This is a list of 1970s music albums that multiple music journalists, magazines, and professional music review websites have considered to be among the best of the 1970s and of all time, separated into the years of each album's release. The albums listed here are included on at least four separate "best/greatest of the 1970s/all time" lists from different professional publications (inclusive of all genres and nationalities) as chosen by their editorial staffs or by a sample size of an entire publication's audience, or hall of fame awards and historical preservation measures.
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
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January 11, 1971 | Pearl | Janis Joplin | Columbia |
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February 10, 1971 | Tapestry | Carole King | Commercial performance | |||
February 19, 1971 | The Yes Album | Yes | Atlantic |
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February 22, 1971 | If I Could Only Remember My Name | David Crosby | Atlantic | Acclaimed for its uniquely austere mood, eclectic improvisation, and otherworldly harmony singing. [86] Considered to be a progenitor of the freak folk genre. [87] [88] | Modern reception Uncut's "The 500 Greatest Albums Of The 1970s": #95 [24] | |
February 1971 [89] | Journey in Satchidananda | Alice Coltrane | Impulse! |
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March 5, 1971 [92] | Bryter Layter | Nick Drake | Island | Legacy Uncut's "The 500 Greatest Albums Of The 1970s": #25 [24] | ||
March 19, 1971 | Songs of Love and Hate | Leonard Cohen | Contemporary folk [97] | Columbia | Reception | |
March 19, 1971 [98] | Aqualung | Jethro Tull | Chrysalis/Island (Europe) Reprise (America, Japan and Oceania) | Accolades | ||
March 24, 1971 | Histoire de Melody Nelson | Serge Gainsbourg | Philips | Widely considered by music critics to be one of the greatest French-language albums in popular music history. [102] | ||
April 8, 1971 | In the Land of Grey and Pink | Caravan | Deram | |||
April 19, 1971 | L.A. Woman | The Doors | Elektra |
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April 23, 1971 [107] | Sticky Fingers | The Rolling Stones | Rolling Stones | Legacy | ||
May 21, 1971 | What's Going On | Marvin Gaye | Soul | Tamla | Regarded by music historians as a classic of 1970s soul, and significant to the development of progressive soul. [109] [110] | Accolades |
May 28, 1971 | Every Picture Tells a Story | Rod Stewart | Mercury | Legacy Uncut's "The 500 Greatest Albums Of The 1970s": #110 [24] | ||
May 1971 | Stormcock | Roy Harper | Progressive folk, folk baroque | Harvest | Consists of lengthy songs with dense orchestral arrangements, inspiring several progressive folk and alternative rock acts. [113] [114] [115] |
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June 22, 1971 [118] | Blue | Joni Mitchell | Reprise | Regarded as a landmark of songwriting and composition. [119] | Accolades | |
July 6, 1971 [120] | At Fillmore East | The Allman Brothers Band | Capricorn | Double live album, widely regarded as one of the greatest live albums of all time. [121] [122] | Release and critical reception | |
July 12, 1971 | Maggot Brain | Funkadelic | Westbound | Regarded as among the most intense and best guitar records ever made, as a representation of the tumultuousness and decay of the 1970's. [123] [124] [125] [126] |
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August 2, 1971 [127] | Who's Next | The Who | Critical reception and legacy | |||
August 6, 1971 [131] | Master of Reality | Black Sabbath | Heavy metal | Vertigo | Regarded by several music critics as the foundation of doom metal, stoner rock, and sludge metal. [132] | Reception and legacy |
August 30, 1971 | Surf's Up | The Beach Boys | Brother/Reprise | Retrospective assessments | ||
August 1971 | Tago Mago | Can | United Artists | Consists of long-form experimental tracks blending rock and jazz improvisation, funk rhythms, and musique concrète tape editing techniques. [134] Cited as an influence by many alternative bands. [135] [136] [137] [138] | Accolades | |
September 24, 1971 | Electric Warrior | T. Rex | Widely considered to be the first glam rock album, and an influence to hard rock, punk, and new wave." [140] | Accolades | ||
October 1971 | John Prine | John Prine | Atlantic |
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November 1, 1971 | There's a Riot Goin' On | Sly and The Family Stone | Epic | Considered one of the most influential albums of all time, especially to funk, jazz-funk, and hip hop. Oriented around ongoing drug use and disillusionment with "the death of the Sixties". [144] | Reception and legacy | |
November 3, 1971 [145] [146] | The Inner Mounting Flame | The Mahavishnu Orchestra | Columbia |
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November 5, 1971 | Meddle | Pink Floyd | Harvest |
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November 8, 1971 [149] | Led Zeppelin IV | Led Zeppelin | Atlantic | Accolades | ||
November 11, 1971 | Nilsson Schmilsson | Harry Nilsson | RCA Victor |
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November 12, 1971 | Fragile | Yes | Progressive rock [151] | Atlantic |
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November 12, 1971 [152] | Pawn Hearts | Van Der Graaf Generator | Progressive rock | Charisma |
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December 17, 1971 | Hunky Dory | David Bowie | RCA | Rankings | ||
December 1971 | Construção | Chico Buarque | Philips Records | Widely regarded by music critics as one of the greatest Brazilian albums of all time. Heavily criticized the Brazilian military dictatorship, especially its censorship. [154] | Acclaim and legacy | |
1971 | Pieces of a Man | Gil Scott-Heron | Flying Dutchman | Regarded as having influenced the development of electronic dance music and hip hop. [156] | ||
1971 | In den Gärten Pharaos | Popol Vuh | Pilz | |||
1971 | For Alto | Anthony Braxton | Jazz | Delmark Records | Generally recognized as one of the landmarks of free jazz and improvised music. The first jazz album composed solely of solo saxophone music, and regarded as among the greatest solo saxophone albums. [160] [161] |
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Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
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January 31, 1972 | Let's Stay Together | Al Green | Soul | Hi | Critical reaction | |
February 1, 1972 [163] | Harvest | Neil Young | Reprise | Critical reception | ||
February 25, 1972 | Pink Moon | Nick Drake | Island | Recorded with just Drake on vocals, acoustic guitar and a single piano melody overdubbed onto the title track, with lyrics often attributed to Drake's ongoing battle with depression. [166] | Accolades Uncut's "The 500 Greatest Albums Of The 1970s": #51 [24] | |
February 1972 | Something/Anything? | Todd Rundgren | Bearsville | Double album divided into four sections focused on different stylistic themes; the first three parts were recorded in the studio with Rundgren playing all instruments and singing all vocals in addition to producing. [168] [169] [170] |
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March 30, 1972 [171] | Machine Head | Deep Purple | Purple | Regarded as influential in the development of heavy metal. [172] | Critical reception | |
March 1972 | Clube da Esquina | Milton Nascimento / Lô Borges | EMI-Odeon | Regarded as among the greatest albums of Brazilian music. [173] [174] [175] | Legacy and critical reception | |
April 24, 1972 | #1 Record | Big Star | Ardent | Regarded as a seminal work in pop rock and power pop. [180] | Number 1 Record | |
May 12, 1972 | Exile on Main St. | The Rolling Stones | Rolling Stones | Accolades | ||
June 1, 1972 | Amazing Grace | Aretha Franklin | Gospel | Atlantic | Live album. [182] |
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June 16, 1972 | Roxy Music | Roxy Music | Critical reception | |||
June 16, 1972 | The Rise and Fall of Ziggy Stardust and the Spiders from Mars | David Bowie | RCA | Recognised as one of the most important and culturally impactful rock albums. [185] [186] [187] | Rankings | |
June 1972 | 666 | Aphrodite's Child | Vertigo | Double-LP concept album, ostensibly an adaptation of Biblical passages from the Book of Revelation. [190] Regarded by many music critics as among the greatest progressive rock albums of all time. [191] [192] | Release and reception The Guardian's "1000 Albums to Hear Before You Die" [117] | |
July 11, 1972 | Super Fly | Curtis Mayfield | Curtom | One of the pioneering soul concept albums, including socially aware lyrics about poverty and drug abuse. [197] [198] Regarded as an influence to the hip hop and rap genres. [199] | Reception, sales and legacy | |
September 8, 1972 [200] | Close to the Edge | Yes | Progressive rock | Atlantic | Reception and legacy | |
September 15, 1972 | Foxtrot | Genesis | Progressive rock | Charisma | ||
September 1972 [202] | Vol. 4 | Black Sabbath | Heavy metal [203] | Vertigo | Release and reception Classic Rock & Metal Hammer's The 200 Greatest Albums of the 70's [84] | |
October 11, 1972 | On the Corner | Miles Davis | Columbia | Praised for its experimental style, anticipating subsequent developments in funk, jazz, post-punk, electronica, and hip hop. [205] [206] | ||
October 27, 1972 | Talking Book | Stevie Wonder | Tamla |
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November 8, 1972 | Transformer | Lou Reed | RCA Victor | Incorporated controversial topics of sexual orientation, gender identity, prostitution, and drug use. [209] | Critical reception | |
November 29, 1972 | Ege Bamyasi | Can | Helped popularize krautrock, and inspired several later musicians, particularly the electronic and post-punk scenes. [212] [213] [214] | Accolades | ||
November 1972 | Can't Buy a Thrill | Steely Dan | ABC | Critical reception Uncut's "The 500 Greatest Albums Of The 1970s": #297 [24] | ||
December 8, 1972 | Made in Japan | Deep Purple | Purple | Accolades Classic Rock & Metal Hammer's The 200 Greatest Albums of the 70's [84] | ||
1972 | Acabou Chorare | Novos Baianos | Som Livre | Influential to many Brazilian musicians and bands due to its absence of a group hierarchy and focus on samba rhythm. [219] | Acabou Chorare | |
1972 | Neu! | Neu! | Brain | Regarded as a seminal work of German experimental rock, and influential towards influence on subsequent ambient music and punk. [221] [222] | ||
1972 | Hosianna Mantra | Popol Vuh | Pilz [224] |
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
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February 7, 1973 | Raw Power | Iggy and The Stooges | Columbia | Credited with pioneering punk rock, and being one, of if not the first punk rock album by some music critics. [227] [228] | ||
February 25, 1973 | Paris 1919 | John Cale | Reprise | Highly regarded for its orchestral-influenced style and evocative lyrical imagery of various aspects of early 20th century Western Europe culture and history. [233] | Legacy Uncut's "The 500 Greatest Albums Of The 1970s": #47 [24] Rolling Stone Germany's The 500 Greatest Albums of All Time: #82 [234] | |
February 1973 | Solid Air | John Martyn | Island | Reception Uncut's "The 500 Greatest Albums Of The 1970s": #61 [24] | ||
March 1, 1973 | The Dark Side of the Moon | Pink Floyd | Regarded as a pivotal point in the history of rock music, and by many publications as its greatest album. [240] [241] [242] | Rankings | ||
March 2, 1973 | A Wizard, a True Star | Todd Rundgren | Bearsville | Produced, engineered, and largely performed by Rundgren alone, who envisioned the album as a hallucinogenic-inspired "flight plan" with all the tracks segueing seamlessly into each other. [244] |
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March 6, 1973 | Closing Time | Tom Waits | Asylum | |||
March 23, 1973 | Larks' Tongues in Aspic | King Crimson | Reception and legacy | |||
March 23, 1973 | For Your Pleasure | Roxy Music | Art rock [247] | Regarded as one of the greatest glam rock and art rock albums of all time. [248] | Critical reception | |
March 28, 1973 [249] | Houses Of the Holy | Led Zeppelin | Atlantic | Release and reception | ||
April 13, 1973 | Catch a Fire | The Wailers | Tuff Gong/Island | Regarded as one of the top reggae albums of all time. [253] [254] | Critical reception Uncut's "The 500 Greatest Albums Of The 1970s": #106 [24] FNAC's The 1000 Best Albums of All Time: #129 [42] | |
April 19, 1973 | Aladdin Sane | David Bowie | RCA | Legacy | ||
May 6, 1973 | Mekanïk Destruktïw Kommandöh | Magma | Zeuhl |
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May 25, 1973 | Tubular Bells | Mike Oldfield | Virgin | Consists of two mostly instrumental tracks written by 19 year old Mike Oldfield, who played almost all the instruments. [261] | Reception | |
July 27, 1973 | New York Dolls | New York Dolls | Mercury | Regarded as a foundation for the late 1970s punk rock movement. [262] [263] | Professional rankings | |
July 1973 | Countdown to Ecstasy | Steely Dan | ABC |
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August 1, 1973 | Future Days | Can | United Artists | #Legacy|Legacy | ||
August 3, 1973 | Innervisions | Stevie Wonder | Tamla | Significantly influential on the sound of commercial soul and black music. [270] | Legacy Grammy Hall of Fame in 1999 [271] | |
August 13, 1973 | (pronounced 'lĕh-'nérd 'skin-'nérd) | Lynyrd Skynyrd | MCA |
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August 28, 1973 | Let's Get It On | Marvin Gaye | Tamla | Influenced the development of contemporary R&B and slow jams by incorporating vocal multi-tracking and complex instrumentation. [273] [272] | Accolades | |
September 21, 1973 | Faust IV | Faust | Krautrock [274] | Virgin |
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September 28, 1973 | Selling England by the Pound | Genesis |
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October 5, 1973 | Goodbye Yellow Brick Road | Elton John | DJM | Double album. [276] | Legacy | |
October 5, 1973 | Berlin | Lou Reed | RCA Victor | Rock opera about a doomed couple, addressing themes of drug use, prostitution, depression, domestic violence and suicide. [279] |
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October 26, 1973 [282] | Quadrophenia | The Who | Double concept album, regarded as influential towards the mod revival movement of the late 1970s. [285] | Reception | ||
October 26, 1973 | Head Hunters | Herbie Hancock | Columbia | Considered to have brought jazz-funk fusion to mainstream attention. [286] | ||
October 1973 | Artaud | Pescado Rabioso | Talent-Microfón | Considered to be among most influential albums in Spanish-language rock music, and frequently ranked as the best greatest album in the history of Argentine rock. [288] [289] [290] [291] | Legacy | |
October 1973 | Marjory Razorblade | Kevin Coyne | Rock [292] | Virgin | Double album. |
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November 5, 1973 [293] [294] | The Wild, the Innocent & the E Street Shuffle | Bruce Springsteen | Rock | Columbia |
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November 30, 1973 | Band on the Run | Paul McCartney & Wings | Apple | Critical reception NME's "The 500 Greatest Albums of All Time": #333 [229] | ||
1973 | Conference of the Birds | Dave Holland | ECM | Considered to be among the greatest avant-garde jazz releases. [297] [298] |
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Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
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January 17, 1974 | Court and Spark | Joni Mitchell | Asylum | |||
January 1974 | Grievous Angel | Gram Parsons | Reprise |
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February 8, 1974 | Here Come the Warm Jets | Brian Eno | Island | Critical reception | ||
February 20, 1974 [308] | Radio City | Big Star | Power pop | Ardent | Recognized as a milestone album in the history of power pop music, and regarded by several music critics as its definitive album. [309] [310] | Reception |
February 20, 1974 | Pretzel Logic | Steely Dan | ABC | Critical reception Uncut's "The 500 Greatest Albums Of The 1970s": #127 [24] | ||
February 20, 1974 | Phaedra | Tangerine Dream | Virgin | Considered to have greatly influenced the Berlin School genre. [316] | ||
April 30, 1974 | I Want to See the Bright Lights Tonight | Richard & Linda Thompson | Island | Reception Uncut's "The 500 Greatest Albums Of The 1970s": #37 [24] | ||
May 1, 1974 | Kimono My House | Sparks | Island |
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May 24, 1974 | Diamond Dogs | David Bowie | RCA | Cited as an influence on the 1970s punk revolution and on future goth and industrial acts due due to its nihilistic lyrical content and raw guitar style. [318] [319] | ||
July 19, 1974 [321] | On the Beach | Neil Young | Reprise | Reception | ||
July 26, 1974 | Rock Bottom | Robert Wyatt | Virgin | |||
October 6, 1974 | Red | King Crimson | Regarded as being highly influential to the development of avant-garde metal and math rock. [324] [325] | Legacy Uncut's "The 500 Greatest Albums Of The 1970s": #379 [24] | ||
October 25, 1974 | Crime of the Century | Supertramp | A&M | Reception | ||
October 25, 1974 | Natty Dread | Bob Marley & The Wailers | Island/Tuff Gong |
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November 1, 1974 | Autobahn | Kraftwerk | Philips | Regarded as one of the most influential and significant records in the history of electronic music. Features a 22-minute suite titled "Autobahn", reflecting a trip emulating the sounds of motor vehicle on the highway. [331] [332] | ||
November 22, 1974 [334] | The Lamb Lies Down on Broadway | Genesis | Legacy Treble's "The Top 150 Albums of the ’70s": #94 [91] Classic Rock & Metal Hammer's The 200 Greatest Albums of the 70's [84] | |||
November 1974 | Taking Tiger Mountain (By Strategy) | Brian Eno | Island | Loose concept album that references themes of geopolitical intrigue ranging from espionage to the Chinese Communist Revolution. [339] | ||
1974 | Zuckerzeit | Cluster | Brain | Influential on future electronic releases in part due to its lo-fi approach. [344] [345] |
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
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January 20, 1975 | Blood on the Tracks | Bob Dylan | Columbia | |||
February 24, 1975 | Physical Graffiti | Led Zeppelin | Hard rock | Swan Song | Double album. [348] | Release and critical reception |
February 1975 | Neu! '75 | Neu! | Regarded as a landmark in German experimental rock due to side one's electronic ambient tracks and side two's proto-punk. [222] [349] |
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May 1975 | Red Headed Stranger | Willie Nelson | Columbia | Legacy | ||
June 20, 1975 | Tonight's the Night | Neil Young | Reprise |
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June 26, 1975 | The Basement Tapes | Bob Dylan & The Band | Columbia | Considered a significant influence on Americana and alternative country due to its home-brew, unpolished recording distinct from contemporary acts in the 1960's. [353] | Legacy Rolling Stone's "500 Greatest Albums of All Time": #335 [33] Grammy Hall of Fame Induction [50] | |
August 25, 1975 | Born to Run | Bruce Springsteen | Columbia | Highly regarded for its Wall of Sound production and cinematic storytelling attributed with capturing the ideals of a generation of American youths during a decade of political turmoil, war, and issues for the working class. [354] [355] [356] | Rankings | |
September 12, 1975 | Wish You Were Here | Pink Floyd | Reception | |||
November 10, 1975 | Horses | Patti Smith | Arista | Regarded as a seminal recording in the history of punk, and later rock movements such as new wave, alternative rock, indie rock, and grunge. [361] [362] [363] | Legacy and influence | |
November 14, 1975 [364] | Another Green World | Eno | Island | Regarded as a landmark and pioneering release for ambient and art-pop music due to its unorthodox use of the recoding studio, directed improvisations, electronic effects. [366] | Legacy Treble's "The Top 150 Albums of the ’70s": #20 [91] | |
November 28, 1975 | A Night at the Opera | Queen | Highly regarded for its elaborate production and incorporation of a vast range of styles, such as ballads, music hall, sea shanties, dixieland, hard rock and progressive rock influences. [367] [368] [369] | Accolades | ||
November 30, 1975 | The Köln Concert | Keith Jarrett | Jazz | ECM | The best-selling piano recording and the best-selling solo album in jazz history. [370] [371] | Legacy |
November 1975 | The Hissing of Summer Lawns | Joni Mitchell | Asylum | Accolades | ||
December 15, 1975 | Mothership Connection | Parliament | Reception | |||
1975 | Bogalusa Boogie | Clifton Chenier | Zydeco [380] | Arhoolie Records |
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Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
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January 5, 1976 | Desire | Bob Dylan | Folk rock | Columbia |
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January 23, 1976 | Station to Station | David Bowie | RCA | Rankings | ||
March 1976 | 2112 | Rush | Mercury | Reception | ||
March 1976 | Bright Size Life | Pat Metheny | ECM | |||
April 23, 1976 | Ramones | Ramones | Punk rock | Sire | Critically considered as having established the musical genre of punk rock, while influencing additional genres such as heavy metal, thrash metal, [390] indie pop, grunge, and post-punk. [391] | |
August 25, 1976 | Boston | Boston | Epic | Regarded as having led the transition of mainstream American rock from blues-based proto-metal to power pop alongside advanced production values. [393] [394] |
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August 1976 | The Modern Lovers | The Modern Lovers | Beserkley | Considered a significant inspiration for punk rock. [399] |
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September 28, 1976 | Songs in the Key of Life | Stevie Wonder | Tamla | Legacy and influence | ||
October 11, 1976 | Arrival | ABBA |
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November 22, 1976 | Hejira | Joni Mitchell | Asylum |
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December 8, 1976 | Hotel California | Rock | Asylum | Accolades | ||
December 1976 | Oxygène | Jean-Michel Jarre | Disques Motors/Polydor | Regarded as having popularized the rise of synthesizers in music. [413] [414] | Accolades | |
1976 | King Tubbys Meets Rockers Uptown | Augustus Pablo | *Yard International *Clocktower | Regarded as one of the best and most influential dub albums | Critical reception | |
1976 | Music from the Penguin Cafe | Penguin Cafe Orchestra | Pop [416] | E.G. |
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Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
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January 14, 1977 | Low | David Bowie | RCA | Highly acclaimed for its acclaimed for its originality and cited as an influence on the post-punk and post-rock genres. [418] [419] [420] | Rankings | |
February 4, 1977 | Rumours | Fleetwood Mac | Warner Bros. | Legacy | ||
February 8, 1977 | Marquee Moon | Television | Elektra | Regarded a foundational record of alternative rock, due to its innovative instrumentation involving rock and jazz-inspired interplay, melodic lines, and counter-melodies. Strongly influenced subsequent post-punk, new wave, and indie rock movements of the 1980s, and rock guitar playing in general. [422] [423] [424] | Reappraisal | |
February 18, 1977 | Damned Damned Damned | The Damned | Stiff | The first full-length album released by a UK punk group. [426] |
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February 21, 1977 | (I'm) Stranded | The Saints | Punk rock [428] | Accolades | ||
March 18, 1977 | The Idiot | Iggy Pop | RCA Victor | Regarded as a significant influence on post-punk, industrial, and gothic rock artists. [429] |
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March 1977 | Heavy Weather | Weather Report | Jazz fusion [430] | Columbia | Legacy | |
March 1977 | Trans-Europa Express | Kraftwerk | Kling Klang | Regarded as one of the most influential and significant albums of all time due to its use of minimalistic arrangements, mechanized rhythms, and custom-built sequencers, influencing subsequent electronic, hip-hop, post-punk, and other genres of music. [432] [433] [434] | Accolades | |
April 8, 1977 | The Clash | The Clash | Punk rock [435] | CBS | Reception | |
April 15, 1977 | Rattus Norvegicus | The Stranglers |
| Reception and legacy | ||
June 3, 1977 | Exodus | Bob Marley & the Wailers | Reggae | Island | Critical reception Uncut's "The 500 Greatest Albums Of The 1970s": #125 [24] | |
July 22, 1977 | My Aim Is True | Elvis Costello | Rankings | |||
September 9, 1977 | Lust for Life | Iggy Pop | RCA | Aftermath and legacy | ||
September 16, 1977 | Talking Heads: 77 | Talking Heads | Sire |
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September 23, 1977 | Aja | Steely Dan | ABC | Lauded by critics and audiophiles as among the most well-produced albums. [444] | Accolades | |
September 29, 1977 | The Stranger | Billy Joel | Columbia | Reception | ||
October 3, 1977 | L.A.M.F. | The Heartbreakers | Track |
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October 14, 1977 | "Heroes" | David Bowie | RCA | Legacy | ||
October 21, 1977 | Bat Out of Hell | Meat Loaf | Wagnerian rock | Regarded as the first Wagnerian rock album due to its elaborate compositions, as well as its dense Wall of Sound-inspired production by Todd Rundgren. [449] [450] | Legacy | |
October 24, 1977 [451] | Out of the Blue | Electric Light Orchestra |
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October 28, 1977 | Never Mind the Bollocks, Here's the Sex Pistols | Sex Pistols | Punk rock |
| Regarded as one of, if not the most influential punk rock albums due to its energy and vocal delivery. [455] | Legacy |
November 4, 1977 | Rocket to Russia | Ramones | Sire |
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November 1977 | Pink Flag | Wire | Harvest | Regarded as a landmark in the development of post-punk, hardcore, alternative rock, and Britpop music. [461] [462] | Legacy | |
November 15, 1977 | Saturday Night Fever | Various Artists | Disco | RSO Records | Double soundtrack album to Saturday Night Fever, regarded as having epitomized the disco phenomenon. [463] | Reception and legacy |
December 28, 1977 | Suicide | Suicide | Red Star | Considered a uniquely "monolithic" album due to its minimalist electronics and harsh, repetitive rhythms, especially on the song Frankie Teardrop. [464] [465] | Reception | |
December 1977 | Before and After Science | Brian Eno |
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1977 | Zombie | Fela Kuti & Africa 70 | Afrobeat [468] | Coconut | Critical reception FNAC's The 1000 Best Albums of All Time: #224 [42] | |
1977 | Heart of the Congos | The Congos | Roots reggae [469] | Black Ark |
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Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
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February 10, 1978 | Van Halen | Van Halen | Warner Bros. | Regarded by some critics as the progenitor of glam metal, with the instrumental "Eruption" helping to popularize two-handed tapping. [473] [474] [475] | Legacy | |
February 17, 1978 | The Kick Inside | Kate Bush |
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February 1978 | The Modern Dance | Pere Ubu | Blank | |||
March 17, 1978 | This Year's Model | Elvis Costello | Acclaimed as an influential album regarding the evolution of punk rock towards new wave. [478] [479] | Rankings | ||
March 18, 1978 | Third | Big Star | PVC | Has become a cult album due to its "starkly personal, often experimental, and by turns beautiful and haunting songs", while documenting the band's deterioration as well as the declining mental state of singer and songwriter Alex Chilton in part due to the band's lack of commercial success. [481] [482] | Third/Sister Lovers | |
March 1978 | Ambient 1: Music for Airports | Brian Eno | Credited with coining the term "ambient music" and defining the genre. [483] [484] | Legacy | ||
April 28, 1978 [485] | Die Mensch-Maschine | Kraftwerk | Broad concept album of themes from the Cold War, Germany's fascination with manufacturing, and humankind's increasingly symbiotic relationship with machines. [489] Critically regarded as the catalyst for the synth-pop "revolution" that followed its release and early new wave electro-pop. [490] [491] | |||
April 1978 | Music for 18 Musicians | Steve Reich | Minimalism | ECM New Series | Regarded as one of the best works of minimalism and modern classical music. [492] [493] | |
April 1978 | The Only Ones | The Only Ones | Columbia |
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June 2, 1978 | Darkness on the Edge of Town | Bruce Springsteen | Columbia | Rankings | ||
June 6, 1978 [496] | The Cars | The Cars | Elektra | Reception and legacy Uncut's "The 500 Greatest Albums Of The 1970s": #306 [24] | ||
June 9, 1978 | Some Girls | The Rolling Stones | Rock [497] | Rolling Stones | Critical reception and legacy | |
June 9, 1978 [498] | Dire Straits | Dire Straits |
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June 1978 | Real Life | Magazine | Virgin | Considered a pioneering post-punk album. [500] | Legacy | |
July 14, 1978 [501] | More Songs About Buildings and Food | Talking Heads | Sire | Reception | ||
August 28, 1978 | Q: Are We Not Men? A: We Are Devo! | Devo |
| Legacy Treble's "The Top 150 Albums of the ’70s": #98 [91] | ||
September 8, 1978 | Chairs Missing | Wire | Harvest | Regarded as a crucial landmark in the evolution of punk into post-punk and goth, and a seminal avant-pop release. [510] [511] | ||
September 8, 1978 | Parallel Lines | Blondie | Chrysalis | Reception and legacy | ||
November 3, 1978 | All Mod Cons | The Jam | Polydor | Reception Uncut's "The 500 Greatest Albums Of The 1970s": #235 [24] | ||
November 10, 1978 | Germfree Adolescents | X-Ray Spex | EMI | |||
November 13, 1978 | The Scream | Siouxsie and the Banshees | Polydor | Acclaimed as a pioneering post-punk album and a landmark of the genre [519] [520] [521] |
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1978 | No New York | Antilles | Compiled by Brian Eno to document the No wave scene in New York City, naming and helping to define the movement. |
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
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January 5, 1979 | Armed Forces | Elvis Costello and The Attractions | Rankings | |||
February 2, 1979 | Inflammable Material | Stiff Little Fingers | Punk rock | Rough Trade | Much of the album details the grim reality of life in Northern Ireland in times of polarisation and conflict, with songs containing themes such as teenage boredom, deprivation, sectarian violence and police brutality. [529] [530] |
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February 28, 1979 | Rickie Lee Jones | Rickie Lee Jones | Warner Bros. | |||
March 16, 1979 | Breakfast in America | Supertramp | A&M | Accolades | ||
April 20, 1979 | Y | The Pop Group | Radar | Accolades | ||
May 1979 | The Undertones | The Undertones | Sire | Accolades | ||
June 15, 1979 | Unknown Pleasures | Joy Division | Factory | Significantly influential on post-punk and related genres due to its uniquely gothic, bleak, and "claustrophobic" essence. [541] [542] | Accolades | |
June 22, 1979 [543] | Rust Never Sleeps | Neil Young & Crazy Horse | Reprise | Live album. Widely considered a precursor of grunge music, with the bands Nirvana and Pearl Jam having cited Young's heavily distorted and abrasive guitar style on the B side to this album as an inspiration. [546] | Critical reception | |
July 6, 1979 | The B-52's | The B-52's |
| Critical reception | ||
July 27, 1979 [550] | Highway to Hell | AC/DC | Generally considered one of the greatest hard rock albums ever made. [551] [552] | Reception | ||
August 3, 1979 [553] | Fear of Music | Talking Heads | Sire | Accolades | ||
August 10, 1979 [556] | Off the Wall | Michael Jackson | Regarded as a landmark release of the disco era. [557] [558] | Rankings | ||
August 17, 1979 | Drums and Wires | XTC | Virgin | Highly regarded for its use of "clever humor... powerful rhythms, and angular, mainly minimalistic arrangements". [559] | Critical reception
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September 7, 1979 | Cut | The Slits | Island | Accolades | ||
September 25, 1979 | Solid State Survivor | Yellow Magic Orchestra | Alfa | Considered an early example of synth-pop, and a pioneering release in the development of techno. [561] [562] |
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September 25, 1979 | Entertainment! | Gang of Four | Considered a seminal album in the post-punk movement, and key album in the genres of dance-punk, [565] art punk [566] and funk-punk. [567] | Reception | ||
September 1979 | 154 | Wire | Harvest | Greatly influential due to its abstract, complex, and experimental arrangements of guitar effects, synthesizers and electronics. "The 15th" is regarded as one of the earliest and most crucial examples of shoegaze. [571] [572] [573] | ||
September 1979 | This Heat | This Heat | Piano | Regarded as a seminal work integral in shaping the genres of post-punk, avant rock and post-rock. [575] [574] |
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October 5, 1979 | Reggatta de Blanc | The Police | A&M | Reception and legacy Treble's "The Top 150 Albums of the ’70s": #108 [91] | ||
October 12, 1979 | Tusk | Fleetwood Mac | Warner Bros. | Double album. | ||
October 19, 1979 [578] | One Step Beyond... | Madness | Considered to be instrumental in popularizing 2 tone music in the United Kingdom. [582] | |||
October 19, 1979 | The Specials | The Specials | 2 Tone | Regarded by several critics as some as a defining album of the UK ska scene. [585] [586] | Legacy | |
October 19, 1979 | Damn the Torpedoes | Tom Petty and the Heartbreakers | Backstreet |
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October 1979 | (GI) | Germs | Slash | Often considered the first full-length hardcore punk album. [591] |
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November 21, 1979 | The Raincoats | The Raincoats | Rough Trade | Considered influential in setting the groundwork for the riot grrrl movement, and in shaping the use of lo-fi in recordings. [594] [595] | Reception | |
November 23, 1979 | Metal Box | Public Image Ltd. | Virgin | Regarded as among the best post-punk albums characterized by John Lydon's cryptic lyrics, propulsive dub-inspired rhythms led by bassist Jah Wobble, and an abrasive, "metallic" guitar sound developed by guitarist Keith Levene. [599] [600] | Critical reception | |
November 30, 1979 | The Wall | Pink Floyd | Double album rock opera surrounding the life of a fictional jaded rock star, as he constructs a psychological "wall" of social isolation. One of the best known concept albums. [604] | Release and reception | ||
December 14, 1979 | London Calling | The Clash | Reappraisal and legacy | |||
December 1979 | 20 Jazz Funk Greats | Throbbing Gristle | Industrial | Considered to be one of the best industrial music albums of all time. [610] [611] |
Along with drummer Hannah Ford and bassist Ida Nielsen, the group recalls the psychedelic-funk eruption of Band of Gypsys.
1971's Fireball saw the band broadening out from the no-holds-barred hard rock direction of the previous year's cacophonous In Rock.
Together, these songs make up one of metal's most defining and oft-copied statements.
Arguably punk rock's most essential and influential album, Fun House—The Stooges follow-up to their 1969 self-titled studio debut—found Iggy Pop, David Alexander, Ron Asheton and Scott Asheton at their finest and purest form as artists, digging deeper than any band before them, channeling slow-rolling jazz with gritty blues guitar licks, psychedelia with spurts of hammering drum fills, and licentious screaming and hollering with bass lines groovier than the bulk of Motown's discography.
The Ramones were still unknown teenagers in Forest Hills, Queens, when the Stooges laid the groundwork for punk on their first two albums, 1969's The Stooges and Fun House a year later in 1970.
But listeners needed at least a decade to fully absorb the stylistic change-ups on Led Zeppelin III. The elephant-balled blues rock that had defined Zeppelin's sound was now tempered down, replaced by a heady strain of wispy, mystic folk rock.
Today we revisit the album that made Rod Stewart a star, a rollicking and surprisingly grounded document of early '70s folk-rock.Today we revisit the album that made Rod Stewart a star, a rollicking and surprisingly grounded document of early '70s folk-rock.
...the album was a masterclass in roots rock...
...Who's Next is paradoxically also the first record on which an arena-rock band sounds downright Wembley Stadium–large.
They mixed British Invasion pop finesse with all-American hard rock, from the surging "Feel" to the acoustic heartbreaker "Thirteen.
With this seemingly accidental masterpiece, the gritty country blues the Stones tested on earlier records is perfected...
Wonder integrated soul, funk, rock, torch song, and jazz on his 1972 album Talking Book and his 1973 album Innervisions.
As wonderful as the Krautrocker's fourth album might be, there's no doubting the fact that 10-minute space-rock jams fronted by Japanese buskers...
...Neu! Invented the motorik beat - Krautrock's defining relentless rhythm....influencing both punk and ambient...
... an untitled piece with riffs that later turned up on the 1973 avant-metal killer Larks' Tongues in Aspic.
In their first four years as a band, Roxy Music went off on a tear that produced five of the Seventies' most influential art-rock albums.
The album became a progressive rock sensation in Britain, where it remained on the charts for nearly five years and in America, where its success was aided by the inclusion of extracts on the soundtrack of The Exorcist (1973).
Wonder integrated soul, funk, rock, torch song, and jazz on his 1972 album Talking Book and his 1973 album Innervisions.
Wonder is deeply in his own zone [on Songs in the Key of Life], crafting these rich and textured soul-jazz meditations...
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: CS1 maint: bot: original URL status unknown (link)Produced by Steve Lillywhite, it arrived between Magazine's Real Life and Public Image Ltd's Public Image as the second in that year's triptych of albums layering the foundations of post-punk.
The Scream - released on Polydor after Peel had repeatedly cajoled record labels to sign the band - was to influence the sound of early U2, the Cure, the Cocteau Twins and My Bloody Valentine. Each one of these bands has influenced at least four hundred others
The Scream points to the future, real music for the new age. ... It is vital, it's moving. It's a ... landmark.
...Rust Never Sleeps mixed acoustic material with squalling, feedback-laden hard rock.
After the manic perfection of their 1979 debut put them...in the realm of college rock...
...those crazy-ass bird calls, sleazy ambient pulsations, and homemade electro-pop grooves.