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Rock Evolution – The History of Rock & Roll - 1985 - (page 203)
- Thread starter RobMCFC
- Start date
On that note I would like to put put in a word of appreciation of Hank Marvin.In their day just as groundbreaking and influential as those that came after mate.
He first came to public attention when Cliff had his first hit with Move It, backed by the shadows. Hank’s connection to Cliff did him no good amongst the rock loving public but the professionals were a different matter. It’s hard to find a British blues rock guitarist of the sixties and beyond who doesn’t quote Hank as an important influence. Jeff Beck used to have a section in his gigs devoted to Hank and Marc Knoffler said the reason he played a red guitar was because Hank did!
Marvin was a fine player and the first British guitarist to play a Strat.
He was very innovative; the damping technique on Wonderful Land is ground breaking and if you don’t like Apache, oh dear. The Shadows survived the Beatles era and Hank is still going aged 80 odd.
Last edited:
OB1
Well-Known Member
Oh, '73 was a jamboree
We were the dudes and the dudes were we (oh oh oh oh oh)
Did you see the suits and the platform boots? ((oh dear, oh gawd, oh my, oh my, oh my)
Mott the Hoople
Saturday Gigs
1973, what a scene. Watergate on every screen.
Three-day week, power cuts. Heath and Wilson trading jabs.
Yom Kippur. OPEC rise. Price of oil hits the skies.
Stockholm Syndrome, IRA. Skylab launched up far away.
V.A.T., E.E.C. Who took Zep’s money?
Newman, Redford in The Sting. Roger Moore’s first Bond begins.
Ali, Norton, brutal scene. Bobby Charlton has-been.
Likely Lads return to cheer, Bob and Terry persevere.
Sears Tower, Chicago. Greek coup, Papadopoulos is through.
I can’t drive 55. John Paul Getty still alive.
Billy Joel, Piano Man. Still no peace in Vietnam.
Baileys. Tequilla Sunrise. Red Rum wins the prize.
Watergate’s a growing stain, Nixon’s crew takes the blame.
Roe v. Wade splits the nation, Supreme Court’s declaration.
Smoke on the Water rings, Deep Purple’s riff still stings.
Last of Summer Wine, start of a show that lasts a long time.
Pinochet grabs Chile’s reins, Allende’s gone in coup’s dark chains.
Kojak’s bald and sucking sweets, streets of NY feel his beats.
Wounded Knee’s a standoff cry, Sioux reclaim their history’s why.
Secretariat runs so fast, Triple Crown in one big blast.
Wombles tidy Wimbledon, kids adore their eco hymn.
Sydney Opera’s grand unveil, sails of white in a harbour’s tale.
Cruyff to Barça paves the way for City’s total football play.
Picasso paints his final breath, genius fades in quiet death.
Elvis, Hawaii, worldwide king. Bowie’s lightning, glam in swing.
Waltons warm the rural screen, Depression tales in soft serene.
Bahamas break from Britain’s hand, independence takes its stand.
Pink Floyd’s Dark Side shines, prism gleams in vinyl lines.
Billie Jean. Bobby Riggs. Massive Grateful Dead gigs.
Young and Restless soaps the day, love and drama here to stay.
Sunderland cause big shock. Clough at Derby runs amok.
Marlon Brando skips the fame, Sacheen stands for native claim.
Uruguay. Papillon. Martin Phillips, Princess Anne.
The Honorary Consul. Rachel Papers. American Graffiti capers.
Man About the House. Mobile Motorola. J.R.R. Tolkien over.
Pirates of the Caribbean. Kiss. Kabuki makeup, ready to rock the nation.
City on Villa’s field, win another Charity Shield.
Some Mothers wrecks the day, Frank Spencer’s chaos on display.
Exorcist spins heads around, devil’s tale on theatre ground.
Brezhnev meets with Nixon’s crew, détente thaws the Cold War brew.
Concorde flies its first big test, supersonic dreams progress.
Star Trek’s toons keep fans alive, animated warp drive thrives.
Agnew quits in tax disgrace, Spiro’s fall from Nixon’s grace.
MAS*H still cuts with wit—1973, the fire’s lit!
Welcome back my friends to the show that never ends, where we find our Tardis has landed in 1973. A significant year for me because I became a teenager and, like many, it is the music of my teenage years that I treasure most fondly. My keen interest in popular music started in late ’71 and was still growing in 1973. My tastes were also still forming and many of the albums in my collection from 1973 were purchased in the following years and decades. The year was also notable for being the only year since 1972 that I didn’t go to a gig.
1973 stands as a pivotal chapter in popular music, marked by a confluence of chart-topping hits, critically acclaimed album tracks, and influential singles that defined the era, groundbreaking live events, the emergence of new genres, and significant band dynamics. The musical landscape was diverse, with rock, soul, pop, and funk dominating the airwaves.
Before we look at the music released in the year, let’s consider some key events.
Concerts and Festivals
Two events in 1973 redefined live music experience. Elvis Presley's "Aloha from Hawaii Via Satellite" marked a technological milestone in music broadcasting as it was the first live concert broadcast via satellite, reaching 1.5 billion viewers globally. The Summer Jam at Watkins Glen on July 28 featured The Allman Brothers Band, The Grateful Dead, and The Band, drawing 600,000 attendees, making it one of the largest festivals ever, earning it a Guinness World Record for the largest audience at a pop festival.
These events highlighted the scale and reach of live music, with "Aloha" setting a global standard and Watkins Glen embodying the era's festival culture.
Birth of a Genre: Hip-Hop's Genesis
An unexpected development in 1973 was the birth of hip-hop, marked by DJ Kool Herc's party on 11 August in the South Bronx, New York. Herc's innovation of extending instrumental breaks, or breakbeats, during a back-to-school party, is widely credited as the starting point of hip-hop culture, influencing music, dance, and art globally. This event, though modest in scale, had a profound long-term impact, evolving into a multi-billion-dollar industry by the 21st century.
Music Technology: Synthesizer Innovation
Technologically, 1973 saw the birth of a monster instrument. Weighing in at 850 pounds (c, 385 kg), the legendary Yamaha GX-1 was the first polyphonic synthesiser. Allowing multiple notes to be played simultaneously, the GX-1 was a groundbreaking instrument, featuring a triple-tiered keyboard setup, a pedalboard, and an analogue rhythm machine. It offered a total of 18 voices, with two polyphonic sections, a monophonic solo section, and a monophonic pedal section. The synth revolutionised electronic music production, it expanded creative possibilities, influencing the sound of the 1970s and beyond. However, its exclusivity and high price—around $60,000 at the time—meant it was owned by only a select few, including famous musicians like Keith Emerson, Stevie Wonder, Hans Zimmer, and John Paul Jones, who made great use of it on Zep’s In Through The Outdoor. Pete Townshend eventually donated his, along with all his keyboards, to the University of West London formerly Ealing Art College. This collection is part of the Townshend Studio, a space designed for musical learning and experimentation. [Sales of the beast only started in ’75 but it was fitted for my ’73 narrative.]
Makeup and Breakups – A Chronology
The year started in grand style when, in January, Paul Stanley, Gene Simmons, Ace Frehley, and Peter Criss joined forces to form Kiss, who went on to be one of the greatest, most successful and iconic rock bands.
In June, Ronnie “Plonk” Lane played his final show with the Faces at the Edmonton Sundown in London. He would be replaced by Tetsu Yamauchi, a talented bassist from Japan, who previously played with Free and brought his own style to the group during their later years. The Faces continued to perform and record with Tetsu until their eventual breakup in 1975. In the same month, Ian Gillan quit Deep Purple and was followed out of the door by bassist Roger Glover the next month. Unknown hairdresser David Coverdale and Trapeze artist Glenn Hughes were chosen as their successors in Deep Purple MKIII.
The Everly Brothers, famed for harmony-driven hits, broke up in July after a dramatic concert at Knott's Berry Farm, where Phil broke a guitar over Don's head, ending their collaborative career. Also, that month David Bowie broke up the band when he 'retired' his stage persona Ziggy Stardust in front of a shocked audience at the Hammersmith Odeon at the end of his British tour.
So, 1973 was not the most eventful year in the sense of happenings or changes in musical trends, despite Marc Bolan declaring "Glam rock is dead!" on the cover of Melody Maker, a few months after the release of T.Rex’s Tanx album. However, so much fantastic music was released in the year, and I am going to focus on what I consider to be some of the highlights.
Fly me to the moon
Our trip back in time must start with a journey to the moon, The Dark Side of the Moon. March witnessed Pink Floyd releasing a genuine contender for the greatest album ever. Now DSOTM is not even my favourite Floyd album (we’ll get to that in another year) but was the first Prog album that I ever owned. Although it is progressive, it’s not Prog in the way that Yes or early Genesis are: to my mind it is an AOR (Adult Oriented Rock) album, which is why it sold in shed loads, actually more like Amazon warehouse loads, such was the number of copies shipped and the time spent on the charts. It is the fourth best-selling album of all time, selling over 45 million copies worldwide and spending 974 weeks on the Billboard 200, peaking at No. 1.
And it is very much an album and not a collection of hit singles. In fact, no singles were released in the UK, although two singles were released from the album in the US. Both those tracks, “Money” and “US and Them” along with “Time”, can still be heard daily on classic rock stations across the States.
Released during a period of musical experimentation, DSTOM transformed Pink Floyd from art-house innovators to international superstars.
Along with the music, the album cover is perhaps the most iconic of them all (Sgt Pepper clears his throat). Its simple elegance is magnificent. Designed by Storm Thorgerson, it features a prism and light spectrum, symbolising thought and ambition, aligning with Roger Waters' lyrical focus.
Recorded at the world’s most famous studios – Abbey Road – and engineered by Prog legend Alan Parsons, the album is beautifully produced with a pristine sound that is nigh on perfect.
The album has a unifying theme that contemplates different aspects of human life, especially things that can drive you mad.
The album opens with the experimental Speak to Me. Nick Mason's sonic assembly is a lyric-less collage of sounds (heartbeats, clocks, cash registers), featuring spoken interviews on madness, Mason's heartbeat bass drum and snippets from Money and The Great Gig in the Sky. It sets the stage for the album's exploration of the human psyche. The track credits drummer Nick Mason as the composer although this is disputed by Roger Waters. Speak to Me flows seamlessly into Breathe (In the Air), a mellow, introspective track sung by guitarist David Gilmour with lyrics about birth and the rat race. Richard Wright contributes jazzy keyboards, inspired by Miles Davis.
The instrumental On the Run uses an EMS Synthi AKS synthesizer and sound effects (airport noise, footsteps and sounds a plane crash) to transmit a sense of anxiety and fear of flying.
More sound effects herald the onset of Time. Featuring Rick Wright’s last lead vocal work, on the bridge, until 1994's The Division Bell its theme is the inevitability of aging and how you can’t hold back time. “Hanging on in quiet desperation is the English way”. The instrumentation is excellent with Mason's rototom work and Dave Gilmour's guitar solo the highlights of this band composition. A timeless classic that must be on our playlist.
Time slides into Great Gig in the Sky. This is the one track I have never got on that well with, it tends to give me a headache – pass the Nurofen – Clare Torry’s improvised wailing vocal is certainly disturbing, although whether it successfully evokes death, I’m not sure.
Money though is another solid gold classic. Rendered in 7/4 time with Waters bass prominent, its about greed and critiques consumerism and financial obsession. Dick Parry's saxophone solo is excellent. Gilmour contributes multiple memorable solos. Disturbingly, Mason's coin loop reminds me of the cash-register rhythm track of the theme tune from UK sitcom Are You Being Served?.
Us and Them begins with gentle jazzy sax, which is joined by Gilmour's echoed vocals before building in intensity as the song continues to rise and fall. The subject, as the title suggests, is human relationships and societal divides. Rick Wright’s keyboards are superb throughout and his synth leads into the instrumental interlude Any Colour You Like. Gilmour's harmonised solo provides further colour.
Brain Damage is Roger Waters' only lead vocal on the album. The song is inspired by Syd Barrett's mental illness and is his personal reflection on insanity; he’s described it as being about "inner space".
Eclipse brings the album to a climatic close tying the themes together but leaving the final words to Gerry O’Driscoll: "There is no dark side of the moon, really. Matter of fact, it's all dark."
The Dark Side of the Moon is a masterpiece of rock music. It has been widely praised, with reviews noting its textural richness and lasting impact. A landmark concept album known for its innovative sound and profound themes that create an almost cinematic experience. It is as relevant today as it was on first release.
Holy rollers
March also saw the release of Led Zeppelin’s fifth album Houses of the Holy. Falling between the twin peaks of IV and Physical Graffiti, HOTH tends to get less attention and is somewhat underrated. Initially, it received mixed reviews, with criticism directed at tracks like The Crunge and D'yer Mak'er for their off-beat nature, but it has since been recognised for its diversity and innovation.
With all the tracks being original compositions for the first time it certainly was not simply more of the same despite The Song Remains the Same’s triumphal opening of proceedings. This Jimmy Page-led processional blends acoustic and electric guitars in an intricate guitar mini-suite, contrasting bombastic chords with delicate acoustics. It is another playlist must.
The Rain Song brings the tempo down. One of Zep’s most beautiful tracks, this mellow ballad has a wistful vibe, with Page’s acoustic guitar and John Paul Jones' mellotron strings and Robert Plant’s favourite vocal performance. It explores love's cycles with seasonal metaphors.
A Folk-rocker with a catchy melody, Over the Hills and Far Away commences with more Page acoustic work before the Zeppelin heft kicks in.
The Cringe, sorry, The Crunge is a spontaneous James Brown inspired Funk-rock jam in 9/8 time. Divisive among fans, it does show a playful side to the band.
Dancing Days is a poppy little confection with a catchy guitar riff about the joys of youth.
D'yer Mak'er, which again shows Zep’s sense of humour, is a summer mix tape favourite of mine thanks to John Bonham’s big beat Reggae rhythm.
Things get serious on the epic John Paul Jones’ showpiece, the darkly atmospheric No Quarter with its haunting melody.
Beatie Boys favourite The Ocean crashes in with Page’s crafty riff and Bonzo’s monster beats, which alternate between 4/4 and 7/8. The song and album end in joyful style as Bonham doo-wops and Plant ad-libs.
Houses of the Holy is a testament to Led Zeppelin's musical versatility, with each track contributing to a rich tapestry of rock, folk, funk, and reggae. Its initial mixed reception and later acclaim, coupled with its commercial success (certified 11x platinum), ensure its place as a significant album in rock music history.
A lad insane
The great albums kept coming in 73. As we move into April, David Bowie releases his follow-up to Ziggy Stardust, Aladdin Sane. It instantly became my favourite album at that point and still vies with its predecessor for the honour of being my favourite Bowie album. It completed a run of four tremendous albums, the kind of run that few artists can compete with. Each one having a distinctive persona.
'Ziggy was polite - Aladdin was in your f***ing face' - iNews
The record reflects Bowie's experiences during the US leg of his Ziggy tour and is noted for its fast-paced songwriting and experimental nature with a tougher, heavier sound and demonstrating diverse musical styles. Its 10 tracks features contributions from Bowie's backing band, the Spiders from Mars—Mick Ronson, Trevor Bolder, and Mick Woodmansey—along with pianist Mike Garson, two saxophonists, and three backing vocalists.
Opener Watch That Man kicks like a mule. A Stonesy rocker about the New York City party scenes.
Title track Aladdin Sane (1913-1938-197?) is notable for Mike Garson's astonishing avant-garde piano.
Hit single Drive-In Saturday is futuristic, post-apocalyptic doo-wop. Inspired by Seatle and Phoenix.
Panic in Detroit was inspired by Iggy Pop's stories and the 1967 Detroit Riots. It features an insistent rock riff and a Latin salsa beat.
Our Brixton Boy moves quickly from the Mid-West to the West Coast and the LA decadence of Los Angeles on the back of a bluesy rocker, Cracked Actor, featuring Mick Ronson wringing guitar.
Time crosses over to New Orleans where Bowie gets introspective on an almost vaudevillian track.
He returns home to the UK for The Prettiest Star. Not about Marc Bolan but a heartfelt love song.
Let's Spend the Night Together is a raucous glam rock cover of the Rolling Stones. Mike Garson pounds his piano and Ronno makes his guitar roar.
The album’s lead single and still my favourite Bowie song is The Jean Genie. The riff is infectious and probably the most influential piece of music in terms of shaping my musical taste. An anthemic number that celebrates both the New York underground scene and Iggy Pop. Another playlist essential.
The album plays out with romantic piano ballad Lady Grinning Soul, which features Mick Ronson unwittingly channelling his inner Brian May.
The South rises again
1973 saw some important debut albums and one of the most significant and influential has to be Pronounced 'Lĕh-'nérd 'Skin-'nérd by Lynyrd Skynyrd, which was released in August.
Lynyrd Skynyrd adopted their iconic name in 1969, inspired by a strict high school gym teacher, Leonard Skinner. By 1973, the band had settled on a lineup that included vocalist Ronnie Van Zant, guitarists Gary Rossington, Allen Collins, and Ed King, bassist Leon Wilkinson (who rejoined after recording), drummer Bob Burns, and keyboardist Billy Powell. The album was recorded at Studio One in Doraville, Georgia, and produced by Al Kooper, known for his work with Bob Dylan.
Whilst Skynyrd were not the biggest band to emerge in 1973, their first album shaped a whole sub-genre of rock and contained a song that went on to depose Stairway to Heaven as the most requested track on US radio. The album contains more than one fine song though.
In fact, the none of the album’s tracks is a duffer. Side one’s opening quartet of I Ain't the One, Tuesday's Gone, Gimme Three Steps and Simple Man all became a key part of Skynyrd’s live set and helped to define Southern Rock’s sound as the band pioneered Southern Rock’s mainstream breakthrough. They showcase Ronnie Van Zant’s storytelling lyrics and Skynyrd’s ability to create memorable powerful energetic rockers and beautiful ballads, all of which came together on the album’s final track Free Bird.
From the swelling organ as it opens, provided by producer Al Kooper, through the romantic ballad with tinkling piano and slide guitar bird sounds to its epic ending featuring the then 20-year-old co-writer Allen Collins, whose central guitar solo on his iconic Gibson Firebird is, arguably, the greatest in rock history, Freebird was always destined for classic status and our playlist. Had fate not cruelly intervened a few years later, Skynyrd might have become to the US what the Rolling Stones are to the UK.
A month earlier than the appearance of Skynyrd’s almost eponymous debut, a less feted debut album hit the stores in the UK. Named after the band who would go on to be rock royalty. Formed in London by Freddie Mercury (vocals and keyboards), Brian May (guitar), and Roger Taylor (drums), Queen welcomed bassist John Deacon in 1971, completing the classic lineup. Their first album was produced by Roy Thomas Baker, John Anthony, and the band members themselves, combining heavy metal, progressive rock, and folk influences. Despite not being an immediate commercial success, it laid the groundwork for Queen's future achievements, selling over time and gaining acclaim, especially after the success of later albums.
The album recently got a special anniversary release with an added track and an excellent 2024 remix. Standout tracks include heavy rockers Keep Yourself Alive, Liar, Son and Daughter, and the more bluesy Doing All Right, which is another playlist choice.
Skynyrd and Queen were not the only debutants in the year who made worthy contributions to music history. Aerosmith, Buckingham Nicks (before becoming Fleetwood Mac’s mainstays), Bachman Turner Overdrive, Camel, Montrose (produced by Ted Templeman and a template for Van Halen as well as containing Van Hagar’s lead singer), New York Dolls, Suzi Quatro,10cc and some chap called Bruce Springsteen all released first albums that nestle somewhere in my collection.
Double joy
As we move into Autumn (the Fall), October’s bounty included two classic double albums.
The Who released their magnum opus (I know), the rock opera Quadrophenia.
The concept, developed by Pete Townshend, is a semi-autobiographical narrative about Jimmy, a mod who struggles with his identity and his place in society, divided into four distinct personalities, each represented by a band member—Roger Daltrey (vocals), Pete Townshend (guitar), John Entwistle (bass), and Keith Moon (drums). This "quadrophenia," a play on schizophrenia, adds a layer of psychological depth to the album, reflecting the mod subculture of the 1960s and the alienation of youth in the early 1970s.
Standout tracks include The Real Me for its opening energy, 5:15 for its memorable riff, and Love, Reign o'er Me for its emotional close, each reflecting the album's narrative depth. Bell Boy sung by Keith Moon was a hugely popular live track before Moon’s untimely demise. 5:15 is my playlist pick.
Initially, Quadrophenia received mixed reviews, with some critics praising its ambition and musical innovation, while others found it overly long and self-indulgent. Ken Barnes (not that one) of Rolling Stone noted that it had "high points" but criticised its length, calling it "uneven”. The album has subsequently become acclaimed as a rock opera masterpiece.
On 20 November, The Who commenced their Quadrophenia US tour with a concert at San Francisco's Cow Palace, but drummer Keith Moon passed out and nineteen-year-old fan Scot Halpin was selected from the audience to finish the show; Halpin would later be awarded Rolling Stone magazine's "Pick-Up Player of the Year Award" for his historic performance. The support band for the tour was Lynyrd Skynyrd.
The second double album was my first ever purchase of a twin 12 inch vinyl offering but was not even Elton John’s first album of the year: that was Don’t Shoot Me I’m Only the Piano Player.
Goodbye Yellow Brick Road was a sprawling affair. Recorded at the (Honky) Château d'Hérouville in France, the album benefited from a unique atmosphere that inspired the band. Produced by Gus Dudgeon and engineered by David Hentschel, it captures the live energy of Elton John on piano and vocals and his long serving band: Davey Johnstone on guitar, Dee Murray on bass, and Nigel Olsson on drums. It includes 17 tracks, with standout hits like Candle in the Wind, Bennie and the Jets (a US #1 single and my playlist choice), Saturday Night’s Alright for Fighting (one of the great audience participation songs) and the title track, blending rock, ballads, and theatrical elements.
The album's working titles, Vodka and Tonics and Silent Movies, Talking Pictures, highlight the creative process, with lyricist Bernie Taupin writing the lyrics in two and a half weeks, and John composing most melodies in three days while staying at the Pink Flamingo Hotel in Kingston, Jamaica. Initial sessions in Jamaica were abandoned due to logistical issues, including difficulties with the sound system and political unrest, leading to the move to France.
The fold out album cover is more colourful than Elton’s spectacle collection, aside from the famous cover drawing, the lyrics for each track are accompanied by appropriate illustrations created specifically for the sleeve.
Goodbye Yellow Brick Road was a commercial triumph, reaching No. 1 on the Billboard Top LPs & Tape chart and spending over 100 weeks on both US and UK charts. It has sold more than 20 million copies worldwide, making it one of the best-selling albums. Critically, it has been lauded for its diversity and ambition, inducted into the Grammy Hall of Fame in 2003, and ranked No. 112 on Rolling Stone's 2020 list of the greatest albums of all time.
Out of Africa
In November, Paul McCartney and Wings released Band on the Run. Whilst I never owned this album on vinyl, I heard it many times back in the day because it was one of the few albums a good friend owned, and it became a firm favourite.
By the time they came to record it in Lagos, Nigeria, Wings were down to a three piece: Paul, Linda & Denny Laine. McCartney demonstrated his versatility by playing drums, percussion and most lead guitar parts in addition to his usual bass playing duties; he also produced the album along with engineer Geoff Emerick. They produced a polished sound despite the challenging conditions. The music is Pop-rock with experimental and bluesy elements. The title track is my choice for the playlist.
Band on the Run proved a triumph, becoming the top-selling studio album of 1974 in the United Kingdom and Australia, topping the US chart three separate times, and spending 124 weeks on the UK chart. It remains McCartney's most successful album, with over 7 million copies sold, and is celebrated as one of his finest post-Beatles works.
Show me the money, baby
Probably my most played and purchased album from 1975 would be Billion Dollar Babies by Alice Cooper, which I bought for the third time not too long ago when a 50th anniversary edition was released. This was the best of the original band’s albums, featuring three hit singles Elected, No More Mr. Nice Guy and Hello Hooray (which will greet you on the playlist). A #1 on both sides of the Pond, the album is a blend of shock rock theatrics and polished production, it explores themes such as necrophilia, fear of dental work, horror, and sexual harassment, reflecting the band's penchant for provocative content. The production by Bob Ezrin, who also co-wrote some material, is superb.
Wonder vision
One of the most highly rated albums of the year was Stevie Wonder’s Innervisions, a soul-funk masterpiece that showcases his genius as a multi-instrumentalist, songwriter, and producer. This Grammy-winning album blends infectious grooves with sharp social commentary, tackling issues like poverty (Living for the City) and spirituality (Higher Ground another playlist pick). Wonder’s innovative use of synthesizers, particularly the ARP, alongside his soulful vocals, creates a rich, timeless sound. Tracks like Don’t You Worry ’bout a Thing exude optimism, while He’s Misstra Know-It-All critiques ignorance.
Prog stories
1973 had a plethora of fine alums and I am just covering a small sample of the very best, but I cannot leave LP land without briefly mentioning a couple more Prog highlights.
Yes’s Tales from Topographic Oceans is an ambitious, some would say bloated and pretentious, double album that pushes progressive rock to its limits. Spanning four sprawling tracks inspired by Hindu scriptures, it showcased the band’s virtuosity and complexity. Jon Anderson’s ethereal vocals, Steve Howe’s intricate guitar work, and Rick Wakeman’s lush keyboards create a sonic odyssey, though the album’s length and abstract nature divided fans and critics. Highlights like the lovely Ritual (Nous Sommes Du Soleil) captivate, but its indulgence can overwhelm. Never one’s to do things by halves, Yes also released a wonderful triple live album Yessongs and Rick Wakeman delivered his best solo album The Six Wives of Henry VIII.
Selling England by the Pound from Genesis balances pastoral charm with intricate musicianship. It features Peter Gabriel’s theatrical vocals, Tony Banks’s lush keyboards, and Steve Hackett’s evocative guitar work. Tracks like Dancing with the Moonlit Knight critique British identity, while Firth of Fifth dazzles with its instrumental prowess. The whimsical I Know What I Like (In Your Wardrobe) became a surprise hit and is one of my favourite Genesis tracks, so it makes the playlist.
Virgin take-off
Nowadays Sir Richard Branson is most famous for his airline but back in 1973 he was just a Mister with a few tatty record stores, until he released the first album on his fledgling record label. That album was Tubular Bells by unknown multi-instrumentalist Mike Oldfield and its phenomenal success is the foundation upon which Branson built an empire. The instrumental album consisted of two tracks upon which Oldfield played everything, and it got a further boost when the intro section was chosen to be the theme for head turning movie hit The Exorcist.
Singles
The history books might try to tell you that Tie a Yellow Ribbon Round the Ole Oak Tree by Tony Orlando & Dawn was the single of the year; however, true aficionados will have no truck with that because they know that the contest is between two massive hunks of rock. In the British corner is Smoke on the Water and in the Dutch corner is Radar Love.
Deep Purple were on fire when they recorded Smoke on the Water, which features the greatest guitar riff of all-time, as composed by Ritchie Blackmore, who inverted Beethoven’s 5th’s "Duh-duh-duh-DAAAAA" to create “DAH-DAH-DAAAAH… DAH-DAH-DEEEH… DAH-DEEEH… DAAAAH”.
Golden Earring’s Radar Love’s credentials include being the greatest driving song ever.
Both tracks are playlist inclusions. Yeah, I know Smoke was on ‘72s.
Let US play
The biggest and most significant singles on the Billboard charts included Killing Me Softly with His Song - Roberta Flack, which enjoyed five non-consecutive weeks at No. 1and went on to win the 1974 Grammy for Record of the Year. Another big soul hit was Let’s Get It On by Marvin Gaye, another # 1 hit, blending soul and funk and widely regarded as one of the decade’s sexiest songs. The year started with Stevie Wonder going to the top of the pile with a song he originally wrote for Jeff Beck, Superstition, whose clever riff and funky groove marked Wonder’s peak. Gladys Knight & the Pips also provided one of the great soul classics when they took a Midnight Train to Georgia. Further west, War fused complex lyrics, funk, rock and Latin rhythms on The Cisco Kid.
Jim Croce who tragically died in 1973 had a huge hit with Bad, Bad Leroy Brown.
Before they went on the run, Paul McCartney & Wings topped the charts for four weeks with the gentle ballad My Love. They also had a moore up tempo hit with the explosive James Bond theme Live and Let Die.
Carly Simon released one of the most talked about songs of all-time in You’re So Vain. Peaking at # 1 in early 1973, its mystery and pop culture intrigue have helped to make it a classic. Was the song about Mick Jagger? Probably not because he was singing about David Bowie’s missus on one of the Rolling Stones finest ballads Angie, a #1 45 from Goats Head Soup.
I’ll round-up the US countdown Pop Pickers with a couple of instrumentals that must go on my playlist, Frankenstein by The Edgar Winter Group is a piece of music that only comes out at night. “A quirky rock hit with synth and guitar, defying norms” according to Wikipedia. Golden Earring were not the only band from the Netherlands to have a hit single in the US, Focus managed the trick with the brilliantly bonkers Hocus Pocus. This off the wall prog number features, flute, yodelling, whistling and virtuoso guitar and drums and was originally released as an album track in 1971.
Glittering prizes - UK Singles
The big singles in the UK had a few common points with the US but also considerable difference. If we are honest our American cousins were looking rather more grown up when it came to seven-inch vinyl choices. The bastards sent over the Osmonds and David Cassidy to clog up our airwaves. However, there was some relief in the form of the still strong Glam Rock / Glitter Pop, although we should quickly sidestep the Bacofoil wrapped leader of the gang you do not want to be associated with; hopefully he won’t be back again.
Slade made quite the noize and stood atop both the charts and their platform boots with some style, Skweezing three #1’s out of the British public, including the annuity that keeps Noddy Holder in throat lozenges to this day Merry Xmas Everybody.
Another band that went on to produce a yuletide perennial is Wizard and they had three big hits. While they wanted you to jive Roxy Music were trying to persuade us to Do The Strand.
T.Rex, although already waning in popularity gave us one of their best numbers in the fantastic 20th Century Boy.
The dudes from Mott the Hoople managed three Top 20 appearances with Honaloochie Boogie, All the Way from Memphis, and Roll Away the Stone. Their good friend David Bowie went two better, notching up five chart entries, two of which were rereleases, including 1967 novelty The Laughing Gnome, put out by his former record label to cash in on his growing fame and popularity, the songs success was only dwarfed by 41 other singles in 1973.
Wigwam Bam, thank you glam
Bowie only wrote four of his hits from this year but one pair of songwriters plying their trade at the glam end of the market, Nicky Chinn and Mike Chapman, wrote six smash hits. Their output was characterized by catchy, hook-laden glam rock anthems, and they had a remarkable run of hits. Suzi Quatro and her throbbing bass enjoyed a couple of top 3 placings with Can the Can and 48 Crash. Mud exploded onto the scene with Dyna-Mite. Their biggest success was with Led Zeppelin wannabes The Sweet, who visited the top 3 with Hell Raiser, The Ballroom Blitz and Blockbuster.
Blockbuster was the band's only UK No. 1 single, staying at the top of the charts for five weeks. The song is known for its catchy riff and dramatic use of an air-raid siren, which grabs attention right from the start. Interestingly, the song shares a connection with The Yardbirds through its riff. The riff in Blockbuster is strikingly similar to the one in Bo Diddley's "I'm a Man," which The Yardbirds famously used in their version of the song. This riff also appears in David Bowie's The Jean Genie, which was released shortly before Blockbuster. Despite the similarities, and both acts being on the RCA label, all parties involved maintained that it was a coincidence.
The Sweet's performance of the song on Top of the Pops is iconic in glam rock history. They appeared in their flamboyant costumes, complete with platform boots and glittering outfits, which perfectly captured the glam rock aesthetic of the early 1970s. I was, and remain, a big fan of The Sweet. Back then I even bought the iconic long sleeved Wild Thing tee shirt that leader singer Brian Conolly often wore. So, any 1973 playlist would be a bust without this single.
Blockbuster makes the playlist.
Not glam but worth a mention, Stockport’s finest 10cc were firing on all cylinders when they shot to #1 with Rubber Bullets.
Among all the glittering prizes the British public still demonstrated a capacity to squander its pension money on MOR fodder like Eye Level by the Simon Park Orchestra; Welcome Home by Peters and Lee; Spanish Eyes by Al Martino and Get Down by Gilbert O'Sullivan.
Nevertheless, all things considered, 1973 was a pretty awesome year for music, from chart-topping hits and landmark albums to global concerts and the birth of hip-hop, shaping the trajectory of popular music for decades.
And so, to the playlist, which starts where we began with Prog legends Emerson Lake & Palmer’s Karn Evil 9: 1st Impression - Part 2 from their excellent Brain Salad Surgery album.
Most of the inclusions have already been mentioned but one final addition is Black Sabbath – Sabbath Bloody Sabbath, mini epic title track of what was their most ambitious and highly produced album, also my favourite ever Sabs’ track.
We were the dudes and the dudes were we (oh oh oh oh oh)
Did you see the suits and the platform boots? ((oh dear, oh gawd, oh my, oh my, oh my)
Mott the Hoople
Saturday Gigs
1973, what a scene. Watergate on every screen.
Three-day week, power cuts. Heath and Wilson trading jabs.
Yom Kippur. OPEC rise. Price of oil hits the skies.
Stockholm Syndrome, IRA. Skylab launched up far away.
V.A.T., E.E.C. Who took Zep’s money?
Newman, Redford in The Sting. Roger Moore’s first Bond begins.
Ali, Norton, brutal scene. Bobby Charlton has-been.
Likely Lads return to cheer, Bob and Terry persevere.
Sears Tower, Chicago. Greek coup, Papadopoulos is through.
I can’t drive 55. John Paul Getty still alive.
Billy Joel, Piano Man. Still no peace in Vietnam.
Baileys. Tequilla Sunrise. Red Rum wins the prize.
Watergate’s a growing stain, Nixon’s crew takes the blame.
Roe v. Wade splits the nation, Supreme Court’s declaration.
Smoke on the Water rings, Deep Purple’s riff still stings.
Last of Summer Wine, start of a show that lasts a long time.
Pinochet grabs Chile’s reins, Allende’s gone in coup’s dark chains.
Kojak’s bald and sucking sweets, streets of NY feel his beats.
Wounded Knee’s a standoff cry, Sioux reclaim their history’s why.
Secretariat runs so fast, Triple Crown in one big blast.
Wombles tidy Wimbledon, kids adore their eco hymn.
Sydney Opera’s grand unveil, sails of white in a harbour’s tale.
Cruyff to Barça paves the way for City’s total football play.
Picasso paints his final breath, genius fades in quiet death.
Elvis, Hawaii, worldwide king. Bowie’s lightning, glam in swing.
Waltons warm the rural screen, Depression tales in soft serene.
Bahamas break from Britain’s hand, independence takes its stand.
Pink Floyd’s Dark Side shines, prism gleams in vinyl lines.
Billie Jean. Bobby Riggs. Massive Grateful Dead gigs.
Young and Restless soaps the day, love and drama here to stay.
Sunderland cause big shock. Clough at Derby runs amok.
Marlon Brando skips the fame, Sacheen stands for native claim.
Uruguay. Papillon. Martin Phillips, Princess Anne.
The Honorary Consul. Rachel Papers. American Graffiti capers.
Man About the House. Mobile Motorola. J.R.R. Tolkien over.
Pirates of the Caribbean. Kiss. Kabuki makeup, ready to rock the nation.
City on Villa’s field, win another Charity Shield.
Some Mothers wrecks the day, Frank Spencer’s chaos on display.
Exorcist spins heads around, devil’s tale on theatre ground.
Brezhnev meets with Nixon’s crew, détente thaws the Cold War brew.
Concorde flies its first big test, supersonic dreams progress.
Star Trek’s toons keep fans alive, animated warp drive thrives.
Agnew quits in tax disgrace, Spiro’s fall from Nixon’s grace.
MAS*H still cuts with wit—1973, the fire’s lit!
Welcome back my friends to the show that never ends, where we find our Tardis has landed in 1973. A significant year for me because I became a teenager and, like many, it is the music of my teenage years that I treasure most fondly. My keen interest in popular music started in late ’71 and was still growing in 1973. My tastes were also still forming and many of the albums in my collection from 1973 were purchased in the following years and decades. The year was also notable for being the only year since 1972 that I didn’t go to a gig.
1973 stands as a pivotal chapter in popular music, marked by a confluence of chart-topping hits, critically acclaimed album tracks, and influential singles that defined the era, groundbreaking live events, the emergence of new genres, and significant band dynamics. The musical landscape was diverse, with rock, soul, pop, and funk dominating the airwaves.
Before we look at the music released in the year, let’s consider some key events.
Concerts and Festivals
Two events in 1973 redefined live music experience. Elvis Presley's "Aloha from Hawaii Via Satellite" marked a technological milestone in music broadcasting as it was the first live concert broadcast via satellite, reaching 1.5 billion viewers globally. The Summer Jam at Watkins Glen on July 28 featured The Allman Brothers Band, The Grateful Dead, and The Band, drawing 600,000 attendees, making it one of the largest festivals ever, earning it a Guinness World Record for the largest audience at a pop festival.
These events highlighted the scale and reach of live music, with "Aloha" setting a global standard and Watkins Glen embodying the era's festival culture.
Birth of a Genre: Hip-Hop's Genesis
An unexpected development in 1973 was the birth of hip-hop, marked by DJ Kool Herc's party on 11 August in the South Bronx, New York. Herc's innovation of extending instrumental breaks, or breakbeats, during a back-to-school party, is widely credited as the starting point of hip-hop culture, influencing music, dance, and art globally. This event, though modest in scale, had a profound long-term impact, evolving into a multi-billion-dollar industry by the 21st century.
Music Technology: Synthesizer Innovation
Technologically, 1973 saw the birth of a monster instrument. Weighing in at 850 pounds (c, 385 kg), the legendary Yamaha GX-1 was the first polyphonic synthesiser. Allowing multiple notes to be played simultaneously, the GX-1 was a groundbreaking instrument, featuring a triple-tiered keyboard setup, a pedalboard, and an analogue rhythm machine. It offered a total of 18 voices, with two polyphonic sections, a monophonic solo section, and a monophonic pedal section. The synth revolutionised electronic music production, it expanded creative possibilities, influencing the sound of the 1970s and beyond. However, its exclusivity and high price—around $60,000 at the time—meant it was owned by only a select few, including famous musicians like Keith Emerson, Stevie Wonder, Hans Zimmer, and John Paul Jones, who made great use of it on Zep’s In Through The Outdoor. Pete Townshend eventually donated his, along with all his keyboards, to the University of West London formerly Ealing Art College. This collection is part of the Townshend Studio, a space designed for musical learning and experimentation. [Sales of the beast only started in ’75 but it was fitted for my ’73 narrative.]
Makeup and Breakups – A Chronology
The year started in grand style when, in January, Paul Stanley, Gene Simmons, Ace Frehley, and Peter Criss joined forces to form Kiss, who went on to be one of the greatest, most successful and iconic rock bands.
In June, Ronnie “Plonk” Lane played his final show with the Faces at the Edmonton Sundown in London. He would be replaced by Tetsu Yamauchi, a talented bassist from Japan, who previously played with Free and brought his own style to the group during their later years. The Faces continued to perform and record with Tetsu until their eventual breakup in 1975. In the same month, Ian Gillan quit Deep Purple and was followed out of the door by bassist Roger Glover the next month. Unknown hairdresser David Coverdale and Trapeze artist Glenn Hughes were chosen as their successors in Deep Purple MKIII.
The Everly Brothers, famed for harmony-driven hits, broke up in July after a dramatic concert at Knott's Berry Farm, where Phil broke a guitar over Don's head, ending their collaborative career. Also, that month David Bowie broke up the band when he 'retired' his stage persona Ziggy Stardust in front of a shocked audience at the Hammersmith Odeon at the end of his British tour.
So, 1973 was not the most eventful year in the sense of happenings or changes in musical trends, despite Marc Bolan declaring "Glam rock is dead!" on the cover of Melody Maker, a few months after the release of T.Rex’s Tanx album. However, so much fantastic music was released in the year, and I am going to focus on what I consider to be some of the highlights.
Fly me to the moon
Our trip back in time must start with a journey to the moon, The Dark Side of the Moon. March witnessed Pink Floyd releasing a genuine contender for the greatest album ever. Now DSOTM is not even my favourite Floyd album (we’ll get to that in another year) but was the first Prog album that I ever owned. Although it is progressive, it’s not Prog in the way that Yes or early Genesis are: to my mind it is an AOR (Adult Oriented Rock) album, which is why it sold in shed loads, actually more like Amazon warehouse loads, such was the number of copies shipped and the time spent on the charts. It is the fourth best-selling album of all time, selling over 45 million copies worldwide and spending 974 weeks on the Billboard 200, peaking at No. 1.
And it is very much an album and not a collection of hit singles. In fact, no singles were released in the UK, although two singles were released from the album in the US. Both those tracks, “Money” and “US and Them” along with “Time”, can still be heard daily on classic rock stations across the States.
Released during a period of musical experimentation, DSTOM transformed Pink Floyd from art-house innovators to international superstars.
Along with the music, the album cover is perhaps the most iconic of them all (Sgt Pepper clears his throat). Its simple elegance is magnificent. Designed by Storm Thorgerson, it features a prism and light spectrum, symbolising thought and ambition, aligning with Roger Waters' lyrical focus.
Recorded at the world’s most famous studios – Abbey Road – and engineered by Prog legend Alan Parsons, the album is beautifully produced with a pristine sound that is nigh on perfect.
The album has a unifying theme that contemplates different aspects of human life, especially things that can drive you mad.
The album opens with the experimental Speak to Me. Nick Mason's sonic assembly is a lyric-less collage of sounds (heartbeats, clocks, cash registers), featuring spoken interviews on madness, Mason's heartbeat bass drum and snippets from Money and The Great Gig in the Sky. It sets the stage for the album's exploration of the human psyche. The track credits drummer Nick Mason as the composer although this is disputed by Roger Waters. Speak to Me flows seamlessly into Breathe (In the Air), a mellow, introspective track sung by guitarist David Gilmour with lyrics about birth and the rat race. Richard Wright contributes jazzy keyboards, inspired by Miles Davis.
The instrumental On the Run uses an EMS Synthi AKS synthesizer and sound effects (airport noise, footsteps and sounds a plane crash) to transmit a sense of anxiety and fear of flying.
More sound effects herald the onset of Time. Featuring Rick Wright’s last lead vocal work, on the bridge, until 1994's The Division Bell its theme is the inevitability of aging and how you can’t hold back time. “Hanging on in quiet desperation is the English way”. The instrumentation is excellent with Mason's rototom work and Dave Gilmour's guitar solo the highlights of this band composition. A timeless classic that must be on our playlist.
Time slides into Great Gig in the Sky. This is the one track I have never got on that well with, it tends to give me a headache – pass the Nurofen – Clare Torry’s improvised wailing vocal is certainly disturbing, although whether it successfully evokes death, I’m not sure.
Money though is another solid gold classic. Rendered in 7/4 time with Waters bass prominent, its about greed and critiques consumerism and financial obsession. Dick Parry's saxophone solo is excellent. Gilmour contributes multiple memorable solos. Disturbingly, Mason's coin loop reminds me of the cash-register rhythm track of the theme tune from UK sitcom Are You Being Served?.
Us and Them begins with gentle jazzy sax, which is joined by Gilmour's echoed vocals before building in intensity as the song continues to rise and fall. The subject, as the title suggests, is human relationships and societal divides. Rick Wright’s keyboards are superb throughout and his synth leads into the instrumental interlude Any Colour You Like. Gilmour's harmonised solo provides further colour.
Brain Damage is Roger Waters' only lead vocal on the album. The song is inspired by Syd Barrett's mental illness and is his personal reflection on insanity; he’s described it as being about "inner space".
Eclipse brings the album to a climatic close tying the themes together but leaving the final words to Gerry O’Driscoll: "There is no dark side of the moon, really. Matter of fact, it's all dark."
The Dark Side of the Moon is a masterpiece of rock music. It has been widely praised, with reviews noting its textural richness and lasting impact. A landmark concept album known for its innovative sound and profound themes that create an almost cinematic experience. It is as relevant today as it was on first release.
Holy rollers
March also saw the release of Led Zeppelin’s fifth album Houses of the Holy. Falling between the twin peaks of IV and Physical Graffiti, HOTH tends to get less attention and is somewhat underrated. Initially, it received mixed reviews, with criticism directed at tracks like The Crunge and D'yer Mak'er for their off-beat nature, but it has since been recognised for its diversity and innovation.
With all the tracks being original compositions for the first time it certainly was not simply more of the same despite The Song Remains the Same’s triumphal opening of proceedings. This Jimmy Page-led processional blends acoustic and electric guitars in an intricate guitar mini-suite, contrasting bombastic chords with delicate acoustics. It is another playlist must.
The Rain Song brings the tempo down. One of Zep’s most beautiful tracks, this mellow ballad has a wistful vibe, with Page’s acoustic guitar and John Paul Jones' mellotron strings and Robert Plant’s favourite vocal performance. It explores love's cycles with seasonal metaphors.
A Folk-rocker with a catchy melody, Over the Hills and Far Away commences with more Page acoustic work before the Zeppelin heft kicks in.
The Cringe, sorry, The Crunge is a spontaneous James Brown inspired Funk-rock jam in 9/8 time. Divisive among fans, it does show a playful side to the band.
Dancing Days is a poppy little confection with a catchy guitar riff about the joys of youth.
D'yer Mak'er, which again shows Zep’s sense of humour, is a summer mix tape favourite of mine thanks to John Bonham’s big beat Reggae rhythm.
Things get serious on the epic John Paul Jones’ showpiece, the darkly atmospheric No Quarter with its haunting melody.
Beatie Boys favourite The Ocean crashes in with Page’s crafty riff and Bonzo’s monster beats, which alternate between 4/4 and 7/8. The song and album end in joyful style as Bonham doo-wops and Plant ad-libs.
Houses of the Holy is a testament to Led Zeppelin's musical versatility, with each track contributing to a rich tapestry of rock, folk, funk, and reggae. Its initial mixed reception and later acclaim, coupled with its commercial success (certified 11x platinum), ensure its place as a significant album in rock music history.
A lad insane
The great albums kept coming in 73. As we move into April, David Bowie releases his follow-up to Ziggy Stardust, Aladdin Sane. It instantly became my favourite album at that point and still vies with its predecessor for the honour of being my favourite Bowie album. It completed a run of four tremendous albums, the kind of run that few artists can compete with. Each one having a distinctive persona.
'Ziggy was polite - Aladdin was in your f***ing face' - iNews
The record reflects Bowie's experiences during the US leg of his Ziggy tour and is noted for its fast-paced songwriting and experimental nature with a tougher, heavier sound and demonstrating diverse musical styles. Its 10 tracks features contributions from Bowie's backing band, the Spiders from Mars—Mick Ronson, Trevor Bolder, and Mick Woodmansey—along with pianist Mike Garson, two saxophonists, and three backing vocalists.
Opener Watch That Man kicks like a mule. A Stonesy rocker about the New York City party scenes.
Title track Aladdin Sane (1913-1938-197?) is notable for Mike Garson's astonishing avant-garde piano.
Hit single Drive-In Saturday is futuristic, post-apocalyptic doo-wop. Inspired by Seatle and Phoenix.
Panic in Detroit was inspired by Iggy Pop's stories and the 1967 Detroit Riots. It features an insistent rock riff and a Latin salsa beat.
Our Brixton Boy moves quickly from the Mid-West to the West Coast and the LA decadence of Los Angeles on the back of a bluesy rocker, Cracked Actor, featuring Mick Ronson wringing guitar.
Time crosses over to New Orleans where Bowie gets introspective on an almost vaudevillian track.
He returns home to the UK for The Prettiest Star. Not about Marc Bolan but a heartfelt love song.
Let's Spend the Night Together is a raucous glam rock cover of the Rolling Stones. Mike Garson pounds his piano and Ronno makes his guitar roar.
The album’s lead single and still my favourite Bowie song is The Jean Genie. The riff is infectious and probably the most influential piece of music in terms of shaping my musical taste. An anthemic number that celebrates both the New York underground scene and Iggy Pop. Another playlist essential.
The album plays out with romantic piano ballad Lady Grinning Soul, which features Mick Ronson unwittingly channelling his inner Brian May.
The South rises again
1973 saw some important debut albums and one of the most significant and influential has to be Pronounced 'Lĕh-'nérd 'Skin-'nérd by Lynyrd Skynyrd, which was released in August.
Lynyrd Skynyrd adopted their iconic name in 1969, inspired by a strict high school gym teacher, Leonard Skinner. By 1973, the band had settled on a lineup that included vocalist Ronnie Van Zant, guitarists Gary Rossington, Allen Collins, and Ed King, bassist Leon Wilkinson (who rejoined after recording), drummer Bob Burns, and keyboardist Billy Powell. The album was recorded at Studio One in Doraville, Georgia, and produced by Al Kooper, known for his work with Bob Dylan.
Whilst Skynyrd were not the biggest band to emerge in 1973, their first album shaped a whole sub-genre of rock and contained a song that went on to depose Stairway to Heaven as the most requested track on US radio. The album contains more than one fine song though.
In fact, the none of the album’s tracks is a duffer. Side one’s opening quartet of I Ain't the One, Tuesday's Gone, Gimme Three Steps and Simple Man all became a key part of Skynyrd’s live set and helped to define Southern Rock’s sound as the band pioneered Southern Rock’s mainstream breakthrough. They showcase Ronnie Van Zant’s storytelling lyrics and Skynyrd’s ability to create memorable powerful energetic rockers and beautiful ballads, all of which came together on the album’s final track Free Bird.
From the swelling organ as it opens, provided by producer Al Kooper, through the romantic ballad with tinkling piano and slide guitar bird sounds to its epic ending featuring the then 20-year-old co-writer Allen Collins, whose central guitar solo on his iconic Gibson Firebird is, arguably, the greatest in rock history, Freebird was always destined for classic status and our playlist. Had fate not cruelly intervened a few years later, Skynyrd might have become to the US what the Rolling Stones are to the UK.
A month earlier than the appearance of Skynyrd’s almost eponymous debut, a less feted debut album hit the stores in the UK. Named after the band who would go on to be rock royalty. Formed in London by Freddie Mercury (vocals and keyboards), Brian May (guitar), and Roger Taylor (drums), Queen welcomed bassist John Deacon in 1971, completing the classic lineup. Their first album was produced by Roy Thomas Baker, John Anthony, and the band members themselves, combining heavy metal, progressive rock, and folk influences. Despite not being an immediate commercial success, it laid the groundwork for Queen's future achievements, selling over time and gaining acclaim, especially after the success of later albums.
The album recently got a special anniversary release with an added track and an excellent 2024 remix. Standout tracks include heavy rockers Keep Yourself Alive, Liar, Son and Daughter, and the more bluesy Doing All Right, which is another playlist choice.
Skynyrd and Queen were not the only debutants in the year who made worthy contributions to music history. Aerosmith, Buckingham Nicks (before becoming Fleetwood Mac’s mainstays), Bachman Turner Overdrive, Camel, Montrose (produced by Ted Templeman and a template for Van Halen as well as containing Van Hagar’s lead singer), New York Dolls, Suzi Quatro,10cc and some chap called Bruce Springsteen all released first albums that nestle somewhere in my collection.
Double joy
As we move into Autumn (the Fall), October’s bounty included two classic double albums.
The Who released their magnum opus (I know), the rock opera Quadrophenia.
The concept, developed by Pete Townshend, is a semi-autobiographical narrative about Jimmy, a mod who struggles with his identity and his place in society, divided into four distinct personalities, each represented by a band member—Roger Daltrey (vocals), Pete Townshend (guitar), John Entwistle (bass), and Keith Moon (drums). This "quadrophenia," a play on schizophrenia, adds a layer of psychological depth to the album, reflecting the mod subculture of the 1960s and the alienation of youth in the early 1970s.
Standout tracks include The Real Me for its opening energy, 5:15 for its memorable riff, and Love, Reign o'er Me for its emotional close, each reflecting the album's narrative depth. Bell Boy sung by Keith Moon was a hugely popular live track before Moon’s untimely demise. 5:15 is my playlist pick.
Initially, Quadrophenia received mixed reviews, with some critics praising its ambition and musical innovation, while others found it overly long and self-indulgent. Ken Barnes (not that one) of Rolling Stone noted that it had "high points" but criticised its length, calling it "uneven”. The album has subsequently become acclaimed as a rock opera masterpiece.
On 20 November, The Who commenced their Quadrophenia US tour with a concert at San Francisco's Cow Palace, but drummer Keith Moon passed out and nineteen-year-old fan Scot Halpin was selected from the audience to finish the show; Halpin would later be awarded Rolling Stone magazine's "Pick-Up Player of the Year Award" for his historic performance. The support band for the tour was Lynyrd Skynyrd.
The second double album was my first ever purchase of a twin 12 inch vinyl offering but was not even Elton John’s first album of the year: that was Don’t Shoot Me I’m Only the Piano Player.
Goodbye Yellow Brick Road was a sprawling affair. Recorded at the (Honky) Château d'Hérouville in France, the album benefited from a unique atmosphere that inspired the band. Produced by Gus Dudgeon and engineered by David Hentschel, it captures the live energy of Elton John on piano and vocals and his long serving band: Davey Johnstone on guitar, Dee Murray on bass, and Nigel Olsson on drums. It includes 17 tracks, with standout hits like Candle in the Wind, Bennie and the Jets (a US #1 single and my playlist choice), Saturday Night’s Alright for Fighting (one of the great audience participation songs) and the title track, blending rock, ballads, and theatrical elements.
The album's working titles, Vodka and Tonics and Silent Movies, Talking Pictures, highlight the creative process, with lyricist Bernie Taupin writing the lyrics in two and a half weeks, and John composing most melodies in three days while staying at the Pink Flamingo Hotel in Kingston, Jamaica. Initial sessions in Jamaica were abandoned due to logistical issues, including difficulties with the sound system and political unrest, leading to the move to France.
The fold out album cover is more colourful than Elton’s spectacle collection, aside from the famous cover drawing, the lyrics for each track are accompanied by appropriate illustrations created specifically for the sleeve.
Goodbye Yellow Brick Road was a commercial triumph, reaching No. 1 on the Billboard Top LPs & Tape chart and spending over 100 weeks on both US and UK charts. It has sold more than 20 million copies worldwide, making it one of the best-selling albums. Critically, it has been lauded for its diversity and ambition, inducted into the Grammy Hall of Fame in 2003, and ranked No. 112 on Rolling Stone's 2020 list of the greatest albums of all time.
Out of Africa
In November, Paul McCartney and Wings released Band on the Run. Whilst I never owned this album on vinyl, I heard it many times back in the day because it was one of the few albums a good friend owned, and it became a firm favourite.
By the time they came to record it in Lagos, Nigeria, Wings were down to a three piece: Paul, Linda & Denny Laine. McCartney demonstrated his versatility by playing drums, percussion and most lead guitar parts in addition to his usual bass playing duties; he also produced the album along with engineer Geoff Emerick. They produced a polished sound despite the challenging conditions. The music is Pop-rock with experimental and bluesy elements. The title track is my choice for the playlist.
Band on the Run proved a triumph, becoming the top-selling studio album of 1974 in the United Kingdom and Australia, topping the US chart three separate times, and spending 124 weeks on the UK chart. It remains McCartney's most successful album, with over 7 million copies sold, and is celebrated as one of his finest post-Beatles works.
Show me the money, baby
Probably my most played and purchased album from 1975 would be Billion Dollar Babies by Alice Cooper, which I bought for the third time not too long ago when a 50th anniversary edition was released. This was the best of the original band’s albums, featuring three hit singles Elected, No More Mr. Nice Guy and Hello Hooray (which will greet you on the playlist). A #1 on both sides of the Pond, the album is a blend of shock rock theatrics and polished production, it explores themes such as necrophilia, fear of dental work, horror, and sexual harassment, reflecting the band's penchant for provocative content. The production by Bob Ezrin, who also co-wrote some material, is superb.
Wonder vision
One of the most highly rated albums of the year was Stevie Wonder’s Innervisions, a soul-funk masterpiece that showcases his genius as a multi-instrumentalist, songwriter, and producer. This Grammy-winning album blends infectious grooves with sharp social commentary, tackling issues like poverty (Living for the City) and spirituality (Higher Ground another playlist pick). Wonder’s innovative use of synthesizers, particularly the ARP, alongside his soulful vocals, creates a rich, timeless sound. Tracks like Don’t You Worry ’bout a Thing exude optimism, while He’s Misstra Know-It-All critiques ignorance.
Prog stories
1973 had a plethora of fine alums and I am just covering a small sample of the very best, but I cannot leave LP land without briefly mentioning a couple more Prog highlights.
Yes’s Tales from Topographic Oceans is an ambitious, some would say bloated and pretentious, double album that pushes progressive rock to its limits. Spanning four sprawling tracks inspired by Hindu scriptures, it showcased the band’s virtuosity and complexity. Jon Anderson’s ethereal vocals, Steve Howe’s intricate guitar work, and Rick Wakeman’s lush keyboards create a sonic odyssey, though the album’s length and abstract nature divided fans and critics. Highlights like the lovely Ritual (Nous Sommes Du Soleil) captivate, but its indulgence can overwhelm. Never one’s to do things by halves, Yes also released a wonderful triple live album Yessongs and Rick Wakeman delivered his best solo album The Six Wives of Henry VIII.
Selling England by the Pound from Genesis balances pastoral charm with intricate musicianship. It features Peter Gabriel’s theatrical vocals, Tony Banks’s lush keyboards, and Steve Hackett’s evocative guitar work. Tracks like Dancing with the Moonlit Knight critique British identity, while Firth of Fifth dazzles with its instrumental prowess. The whimsical I Know What I Like (In Your Wardrobe) became a surprise hit and is one of my favourite Genesis tracks, so it makes the playlist.
Virgin take-off
Nowadays Sir Richard Branson is most famous for his airline but back in 1973 he was just a Mister with a few tatty record stores, until he released the first album on his fledgling record label. That album was Tubular Bells by unknown multi-instrumentalist Mike Oldfield and its phenomenal success is the foundation upon which Branson built an empire. The instrumental album consisted of two tracks upon which Oldfield played everything, and it got a further boost when the intro section was chosen to be the theme for head turning movie hit The Exorcist.
Singles
The history books might try to tell you that Tie a Yellow Ribbon Round the Ole Oak Tree by Tony Orlando & Dawn was the single of the year; however, true aficionados will have no truck with that because they know that the contest is between two massive hunks of rock. In the British corner is Smoke on the Water and in the Dutch corner is Radar Love.
Deep Purple were on fire when they recorded Smoke on the Water, which features the greatest guitar riff of all-time, as composed by Ritchie Blackmore, who inverted Beethoven’s 5th’s "Duh-duh-duh-DAAAAA" to create “DAH-DAH-DAAAAH… DAH-DAH-DEEEH… DAH-DEEEH… DAAAAH”.
Golden Earring’s Radar Love’s credentials include being the greatest driving song ever.
Both tracks are playlist inclusions. Yeah, I know Smoke was on ‘72s.
Let US play
The biggest and most significant singles on the Billboard charts included Killing Me Softly with His Song - Roberta Flack, which enjoyed five non-consecutive weeks at No. 1and went on to win the 1974 Grammy for Record of the Year. Another big soul hit was Let’s Get It On by Marvin Gaye, another # 1 hit, blending soul and funk and widely regarded as one of the decade’s sexiest songs. The year started with Stevie Wonder going to the top of the pile with a song he originally wrote for Jeff Beck, Superstition, whose clever riff and funky groove marked Wonder’s peak. Gladys Knight & the Pips also provided one of the great soul classics when they took a Midnight Train to Georgia. Further west, War fused complex lyrics, funk, rock and Latin rhythms on The Cisco Kid.
Jim Croce who tragically died in 1973 had a huge hit with Bad, Bad Leroy Brown.
Before they went on the run, Paul McCartney & Wings topped the charts for four weeks with the gentle ballad My Love. They also had a moore up tempo hit with the explosive James Bond theme Live and Let Die.
Carly Simon released one of the most talked about songs of all-time in You’re So Vain. Peaking at # 1 in early 1973, its mystery and pop culture intrigue have helped to make it a classic. Was the song about Mick Jagger? Probably not because he was singing about David Bowie’s missus on one of the Rolling Stones finest ballads Angie, a #1 45 from Goats Head Soup.
I’ll round-up the US countdown Pop Pickers with a couple of instrumentals that must go on my playlist, Frankenstein by The Edgar Winter Group is a piece of music that only comes out at night. “A quirky rock hit with synth and guitar, defying norms” according to Wikipedia. Golden Earring were not the only band from the Netherlands to have a hit single in the US, Focus managed the trick with the brilliantly bonkers Hocus Pocus. This off the wall prog number features, flute, yodelling, whistling and virtuoso guitar and drums and was originally released as an album track in 1971.
Glittering prizes - UK Singles
The big singles in the UK had a few common points with the US but also considerable difference. If we are honest our American cousins were looking rather more grown up when it came to seven-inch vinyl choices. The bastards sent over the Osmonds and David Cassidy to clog up our airwaves. However, there was some relief in the form of the still strong Glam Rock / Glitter Pop, although we should quickly sidestep the Bacofoil wrapped leader of the gang you do not want to be associated with; hopefully he won’t be back again.
Slade made quite the noize and stood atop both the charts and their platform boots with some style, Skweezing three #1’s out of the British public, including the annuity that keeps Noddy Holder in throat lozenges to this day Merry Xmas Everybody.
Another band that went on to produce a yuletide perennial is Wizard and they had three big hits. While they wanted you to jive Roxy Music were trying to persuade us to Do The Strand.
T.Rex, although already waning in popularity gave us one of their best numbers in the fantastic 20th Century Boy.
The dudes from Mott the Hoople managed three Top 20 appearances with Honaloochie Boogie, All the Way from Memphis, and Roll Away the Stone. Their good friend David Bowie went two better, notching up five chart entries, two of which were rereleases, including 1967 novelty The Laughing Gnome, put out by his former record label to cash in on his growing fame and popularity, the songs success was only dwarfed by 41 other singles in 1973.
Wigwam Bam, thank you glam
Bowie only wrote four of his hits from this year but one pair of songwriters plying their trade at the glam end of the market, Nicky Chinn and Mike Chapman, wrote six smash hits. Their output was characterized by catchy, hook-laden glam rock anthems, and they had a remarkable run of hits. Suzi Quatro and her throbbing bass enjoyed a couple of top 3 placings with Can the Can and 48 Crash. Mud exploded onto the scene with Dyna-Mite. Their biggest success was with Led Zeppelin wannabes The Sweet, who visited the top 3 with Hell Raiser, The Ballroom Blitz and Blockbuster.
Blockbuster was the band's only UK No. 1 single, staying at the top of the charts for five weeks. The song is known for its catchy riff and dramatic use of an air-raid siren, which grabs attention right from the start. Interestingly, the song shares a connection with The Yardbirds through its riff. The riff in Blockbuster is strikingly similar to the one in Bo Diddley's "I'm a Man," which The Yardbirds famously used in their version of the song. This riff also appears in David Bowie's The Jean Genie, which was released shortly before Blockbuster. Despite the similarities, and both acts being on the RCA label, all parties involved maintained that it was a coincidence.
The Sweet's performance of the song on Top of the Pops is iconic in glam rock history. They appeared in their flamboyant costumes, complete with platform boots and glittering outfits, which perfectly captured the glam rock aesthetic of the early 1970s. I was, and remain, a big fan of The Sweet. Back then I even bought the iconic long sleeved Wild Thing tee shirt that leader singer Brian Conolly often wore. So, any 1973 playlist would be a bust without this single.
Blockbuster makes the playlist.
Not glam but worth a mention, Stockport’s finest 10cc were firing on all cylinders when they shot to #1 with Rubber Bullets.
Among all the glittering prizes the British public still demonstrated a capacity to squander its pension money on MOR fodder like Eye Level by the Simon Park Orchestra; Welcome Home by Peters and Lee; Spanish Eyes by Al Martino and Get Down by Gilbert O'Sullivan.
Nevertheless, all things considered, 1973 was a pretty awesome year for music, from chart-topping hits and landmark albums to global concerts and the birth of hip-hop, shaping the trajectory of popular music for decades.
And so, to the playlist, which starts where we began with Prog legends Emerson Lake & Palmer’s Karn Evil 9: 1st Impression - Part 2 from their excellent Brain Salad Surgery album.
Most of the inclusions have already been mentioned but one final addition is Black Sabbath – Sabbath Bloody Sabbath, mini epic title track of what was their most ambitious and highly produced album, also my favourite ever Sabs’ track.
mancity2012_eamo
Well-Known Member
Oh, '73 was a jamboree
We were the dudes and the dudes were we (oh oh oh oh oh)
Did you see the suits and the platform boots? ((oh dear, oh gawd, oh my, oh my, oh my)
Mott the Hoople
Saturday Gigs
1973, what a scene. Watergate on every screen.
Three-day week, power cuts. Heath and Wilson trading jabs.
Yom Kippur. OPEC rise. Price of oil hits the skies.
Stockholm Syndrome, IRA. Skylab launched up far away.
V.A.T., E.E.C. Who took Zep’s money?
Newman, Redford in The Sting. Roger Moore’s first Bond begins.
Ali, Norton, brutal scene. Bobby Charlton has-been.
Likely Lads return to cheer, Bob and Terry persevere.
Sears Tower, Chicago. Greek coup, Papadopoulos is through.
I can’t drive 55. John Paul Getty still alive.
Billy Joel, Piano Man. Still no peace in Vietnam.
Baileys. Tequilla Sunrise. Red Rum wins the prize.
Watergate’s a growing stain, Nixon’s crew takes the blame.
Roe v. Wade splits the nation, Supreme Court’s declaration.
Smoke on the Water rings, Deep Purple’s riff still stings.
Last of Summer Wine, start of a show that lasts a long time.
Pinochet grabs Chile’s reins, Allende’s gone in coup’s dark chains.
Kojak’s bald and sucking sweets, streets of NY feel his beats.
Wounded Knee’s a standoff cry, Sioux reclaim their history’s why.
Secretariat runs so fast, Triple Crown in one big blast.
Wombles tidy Wimbledon, kids adore their eco hymn.
Sydney Opera’s grand unveil, sails of white in a harbour’s tale.
Cruyff to Barça paves the way for City’s total football play.
Picasso paints his final breath, genius fades in quiet death.
Elvis, Hawaii, worldwide king. Bowie’s lightning, glam in swing.
Waltons warm the rural screen, Depression tales in soft serene.
Bahamas break from Britain’s hand, independence takes its stand.
Pink Floyd’s Dark Side shines, prism gleams in vinyl lines.
Billie Jean. Bobby Riggs. Massive Grateful Dead gigs.
Young and Restless soaps the day, love and drama here to stay.
Sunderland cause big shock. Clough at Derby runs amok.
Marlon Brando skips the fame, Sacheen stands for native claim.
Uruguay. Papillon. Martin Phillips, Princess Anne.
The Honorary Consul. Rachel Papers. American Graffiti capers.
Man About the House. Mobile Motorola. J.R.R. Tolkien over.
Pirates of the Caribbean. Kiss. Kabuki makeup, ready to rock the nation.
City on Villa’s field, win another Charity Shield.
Some Mothers wrecks the day, Frank Spencer’s chaos on display.
Exorcist spins heads around, devil’s tale on theatre ground.
Brezhnev meets with Nixon’s crew, détente thaws the Cold War brew.
Concorde flies its first big test, supersonic dreams progress.
Star Trek’s toons keep fans alive, animated warp drive thrives.
Agnew quits in tax disgrace, Spiro’s fall from Nixon’s grace.
MAS*H still cuts with wit—1973, the fire’s lit!
Welcome back my friends to the show that never ends, where we find our Tardis has landed in 1973. A significant year for me because I became a teenager and, like many, it is the music of my teenage years that I treasure most fondly. My keen interest in popular music started in late ’71 and was still growing in 1973. My tastes were also still forming and many of the albums in my collection from 1973 were purchased in the following years and decades. The year was also notable for being the only year since 1972 that I didn’t go to a gig.
1973 stands as a pivotal chapter in popular music, marked by a confluence of chart-topping hits, critically acclaimed album tracks, and influential singles that defined the era, groundbreaking live events, the emergence of new genres, and significant band dynamics. The musical landscape was diverse, with rock, soul, pop, and funk dominating the airwaves.
Before we look at the music released in the year, let’s consider some key events.
Concerts and Festivals
Two events in 1973 redefined live music experience. Elvis Presley's "Aloha from Hawaii Via Satellite" marked a technological milestone in music broadcasting as it was the first live concert broadcast via satellite, reaching 1.5 billion viewers globally. The Summer Jam at Watkins Glen on July 28 featured The Allman Brothers Band, The Grateful Dead, and The Band, drawing 600,000 attendees, making it one of the largest festivals ever, earning it a Guinness World Record for the largest audience at a pop festival.
These events highlighted the scale and reach of live music, with "Aloha" setting a global standard and Watkins Glen embodying the era's festival culture.
Birth of a Genre: Hip-Hop's Genesis
An unexpected development in 1973 was the birth of hip-hop, marked by DJ Kool Herc's party on 11 August in the South Bronx, New York. Herc's innovation of extending instrumental breaks, or breakbeats, during a back-to-school party, is widely credited as the starting point of hip-hop culture, influencing music, dance, and art globally. This event, though modest in scale, had a profound long-term impact, evolving into a multi-billion-dollar industry by the 21st century.
Music Technology: Synthesizer Innovation
Technologically, 1973 saw the birth of a monster instrument. Weighing in at 850 pounds (c, 385 kg), the legendary Yamaha GX-1 was the first polyphonic synthesiser. Allowing multiple notes to be played simultaneously, the GX-1 was a groundbreaking instrument, featuring a triple-tiered keyboard setup, a pedalboard, and an analogue rhythm machine. It offered a total of 18 voices, with two polyphonic sections, a monophonic solo section, and a monophonic pedal section. The synth revolutionised electronic music production, it expanded creative possibilities, influencing the sound of the 1970s and beyond. However, its exclusivity and high price—around $60,000 at the time—meant it was owned by only a select few, including famous musicians like Keith Emerson, Stevie Wonder, Hans Zimmer, and John Paul Jones, who made great use of it on Zep’s In Through The Outdoor. Pete Townshend eventually donated his, along with all his keyboards, to the University of West London formerly Ealing Art College. This collection is part of the Townshend Studio, a space designed for musical learning and experimentation. [Sales of the beast only started in ’75 but it was fitted for my ’73 narrative.]
Makeup and Breakups – A Chronology
The year started in grand style when, in January, Paul Stanley, Gene Simmons, Ace Frehley, and Peter Criss joined forces to form Kiss, who went on to be one of the greatest, most successful and iconic rock bands.
In June, Ronnie “Plonk” Lane played his final show with the Faces at the Edmonton Sundown in London. He would be replaced by Tetsu Yamauchi, a talented bassist from Japan, who previously played with Free and brought his own style to the group during their later years. The Faces continued to perform and record with Tetsu until their eventual breakup in 1975. In the same month, Ian Gillan quit Deep Purple and was followed out of the door by bassist Roger Glover the next month. Unknown hairdresser David Coverdale and Trapeze artist Glenn Hughes were chosen as their successors in Deep Purple MKIII.
The Everly Brothers, famed for harmony-driven hits, broke up in July after a dramatic concert at Knott's Berry Farm, where Phil broke a guitar over Don's head, ending their collaborative career. Also, that month David Bowie broke up the band when he 'retired' his stage persona Ziggy Stardust in front of a shocked audience at the Hammersmith Odeon at the end of his British tour.
So, 1973 was not the most eventful year in the sense of happenings or changes in musical trends, despite Marc Bolan declaring "Glam rock is dead!" on the cover of Melody Maker, a few months after the release of T.Rex’s Tanx album. However, so much fantastic music was released in the year, and I am going to focus on what I consider to be some of the highlights.
Fly me to the moon
Our trip back in time must start with a journey to the moon, The Dark Side of the Moon. March witnessed Pink Floyd releasing a genuine contender for the greatest album ever. Now DSOTM is not even my favourite Floyd album (we’ll get to that in another year) but was the first Prog album that I ever owned. Although it is progressive, it’s not Prog in the way that Yes or early Genesis are: to my mind it is an AOR (Adult Oriented Rock) album, which is why it sold in shed loads, actually more like Amazon warehouse loads, such was the number of copies shipped and the time spent on the charts. It is the fourth best-selling album of all time, selling over 45 million copies worldwide and spending 974 weeks on the Billboard 200, peaking at No. 1.
And it is very much an album and not a collection of hit singles. In fact, no singles were released in the UK, although two singles were released from the album in the US. Both those tracks, “Money” and “US and Them” along with “Time”, can still be heard daily on classic rock stations across the States.
Released during a period of musical experimentation, DSTOM transformed Pink Floyd from art-house innovators to international superstars.
Along with the music, the album cover is perhaps the most iconic of them all (Sgt Pepper clears his throat). Its simple elegance is magnificent. Designed by Storm Thorgerson, it features a prism and light spectrum, symbolising thought and ambition, aligning with Roger Waters' lyrical focus.
Recorded at the world’s most famous studios – Abbey Road – and engineered by Prog legend Alan Parsons, the album is beautifully produced with a pristine sound that is nigh on perfect.
The album has a unifying theme that contemplates different aspects of human life, especially things that can drive you mad.
The album opens with the experimental Speak to Me. Nick Mason's sonic assembly is a lyric-less collage of sounds (heartbeats, clocks, cash registers), featuring spoken interviews on madness, Mason's heartbeat bass drum and snippets from Money and The Great Gig in the Sky. It sets the stage for the album's exploration of the human psyche. The track credits drummer Nick Mason as the composer although this is disputed by Roger Waters. Speak to Me flows seamlessly into Breathe (In the Air), a mellow, introspective track sung by guitarist David Gilmour with lyrics about birth and the rat race. Richard Wright contributes jazzy keyboards, inspired by Miles Davis.
The instrumental On the Run uses an EMS Synthi AKS synthesizer and sound effects (airport noise, footsteps and sounds a plane crash) to transmit a sense of anxiety and fear of flying.
More sound effects herald the onset of Time. Featuring Rick Wright’s last lead vocal work, on the bridge, until 1994's The Division Bell its theme is the inevitability of aging and how you can’t hold back time. “Hanging on in quiet desperation is the English way”. The instrumentation is excellent with Mason's rototom work and Dave Gilmour's guitar solo the highlights of this band composition. A timeless classic that must be on our playlist.
Time slides into Great Gig in the Sky. This is the one track I have never got on that well with, it tends to give me a headache – pass the Nurofen – Clare Torry’s improvised wailing vocal is certainly disturbing, although whether it successfully evokes death, I’m not sure.
Money though is another solid gold classic. Rendered in 7/4 time with Waters bass prominent, its about greed and critiques consumerism and financial obsession. Dick Parry's saxophone solo is excellent. Gilmour contributes multiple memorable solos. Disturbingly, Mason's coin loop reminds me of the cash-register rhythm track of the theme tune from UK sitcom Are You Being Served?.
Us and Them begins with gentle jazzy sax, which is joined by Gilmour's echoed vocals before building in intensity as the song continues to rise and fall. The subject, as the title suggests, is human relationships and societal divides. Rick Wright’s keyboards are superb throughout and his synth leads into the instrumental interlude Any Colour You Like. Gilmour's harmonised solo provides further colour.
Brain Damage is Roger Waters' only lead vocal on the album. The song is inspired by Syd Barrett's mental illness and is his personal reflection on insanity; he’s described it as being about "inner space".
Eclipse brings the album to a climatic close tying the themes together but leaving the final words to Gerry O’Driscoll: "There is no dark side of the moon, really. Matter of fact, it's all dark."
The Dark Side of the Moon is a masterpiece of rock music. It has been widely praised, with reviews noting its textural richness and lasting impact. A landmark concept album known for its innovative sound and profound themes that create an almost cinematic experience. It is as relevant today as it was on first release.
Holy rollers
March also saw the release of Led Zeppelin’s fifth album Houses of the Holy. Falling between the twin peaks of IV and Physical Graffiti, HOTH tends to get less attention and is somewhat underrated. Initially, it received mixed reviews, with criticism directed at tracks like The Crunge and D'yer Mak'er for their off-beat nature, but it has since been recognised for its diversity and innovation.
With all the tracks being original compositions for the first time it certainly was not simply more of the same despite The Song Remains the Same’s triumphal opening of proceedings. This Jimmy Page-led processional blends acoustic and electric guitars in an intricate guitar mini-suite, contrasting bombastic chords with delicate acoustics. It is another playlist must.
The Rain Song brings the tempo down. One of Zep’s most beautiful tracks, this mellow ballad has a wistful vibe, with Page’s acoustic guitar and John Paul Jones' mellotron strings and Robert Plant’s favourite vocal performance. It explores love's cycles with seasonal metaphors.
A Folk-rocker with a catchy melody, Over the Hills and Far Away commences with more Page acoustic work before the Zeppelin heft kicks in.
The Cringe, sorry, The Crunge is a spontaneous James Brown inspired Funk-rock jam in 9/8 time. Divisive among fans, it does show a playful side to the band.
Dancing Days is a poppy little confection with a catchy guitar riff about the joys of youth.
D'yer Mak'er, which again shows Zep’s sense of humour, is a summer mix tape favourite of mine thanks to John Bonham’s big beat Reggae rhythm.
Things get serious on the epic John Paul Jones’ showpiece, the darkly atmospheric No Quarter with its haunting melody.
Beatie Boys favourite The Ocean crashes in with Page’s crafty riff and Bonzo’s monster beats, which alternate between 4/4 and 7/8. The song and album end in joyful style as Bonham doo-wops and Plant ad-libs.
Houses of the Holy is a testament to Led Zeppelin's musical versatility, with each track contributing to a rich tapestry of rock, folk, funk, and reggae. Its initial mixed reception and later acclaim, coupled with its commercial success (certified 11x platinum), ensure its place as a significant album in rock music history.
A lad insane
The great albums kept coming in 73. As we move into April, David Bowie releases his follow-up to Ziggy Stardust, Aladdin Sane. It instantly became my favourite album at that point and still vies with its predecessor for the honour of being my favourite Bowie album. It completed a run of four tremendous albums, the kind of run that few artists can compete with. Each one having a distinctive persona.
'Ziggy was polite - Aladdin was in your f***ing face' - iNews
The record reflects Bowie's experiences during the US leg of his Ziggy tour and is noted for its fast-paced songwriting and experimental nature with a tougher, heavier sound and demonstrating diverse musical styles. Its 10 tracks features contributions from Bowie's backing band, the Spiders from Mars—Mick Ronson, Trevor Bolder, and Mick Woodmansey—along with pianist Mike Garson, two saxophonists, and three backing vocalists.
Opener Watch That Man kicks like a mule. A Stonesy rocker about the New York City party scenes.
Title track Aladdin Sane (1913-1938-197?) is notable for Mike Garson's astonishing avant-garde piano.
Hit single Drive-In Saturday is futuristic, post-apocalyptic doo-wop. Inspired by Seatle and Phoenix.
Panic in Detroit was inspired by Iggy Pop's stories and the 1967 Detroit Riots. It features an insistent rock riff and a Latin salsa beat.
Our Brixton Boy moves quickly from the Mid-West to the West Coast and the LA decadence of Los Angeles on the back of a bluesy rocker, Cracked Actor, featuring Mick Ronson wringing guitar.
Time crosses over to New Orleans where Bowie gets introspective on an almost vaudevillian track.
He returns home to the UK for The Prettiest Star. Not about Marc Bolan but a heartfelt love song.
Let's Spend the Night Together is a raucous glam rock cover of the Rolling Stones. Mike Garson pounds his piano and Ronno makes his guitar roar.
The album’s lead single and still my favourite Bowie song is The Jean Genie. The riff is infectious and probably the most influential piece of music in terms of shaping my musical taste. An anthemic number that celebrates both the New York underground scene and Iggy Pop. Another playlist essential.
The album plays out with romantic piano ballad Lady Grinning Soul, which features Mick Ronson unwittingly channelling his inner Brian May.
The South rises again
1973 saw some important debut albums and one of the most significant and influential has to be Pronounced 'Lĕh-'nérd 'Skin-'nérd by Lynyrd Skynyrd, which was released in August.
Lynyrd Skynyrd adopted their iconic name in 1969, inspired by a strict high school gym teacher, Leonard Skinner. By 1973, the band had settled on a lineup that included vocalist Ronnie Van Zant, guitarists Gary Rossington, Allen Collins, and Ed King, bassist Leon Wilkinson (who rejoined after recording), drummer Bob Burns, and keyboardist Billy Powell. The album was recorded at Studio One in Doraville, Georgia, and produced by Al Kooper, known for his work with Bob Dylan.
Whilst Skynyrd were not the biggest band to emerge in 1973, their first album shaped a whole sub-genre of rock and contained a song that went on to depose Stairway to Heaven as the most requested track on US radio. The album contains more than one fine song though.
In fact, the none of the album’s tracks is a duffer. Side one’s opening quartet of I Ain't the One, Tuesday's Gone, Gimme Three Steps and Simple Man all became a key part of Skynyrd’s live set and helped to define Southern Rock’s sound as the band pioneered Southern Rock’s mainstream breakthrough. They showcase Ronnie Van Zant’s storytelling lyrics and Skynyrd’s ability to create memorable powerful energetic rockers and beautiful ballads, all of which came together on the album’s final track Free Bird.
From the swelling organ as it opens, provided by producer Al Kooper, through the romantic ballad with tinkling piano and slide guitar bird sounds to its epic ending featuring the then 20-year-old co-writer Allen Collins, whose central guitar solo on his iconic Gibson Firebird is, arguably, the greatest in rock history, Freebird was always destined for classic status and our playlist. Had fate not cruelly intervened a few years later, Skynyrd might have become to the US what the Rolling Stones are to the UK.
A month earlier than the appearance of Skynyrd’s almost eponymous debut, a less feted debut album hit the stores in the UK. Named after the band who would go on to be rock royalty. Formed in London by Freddie Mercury (vocals and keyboards), Brian May (guitar), and Roger Taylor (drums), Queen welcomed bassist John Deacon in 1971, completing the classic lineup. Their first album was produced by Roy Thomas Baker, John Anthony, and the band members themselves, combining heavy metal, progressive rock, and folk influences. Despite not being an immediate commercial success, it laid the groundwork for Queen's future achievements, selling over time and gaining acclaim, especially after the success of later albums.
The album recently got a special anniversary release with an added track and an excellent 2024 remix. Standout tracks include heavy rockers Keep Yourself Alive, Liar, Son and Daughter, and the more bluesy Doing All Right, which is another playlist choice.
Skynyrd and Queen were not the only debutants in the year who made worthy contributions to music history. Aerosmith, Buckingham Nicks (before becoming Fleetwood Mac’s mainstays), Bachman Turner Overdrive, Camel, Montrose (produced by Ted Templeman and a template for Van Halen as well as containing Van Hagar’s lead singer), New York Dolls, Suzi Quatro,10cc and some chap called Bruce Springsteen all released first albums that nestle somewhere in my collection.
Double joy
As we move into Autumn (the Fall), October’s bounty included two classic double albums.
The Who released their magnum opus (I know), the rock opera Quadrophenia.
The concept, developed by Pete Townshend, is a semi-autobiographical narrative about Jimmy, a mod who struggles with his identity and his place in society, divided into four distinct personalities, each represented by a band member—Roger Daltrey (vocals), Pete Townshend (guitar), John Entwistle (bass), and Keith Moon (drums). This "quadrophenia," a play on schizophrenia, adds a layer of psychological depth to the album, reflecting the mod subculture of the 1960s and the alienation of youth in the early 1970s.
Standout tracks include The Real Me for its opening energy, 5:15 for its memorable riff, and Love, Reign o'er Me for its emotional close, each reflecting the album's narrative depth. Bell Boy sung by Keith Moon was a hugely popular live track before Moon’s untimely demise. 5:15 is my playlist pick.
Initially, Quadrophenia received mixed reviews, with some critics praising its ambition and musical innovation, while others found it overly long and self-indulgent. Ken Barnes (not that one) of Rolling Stone noted that it had "high points" but criticised its length, calling it "uneven”. The album has subsequently become acclaimed as a rock opera masterpiece.
On 20 November, The Who commenced their Quadrophenia US tour with a concert at San Francisco's Cow Palace, but drummer Keith Moon passed out and nineteen-year-old fan Scot Halpin was selected from the audience to finish the show; Halpin would later be awarded Rolling Stone magazine's "Pick-Up Player of the Year Award" for his historic performance. The support band for the tour was Lynyrd Skynyrd.
The second double album was my first ever purchase of a twin 12 inch vinyl offering but was not even Elton John’s first album of the year: that was Don’t Shoot Me I’m Only the Piano Player.
Goodbye Yellow Brick Road was a sprawling affair. Recorded at the (Honky) Château d'Hérouville in France, the album benefited from a unique atmosphere that inspired the band. Produced by Gus Dudgeon and engineered by David Hentschel, it captures the live energy of Elton John on piano and vocals and his long serving band: Davey Johnstone on guitar, Dee Murray on bass, and Nigel Olsson on drums. It includes 17 tracks, with standout hits like Candle in the Wind, Bennie and the Jets (a US #1 single and my playlist choice), Saturday Night’s Alright for Fighting (one of the great audience participation songs) and the title track, blending rock, ballads, and theatrical elements.
The album's working titles, Vodka and Tonics and Silent Movies, Talking Pictures, highlight the creative process, with lyricist Bernie Taupin writing the lyrics in two and a half weeks, and John composing most melodies in three days while staying at the Pink Flamingo Hotel in Kingston, Jamaica. Initial sessions in Jamaica were abandoned due to logistical issues, including difficulties with the sound system and political unrest, leading to the move to France.
The fold out album cover is more colourful than Elton’s spectacle collection, aside from the famous cover drawing, the lyrics for each track are accompanied by appropriate illustrations created specifically for the sleeve.
Goodbye Yellow Brick Road was a commercial triumph, reaching No. 1 on the Billboard Top LPs & Tape chart and spending over 100 weeks on both US and UK charts. It has sold more than 20 million copies worldwide, making it one of the best-selling albums. Critically, it has been lauded for its diversity and ambition, inducted into the Grammy Hall of Fame in 2003, and ranked No. 112 on Rolling Stone's 2020 list of the greatest albums of all time.
Out of Africa
In November, Paul McCartney and Wings released Band on the Run. Whilst I never owned this album on vinyl, I heard it many times back in the day because it was one of the few albums a good friend owned, and it became a firm favourite.
By the time they came to record it in Lagos, Nigeria, Wings were down to a three piece: Paul, Linda & Denny Laine. McCartney demonstrated his versatility by playing drums, percussion and most lead guitar parts in addition to his usual bass playing duties; he also produced the album along with engineer Geoff Emerick. They produced a polished sound despite the challenging conditions. The music is Pop-rock with experimental and bluesy elements. The title track is my choice for the playlist.
Band on the Run proved a triumph, becoming the top-selling studio album of 1974 in the United Kingdom and Australia, topping the US chart three separate times, and spending 124 weeks on the UK chart. It remains McCartney's most successful album, with over 7 million copies sold, and is celebrated as one of his finest post-Beatles works.
Show me the money, baby
Probably my most played and purchased album from 1975 would be Billion Dollar Babies by Alice Cooper, which I bought for the third time not too long ago when a 50th anniversary edition was released. This was the best of the original band’s albums, featuring three hit singles Elected, No More Mr. Nice Guy and Hello Hooray (which will greet you on the playlist). A #1 on both sides of the Pond, the album is a blend of shock rock theatrics and polished production, it explores themes such as necrophilia, fear of dental work, horror, and sexual harassment, reflecting the band's penchant for provocative content. The production by Bob Ezrin, who also co-wrote some material, is superb.
Wonder vision
One of the most highly rated albums of the year was Stevie Wonder’s Innervisions, a soul-funk masterpiece that showcases his genius as a multi-instrumentalist, songwriter, and producer. This Grammy-winning album blends infectious grooves with sharp social commentary, tackling issues like poverty (Living for the City) and spirituality (Higher Ground another playlist pick). Wonder’s innovative use of synthesizers, particularly the ARP, alongside his soulful vocals, creates a rich, timeless sound. Tracks like Don’t You Worry ’bout a Thing exude optimism, while He’s Misstra Know-It-All critiques ignorance.
Prog stories
1973 had a plethora of fine alums and I am just covering a small sample of the very best, but I cannot leave LP land without briefly mentioning a couple more Prog highlights.
Yes’s Tales from Topographic Oceans is an ambitious, some would say bloated and pretentious, double album that pushes progressive rock to its limits. Spanning four sprawling tracks inspired by Hindu scriptures, it showcased the band’s virtuosity and complexity. Jon Anderson’s ethereal vocals, Steve Howe’s intricate guitar work, and Rick Wakeman’s lush keyboards create a sonic odyssey, though the album’s length and abstract nature divided fans and critics. Highlights like the lovely Ritual (Nous Sommes Du Soleil) captivate, but its indulgence can overwhelm. Never one’s to do things by halves, Yes also released a wonderful triple live album Yessongs and Rick Wakeman delivered his best solo album The Six Wives of Henry VIII.
Selling England by the Pound from Genesis balances pastoral charm with intricate musicianship. It features Peter Gabriel’s theatrical vocals, Tony Banks’s lush keyboards, and Steve Hackett’s evocative guitar work. Tracks like Dancing with the Moonlit Knight critique British identity, while Firth of Fifth dazzles with its instrumental prowess. The whimsical I Know What I Like (In Your Wardrobe) became a surprise hit and is one of my favourite Genesis tracks, so it makes the playlist.
Virgin take-off
Nowadays Sir Richard Branson is most famous for his airline but back in 1973 he was just a Mister with a few tatty record stores, until he released the first album on his fledgling record label. That album was Tubular Bells by unknown multi-instrumentalist Mike Oldfield and its phenomenal success is the foundation upon which Branson built an empire. The instrumental album consisted of two tracks upon which Oldfield played everything, and it got a further boost when the intro section was chosen to be the theme for head turning movie hit The Exorcist.
Singles
The history books might try to tell you that Tie a Yellow Ribbon Round the Ole Oak Tree by Tony Orlando & Dawn was the single of the year; however, true aficionados will have no truck with that because they know that the contest is between two massive hunks of rock. In the British corner is Smoke on the Water and in the Dutch corner is Radar Love.
Deep Purple were on fire when they recorded Smoke on the Water, which features the greatest guitar riff of all-time, as composed by Ritchie Blackmore, who inverted Beethoven’s 5th’s "Duh-duh-duh-DAAAAA" to create “DAH-DAH-DAAAAH… DAH-DAH-DEEEH… DAH-DEEEH… DAAAAH”.
Golden Earring’s Radar Love’s credentials include being the greatest driving song ever.
Both tracks are playlist inclusions. Yeah, I know Smoke was on ‘72s.
Let US play
The biggest and most significant singles on the Billboard charts included Killing Me Softly with His Song - Roberta Flack, which enjoyed five non-consecutive weeks at No. 1and went on to win the 1974 Grammy for Record of the Year. Another big soul hit was Let’s Get It On by Marvin Gaye, another # 1 hit, blending soul and funk and widely regarded as one of the decade’s sexiest songs. The year started with Stevie Wonder going to the top of the pile with a song he originally wrote for Jeff Beck, Superstition, whose clever riff and funky groove marked Wonder’s peak. Gladys Knight & the Pips also provided one of the great soul classics when they took a Midnight Train to Georgia. Further west, War fused complex lyrics, funk, rock and Latin rhythms on The Cisco Kid.
Jim Croce who tragically died in 1973 had a huge hit with Bad, Bad Leroy Brown.
Before they went on the run, Paul McCartney & Wings topped the charts for four weeks with the gentle ballad My Love. They also had a moore up tempo hit with the explosive James Bond theme Live and Let Die.
Carly Simon released one of the most talked about songs of all-time in You’re So Vain. Peaking at # 1 in early 1973, its mystery and pop culture intrigue have helped to make it a classic. Was the song about Mick Jagger? Probably not because he was singing about David Bowie’s missus on one of the Rolling Stones finest ballads Angie, a #1 45 from Goats Head Soup.
I’ll round-up the US countdown Pop Pickers with a couple of instrumentals that must go on my playlist, Frankenstein by The Edgar Winter Group is a piece of music that only comes out at night. “A quirky rock hit with synth and guitar, defying norms” according to Wikipedia. Golden Earring were not the only band from the Netherlands to have a hit single in the US, Focus managed the trick with the brilliantly bonkers Hocus Pocus. This off the wall prog number features, flute, yodelling, whistling and virtuoso guitar and drums and was originally released as an album track in 1971.
Glittering prizes - UK Singles
The big singles in the UK had a few common points with the US but also considerable difference. If we are honest our American cousins were looking rather more grown up when it came to seven-inch vinyl choices. The bastards sent over the Osmonds and David Cassidy to clog up our airwaves. However, there was some relief in the form of the still strong Glam Rock / Glitter Pop, although we should quickly sidestep the Bacofoil wrapped leader of the gang you do not want to be associated with; hopefully he won’t be back again.
Slade made quite the noize and stood atop both the charts and their platform boots with some style, Skweezing three #1’s out of the British public, including the annuity that keeps Noddy Holder in throat lozenges to this day Merry Xmas Everybody.
Another band that went on to produce a yuletide perennial is Wizard and they had three big hits. While they wanted you to jive Roxy Music were trying to persuade us to Do The Strand.
T.Rex, although already waning in popularity gave us one of their best numbers in the fantastic 20th Century Boy.
The dudes from Mott the Hoople managed three Top 20 appearances with Honaloochie Boogie, All the Way from Memphis, and Roll Away the Stone. Their good friend David Bowie went two better, notching up five chart entries, two of which were rereleases, including 1967 novelty The Laughing Gnome, put out by his former record label to cash in on his growing fame and popularity, the songs success was only dwarfed by 41 other singles in 1973.
Wigwam Bam, thank you glam
Bowie only wrote four of his hits from this year but one pair of songwriters plying their trade at the glam end of the market, Nicky Chinn and Mike Chapman, wrote six smash hits. Their output was characterized by catchy, hook-laden glam rock anthems, and they had a remarkable run of hits. Suzi Quatro and her throbbing bass enjoyed a couple of top 3 placings with Can the Can and 48 Crash. Mud exploded onto the scene with Dyna-Mite. Their biggest success was with Led Zeppelin wannabes The Sweet, who visited the top 3 with Hell Raiser, The Ballroom Blitz and Blockbuster.
Blockbuster was the band's only UK No. 1 single, staying at the top of the charts for five weeks. The song is known for its catchy riff and dramatic use of an air-raid siren, which grabs attention right from the start. Interestingly, the song shares a connection with The Yardbirds through its riff. The riff in Blockbuster is strikingly similar to the one in Bo Diddley's "I'm a Man," which The Yardbirds famously used in their version of the song. This riff also appears in David Bowie's The Jean Genie, which was released shortly before Blockbuster. Despite the similarities, and both acts being on the RCA label, all parties involved maintained that it was a coincidence.
The Sweet's performance of the song on Top of the Pops is iconic in glam rock history. They appeared in their flamboyant costumes, complete with platform boots and glittering outfits, which perfectly captured the glam rock aesthetic of the early 1970s. I was, and remain, a big fan of The Sweet. Back then I even bought the iconic long sleeved Wild Thing tee shirt that leader singer Brian Conolly often wore. So, any 1973 playlist would be a bust without this single.
Blockbuster makes the playlist.
Not glam but worth a mention, Stockport’s finest 10cc were firing on all cylinders when they shot to #1 with Rubber Bullets.
Among all the glittering prizes the British public still demonstrated a capacity to squander its pension money on MOR fodder like Eye Level by the Simon Park Orchestra; Welcome Home by Peters and Lee; Spanish Eyes by Al Martino and Get Down by Gilbert O'Sullivan.
Nevertheless, all things considered, 1973 was a pretty awesome year for music, from chart-topping hits and landmark albums to global concerts and the birth of hip-hop, shaping the trajectory of popular music for decades.
And so, to the playlist, which starts where we began with Prog legends Emerson Lake & Palmer’s Karn Evil 9: 1st Impression - Part 2 from their excellent Brain Salad Surgery album.
Most of the inclusions have already been mentioned but one final addition is Black Sabbath – Sabbath Bloody Sabbath, mini epic title track of what was their most ambitious and highly produced album, also my favourite ever Sabs’ track.
Encyclopaedic portrayal of the musical year.
Quite brilliant.
Most importantly though, @OB1 , you highlighted the two albums I had in mind when you were previously commenting on the huge leap in production et al.
DSOTM & Tubular Bells.
Going to have a serious think about where I pull four songs from. You’ve pretty much covered everything.
OB1
Well-Known Member
There’s plenty of options for songs. I have 80 odd on another playlist on Spotify.Encyclopaedic portrayal of the musical year.
Quite brilliant.
Most importantly though, @OB1 , you highlighted the two albums I had in mind when you were previously commenting on the huge leap in production et al.
DSOTM & Tubular Bells.
Going to have a serious think about where I pull four songs from. You’ve pretty much covered everything.
Saddleworth2
Well-Known Member
Tattoo wasn't covered :-)Encyclopaedic portrayal of the musical year.
Quite brilliant.
Most importantly though, @OB1 , you highlighted the two albums I had in mind when you were previously commenting on the huge leap in production et al.
DSOTM & Tubular Bells.
Going to have a serious think about where I pull four songs from. You’ve pretty much covered everything.
Neither were Bruce's first two albums.
Plenty to go at.
Mancitydoogle
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Wow take a bow ‘Billy OB1 Joel’ great write up, another great year! Lots of my personal favourites on your playlist.
Black&White&BlueMoon Town
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I didn't think OB1 could top his Billy Joel style rhymin' for 1969 back on page 137 here, but I think he's done JUST THAT. Bravo again, sir!Wow take a bow ‘Billy OB1 Joel’ great write up, another great year! Lots of my personal favourites on your playlist.
And now, since the cat is out of the bag, I'll fill in the blanks in my subliminal (threespires shaking his head) lyric drop in guessing things...
and everything under the sunI'm looking forward to all that's to come.
is in tune
but the sun is eclipsed by the moon.
I will also note that in (almost?) every single "Labor Day 500 Countdown" that I listened to back in the day, Skynyrd's "Freebird" would always in my recollection finish #2 to "Stairway to Heaven", and usually "A Day In the Life" was up there in the top 3 as well. But then again, that was Philly radio, so maybe it was different on FM radio elsewhere.
And for the record, most Americans will take no credit for the Osmonds or David Cassidy, that's on your stations for trying to peddle that! ;-)
I regret that I'm still listening to 1972 and haven't had a chance to comment on it yet, but I will, but between vacation, too much French Open viewing, and the rude Monday on coming back to work, I have ran out of time, but I'm still listening indeed.
Black&White&BlueMoon Town
Well-Known Member
Well, I'm taking a swing at a song that was one of my early Bruce favourites, and NOT the popular song off of The Wild, the innocent & The E Street Shuffle.Tattoo wasn't covered :-)
Neither were Bruce's first two albums.
Plenty to go at.
Sadds, I know you nominated this album from the Album Thread, but given I wasn't yet around to give it the high marks it rightfully deserved, I'm sure as heck going to nominate the song that is my go-to song when I need to hear the magic and beauty that is the E Street Band.
And this song has it all, early piano and later Mellotron from David Sancious, guitar from Bruce, percussion from "Mad Dog" Vini Lopez, and that lovely sax that only Clarence "Big Man" Clemons could deliver.
This song offers a glimpse into the late-night reality of New York life observing its less glamorous side. The song portrays a pimp and a prostitute, the "late night regulars," who navigate the city's streets to make money, regardless of the cost. I can't think of an early Bruce tune that has moved me and also showed his brilliance of lyrics as a young artist as much as this one.
So, let me be the first of many to nominate the great Bruce Springsteen and his E Street Band when they sing:
Hey vibes man, hey jazz man
Ah, play me a serenade
Any deeper blue
You'll be playin' in your grave
Oh, listen to your junk man
He's singin' (singin')
Just beautiful and when Clarence's sax comes in, there's always a tear.
"New York City Serenade" - Bruce Springsteen
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Mancitydoogle
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The only official recording of Mick Ronson being a member of MTH.Oh, '73 was a jamboree
We were the dudes and the dudes were we (oh oh oh oh oh)
Did you see the suits and the platform boots? ((oh dear, oh gawd, oh my, oh my, oh my)
Mott the Hoople
Saturday Gigs
RobMCFC
Well-Known Member
Brilliant write-up again @OB1.
Kojak’s bald and sucking sweets, streets of NY feel his beats.
What a line, that had me laughing.
Definitely a lot to dig into this year and @Black&White&BlueMoon Town has provided a track from my favourite album from that year. Other than those mentioned so far, I've only got two suggestions so I'll play them now.
I find Bruce Springsteen's debut, Greetings From Asbury park, NJ, a bit hit and miss but I do like this track:-
"Lost in the Flood" - Bruce Springsteen
And another a favourite of the era, a few years before some even better songs from him:-
"The Joker" - The Steve Miller Band
Kojak’s bald and sucking sweets, streets of NY feel his beats.
What a line, that had me laughing.
Definitely a lot to dig into this year and @Black&White&BlueMoon Town has provided a track from my favourite album from that year. Other than those mentioned so far, I've only got two suggestions so I'll play them now.
I find Bruce Springsteen's debut, Greetings From Asbury park, NJ, a bit hit and miss but I do like this track:-
"Lost in the Flood" - Bruce Springsteen
And another a favourite of the era, a few years before some even better songs from him:-
"The Joker" - The Steve Miller Band
OB1
Well-Known Member
Indeed it is.The only official recording of Mick Ronson being a member of MTH.
OB1
Well-Known Member
I found it hard to leave “The Joker” off my playlist but that is true of a few songs.Brilliant write-up again @OB1.
Kojak’s bald and sucking sweets, streets of NY feel his beats.
What a line, that had me laughing.
Definitely a lot to dig into this year and @Black&White&BlueMoon Town has provided a track from my favourite album from that year. Other than those mentioned so far, I've only got two suggestions so I'll play them now.
I find Bruce Springsteen's debut, Greetings From Asbury park, NJ, a bit hit and miss but I do like this track:-
"Lost in the Flood" - Bruce Springsteen
And another a favourite of the era, a few years before some even better songs from him:-
"The Joker" - The Steve Miller Band
threespires
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An epic sweep from Wounded Knee to Man About The House exposing Billy Joel for the lightweight waster he is!
Lots to discuss before we even get to adding to the list. I even feel inclined to forgive you the extra 3 hours you keep adding to the playlists ;-)
Chapeau, OB1
Your post and recollections got me thinking about the way our familial connections shape our musical experience. You are the right age to have been my big brother and were that to have been the case I suspect my music tastes might have evolved somewhat differently. Though I do have a slightly older brother, his LD meant that he was not really into music in our childhood so in effect it was my sister, over a decade older than me, whose music dominated the house and her tastes were quite different from yours. The net of this was that when I did develop my own early music tastes (and despite in 74 the first single I bought myself being from a band you've mentioned here) absent of any influences from early 70s rock, they were quite different to yours. Though I subsequently got into new wave, post-punk etc i missed much of the 70s rock music first time around and it was only visited later in life. Conversely my penchant for soul and funk that seemingly appeared from nowhere in my mid 20s was clearly lying dormant from my early music experiences. 4 or 5 years age difference can be a lifetime in terms of developing musical taste but those early musical exposures whether you embrace them or push back at them can have a huge impact too.
Lots to discuss before we even get to adding to the list. I even feel inclined to forgive you the extra 3 hours you keep adding to the playlists ;-)
Chapeau, OB1
Your post and recollections got me thinking about the way our familial connections shape our musical experience. You are the right age to have been my big brother and were that to have been the case I suspect my music tastes might have evolved somewhat differently. Though I do have a slightly older brother, his LD meant that he was not really into music in our childhood so in effect it was my sister, over a decade older than me, whose music dominated the house and her tastes were quite different from yours. The net of this was that when I did develop my own early music tastes (and despite in 74 the first single I bought myself being from a band you've mentioned here) absent of any influences from early 70s rock, they were quite different to yours. Though I subsequently got into new wave, post-punk etc i missed much of the 70s rock music first time around and it was only visited later in life. Conversely my penchant for soul and funk that seemingly appeared from nowhere in my mid 20s was clearly lying dormant from my early music experiences. 4 or 5 years age difference can be a lifetime in terms of developing musical taste but those early musical exposures whether you embrace them or push back at them can have a huge impact too.
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Jazzman
Well-Known Member
In 1973 the magnificent Status Quo Release the Heĺlo! album. It was their first number 1 album in the UK and contains classics like Caroline and 4500 Times, which many regard the Best Quo song ever. I would instead nominate Blue Eyed Lady. The energy and pace encapsulates why they were called the Frantic Four. As someone already wrote Quo really were the dogs bollocks in those years.
Additionally I would like to bring up another love of mine, from Canada Bachman-Turner Overdrive. BTO released 2 albums in 1973 and from the second, titled Bachman-Turner Overdrive II, I would like to nominate Takin' Care of Business. BTO is just pure rock and roll.
Additionally I would like to bring up another love of mine, from Canada Bachman-Turner Overdrive. BTO released 2 albums in 1973 and from the second, titled Bachman-Turner Overdrive II, I would like to nominate Takin' Care of Business. BTO is just pure rock and roll.
OB1
Well-Known Member
In 1973 the magnificent Status Quo Release the Heĺlo! album. It was their first number 1 album in the UK and contains classics like Caroline and 4500 Times, which many regard the Best Quo song ever. I would instead nominate Blue Eyed Lady. The energy and pace encapsulates why they were called the Frantic Four. As someone already wrote Quo really were the dogs bollocks in those years.
Additionally I would like to bring up another love of mine, from Canada Bachman-Turner Overdrive. BTO released 2 albums in 1973 and from the second, titled Bachman-Turner Overdrive II, I would like to nominate Takin' Care of Business. BTO is just pure rock and roll.
Excellent. I have three Quo tracks, the obvious ones, so not Blue Eyed Lady on my mega ‘73 playlist.
I have two BTO tracks, including TCOB. A great track and a band I like a lot.
OB1
Well-Known Member
I didn’t have an older brother but my quite a bit younger brother was certainly influenced by my musical taste.An epic sweep from Wounded Knee to Man About The House exposing Billy Joel for the lightweight waster he is!
Lots to discuss before we even get to adding to the list. I even feel inclined to forgive you the extra 3 hours you keep adding to the playlists ;-)
Chapeau, OB1
Your post and recollections got me thinking about the way our familial connections shape our musical experience. You are the right age to have been my big brother and were that to have been the case I suspect my music tastes might have evolved somewhat differently. Though I do have a slightly older brother, his LD meant that he was not really into music in our childhood so in effect it was my sister, over a decade older than me, whose music dominated the house and her tastes were quite different from yours. The net of this was that when I did develop my own early music tastes (and despite in 74 the first single I bought myself being from a band you've mentioned here) absent of any influences from early 70s rock, they were quite different to yours. Though I subsequently got into new wave, post-punk etc i missed much of the 70s rock music first time around and it was only visited later in life. Conversely my penchant for soul and funk that seemingly appeared from nowhere in my mid 20s was clearly lying dormant from my early music experiences. 4 or 5 years age difference can be a lifetime in terms of developing musical taste but those early musical exposures whether you embrace them or push back at them can have a huge impact too.
threespires
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Despite all the fantastic songs OB1 has mentioned, the reference to Eye Level means that what I've actually got running round my head at the moment is "Oranjeboom, Oranjeboom, it's a lager not a tune" . WTF!
Saddleworth2
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My first pick has to be Lady Grinning Soul from Aladdin Sane. Its a beautiful track with standout piano work from Mick Garson and superb vocal performance from Bowie. Aladdin Sane is a good album but imo not to the standard of his previous two.
My second is from 'For your pleasure' Roxy Musics second album doesn't have a bad track on it and is by a country mile my favourite Roxy album. This track 'blew my mind' at first listen but not in the way Brian sings about :-)
Lady Grinning Soul - David Bowie
In every dreamhome a heartache - Roxy Music
My second is from 'For your pleasure' Roxy Musics second album doesn't have a bad track on it and is by a country mile my favourite Roxy album. This track 'blew my mind' at first listen but not in the way Brian sings about :-)
Lady Grinning Soul - David Bowie
In every dreamhome a heartache - Roxy Music
MCFCTrick
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SIde note, Mott mainman, Ian Hunter is 86 today. Still releasing albums, still playing live .... at 86!