Music In The 70s History – It was the decade after the Beatles—the years of soul and rock and disco and punk. The 1970s was a time that really embraced the ’60s counterculture revolution, a time when artists were protesting against the war, social injustice, and the rapid movement of the American Dream. Some of the biggest names in modern music reached their peak in the ’70s. Here’s what’s going on behind the scenes.
Elvis Presley and Sammy Davis, Jr. backstage in Elvis’ dressing room, opening night at the Showroom International Hotel on August 10, 1970 in Las Vegas, Nevada.
Music In The 70s History
David Blue, Lainie Kazan, Bob Dylan, Robert De Niro, Sally Kirkland, Ronee Blakley, and Martine Getty backstage at the Roxy for a Ronee Blakley concert on August 18, 1976 in Los Angeles, California.
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Cher, Elton John, and Diana Ross pose together in the background at the first Rock Music Awards in Los Angeles in 1975.
Elton John relaxes backstage at Doug Weston’s Troubadour on August 25, 1970 in Los Angeles (now West Hollywood), California.
Aston ‘Family Man’ Barrett and Bob Marley of The Wailers play guitar and keyboard backstage at the Odeon, Birmingham, England, 18 July 1975.
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Led Zeppelin’s bassist, John Paul Jones, singer, Robert Plant, and guitarist, Jimmy Page, walk backstage at the Forum in Los Angeles in 1977.
Aerosmith’s Tom Hamilton and Joe Perry warm up backstage at Madison Square Garden before a concert in 1976.
Ava Cherry hangs backstage at the Faces concert in New York in 1975. The singer was close to David Bowie at the time.
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Joni Mitchell, Mimi Farina, and Herbie Hancock enjoy a moment back at the Berkeley Jazz Festival, held at the Greek Theater in May 1979 in Berkeley, California.
Joan Jett of The Runaways backstage at the Whiskey a Go Go in Los Angeles, California in 1977.
Peter Frampton walks backstage at Madison Square Garden after a performance in 1979. The singer was joined by his girlfriend, Barbara Gold, and his parents.
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Elton John talks to music journalist Lisa Robinson after a concert on the Rolling Stones’ Tour of the Americas in 1975.
Matt Miller is a Brooklyn-based culture/lifestyle writer and music critic whose work has appeared in Forbes, The Denver Post, and publications.
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Foo Fighters Organize The First Album Since Hawkins’ Death Start Your Proud Play With These 25 Songs Finally, Rae Sremmurd Brings Back 41 Gifts Any Music Lover Will Look At The Decade When Old Rock Came Into Its Own, Below Is The Top 200 ‘List. Songs of the 70s cover the gamut of rock bands.
Others are on their way out. But former members of The Beatles and Simon & Garfunkel started making rock singles over the centuries. The Rolling Stones stalwart, however, proved that they are not going anywhere – fighting addiction just to be seen right in the center of the disco zeitgeist.
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Bands such as Led Zeppelin, Pink Floyd and Santana – all of whom broke out in the late 60s – can be found building the status of the decade’s enduring legends. But it’s not all known numbers from the early days of classic rock, either.
The next generation of luminaries such as Aerosmith, Kiss, Steely Dan and Tom Petty expanded the music’s reach in different ways. Lynyrd Skynyrd and the Allman Brothers Band created a new South, even as the Eagles and Fleetwood Mac came to represent the West Coast’s promise — and its dangers. Then a new exciting edge entered the music towards the end of the decade, typified by the likes of the Clash, the Police, the Ramones and the Sex Pistols. But which of his songs made the list? Find out below as we present the top 200 songs of the ’70s in alphabetical order. No decade was dominated by one genre of popular music, but the 1970s may have been more colorful than most. What did the ’70s sound like? Is it… the rock of the people? (Harvest Neil Young turned 50 years ago.) Progressive Rock? (Nadir Prog, Yes
, was released in 1973 and quickly collapsed under its own weight.) What about disco? Punk? Post-punk? A new wave? Reggae? Rap? Yes, yes, yes, yes, and yes. And what do we do with Meatloaf’s Bat Out of Hell, one of the ten best-selling albums of the decade? Is bombast a genre?
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But if you draw within a decade and pull out a single album of ’70s pop, out comes Blondie—and it looks, really, like the band’s eight-disc box set.
, which is nominated for Best Historical Album at the Grammys this week. As scholar and musician Kembrew McLeod has written, Blondie was a mediator between New York City’s experimental music scene and the art scene and the wider audience. But more importantly, I would argue, the group is also the conduit and the popularity of various types of rock and pop.
A simple but not preachy way of saying that Blondie was a musical sponge rather than a producer. One of the most amazing things about David Bowie’s work is the way his antenna adapts to new things in music: Sometimes, he seems to arrive at this place before it happens – be it Krautrock, disco, ambient, or “plastic soul” – and leave. before the party broke up. Blondie, on the other hand, was more active than initiated, reflecting rather than directing the music they were immersed in.
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And they delved into some of the most important songs of the 1970s. A song from their first studio album, for example, was called “The Disco Song”. Although it is not clear from the Afropop-inflected demo that the band still knows what disco sounds like, they must have thought of it during the release of our song, like “Heart of Glass” in the 1978 album.
. When the group is established, the stone advances to support life; “Fade Away and Radiate” (also from
) features guitar work from prog god Robert Fripp and stands as a love elegy. Excited and inspired by the changing direction of pop music from the Bronx, they recorded the well-intentioned if cringey “Rapture,” which became the first, well, let’s not call it a “rap song,” but the song has something like this. so that. rapping, to the top of the US charts, in 1981. In the same year, they went to No. 1 on both sides of the Atlantic with their cover of the rocksteady (post-ska, pre-reggae) song “The Tide Is. High”. In their career, and during the 70s, they were a kind of cameras.
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Often times when they’re locked in other people’s money, though, Blondie always manages to sound like no one else. Mostly, it’s thanks to Debbie Harry’s varied—sometimes ethereal, sometimes husky—voice. Opening three songs of
Provides a great subject matter. The album starts with a different sound (for some English reason). “Hanging Up on the Phone” has its place in the venerable pop catalog of songs about dating on the phone dating back to at least Glenn Miller’s “Pennsylvania 6-5000,” from 1940, and is expanding, along with The Beatles’ “Any Time at All. ,” Carly . Rae Jepsen’s “Call Me Maybe,” Drake’s “Hotline Bling” and more. (Blondie later gave the genre another classic: their 1980 film theme song.
In “Hanging on the Phone”, Harry is not a young man in love waiting with the receiver, and he does not ask for a call from his lover, as Aretha Franklin is inside.
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The song is called “Call Me.” Instead, he aggressively uses the phone as a way to connect erotically in a way that, given the agreement of women at the time, was only for men. The song was first recorded by the all-male LA pop trio Nerves, and a disapproving Harry takes on the man’s role: “I have to interrupt and end this conversation / Your voice on the line gives me a strange feeling.” A few years later, Cyndi Lauper will prove that girls just want to have fun; Harry’s character here is behind more than that. “I want to say when I’m going to show my love,” he said, before screaming, “Oh, I can’t help it.”
The next track, “One Way or the Other,” continues this pattern: Harry goes from sad to cruel to threatening as he insists there is no way to escape his love. The song, if not covered, is right, so it’s right to be called—and, if anything, the most terrifying—on the Police-chart-topping “Every Breath You Take.” Harry’s sex agency is subtly presented in the next song, “This Picture,” a love song for his friend and former partner, Chris Stein. This gives a picture of the satisfaction of the family every day, with the same sexual desire of its parts. Harry toys with a familiar trope, effectively updating EM Forster’s famous title: “What I want is a room with a view / A view.
