The underground began to bubble up, so there were different choices and new contenders for the charts and the airwaves, as well as more esoteric noises for the ears and minds and hearts of music connoisseurs. The characters complain about terrible music on AM radio, argue about poor background-music choices at the office, make fun of artists that teetered on the edge of bombast and some who shamelessly walked straight into it, sat down, and had a cup of coffee , and bubble effusively about music they love.
To help further set the tone, Vulture has put together an extended Vinyl soundtrack of some of the music that was in the background of that world in , whether on the air or on the turntable. The Dolls were sonically proto rock and roll, with brutal lyrics about teenage angst, not fitting in, subway trains, bad girls, and Frankensteins. Lou Reed: Transformer. Produced by David Bowie who was still at that time considered to be a world-class weirdo and Mick Ronson better known at that time as the guy the aforementioned weirdo would mimic giving head to onstage , Transformer is probably the ne plus ultra of this particular time period.
David Bowie: Aladdin Sane. The Stooges: Raw Power. Raw Power is absolutely, utterly truth in advertising. Iggy made the album with a revived, slightly altered version of the original Stooges.
Bowie would end up producing it when Iggy proved unable to himself. Mott the Hoople: Mott. Mott the Hoople had a reputation as a tremendous live act, but that did not translate to commercial success. After their fourth album fell flat, the band was on the verge of breaking up. It is, however, a terrible record as the follow-up to one of the best albums ever made, Exile on Main Street.
Where Exile had tremendous depth and took real chances, Goats Head Soup falls flat. Elton had had chart success before Goodbye Yellow Brick Road , but the hits just kept on coming on this double-album extravaganza. Stevie Wonder: Innervisions. Innervisions was a record that seemed to be everywhere in the summer of The Who: Quadrophenia. As a rock opera, Quadrophenia was overly ambitious. But the music is vivid and transcendent. The Who never sounded more like themselves than they do right here.
Pink Floyd: Dark Side of the Moon. Pink Floyd were prog rock, dense and inaccessible to the average music consumer. All of this was wrapped in an utterly pristine sonic landscape, which even the most stalwart rock fan had to and did appreciate. This record, the soundtrack to a film starring a yet-unknown Jimmy Cliff, was the gateway to reggae for a great many American music fans. Chicago: VI. Al Green: Call Me. Call Me is one of the greatest soul records of all time.
Produced by legendary Memphis mastermind Willie Mitchell, there are insufficient superlatives to describe the extent of the musicianship the Memphis Strings and the Memphis Horns are both here , the brilliance of the production, and the quality of the songwriting. Call Me is also one of the greatest make-out records of all time, and by the time you get to the end of it, you will perfectly understand why Green would feel guilty enough to renounce his career and return to the church.
Led Zeppelin: Houses of the Holy. Houses of the Holy was a sonic turning point for Zeppelin, moving away from their blues influences and the straight-ahead rock-and-roll approach that characterized their first four albums. Alice Cooper: Billion Dollar Babies. Not everybody single-handedly invents a genre of music, the way Alice Cooper real name: Vincent Furnier did. Furnier created the persona of Alice by mixing Bette Davis, Barbarella, and Emma Peel, along with too much makeup and an overall noir-ish vibe. Stage props included a guillotine, spider webs, and mutilated baby dolls.
The songs are backed by a tight band, playing satisfying, straight-ahead rock-and-roll riffs. Steve Miller Band: The Joker. With The Joker , Miller abandoned any previous formats he may have embraced, and instead began his targeted foray into pop music and million-dollar stardom.
Jesus Christ Superstar: Original Soundtrack. Go for the stage recording over the movie, any day of the week. Roxy Music: For Your Pleasure. The songs borrow liberally from dozens of different rock-and-roll conventions, but Roxy gave them their own space and texture. They had big, complex ideas, but they liked loud, heavy sounds to go along with it. Tyranny and Mutation was their second album, a concept piece with two disparate sides — side one is superior, with a strong progression of songs that fit together.
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