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Talk about music, vinyl, classic rock, classic jazz, and whatever else comes to mind. Hosted by one of the founders of Art of Listening Records - Dave Gwilliam.
https://artoflisteningrecords.com
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https://artoflisteningrecords.com
https://www.discogs.com/seller/artoflistening/profile
79 Episodes
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They had a raw, bluesy edge with rock muscle and a sense of humor. Walsh’s slide work and wah-wah solos were distinctive, and his songwriting had both swagger and vulnerability
What made Triumph special was their live reputation. They put on massive productions with lasers, pyrotechnics, and a rotating drum riser for Gil Moore. In a decade full of big arena acts, Triumph proved a three-piece could headline arenas and sound enormous
Today, let's sit with the saddest songs of the 1970s — the ones that didn’t need bombast or long solos to break your heart. They used simple arrangements, honest lyrics, and raw emotion to make you feel less alone in whatever you were going through
Journey is bigger than any one singer. It’s the songs, the guitar melodies, the keyboard hooks, and the live experience
The Best Prog Rock Albums of the 1970s. This is completely subjective, of course, but these are the ones that defined the genre for me and still reward deep listening decades later.
Today is Part 4 of our series on progressive rock in the 1970s, and we're talking about Kansas — America's proud contribution to the genre. While Yes and Genesis brought English eccentricity and theatrical flair, Kansas brought Midwestern heart, violin, and a distinctly American ambition to progressive rock
Today is Part 3 of our series on progressive rock in the 1970s, and we're talking about Emerson, Lake & Palmer — the most extravagant, showy, and unapologetically ambitious trio in the entire prog world
Yes took prog to symphonic heights. Jon Anderson’s ethereal high vocals, Steve Howe’s endlessly inventive guitar (acoustic and electric), Rick Wakeman’s virtuoso keyboard runs, Chris Squire’s thunderous bass, and the drumming of Bill Bruford (later Alan White) created music that felt like classical compositions played with rock power
Genesis formed in 1967 at a boarding school in England, and by the early 70s they had become masters of concept albums and live performance art
What was the greatest guitar solo of the 1970s? This is the kind of question that can start a three-hour conversation in any record store, and I've spent plenty of Sundays pondering it myself
Kansas was never a guitar-hero band in the flashy 70s sense. They were a collective—six musicians making ambitious, classically influenced progressive rock with American heart. But without Kerry Livgren and Rich Williams, that sound wouldn't have existed
Davey wasn't just a sideman—he was a co-arranger and co-writer. His parts were always melodic, tasteful, and perfectly supportive—never stealing the spotlight from Elton or the songs
Alex Lifeson of Rush—one of the most versatile, inventive, and criminally underrated guitarists of the 1970s and beyond
Buck is one of the most melodic, tasteful, and technically gifted players of the 70s who somehow never got the massive solo-star treatment he deserved
Tommy Bolin was one of the most versatile players of the 70s
Ronnie never got huge like Eddie Van Halen or Jimmy Page. He was about tone, feel, and serving the song
"Dream Weaver" was the ultimate Sunday unwind. After a week of school, basement hangs with loud Styx or Kiss records, I'd put this on, close my eyes, and let it wash over me
Kiss in the 70s was mostly style with substance. The image was the substance—they created an experience, a larger-than-life rock fantasy that made kids feel like they were part of a secret club
Kiss in 1976 was peak spectacle—style, theatrics, and just enough rock to back it up. That night proved the Terrace could handle a big show without losing its gritty, up-close feel
It wasn't the giant Salt Palace Arena, but it was intimate—close enough to see the sweat on the performers, loud enough to feel the bass in your chest, and small enough that every show felt personal
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