15 timeless rock classics that shaped the sound of the 1970s revolution

To start, we had Chuck Berry, his electric guitar, and a style that liberated pop music from the stiffness prevalent prior to World War II, the atomic age, and the awareness that a single twitch of a trigger could spark catastrophe.

Rock and roll, in its essence, mirrored the spirit of youth as it coexisted with an undercurrent of existential anxiety. It served as a liberating force that dared to question the established norms, much like surrealism revolutionized theater and visual arts post-World War I. Essentially, rock and roll became a bold statement against the traditional order.

As time passes, revolutionary artistic movements inevitably evolve, much like people do. In the 1970s, a new generation of rock enthusiasts emerged to become the primary audience. What set these young fans apart from their predecessors, who had matured in an era predating rock, was that they were immersed exclusively in rock and roll since birth. Contrary to the earlier fans, this wasn’t about protest or rebellion; it had simply become part of the cultural mainstream.

15 rock songs that helped shape the 1970s sound

How did rock and roll respond to its own aging?

Over time, evolution set in. Decades ago, music that was once invigorating started to lose its charm. It got commercialized by advertising agencies, moving from challenging the upper class to becoming part of it. However, this wasn’t the end of the story. New forces arose, transforming rock and roll into various forms. Whether these changes were beneficial or not is open for discussion.

To kick things off, let’s delve into a collection of fifteen songs at the heart of our discussion. Since we’ve previously delved into several rock-related genres in smaller chats, today we’re focusing squarely on good old classic Rock (capital R). The current decade is ripe with discoveries yet to be made.

“Eighteen” by Alice Cooper (1970)

Young fans were grooving to The Jacksons, a group we discussed in relation to ’70s pop music. Meanwhile, some disgruntled older siblings could be found swimming at the opposite end of the pool. A dark, mysterious sound emanated from the southwest desert, originating from both the band and its lead singer, known as Alice Cooper.

He presented a nihilistic style of hard rock, which was somewhat uncomfortable as it straddled the glam music dominance at the start of the decade and the punk revolution that would occur in the second half. The discontent of violent suburban life was already present before the ’90s grunge and pop-punk bands rekindled it.

“Lola” by the Kinks (1970)

In simpler terms, the concept of openly singing about gender identity was indeed controversial when Ray Davies sung “Girls will be boys and boys will be girls – it’s a confusing, jumbled, chaotic world – except for Lola.

However, it didn’t result in any country fully condemning all political adversaries or discarding long-standing traditions. Instead, it could be seen as a remnant of the ’60s spirit of “let live,” suggesting a more relaxed and tolerant era that people seemed to embrace back then.

“In the Street” by Big Star (1972)

Compared to other songs on this list, “In the Street” by Big Star may not have been as popular in the 1970s as some others. This could question its significance in shaping the decade. However, I’m arguing that it deserves its place because 1) The band’s jangly, harmonious power pop style was prevalent on the radio throughout the entire decade.

Next, Bonnie and Terry Turner selected a theme song for their nostalgic sitcom That ’70s Show. This was the song they opted for. They might have used some cover versions, but it has since gained a stronger connection to the ’70s than many other hit songs on this list, largely due to its association with that decade.

“Money” by Pink Floyd (1973)

Just like Deep Purple revolutionized heavy metal by popularizing “Smoke on the Water,” Pink Floyd played a crucial role in establishing progressive rock as a widely accepted genre. Although numerous groups were already excelling at more complex song arrangements and instrumental innovation, it was Pink Floyd’s contributions that truly legitimized the genre for many listeners.

Until “Dark Side of the Moon” established a lasting presence on the album charts, it primarily catered to a small audience. However, the timing proved perfect – with album-focused FM radio stations emerging as the dominant cultural gauge, it paved the way for a song containing the term “bullshit” to gain popularity and become somewhat of a hit.

Not only was it advantageous that Roger Waters composed an exceptional tune on contemporary avarice, but David Gilmour showcased his guitar skills, and Dick Parry, our guest saxophonist, added depth. Alan Parsons handled the entire production process. Upon listening to those cash register sounds, your perception of what a pop song is capable of will be fundamentally changed forever.

“Killer Queen” by Queen (1974)

Bohemian Rhapsody” is missing from this collection. Alongside “Stairway to Heaven,” it’s arguably one of the most iconic rock songs from the past decade. I won’t include it here because, after its resurgence as a cultural touchstone in the original Wayne’s World and the subsequent Freddie Mercury biopic bearing the same name, it seems to have been discussed extensively.

Although “Bohemian Rhapsody” may be known for its grandiosity and significant cultural impact, I personally believe the previous track, “Killer Queen,” offers a truer representation of Queen’s glam style – it’s more of a pure essence.

While “Bohemian Rhapsody” is celebrated for its extravagant flair and cultural importance, I find that the song “Killer Queen,” which came before it, better encapsulates Queen’s glam vibe – it’s a more authentic representation.

As a gaming enthusiast, I’d say the last level turned into an exaggerated version of its own self. “Killer Queen” was the tune that marked their first triumph in the USA, and it brought a refined glam vibe to the table, surpassing the shock value of Cooper or the lighthearted fun of Sweet.

“You’re No Good” by Linda Ronstadt (1974)

It was no secret that Linda Ronstadt had an exceptional singing talent. She’d been showcasing it impressively since 1967, when her youthful vocals took “Different Drum” by the Stone Poneys to a surprising climb into the top 20 charts. Over time, she refined her skills, becoming a skilled singer of soft, country-tinged folk songs. However, it was the release of “Heart Like a Wheel“, which came at the end of 1974, that truly marked a significant turning point in her career.

The powerful rendition of Clint Ballard Jr.’s classic song breathed new life into a sound that had been absent since Janis Joplin’s passing. This singer was able to captivate audiences with a power ballad and achieve massive success, although her music was often overlooked by the influential figures in rock & roll. Cher, for instance, had already accomplished this feat, but her songs did not always receive the respect they deserved from the rock & roll establishment.

“Sweet Home Alabama” by Lynyrd Skynyrd (1974)

In my gaming world, it feels like country rock’s influence is undervalued here. It’s not because it didn’t make a mark – far from it! The Allman Brothers were as tight and grooving as any jam band out there. Molly Hatchet and The Outlaws delivered some serious guitar tunes that had fans flocking. And Lynyrd Skynyrd, man, they were on the brink of becoming the crossover sensation we all knew they could be.

“Sweet Home Alabama” was a song that climbed to the top ten on the pop chart in the mid-’70s, proudly showcasing a heritage that wasn’t particularly stylish at the time. The following year, “Freebird” seemed everywhere, but I must confess, I’m not a fan of it. It became the equivalent of “Bohemian Rhapsody” in country rock, bordering on a parody. “Sweet Home Alabama” stands out as the authentic piece.

“Rock and Roll All Nite” to Kiss (1975)

At the opposite extreme, a band that blended the dramatic flair of early-decade glam with intense hard rock was crafting a unique brand of anthems. Often written off as a novelty act, it’s clear that Kiss enjoyed widespread popularity and significantly impacted the evolution of rock music in the latter half of the ’70s.

Gene Simmons, a bassist, and Paul Stanley jointly composed and initially performed “Rock and Roll All Nite.” The song gained traction on its release from the album Dressed to Kill, but it truly soared with Alive!, their live album that came out towards the end of ’75.

Back then, before MTV, there were other factors that drew fans in besides just the dramatic elements. They appreciated the band’s face paint, but what truly captivated them was their music.

“Fame” by David Bowie (1975)

If Kiss moved glam towards harder rock and inspired others to venture into punk and disco, David Bowie, always innovative, forged his unique path instead. It’s challenging to categorize Bowie during the decade because of his diverse persona; he didn’t have a defining song that encapsulates him.

Throughout Ziggy Stardust’s beginnings to the Thin White Duke’s end, Bowie was consistently transforming himself. His hit “Fame” emerged from his deep dive into American R&B, as he moved to the U.S. and dived headfirst into R&B and funk. The “Young Americans” album produced two chart-toppers for him.

His hit single “Fame,” a collaboration with John Lennon and Carlos Alomar, marked his first and only number one in the U.S., surpassing the success of his early career song “Space Oddity.” Remarkably, this achievement coincided with the rise of Disco music.

“Born to Run” by Bruce Springsteen (1975)

As it turns out, the “next Dylan” didn’t emerge as another songwriter from Greenwich Village strumming an acoustic guitar and crooning gravelly tunes – a development that, in retrospect, seems quite obvious. Instead, we should have foreseen that Dylan wouldn’t be the “next Woody Guthrie.” Rather, he was the pioneering Bob Dylan himself.

1. In 1970, Springsteen blended the sought-after skills of singer-songwriters with his unique style of working-class, heartland rock and roll, thereby inventing a fresh form of American rock music that drew global attention. Remarkably, he accomplished this feat under the spotlight of worldwide scrutiny, solidifying his status as a musical trailblazer. Essentially, Bruce was anointed as the pioneer in this genre.

2. Springsteen combined the desirable songwriting abilities every record label craved in 1970 with his own brand of working-man rock and roll from the heartland, thereby establishing a new type of American rock music. The astounding part is that he did so while under the glare of international spectatorship, cementing his place as a groundbreaking artist. In essence, Bruce was the chosen one to lead this musical evolution.

3. By merging the coveted songwriting skills every label yearned for in 1970 with his authentic working-class rock and roll sound from the heartland, Springsteen forged a new genre of American music that captivated audiences worldwide. The remarkable aspect is that he did this while under the scrutiny of global eyes, solidifying himself as an influential artist. In summary, Bruce was the selected innovator in this musical movement.

4. In 1970, Springsteen melded the sought-after songwriting talents every label coveted with his own style of working-class rock and roll from the heartland, thereby creating a fresh form of American music that resonated globally. The fascinating part is that he did this under the watchful eye of the world, positioning himself as a leading figure in musical innovation. Essentially, Bruce was chosen to spearhead this musical revolution.

5. In 1970, Springsteen fused the desired songwriting abilities every label sought with his unique working-class rock and roll sound from the heartland, thereby crafting a new genre of American music that captivated audiences worldwide. The striking aspect is that he did this under the gaze of the international spotlight, establishing himself as a groundbreaking artist. In essence, Bruce was chosen to lead this musical transformation.

Back in 1975, I was thrilled when Time Magazine graced Bruce Springsteen with their cover, bestowing upon him a title worthy of his talent. Thankfully, “Born to Run” and the record sharing its name didn’t disappoint; they lived up to the hype and solidified his status as a musical icon.

“More Than a Feeling” by Boston (1976)

I need to be cautious with what I say because I don’t have a fondness for Boston. Frankly, even when all my friends were getting excited about Tom Scholz’s precise, polished rock and roll, I couldn’t connect with it. To me, that was the point where rock music started to prioritize perfection over passion.

However, it’s true that for numerous young enthusiasts in the ’70s, this was indeed rock and roll. The influence it had on the emerging arena rock genre, which stood as a counterpoint to disco, was immense: grudging respect, Boston. It wasn’t really my preference, but you were undeniably significant.

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

From a passionate music enthusiast’s perspective, it’s important to clarify that “Bohemian Rhapsody” by Queen was not the sole embodiment of grandiose rock operas. Instead, Meat Loaf, in collaboration with Jim Steinman, crafted an extraordinary narrative of teenage passion, leaving listeners in awe of its audacious ambition and unparalleled storytelling.

As a devoted fan, I’d rephrase it like this: “I was captivated by an extraordinary production that blended elements from the swinging ’60s, contemporary arena rock, and even a baseball game! Producer Todd Rundgren brought together Ellen Foley, members of the E Street Band, and the legendary voice of the Yankees, Phil Rizzuto, to craft an eight-and-a-half minute teenage soap opera that stands unmatched in its brilliance.

“American Girl” by Tom Petty and the Heartbreakers (1977)

Initially released from their debut album, Tom Petty’s first single came out in ’77 but hardly made a splash. However, as his later albums gained popularity, listeners rediscovered that initial track with fresh perspectives.

By the end of the decade, he had landed among the top-ten hit songs, yet it was his iconic track, “American Girl,” that ultimately became synonymous with his name.

In a fresh take on American music, Tom Petty, hailing from Florida, didn’t fit into the country rock mold like Lynyrd Skynyrd did. Instead, his style was often labeled Southern Rock or Heartland Rock. Regardless of the term used, Tom Petty, alongside Bruce Springsteen, served as stalwarts in preserving the essence of traditional rock and roll against the backdrop of disco drum machines, new wave synthesizers, and the grandiosity of arena rock.

“Psycho Killer” by the Talking Heads (1977)

New wave music isn’t necessarily problematic, particularly when David Byrne is at his best. The track “Psycho Killer” from their debut album seems as though it should include synthesizers, but if Jerry Harrison isn’t secretly adding some, I believe it doesn’t.

The Talking Heads led the charge in a fresh, temporary replacement for disco, challenging the longstanding dominance of classic rock and roll. Known as New Wave, this genre combined dance rhythms with complex compositions that reimagined blues and funk using innovative musical instruments.

Although “Psycho Killer” didn’t rank high among American hits, it surprisingly became popular in the Netherlands, possibly as a tribute to influential German bands like Kraftwerk and Neu!.

“Radio Radio” by Elvis Costello (1978)

As a music enthusiast, I can’t help but marvel at the sheer powerhouse that was Elvis Costello in the late ‘70s, a new artist who stood out among the crowd. Hailing from the same singer/songwriter tradition as Dylan, he possessed an unique blend of punk and new wave sounds that was truly captivating. Little did we know then, but this was just the tip of the iceberg when it came to his musical aspirations. His debut album was a treasure trove of dynamic tracks, each one a testament to his boundless creativity.

By the time of his second album, “This Year’s Model,” he had gathered his band known as the Attractions. The song “Radio Radio” served as a harsh critique of the shallow music industry and a society that was arguably too complacent to appreciate better art.

In any situation, it would have been spectacular, but when Costello played it on SNL towards the end of 1977, it became a timeless moment in live television history. Costello was initially slated to play a well-known song, “Less Than Zero,” from his debut album. However, after a few opening chords, he halted The Attractions and unexpectedly performed a new, unheard-of tune, which displeased SNL producer Lorne Michaels.

In “Radio Radio,” Elvis expresses a sentiment where he longs to assert his independence from those who support him, saying, “I yearn to bite the hand that nourishes me – I desire to bite it so deeply – I wish to make them regret ever having discovered me.

Consequently, even though I’ve grown a bit older and have encountered a little extra weight around the middle, rock and roll continues to thrive.

2025-05-30 13:01