For the Record: The 70s

The year 1974 shoulder much of the blame for the so-called worst music of not only the 1970s, but the worst of all time. Is this true? While we know that 1974 had much good to offer, is it true that it also had the worst of the worst? If so, does it matter. This episode takes a closer look at some songs considered the all-time worst, including "Seasons in the Sun" by Terry Jacks, "Cat's in the Cradle," by Harry Chapin, and "Billy, Don't Be a Hero" by Bo Donaldson and the Heywoods.

Did you watch television in the 70s? If so, it was highly likely that you watched something that was created or produced by Dick Clark. The centerpiece of his entertainment empire was "American Bandstand," but there was more than that, including "New Year's Rockin' Eve" and "The 25,000 Pyramid." Clark was concerned about his legacy and this episode examines just what that legacy was and how it was part of 70s pop culture.

What could possibly happen to make a music festival be tagged as "3 Days of Sodom and Gomorrah?" How about toilets on fire? Drugs being sold as openly as sex? Young rock fans strolling naked through the streets of Sedalia, Missouri as they ditched their clothing to cope with the summer heat? Yes, all this and more descended on this small Missouri town in a festival that was marketed, in part, to town officials as a method of showcasing bluegrass music. There was a little bluegrass but there was a whole lot more of rock. As bad as the behavior of many of the fans was, that was how great the music was. Twenty-seven bands in all, including The Nitty Gritty Dirt Band, The Eagles, The Ozark Mountain Daredevils, REO Speedwagon, and more performed for hot, thirsty, and high rock fans in an epic and unforgettable weekend of rock (mostly) music.

In the 1970s, it was not easy for Canadians to produce and distribute music that would be widely received by American or Canadian audiences. Their was the issue of cost and, maybe even more importantly, the issue of credibility. Canada's content laws made radio listeners skeptical about the bands they heard and whether they were "good," which tended to mean they had received an American stamp of approval. This episode examines the work and, in many cases, the perseverence of Canadian bands including Bachman Turner Overdrive, Rush, and Triumph as they worked to create careers that were sustainable beyond the Canadian borders.

There is no single type of novelty song, although they all have something that distinguishes them. Sometimes it is the topic and sometimes it is the format, but a novelty song that endures should also be a good piece of music. Novelty songs were popular in the 1970s and this episode examines some of the most popular ones, including "Spiders and Snakes" by Jim Stafford, "The Cover of the Rolling Stone" by Dr. Hook and the Medicine Show, and "Mr. Jaws" by Dickie Goodman. --- Send in a voice message: https://podcasters.spotify.com/pod/show/amy-lively/message

On May 4, 1970, the Ohio National Guard opened fire on unarmed protestors at Kent State University in Ohio. Four students were killed and nine others were wounded. This episode examines that music that mattered to the students and the music that was made as a result of this tragedy. "Ohio" by Crosby, Stills, Nash, and Young stands alone as not only the most famous song to be associated with the massacre, but also as one of the greatest protest songs of all time. However, former Kent State students Chrissie Hynde of the Pretenders and Joe Walsh, who were on campus on May 4, 1970, were forever impacted by the shootings. So, too, were Gerry Casale and Mark Mothersbaugh, the founders of Devo, who have said that without the massacre, the band would not have existed. --- Send in a voice message: https://podcasters.spotify.com/pod/show/amy-lively/message

What IS an opera, anyway? It is a dramatic story told with music rather than acting. The songs tell us the story. The 1970s was not only a golden era for classic rock, it was especially a golden era for the rock opera. This episode of For the Record: The 70s examines some of songs from the iconic rock operas of the decade, most of which have the similar theme of youth angst and desire at their core. Artists and bands such as The Who, Meatloaf, and Pink Floyd created characters and told stories with their songs and, in the process, created some of the best rock that the 70s had to offer. --- Send in a voice message: https://anchor.fm/amy-lively/message

Is it possible that the combination of the live music and the community that was created at The Troubadour in Los Angeles can ever be replicated? There are few clubs that have the cultural impact that The Troub had on 70s popular culture. This episode examines a wide spectrum of artists, of both the music and comedic variety, that saw The Troubadour help launch their careers. Playlist: Ol' 55 (Live) by Tom Waits (1975) A Song for You (Live) by Donny Hathaway (1971) Solitary Man (Live) by Neil Diamond (1970) Take Me to the Pilot by Elton John (1970) Doctor My Eyes by Jackson Browne (1972) Live at the Troubadour by Steve Martin (1976) Chuck E's In Love by Rickie Lee Jones (1979) Sad Cafe by The Eagles (1979) --- Send in a voice message: https://anchor.fm/amy-lively/message

After Olivia Newton-John died, her broad reach was evident. Tributes poured in from all corners of the entertainment world. Even at the music festival for the late Taylor Hawkins in September, organized by his friend and Foo Fighters bandmate, Dave Grohl, there Livvy was, her smiling face on the drum kit. is impossible to imagine pop culture of the 1970s and 1980s without Olivia Newton-John. That all changed, of course, when Olivia took a page from the fictional character that she brought to life, Sandy Olsson, in “Grease.” With the twist of a red pump on a cigarette butt and a growl of “Tell me about it, Stud,” she threw off her countryish-pop/soft rock persona. She burst into the 80s as a woman not afraid to sing about sex and to have some fun while she did it. From the ethereal roller disco muse in “Xanadu” to the sexy aerobics instructor in the ubiquitous “Physical,” Olivia shaped the early 80s just as she did throughout the 70s. Can you imagine either decade without her? Nope. Me, either. --- Send in a voice message: https://anchor.fm/amy-lively/message

If anyone could make following the Billboard Top 40 a friendly competitive sport, it was Casey Kasem. His national radio countdown show, American Top 40, is a vital part of 70s and 80s music history. This episode discusses AT40 in the 70s, including the first and last #1 songs played in the decade, the first long distance dedication, and Casey's tribute to The King, Elvis Presley, following his death in 1977. Part 2, covering AT40 in the 80s, will appear on For the Record: The 80s in September. You can also read this essay Amy wrote about AT40: https://amy-lively.medium.com/american-top-40-is-part-of-music-history-a6c0ab80e9eb --- Send in a voice message: https://anchor.fm/amy-lively/message

Mainstream hip hop burst onto the scene with "Rapper's Delight" by the Sugarhill Gang in 1979, but hip hop's roots go deeper than that into 70s music. Hip hop godfathers Gil Scott-Heron and James Brown helped pave the way for rap and hip hop to become a commercial success, as did Chic with their funky disco smash, "Good Times" in 1979. There is some irony in "Good Times" being liberally "borrowed" by Sugarhill Records for "Rapper's Delight" as it was disco's (and Chic's) last big hit, while it was just the beginning of what was to come for hip hop. --- Send in a voice message: https://anchor.fm/amy-lively/message

Rock and roll was a man's world in the 1970s. Would that have been any different if Janis Joplin had not died just as the 70s were beginning? The world will never know but what is known is that women in the music industry faced challenges that men did not, simply because of their gender. This episode reviews the contributions of Joplin, Bonnie Raitt, Stevie Nicks, Christine McVie, Ann Wilson, Nancy Wilson, and Chrissie Hynde in an attempt to understand how women found their place in rock, while society as a whole still struggled with granting women their full complement of civil rights. --- Send in a voice message: https://anchor.fm/amy-lively/message

Suffice to say that America's spirit in 1976 was a bit...mixed. The first half of the 70s carried the weight of war, social discord, and assorted political drama that began in the 60s. Even the very question of whether or not the U.S. should celebrate and, if so, how, was up in the air. This episode examines the collective mood of the U.S. on the occasion of its 200th birthday and takes a look at songs that made it to #1 on the Billboard Hot 100. --- Send in a voice message: https://anchor.fm/amy-lively/message

Many of you have asked for it, so here it is: For the Record: The 80s! The first episode to this companion podcast to For the Record: The 70s is available now! Check out this preview on Episode 1: Heartland Rock is Not Just about the Heartland and if you like what you hear, head over to your app and subscribe! --- Send in a voice message: https://anchor.fm/amy-lively/message

"The Rumble in the Jungle" featured heavyweight boxing legends, Muhammad Ali and George Foreman, but they were not the only legends who gathered in Zaire in the fall of 1974. The music festival known as Zaire '74 brought African and African American music icons such as B.B. King, Bill Withers, Manu Dibango, and the Godfather of Soul, James Brown together in what Lloyd Price envisioned as a day "the beat would return to its roots." This episode of For the Record: The 70s examines the importance of both the fight and the music festival in an era when Ali and many of the musicians who performed in Zaire were at turning points in their careers. --- Send in a voice message: https://anchor.fm/amy-lively/message

Jazz is America's music. It is America's sole original form of art, yet it had declined in popularity by the 1970s to the point that some musicians resisted even being associated with it. Still, jazz's influence was felt in popular music by bands like Chicago and Steely Dan. These bands were able to evoke the spirit of jazz while presenting their music in a form that was easier for music fans to accept and interpret. Perhaps no tribute to jazz in the 70s was greater than Stevie Wonder's “Sir Duke,” which paid homage to Duke Ellington and others who, in the words of Wonder, “gave us something that is supposed to be forever.” --- Send in a voice message: https://anchor.fm/amy-lively/message

Tom Wolfe said the 70s was witness to the Third Great Awakening, as many Americans turned to religion on their quest for self-enlightenment or simply to find a way to make sense out of the social and political chaos. This religious revival was reflected in pop music of the era, although writing or singing songs about religion was still a bit risky. This episode looks at songs by artists such as George Harrison, The Staples Singers, and Kansas to try to better understand the intersection of religion and popular music of the 70s. --- Send in a voice message: https://anchor.fm/amy-lively/message

There is no single sound that defines the 70s but there is no doubt that Philly Soul, or the Sound of Philadelphia, is an essential element. The O'Jays, The Spinners, Three Degrees, Harold Melvin and the Blue Notes, and Billy Paul are just some of the artists that created silky, lush soul records under the direction of "The Mighty Three": Thom Bell, Kenny Gamble, and Leon Huff. With a distribution deal from Clive Davis at CBS Records, Gamble and Huff were not only the McCartney and Lennon of the 70s, they created Philadelphia's Motown. Their brand of soul, or "funk dressed in a tuxedo" was not just dressed up R&B, but also told stories and spoke to social issues that were part of the fabric of the 70s. --- Send in a voice message: https://anchor.fm/amy-lively/message

Who knew that Barry Manilow wanted "Could it Be Magic" to be a "musical orgasm?" That song was part of the wide menu of 70s pop, which has been often derided by critics, yet found an audience with millions of music fans then and now. This episode examines the variety of songs that are classified as pop, which became a genre unto itself in the 70s. Artists such as The Carpenters, Cher, ABBA, and Andy Gibb made music for the masses and the masses responded by buying their records and making these artists stars. Is it a bad thing if music doesn't always have "meaning?" This episode makes the case that music always has meaning, just by its existence in our lives, and doesn't have to make a statement to have value. (Also, HAPPY 3RD ANNIVERSARY TO FTR70!) --- Send in a voice message: https://anchor.fm/amy-lively/message

The relationship between music and sports in the 70s was multidimensional. There were songs about individual athletes, there were songs that enhanced the game for the fans, and there were songs that created an identity for athletes and teams. This relationship was evident even in rollerskating, which saw music set the mood and, at times, offered an escape in times of turmoil. This episode looks at songs on a wide spectrum, from "Nadia's Theme" to "The Groove Line" to "We Will Rock You" in a close examination of the powerful relationship between 70s music and sports. --- Send in a voice message: https://anchor.fm/amy-lively/message

Gram Parsons called country rock Cosmic American Music; it was a little of this and a little of that, combined into a musical stew that today we call Americana. In the 70s, though, the marriage of rock and country, complete with the steel guitar and perhaps a banjo or two, seemed like an unlikely marriage. The truth is that rock and country share similar roots, but heavily formatted radio was not sure what to do with bands like Poco, The Flying Burrito Brothers, or Pure Prairie League. The DID know what to do with The Eagles, who ultimately abandoned the country in their country rock on the way to selling millions of records. This episode looks at the sub-genre of 70s rock that was considered by some to be too country for rock and too rock for country. --- Send in a voice message: https://anchor.fm/amy-lively/message

This episode of FTR70 looks at the music that some considered too country for rock and too rock for country. --- Send in a voice message: https://anchor.fm/amy-lively/message

It is the THIRD ANNIVERSARY of FTR70 and the podcast is celebrating with a look at 70s pop! Yes, we SHOULD celebrate the likes of The Carpenters, Barry Manilow, Cher, Andy Gibb (!) because they sang the songs with the hooks, the beats, the melodies that people could not get out of their heads. Even if critics dismissed pop songs as shallow or meaningless, we know they really were not because pop songs are often the soundtracks of our lives. --- Send in a voice message: https://anchor.fm/amy-lively/message

The Rumble in the Jungle in 1974 was Muhammad Ali's quest to regain the heavyweight boxing championship he lost when he refused to be drafted into the U.S. Army during the Vietnam War. To be sure, it was an important event in sports history but the festival that preceded it, Zaire '74, was every bit as important. B.B. King, Bill Withers, The Pointer Sisters, The Spinners, James Brown, and many others performed in a festival that was intended to "return to the beat." This episode examines the importance of the fight and the music festival. --- Send in a voice message: https://anchor.fm/amy-lively/message

The Seven Essentials project wants to know: What are your choices for the essential rock songs of the 70s? Tell me your Top Two. You can leave a message in the voice mail link and let me know! --- Send in a voice message: https://anchor.fm/amy-lively/message

The Seven Essentials project needs you! What are your choices for the essential disco songs of the 70s? Tell me your Top Two. You can leave a message in the voice mail link and let me know! --- Send in a voice message: https://anchor.fm/amy-lively/message

The Seven Essentials project needs you! What do you think are the Top Two essential pop hits of the 70s? You can leave a message in the voice mail link and let me know! --- Send in a voice message: https://anchor.fm/amy-lively/message

The latest episode of For the Record: The 70s examines religion in 70s popular music. --- Send in a voice message: https://anchor.fm/amy-lively/message

Songwriters of the 70s took on Richard Nixon the best way they knew how: with their music. Blaming music for drug use, the Kent State shootings, Watergate, and getting a pardon for "any crimes he may have committed" were all issues that inspired artists such as Jefferson Airplane, CSNY, The Honey Drippers, Stevie Wonder, and David Bowie. This episode discusses how music reflected the dissatisfaction and outright anger with President Richard Nixon, even beyond his resignation in August 1974. --- Send in a voice message: https://anchor.fm/amy-lively/message

Tune in for a brief preview of The Spirit of '76: Pop Music on America's Bicentennial. (Hands up if you rocked a Stars and Stripes t-shirt on July 4, 1976!) --- Send in a voice message: https://anchor.fm/amy-lively/message

When FTR70 returns in the first week of August, it will be exclusively on Spotify! Amy explains why this is happening (media companies), how the music featured in the show will change (full songs and playlists!), and asks that you start following the show on Spotify today if you don't already.

The podcast is taking a summer break! It is time to rest, recharge, and research as the show steams ahead with Year 4 on the horizon. Follow the show on Instagram, Facebook, or Patreon to stay up-to-date on the latest happenings. Have a great summer and we will be back in August!

Bubblegum music was as beloved by its fans as it was maligned by critics. The 70s saw bubblegum of the 60s, such as "Sugar Sugar" by The Archies, morph into adoration of teen idols such as David Cassidy, Donny Osmond, and The Bay City Rollers. Still, the bubblegum formula worked for other pop hits, too, like "Rock Me Gently." In this episode we makes the case that bubblegum music was as good as any pop music that was recorded and even though some of the bubblegum bands were fake, the music was not.

Reggae may not have ever found a significant radio audience in America in the 70s, but its influence on pop and rock music is undeniable. This episode traces the beginning of reggae, borne out of the political strife of late-60s Jamaica, to the first real reggae hit in the U.S. by Blondie in 1981. Bob Marley was not all there was to reggae but he still stands as the most recognizable and beloved artist of a genre of music that is both the product of music that came before it and the source of music that came after it.

Movie soundtracks got better in the 70s as the creation of soundtracks became more intentional. Rather than simply compiling songs for an album and calling it a soundtrack, producers hired artists to create music that offered commentary and enhanced our understanding of characters. Soundtracks ranging from "Super Fly" to "Saturday Night Fever" were as successful if not more so than the movies they supported. With movies being such an important part of many of our lives, creating space for music to be a partner in the journey offered by movies enriches the experience which is, after all, the point of music.

The heyday of the TV variety show was, without a doubt, the 70s. It seemed as if every entertainer either had their own show or was on someone else's. While at the time they may have seemed a bit corny, they also seemed to be just what many Americans in the 70s were in the mood for in the wake of assassinations, Watergate, and the war in Vietnam. Looking back at the era, we can also see that these shows give us a glimpse into 70s culture, making them an important part of 70s history.

T. Rex, Alice Cooper, David Bowie, and Roxy Music were at the heart of 70s glam rock. This episode examines how glam stretched the boundaries of gender, sexuality, and how rock music was defined.

The Chicano Movement of the 60s and 70s and the growth of the Hispanic population in the U.S. influenced popular culture. Music was no exception. Artists ranging from Santana to Freddy Fender had successful careers in music in an era when Hispanic Americans sought more and better representation in the country's politics and culture.

Heavy metal was outright despised by many rock critics but was much loved by its fans. There is no question that heavy metal is noted for its loud, often aggressive sound but there is not always agreement on the message of many of the genre’s songs, if there is a message at all. Persistent accusations of satanic message followed many of the bands of the Seventies, especially Black Sabbath, but were they really devil worshipers or just creating a brand? Either way, there is little doubt that rebellion, escapism, fantasy fueled heavy metal’s popularity. After heavy metal survived the onslaught of disco, it went on attract even more fans — and record sales — in the Eighties.

Why did more women sell country music and get more radio airtime in the 70s than today? Artists such as Loretta Lynn, Dolly Parton, and even Olivia Newton-John made country radio friendly music in the midst of the women's rights movement of the 70s. Many of these singers were also able to cross over to pop. The momentum for women in country did not continue, though. This episode explores the many reasons for country music welcoming women in the 70s before its evolution to "bro country" in the years that followed.

The shift away from nonviolent civil disobedience to the Black Power Movement in the fight for African American civil rights was reflected in music. Soul music from bands such as the Chi-Lites and the O'Jays took on a more urgent edge, while artists like Isaac Hayes claimed space previously denied to African Americans. Songs like "Mighty Mighty" by Earth Wind and Fire helped proclaim the message that African Americans were not the antithesis of beauty but were the living embodiment of beautiful.

The voting age was lowered from 21 to 18 with the 26th Amendment in 1971. Young voters were courted by the music industry, either as attempt to encourage them to register or to vote for specific candidates. This also, indirectly, led to the creation of the late-night music TV show, "Midnight Special," which gave fans a new opportunity to see popular singers.

Few people were neutral about progressive rock in the 70s. Bands such as Emerson Lake and Palmer, Yes, and Pink Floyd pushed the debate over the authenticity of rock to the forefront with their classical music-inspired rock. This episode attempts to untangle the debate and shed some light on how the 70s created space for this innovative genre of music.

Songwriters of the 70s were inspired to write not just about the environment, but the places that inspired them. The first Earth Day was on April 22, 1970. In honor of the 50th anniversary of Earth Day, this episode looks at how the world around them served as motivation for songs from artists and bands such as Marvin Gaye, Joni Mitchell, John Denver, The Eagles, and yes, even The Clash.

The 70s was a tumultuous time for labor. In 1970, even postal workers went on strike. Music of the 70s reflected how workers felt about unions, jobs, and the struggle to get ahead. Not confined to one genre, rockers such as Bob Seger and Tom Petty, country artists such as Johnny Paycheck and Dolly Parton, and disco stars including the Bee Gees and Rose Royce all had hits about working in the 70s.

Let it Be, You're So Vain, and Layla are just some of many songs of the Seventies that are based on the lives of the songwriters. What was it about the Seventies that led to the pop charts being our national confessional? This episode explores this development, as well as sheds some light on The Willis Test and Chuck Klosterman's "Carly Simon Principle."

Funk is one of the most recognizable music genres of the Seventies. It is not always easy to define funk but we know it when we hear it because it makes us want to get up and move! This episode explains how James Brown started the funk revolution and how the politics of funk influenced its sound.

The decade between the disaster at Altamont in 1969 and the deaths of 11 fans of The Who at a concert in Cincinnati in 1979 saw a transition in rock and roll. Prior to the 1969 Rolling Stones tour, it was all but forbidden for artists to consider the business side of music of they wanted to be taken seriously as artists. This episode makes the case that festival seating was driven by the desire to profit from the fans and it was the music industry itself, rather than unruly fans, that was responsible for the tragedy in Cincinnati.

The Seventies was the perfect time for artists like Kris Kristofferson, Willie Nelson, and Waylon Jennings. Progressive country and its sub-genre, outlaw country, were outgrowths of the counterculture of the Sixties. While the country music establishment in Nashville was slow to accept the influence of the more progressive artists, they found their audience in a mix of hippies raised on rock and country fans looking for more authentic music.

From the dance line to the platform shoes to the stars on its stage, Soul Train was the first nationally syndicated show that was made by and for African Americans that was also owned by an African American. Don Cornelius wanted to make the "black Bandstand" and, in the process, portrayed African Americans doing things that Laurence Ralph describes as "radically ordinary." This episode highlights some of the influential music performed on Soul Train from legends including The O'Jays, Aretha Franklin, Al Green, and James Brown, as well as discusses the importance of the show's very existence on a television landscape that was sorely lacking in African American representation.

Former Beatle George Harrison helped create the blueprint for the benefit concert with the Concert for Bangladesh in 1971. Musicians such as Bonnie Raitt and Jackson Browne took the lessons from that benefit and helped create the No Nukes festival in September 1979. As the 40th anniversary of No Nukes approaches, this episode looks at the reasons for these benefits, the successes and challenges, and some of the iconic performances by legends including Jackson Browne, Bonnie Raitt, Bob Dylan, Tom Petty, and Bruce Springsteen.