 1971 album was titled There's a Riot Goin' On as a direct response to Marvin Gaye's earlier 1971 album.
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Also one of the greatest and funkiest albums of the 1970s.
 
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A case of too late, Live in a Japan showcases The Runaways at their peak, a band in sync with each other and rocking hard. Sadly, by the time it was released, the line up had changed and the wedges that led to the groups demise were working in.
Sandy West could drum has hard as any man in the day and is sadly overlooked.



Rob
 
There is too much nostalgia porn in this thread. My teeth fell out. Put that glory away and know it will never return.

I think there is lots of great music to follow in the 80s and 90s, just less so in the mainstream. Today there is still lots of great music being made, particularly in a revived RnB/soul scene but it has almost (almost) been eliminated from the mainstream due to a corporate deathgrip that the net has done surprisingly little to loosen.
 
Here's one from a band with luck almost as bad as that of Badfinger. Loads of great guitar songs, released by a label with no distribution due to Columbia controlling Stax. Catchy melodies, beautiful harmonies, great guitar work. No sales. No airplay. Probably as influential on future bands as the Velvet Underground. The hipsters will drop the name even if they've never heard the record.
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And now we swing to the other end of the hipster spectrum with George Benson's in-concert double-LP Weekend in L.A., which I got long ago at a thrift store and thoroughly enjoy. Apparently it's not "cool," though. It's a blend of jazz and pop with a little bit of funky wah-wah as well. He's also a hell of a singer for a guitar player.
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Nothing quite like 70’s Judas Priest. Heavy, heavy blues, progressive and rock. I loved their 80’s stuff, but I’m also sad that they abandoned their early sound when they went full metal.
 
Van Halen - Van Halen (1978)

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One of the greatest albums of the 70s and one of the greatest debut albums ever by any artist. Eddie Van Halen reinvented the six string for an entire generation of guitarists that followed. Diamond Dave took being a front man to a whole new level; without his charisma, Van Halen would never have reached the heights of popularity they enjoyed later on MTV. Great background vocals by Michael Anthony and Alex Van Halen laid down some great drumming that would be sampled years later. Includes the classic rock staples "Runnin' With The Devil", "Eruption/You Really Got Me", "Ain't Talkin' 'Bout Love", "Jamie's Cryin'" and "Ice Cream Man".
Were those photographs taken aboard the USS Enterprise during a catastrophic warp drive intermix failure?
 

I was hoping someone would post APP's Tales of Mystery and Imagination. One of my favorite concept albums. It has been called "the soundtrack without a movie". I would also add another APP album to the list, I Robot, a concept album based on Asimov's I, Robot.

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I may be a grognard but I'm not that old. During the 1970s I owned three albums:
  • Mike Batt's The Wombles
  • Fred Dagg's Greatest Hits
  • The Star Wars sound track.
Come to think of it, I haven't bought any albums since.

Bonus Fred Dagg Gumboot song (actually a cover of a very early Billy Connoly piece).



And John Clarke's website (with some other stuff he did as Fred Dagg and later acts).

 
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The Raspberries, at their best, managed to achieve Paul McCartney-level melodies and harmonies. Even at their worst they were like a Paul McCartney without that special dial of his that goes to 11 and makes him untouchable by most of his peers. The Side 3 album on vinyl was originally actually in a sleeve shaped like a basket of raspberries (I have it), but I think later pressings were square with just the artwork. These guys only made four albums, though the fourth has a different line-up of musicians after two of the original band members got fired or quit, thus the title Starting Over. I'm not into Eric Carmen as a solo artist, so I guess there was something special the other guys brought to the table that made the Raspberries different. Wikipedia has a decent overview: https://en.wikipedia.org/wiki/Raspberries_(band)
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There's a lot of what I call the forgotten bands from the 70s. Due to this British phenomenon where anything not related to the Beatles, punk or Paul Weller pretty.much gets ignored.

So bands like Slade get left out of the retrospectives. Though they were more a singles band than an albums one.

Another casualty of this is Thin Lizzy. With albums like Vagabonds of the Western World, Jailbreak and Black Rose they made absolute stone cold classics.
 
It is rather funny that many lament the 1970s as the death of music "because Disco". I think this thread shows that music still had some life left in it (as it has during the 80s, 90s, 2000s and even the present).


I'm just going to stick with the B section to prevent a list 12 pages long. :smile:


Black Sabbath: Black Sabbath, Paranoid, Master of Reality, and Blue Oyster Cult - Secret Treaties, with special mention for Agents of Fortune and Spectres due to very influential tracks, but as albums don't make the cut..

As far as I'm concerned these 4 albums (1970-71 and 74) really set the tone of what was to come in the new "heavy metal" genre. All still hold up with the best metal released since although they have little in common with the high volume distorted cookie monster vocals that later evolved.

These albums brought us Black Sabbath, The Wizard, War Pigs, Paranoid, Iron Man, Sweet Leaf, After Forever, Children of the Grave, Lord of this World, and Into the Void all still iconic metal tracks nearly 50 years after release. BOC Secret Treaties continued what Sabbath started with ME262, Harvester of Eyes, Flaming Telepaths, and Astronomy. One of BOC's best albums and definitely their best of the 1970s.

1975s Agent's of Fortune firmly established the cowbell as a rock / metal instrument with Don't Fear the Reaper (although not the first Mountain's Mississippi Queen in 1970 probably holds that honor) and Spectres brought us Godzilla honoring one of the great movie monsters with one of the greatest metal anthems of all time.


I will back up Trippy in that while Master of Reality is not as iconic as Paranoid, it is probably Sabbath's best album to just set on play and let it go.


Ok, sort of breaking my limit to "B" bands, Deep Purple's 1972 Machine Head album (Highway Star, Space Trucking, Smoke on the Water) and Rainbow's 1975's R-A-I-N-B-O-W album (Man on the Silver Mountain), really can't in good conscious be overlooked for their contributions. I'll sneak them in under B under the weak tie of them providing singers to Black Sabbath post Ozzy (Dio 1980-82, Ian Gillian 1983-84). :music:
 
When it comes to disco, although it was very singles oriented, there are a few albums that still stand out.

Melvin and the Blue Notes, also featuring Teddy Pendergrass who went on to record some fine solo records, produced what I consider the greatest disco record with Wake Up Everybody. The title track is a fine rebuttal to any claims of disco being strictly hedonistic and apolitical whereas ‘Please Don’t Leave me this Way’ became a huge hit for Thelma Houston but Harold Melvin’s soulful, pathos-driven original here easily tops it.

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Donna Summer and Giorgio Moroder’s masterpiece remains the 12” single of ‘I Feel Love’ but this album is close behind with an epic, full-side length version of ‘Love to Love You Baby’ that is funky, ecstatic, silly, sexy and borderline pornographic all at the same time.

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Bad Girls is pretty widely recognized as a great album. Disco and "rock" are not rivals or opponents in the marketplace anyway.
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Plus Donna Summer was smokin'...no pun intended.
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Disco and "rock" are not rivals or opponents in the marketplace anyway.

They shouldn't be but there is a not insubstantial number of people who seem to feel one can only listen to one genre of music and all others must be shunned. It was certainly that way when I was in school.

While a funny clip there is a lot of truth behind it.




Me personally I've got Hank Williams Jr, Judas Priest, Wild Cherry, Mozart, Static X and Tone-Loc all co-habitating on the same hard drive. No David Hasselhoff though, I have to draw the line somewhere. :devil:
 
It is rather funny that many lament the 1970s as the death of music "because Disco". I think this thread shows that music still had some life left in it (as it has during the 80s, 90s, 2000s and even the present).


I'm just going to stick with the B section to prevent a list 12 pages long. :smile:


Black Sabbath: Black Sabbath, Paranoid, Master of Reality, and Blue Oyster Cult - Secret Treaties, with special mention for Agents of Fortune and Spectres due to very influential tracks, but as albums don't make the cut..

As far as I'm concerned these 4 albums (1970-71 and 74) really set the tone of what was to come in the new "heavy metal" genre. All still hold up with the best metal released since although they have little in common with the high volume distorted cookie monster vocals that later evolved.

These albums brought us Black Sabbath, The Wizard, War Pigs, Paranoid, Iron Man, Sweet Leaf, After Forever, Children of the Grave, Lord of this World, and Into the Void all still iconic metal tracks nearly 50 years after release. BOC Secret Treaties continued what Sabbath started with ME262, Harvester of Eyes, Flaming Telepaths, and Astronomy. One of BOC's best albums and definitely their best of the 1970s.

1975s Agent's of Fortune firmly established the cowbell as a rock / metal instrument with Don't Fear the Reaper (although not the first Mountain's Mississippi Queen in 1970 probably holds that honor) and Spectres brought us Godzilla honoring one of the great movie monsters with one of the greatest metal anthems of all time.


I will back up Trippy in that while Master of Reality is not as iconic as Paranoid, it is probably Sabbath's best album to just set on play and let it go.


Ok, sort of breaking my limit to "B" bands, Deep Purple's 1972 Machine Head album (Highway Star, Space Trucking, Smoke on the Water) and Rainbow's 1975's R-A-I-N-B-O-W album (Man on the Silver Mountain), really can't in good conscious be overlooked for their contributions. I'll sneak them in under B under the weak tie of them providing singers to Black Sabbath post Ozzy (Dio 1980-82, Ian Gillian 1983-84). :music:
5 words.

Sabbath Bloody Sabbath, Rainbow Rising.
 
Most of Tom Waits' albums from the 1970s were really good, that's my favourite era for his work
 
Generally speaking, 70s style rock really isn't my cup of tea. For example, I'm not keen on classic acts such as Supertramp, Queen, Meatloaf, Black Sabbath, Deep Purple, Pink Floyd, Led Zeppelin, Alan Parsons Project, Slade, Thin Lizzy, that are well-liked by the general public, though often mainly for certain hit singles. My stance on prog is already known. These are just not types of music I enjoy listening to.

There's notable exceptions. AC/DC and Van Halen, and some other 'stadium rock', can definitely be fun, in the right place at the right time. And I like plenty of Bowie.

I tend to assume that most of what I like from the 70s is 'black' music; disco, funk, soul, ska, reggae, etc. However, I do like some of the 'white' stuff I've seen mentioned here, especially dating from the end of the decade. Also, you sometimes don't realise that some of what might be called proto-punk and proto-wave actually dates to the 70s or even earlier.

To pick a favourite album I'm probably not familiar enough with a significant number of full albums that came out. Joy Division's Unknown Pleasures is definitely a favourite of mine.
 
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While I like ska and rocksteady I tend to find reggae is often a little too slow and ponderous for my taste. One notable exception is the following album, which, as the name suggests, has a great groove...

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Gang of Four are usually considered post-punk due to the more experimental nature of their music, which draws in influences from multiple genres. Anyway, Entertainment! is still my favourite punk album :smile:

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