Listed below are the best albums of the 1970s as calculated from their overall rankings in over 58,000 greatest album charts. (Chart last updated: 4 hours ago).
"Novices to the world of acclaimed rock music looking to cut their teeth wouldn't have to dig very deep to find evidence of The Dark Side of the Moon's legacy and societal imprint. After all, this is a record that is arguably the most universally celebrated and globally popular in modern history. ...""Novices to the world of acclaimed rock music looking to cut their teeth wouldn't have to dig very deep to find evidence of The Dark Side of the Moon's legacy and societal imprint. After all, this is a record that is arguably the most universally celebrated and globally popular in modern history. Unfortunately, nowadays it's characterized, more often than not, by hyperbole. This is a shame really because it's pinpoint nuance that makes The Dark Side of the Moon one of the finest albums to grace humanity's collective eardrums. The record radiates a sound of a group that knows exactly what it wants to achieve sonically and signals the completion of a maturation that has occurred over the course of a handful of prior outings. Take 1971's Meddle for example. It's one of Floyd's finest without reservation, boasting immense successes such as Fearless and San Tropez, but there is a rather hefty outlier laden within the tracklist. To be clear, I'm using the term outlier in its most complimentary form. The 23 minute behemoth, Echoes, ended the record and served as a roadmap for where the band would venture next. The destination was a cosmic, ethereal, metaphysical realm that they dubbed The Dark Side of the Moon.
The album commences with Speak to Me, a transport that can loosely be described as a track, however, its importance is critical to the LP's DNA. The track is fronted by a literal heartbeat and incorporates various samples (faintly heard) that coordinate with future expositions, elapsing to lay out the coming journey that remains ahead. They say that your life flashes before you on your deathbed, but here the band have presented those nanoseconds at birth. It's an intriguing concept put lightly. After a short (breath) of cognizance, third track, On the Run, epitomizes the frantic rigors that life will bestow upon its participants. Synths and a Hammond organ spark throughout the frenetic, instrumental piece that help craft one of Floyd's most satisfying short-burst affirmations. A cacophony of alarm bells greet you when fourth track Time, one of Floyd's most cherished works, emerges. The song, unsurprisingly, deals with the passage of its namesake and how it is futile to protest against the all-devouring pull of its black hole. The horology driven track is arguably the album's spaciest statement, as it glides wonderfully across an unblemished, unsullied terrain. David Gilmour's lead vocals are hoisted by the serene backing of a myriad of singers before he himself uncorks a guitar solo of unflinching allure. Gilmour warns, "Tired of lying in the sunshine staying home to watch the rain; you are young and life is long and there is time to kill today, and then one day you find ten years have got behind you; no one told you when to run, you missed the starting gun." The Dark Side of the Moon has just revealed its first treasure. The final track of the A side is a bit of a deviation, but not in quality. The stunning, non-lexical vocal stylings of Clare Torry caress The Great Gig in the Sky, which stands in as a figurative grim reaper. If only dying could be this inviting. Her yowls seep into every crevice and cranny of the instrumentation, fusing into an intense moment of catharsis as side one fades out.
The tranquility subsides with an exchange of currency but this particular quid is of the funky variety. Money benefits substantially from drummer Nick Mason and session saxophonist Dick Parry. Mason excels against a tricky 7/4 time signature which is later converted to 4/4 for Gilmour's punctual guitar solo. Parry's sax shepherds the track through that very transition with all the eccentricities of a free jazz maestro. Thematically, the track mocks the pursuit of monetary wealth in the grand scheme of life's expansive possibility. "Money, it's a gas; grab that cash with both hands and make a stash; New car, caviar, four-star daydream, think I'll buy me a football team," elicits Gilmour. Money is, without opposition, the wittiest voyage on the album. Seventh track, Us and Them, shreds any remaining inklings of snarky banter. The nearly eight-minute cut is an expedition through the nucleus of human interaction and conflict. It's also the highpoint for melodic elegance on the record. For instance, the vocal harmony shared between Gilmour and Richard Wright, supported by the returning vocal quintet from Time, dishes out multiple crescendos which never fail to produce goosebumps. Dick Parry also returns, once again armed with his tenor saxophone. He contributes healthy doses of chaos alongside the angelic climaxes. Gilmour and Wright cry, "Haven't you heard it's a battle of words, the poster bearer cried, listen, son, said the man with the gun, There's room for you inside." Incredible is too tame a word for Us and Them. Any Colour You Like bridges the gap between Us and Them and the final two tracks of the record. Brain Damage, previously known as "Lunatic", is an uncompromising examination of the deterioration of one's mental health. It's a notably subdued moment on the LP, treading lightly in the manner in which one would approach a loved one battling cognitive disarray. Roger Waters tries his hand here, chanting, "And if the dam breaks open many years too soon, and if there is no room upon the hill, and if your head explodes with dark forebodings too; I'll see you on the dark side of the moon." These lyrics seem to metaphorically chronicle the spiraling psychological state of former Floyd compatriot, Syd Barrett. More details on that in 1975. The album comes to a stirring, reflective ending on Eclipse. It unfurls almost as a warning to its audience to take life seriously and thoroughly taste every precious drop of elixir it grants. Waters bestows, "And all that is now and all that is gone, and all that's to come and everything under the sun is in tune, but the sun is eclipsed by the moon." The track departs with the heartbeat that introduced the record's arrival. It's the symbolic ending of a journey, or is it a rebirth?
The Dark Side of the Moon continues to induce innumerable headlines, but it's the subtext which serves as a finer asseveration of its invincibility. Its chart topping run isn't the catalyst for the album's cultural staying power, nor is it typified by its pieces. It was constructed with the intention to be consumed wholly in the same fashion in which humans cannot pick and choose select instances within a lifetime. Yes, the performances are marvelous, but it's the uncolored edges of ruminative headspace between the sonic apexes that truly hold the jewels. It's not Pink Floyd's most personal outing (Wish You Were Here) or even their most technically proficient (Animals), but it remains their most essential due to its kinship with the human condition. The truth is, yes, it really is that good. Look within life's tiniest moments for validation.
"Every year is getting shorter, never seem to find the time,
Plans that either come to naught or half a page of scribbled lines,
Hanging on in quiet desperation is the English way,
The time is gone, the song is over, thought I'd something more to say."
-Time
Standout Tracks:
1. Us and Them
2. Time
3. Brain Damage
93.6"[+]Reply
"The first time I heard this album was a bootleged copy off cassete when I was 14, laying on a hillside at night beside the girl who I thought at the time was the most beautiful and sexy in the world. You may like to add your own imagery to the setting, but it left a permanant mark on my psychie t...""The first time I heard this album was a bootleged copy off cassete when I was 14, laying on a hillside at night beside the girl who I thought at the time was the most beautiful and sexy in the world. You may like to add your own imagery to the setting, but it left a permanant mark on my psychie that will remain for the rest of my life. It is my number one album despite the fact she married someone else."[+]Reply
"Flawless album in my view, yes, including Four Sticks and Misty Mountain Hop. Some consider Stairway To Heaven to be on of if not the most overplayed song ever, but it's so amazing that I could listen to it a thousand more times. My favorite track on LZ4 is not Stairway or even Levee, but rather ...""Flawless album in my view, yes, including Four Sticks and Misty Mountain Hop. Some consider Stairway To Heaven to be on of if not the most overplayed song ever, but it's so amazing that I could listen to it a thousand more times. My favorite track on LZ4 is not Stairway or even Levee, but rather Going to California. On an album full of a loud and rocking songs, the sweet acoustic ballad is the one that really blew me away the most. Every song on here is a must-listen, 10/10. "[+]Reply
"What can you say about Rumours that has not already been said? One of the most beautiful and yet bittersweet collection of songs ever put on record. It's impossible to pick standout tracks because they are all equally good but different to each other. How the record shifts from Chrissy's heartbre...""What can you say about Rumours that has not already been said? One of the most beautiful and yet bittersweet collection of songs ever put on record. It's impossible to pick standout tracks because they are all equally good but different to each other. How the record shifts from Chrissy's heartbreakingly wistful performance on "Songbird" and builds thru to Lindsey/John's climatic finish to "The Chain" leaves your head spinning and is undoubtedly one of the finest passages of rock music ever commited to vinyl."[+]Reply
"This record is pretty much as close to perfect as I've personally heard. It just rolls. Every track has its own unique identity but at the same time adds to the completeness of the whole. The wild diversity of the songs and styles and sounds on this record never seem forced or half-baked. And has...""This record is pretty much as close to perfect as I've personally heard. It just rolls. Every track has its own unique identity but at the same time adds to the completeness of the whole. The wild diversity of the songs and styles and sounds on this record never seem forced or half-baked. And has been just about my all time favorite record since I was 13.
This album has a definite unharnessed energy. And it conveys that energy not through nihilistic, rabid punk but mostly through just the production. The horns on here sound so god damn good it hurts. The energy and creativity of the musicians just flows out of this record.
And this album actually probably changed my life more than any other album. This record introduced me to a whole new world. I never knew rock and roll could be so fucking great until I heard a tape of this from the library. This album influenced my attitudes in work, in life, in how I treat other people. This album sort of provided a template and an example on which to live. I am very very thankful for this album.
"Kick over the wall, cuz government's to fall. How can you refuse it? Let fury have the hour. Anger can be power. Did you know that you can use it?""[+]Reply
"A lot of people complain about its "pretentiousness", and its pompous nature, but quite frankly I don't see it working without these traits. All the emotions and the rage towards the world of one person packaged in an incredibly expressive piece of work. It ranges from melancholic to angry to apa...""A lot of people complain about its "pretentiousness", and its pompous nature, but quite frankly I don't see it working without these traits. All the emotions and the rage towards the world of one person packaged in an incredibly expressive piece of work. It ranges from melancholic to angry to apathetic, and the music always seems to fit the story perfectly.
"Don't look so frightened, this is just a passing phase, one of my bad days"
(I love this line)"[+]Reply
"Roger Waters plays this whole thing live in support of his new album and this just shoots up the charts, funny how that works but it still has some climbing to do. It'd be a lot higher if it weren't competing so directly with Dark Side Of The Moon, Wish You Were Here, and The Wall, it deserves to...""Roger Waters plays this whole thing live in support of his new album and this just shoots up the charts, funny how that works but it still has some climbing to do. It'd be a lot higher if it weren't competing so directly with Dark Side Of The Moon, Wish You Were Here, and The Wall, it deserves to be higher. Like steppenwolf666 down there, I also think it belongs ahead of The Wall in 3rd place as far as PF is concerned. Dogs, Pigs, and Sheep are some of the greatest, most epic songs and the other 2 are just bookends, a minute long or so. All of the notes are so beautiful and perfect throughout. It's all tied together so well, the theme, tone, structure, it's like a symphony. It works perfectly as a whole and is best by far listened to in its entirety with the lyrics out if you don't already know them. A lot of ppl actually think this is even better than DSOTM."[+]Reply
"A brooding masterpiece. Like Jim Morrison and The Doors captured L.A in their music and lyrics, so Ian Curtis and Joy Division do the same with Manchester. Unknown pleasures, is a dark record of alienation, loneliness and foreboding. You cannot fail to be drawn into the eerie atmosphere as Curtis...""A brooding masterpiece. Like Jim Morrison and The Doors captured L.A in their music and lyrics, so Ian Curtis and Joy Division do the same with Manchester. Unknown pleasures, is a dark record of alienation, loneliness and foreboding. You cannot fail to be drawn into the eerie atmosphere as Curtis' passionate vocals ache and yearn over the excellent backing. Every track is worth a mention, but it really has to be listened in one sitting to feel it's true power. Superb. "[+]Reply
"Who's next, derived from the aborted 'lifehouse' project, another Pete Townshend rock opera that he was unable to complete. In a way, that was a blessing in disguise, as it leaves us with a classic album full of fantastic songs. Who's next, had a strut and swagger about, it's obvious the band are...""Who's next, derived from the aborted 'lifehouse' project, another Pete Townshend rock opera that he was unable to complete. In a way, that was a blessing in disguise, as it leaves us with a classic album full of fantastic songs. Who's next, had a strut and swagger about, it's obvious the band are full of confidence after the success of, Tommy, and the, live at leeds, albums, and, who's next, whether it's your favourite Who album or not, it is the band's best, and all the members are at the top of their game. Opener, Baba O'Reilly, is one of The Who's most anthemic tracks, a fantastic song, and, bargain, is a great bluesy rock number. Love ain't for keeping, has a slight country rock feel, and John Entwistle contributes one of his best songs to the band with the darkly funny, my wife. Getting in tune, and, the epic, the song is over, are two excellent album tracks, while, behind blue eyes, is another classic Who moment. If there is a weak track it's probably the road anthem, going mobile, but this excellent album ends with one of the band's greatest songs. Won't get fooled again, is The Who at their brilliant best, an epic eight minute closing track, superb. Who's next, is one of the great all time rock albums, and it's probably for the best that Townshend didn't finish, lifehouse, as it might have ended up as bloated and overblown and the great songs here may have been lost in all the over ambition, as it is we are left with a tight and coherent record, a true rock classic. "[+]Reply
DriftingOrpheus | Helpful? (Log in to vote) | +10 votes (10 helpful | 0 unhelpful)
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Cojo7 | Helpful? (Log in to vote) | +16 votes (16 helpful | 0 unhelpful)
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Mercury | Helpful? (Log in to vote) | +19 votes (19 helpful | 0 unhelpful)
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