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#GreatAlbums1970s

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Great_Albums<p><a href="https://mstdn.social/tags/TheKinks" class="mention hashtag" rel="tag">#<span>TheKinks</span></a> – Everybody’s in Show-Biz (1972). The live gig on the second LP of this set is evidence of the Kinks running out of steam, but the first LP showcases Ray Davies’s potent wit and poignancy on “Maximum Consumption,” “Motorway” and the timeless “Celluloid Heroes.” Dave Davies takes a strong turn on “You Don’t Know My Name,” while elsewhere the LP serves another round of the boozy Americana explored on the previous year’s Muswell Hillbillies.<br /> <br /><a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a> <a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/TheKinks" class="mention hashtag" rel="tag">#<span>TheKinks</span></a> – Muswell Hillbillies (1971). After trimming British hedges on Village Green and Arthur (1968-69), Ray Davies turned his barbed shears on America. Country music was a natural bed for Ray’s wry lyrics as Bakersfield/ Nashville informed Dave Davies’s guitar on “20th Century Man” and “Muswell Hillbilly.” New Orleans dirge “Alcohol” and the Big Pinkish “Acute Schizophrenia Paranoia Blues” added a shot of psychosis to the Kinks’ Anglophilic Americana. <br /><a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a> <a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/JohnCale" class="mention hashtag" rel="tag">#<span>JohnCale</span></a> – Paris 1919 (1973). Cale’s most accessible LP landed midway between the streetwise poeticism of the Velvet Underground and the literary lyricism of Leonard Cohen – Cale’s voice being similarly limited yet evocative. Allusions to Shakespeare, Dylan Thomas, and Graham Greene feel lived in, never pretentious. Studio support from Little Feat’s Lowell George and Richie Hayward, plus Crusader Wilton Felder on bass, adds bluesy ambiance to Cale’s songs. </p><p><a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a> <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/DavidBowie" class="mention hashtag" rel="tag">#<span>DavidBowie</span></a> – Low (1977). The first LP of Bowie’s Berlin trilogy, marked by Brian Eno’s influence, defined a new era for Bowie – one that would ricochet into the 1980s. Side One’s angular pop carried on from previous LP Station to Station, conveying guttural energy on “Speed of Sound” and “Sound and Vision.” Side Two sounded more in Eno’s realm than Bowie’s, exploring ambient textures on “Warszawa” and “Weeping Wall” reflective of Berlin’s electronic zeitgeist. <a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a> <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/DavidBowie" class="mention hashtag" rel="tag">#<span>DavidBowie</span></a> – Station to Station (1976). Falling back to earth after his Ziggy phase, Bowie created the Thin White Duke as the persona behind this LP’s alienated stance. Combining Kraftwerk cool with an austere grimace, the Duke “throws darts in lovers’ eyes” on the title track, “runs for the shadows” on “Golden Years,” and clings to life on a cover of Nina Simone’s “Wild is the Wind.” A transitional LP that deepened the dark and paved the road to Berlin. </p><p><a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a> <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/DavidBowie" class="mention hashtag" rel="tag">#<span>DavidBowie</span></a> – Young Americans (1975). Bowie’s leap into R&amp;B and funk garnered mixed reviews and a shaky legacy while reinforcing his chameleon persona. Two big hits, “Young Americans” and “Fame” (with a John Lennon cameo) secured Bowie’s mainstream acceptance. A couple of unsung gems – “Win” and “Fascination” (written with a then-unknown Luther Vandross) – gave the LP substance. Much of Bowie’s future, from Station to Station to Let’s Dance, begins here.</p><p><a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a> <a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/DavidBowie" class="mention hashtag" rel="tag">#<span>DavidBowie</span></a> – Diamond Dogs (1974). On this underrated LP, Bowie adopts a stance somewhere between Ziggy-era rock (“Diamond Dogs,” “Rebel Rebel”) and the urban soul typical of his next phase (“Sweet Thing,” “Rock ‘N’ Roll with Me”). Mick Ronson’s absence is felt, although Bowie’s brittle guitar tone lends an eerie flair to “We Are the Dead.” Echoes of Curtis Mayfield inform the Orwellian funk of “1984,” while “Big Brother” anticipates Bowie’s Berlin period. <br /><a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a> <a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/DavidBowie" class="mention hashtag" rel="tag">#<span>DavidBowie</span></a> – Aladdin Sane (1973). The spectre of Ziggy Stardust looms on this LP as Bowie and the Spiders, augmented by pianist Mike Garson, explore celebrity decadence on “Cracked Actor” and “The Jean Genie,” and futurism on “Drive-In Saturday” – one of Bowie’s underrated gems. At the same time, Bowie spins new ethereal atmospheres on “Aladdin Sane” and “Lady Grinning Soul.” Only the overwrought cover of “Let’s Spend the Night Together” feels superfluous. <br /><a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a> <a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/DavidBowie" class="mention hashtag" rel="tag">#<span>DavidBowie</span></a> – The Rise and Fall of Ziggy Stardust &amp; the Spiders From Mars (1972). After years on the fringes of mainstream rock, Bowie finally connected with a mass audience – ironically, with a character beamed from outer space and doomed to oblivion. “Five Years,” “Starman,” and “Moonage Daydream” captured the darkness and decadence of the seventies zeitgeist, while “Hang On to Yourself” and “Suffragette City” pointed the way for the new wave generation. <br /><a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a> <a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/DavidBowie" class="mention hashtag" rel="tag">#<span>DavidBowie</span></a> – Hunky Dory (1971). “Turn and face the strange,” Bowie sings in “Changes.” It describes Bowie’s jump into anthemic pop while taking a quantum leap in music Hunky Dory came to represent. It’s hard to find any other set of songs as consistently spun as “Changes,” “Oh! You Pretty Things,” “Life on Mars” and “Quicksand.” The rest of the LP moves from the poetics of “Eight Line Poem” to the thorniness of “Queen Bitch” without a wasted syllable or note. <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a> <a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/DavidBowie" class="mention hashtag" rel="tag">#<span>DavidBowie</span></a> – The Man Who Sold the World (1970). Bowie’s run of great albums began with this heavy, apocalyptic LP featuring Hype, the band that would soon morph into the Spiders from Mars. Mick Ronson’s Les Paul comes down thick as tar on songs filled with Bowie’s musings about paranoia, madness, and Nietzschean supermen. “The Width of a Circle” is Bowie’s most prog moment on record, and the iconic title track set the stage for Hunky Dory and Ziggy Stardust.<br /><a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a> <a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/MellowCandle" class="mention hashtag" rel="tag">#<span>MellowCandle</span></a> - Swaddling Songs (1972). The only LP by this Irish folk-rock band should have grabbed more attention in &#39;72. Combining folk with progressive rock (much like Renaissance, or Heart circa Little Queen), Mellow Candle trundle down knotty paths on &quot;Heaven Heath&quot; and &quot;Silversong&quot; before rocking harder on &quot;Dan the Wing&quot; and &quot;Lonely Man.&quot; Dual singers Clodagh Simonds and Alison Bools create haunting harmonies over a bed of Fairport and Tull-like guitars.<br /><a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a> <a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GrahamParker" class="mention hashtag" rel="tag">#<span>GrahamParker</span></a> &amp; the Rumour – Squeezing Out Sparks (1979). Although Elvis Costello gets more retrospective acclaim, Graham Parker was as brash and compelling a figure in the late 70s as English pub rock adopted the brash energy of punk. Parker’s fourth album crackled with energy on tunes like “Discovering Japan,” “Passion Is No Ordinary Word” and “Protection.” Former members of Brinsley Schwarz and Ducks Deluxe made the Rumour a powerhouse in its own right. <br /><a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a> <a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/MickRonson" class="mention hashtag" rel="tag">#<span>MickRonson</span></a> – Slaughter on 10th Avenue (1974). Best known for nimble guitar work behind David Bowie and Ian Hunter, Mick Ronson shows a more eclectic side on his debut solo LP. A competent singer with an emotive edge more cabaret than rock and roll, Ronson brings a dramatic flair to covers of “Love Me Tender” and the Richard Rodgers showtune/ title track. “Only After Dark” is the set’s one knees-up rocker – a forerunner to the new wave Ronson helped inspire. <br /><a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a> <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/MottTheHoople" class="mention hashtag" rel="tag">#<span>MottTheHoople</span></a> – Brain Capers (1971). Those who know Mott from the later hits “All the Young Dudes” and “All the Way from Memphis” will be shocked at how heavy Brain Capers is. After three failed LPs on Island, Mott thought they were doomed so decided to crank the amps and go for broke. The result, on rabid rockers like “Death May Be Your Santa Claus” and “The Journey” sounds like a musical exorcism – heavier than most 70s metal and a forerunner of punk rock.<br /><a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a> <a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/IanHunter" class="mention hashtag" rel="tag">#<span>IanHunter</span></a> – Ian Hunter (1975). Former Mott the Hoople singer Ian Hunter sounds re-energized on this ripping set conceived with guitarist and coproducer Mick Ronson. “Once Bitten, Twice Shy” is a merciless satire on the rock lifestyle, while “Who Do You Love” and “The Truth, The Whole Truth” punish speaker cones with Ronson’s insistent riffs. The plaintive “Boy” and sublime “It Ain’t Easy When You Fall” affirm Hunter’s prowess among rock’s true poet-bards. <br /><a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a> <a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/MottTheHoople" class="mention hashtag" rel="tag">#<span>MottTheHoople</span></a> – All the Young Dudes (1972). The decadence of the seventies distilled into vinyl, Mott’s woozy and boozy fifth LP broke the commercial stagnation that nearly scuppered the group before David Bowie offered to produce them. The Bowie-penned title track became a glitter anthem, while the rest of the LP thrives on the Stonesy glimmer of “Jerkin’ Crocus” and “One of the Boys.” Ian Hunter’s effortless swagger made him one of the era’s great front men. <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a> <a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/DavidAckles" class="mention hashtag" rel="tag">#<span>DavidAckles</span></a> – American Gothic (1972). Ackles made four LPs for Elektra / Columbia before stepping into obscurity – despite accolades from Elton John and Elvis Costello. This Bernie Taupin-produced third LP epitomizes Ackles’ lyrical Tin Pan Alley style, a little like Randy Newman without the funny bits. The strident “Ballad of the Ship of State” contrasts the plaintive “Love’s Enough” and heartrending “Waiting for the Moving Van” on this lost gem of an LP.<br /><a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a> <a href="https://mstdn.social/tags/GreatFolkAlbums" class="mention hashtag" rel="tag">#<span>GreatFolkAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/Blue%C3%96ysterCult" class="mention hashtag" rel="tag">#<span>BlueÖysterCult</span></a> – Agents of Fortune (1976). After a pause, BÖC made this more accessible LP without losing the subtext of batshitness that endeared them to fans. “The Revenge of Vera Gemini” (Patti Smith turns up yet again) and “Tattoo Vampire” add a touch of gothic intensity to BÖC’s ever-shifting sound. Meanwhile, their best stab at a hit (you know the one) can still send chills up the spine if you dig below the pop sheen and forget that effing SNL skit.  </p><p><a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a> <a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/Blue%C3%96ysterCult" class="mention hashtag" rel="tag">#<span>BlueÖysterCult</span></a> – Secret Treaties (1974). BÖC turn proggier on their third (arguably best) LP without compromising their scraggy edge. “Career of Evil” (words by Patti Smith) is as lyrically nasty as anything BÖC ever recorded, while the sci-fi nightmares of “Harvester of Eyes” and the closing diptych, “Flaming Telepaths” and “Astronomy,” feel like cinematic epics waiting to be filmed. Too cerebral for the masses, perhaps, but the heavy metal kids got it.</p><p><a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a> <a href="https://mstdn.social/tags/GreatAlbums1970s" class="mention hashtag" rel="tag">#<span>GreatAlbums1970s</span></a></p>