Just in: Scorpion king Klause Meine to undergoe surgery to remove... Read more

Just in: Scorpion king Klause Meine to undergoe surgery to remove… Read more

Scorpions Postpone Show as Klaus Meine Has Surgery to Remove Kidney StonesKEVIN RC WILSON, Loudwire

Scorpions Postpone Show as Klaus Meine Has Surgery to

Scorpions singer Klaus Meine has issued a message to fans regarding the band’s postponement of Australian shows, explaining he underwent surgery to have kidney stones removed and is currently in recovery.

The 71-year-old rocker described the situation as a “very painful attack” in a social media post, also revealing that doctors inserted a stent in his nether region, to which he rhetorically asked, “Can you imagine how I feel right now?”

Meine expressed regret over having to postpone the Feb. 22 gig with Whitesnake in Melbourne, Australia, but reassured fans that he is well taken care of and is “in the best hands.” The singer is hoping to be good to go “early next week” and the intent is to reschedule the canceled show for some time in the coming week.

Read the full message directly below and view a photo of Meine recovering in a hospital bed further down the page.

Dear Fans , the good news first …. we had a fantastic show in Melbourne Wednesday night at the Rod Laver Arena …. loved every minute of it …. it just feels soooo good to be back in Australia!!!! The bad news is… I have had kidney stone surgery in a Melbourne Hospital… it was a very painful attack….

In the hospital they removed the stone, and put in a stent …. can you imagine how I feel right now??? So sorry Sydney…. Do we have to cancel again??? It looks like it…. but we are hoping to re-schedule for next week — day to be announced.

Dr. Katz and his team are taking very good care of me … I’m in the best hands, but I doubt I’ll be back on my feet until early next week….. with lots of love with a heavy heart from Melbourne…. Klaus

The Scorpions have a number of tour dates on the books through the summer, including a Las Vegas residency with Queensryche, which stretches from July 4-25.

Meanwhile, the group has been working on their follow-up to 2015’s Return to Forever with producer Greg Fidelman, who is renowned for his work with other premiere acts such as Metallica and Slipknot.

“We know that we’re working with producer Greg Fidelman, who is known for doing Metallica and Slipknot and others, and he’s a great guy. He came to visit our studio in Hanover, Germany, already,” said guitarist Mathias Jabs at the end of last year.

He mapped out the recording plans even further, adding, “The plan is to record until … July when we have a residency in Las Vegas for a whole month. During that time, we can either do the final touch-ups or mix. Then the album should come out in the fall of 2020.”

We’re wishing Klaus Meine a speedy recovery as he looks to get back onstage soon.

See Scorpions in the Top 70 Hard Rock + Metal Albums of the 1970s

Top 70 Hard Rock + Metal Albums of the 1970s

Loudwire

Top 70 Hard Rock + Metal Albums of the 1970s

Scroll through the gallery to see the Top 70 Hard Rock + Metal Albums of the 1970s and see which album is No. 1!

70. Scorpions, ‘Taken By Force’

RCA

70. Scorpions, ‘Taken By Force’

(RCA, 1975) The last Scorpions album to feature six-stringer Uli Jon Roth and the first with drummer Herman Rarebell was ‘Taken By Force.’ Roth’s effects were felt most on the mystical “Sails of Charon” with its tug-of-war rhythm and signature lead work. The band had always had the knack for writing captivating ballads and “Born to Touch Your Feelings” was another great addition to their more heartfelt side. “Steamrock Fever” is a classic and energetic album opener, enhanced by its follow-up, “We’ll Burn the Sky.” The lyrics are a poem by former Jimi Hendrix girlfriend Monika Dannemann, who found favor with Roth.

69. UFO, ‘Phenomenon’

Chrysalis

69. UFO, ‘Phenomenon’

(Chrysalis, 1974) By 1974, former Scorpions axeman and still teenager Michael Schenker was in high demand. His next stop would be in British rock outfit UFO for their third album, ‘Phenomenon.’ Abandoning their fledgling space rock days in favor of a harder sound, Schenker took them to new heights. “Doctor, Doctor” — known as the last song played before every Iron Maiden set — is the quintessential UFO track with huge, swinging rhythms and maddening stickwork. Songs like “Space Child” and “Built for Comfort” round out the more plodding elements of the group’s sound.

68. Sir Lord Baltimore, ‘Kingdom Come’

Mercury

68. Sir Lord Baltimore, ‘Kingdom Come’

(Mercury, 1970) Sir Lord Baltimore’s 1970 debut ‘Kingdom Come’ might not be the most well-known release, but it stands as one of the earliest true hard rock albums. The album utilized heavily distorted guitars and multi-tracking for depth, giving songs like “Master Heartache” and “Hell Hound” a solid foundation. Bluesy licks crossed paths with lumbering rhythms and frenetic drum work. John Garner pulled double duty, manned the sticks as well as let loose his manic vocal delivery.

67. Captain Beyond, ‘Captain Beyond’

Capricorn

67. Captain Beyond, ‘Captain Beyond’

(Capricorn, 1972) After being ousted from Deep Purple, singer Rod Evans found a new home in Captain Beyond with members of Iron Butterfly, Rick Derringer and Johnny Winter. The eponymous album’s two halves represent different facets of the group, with Side A containing “Dancing Madly Backwards (On a Sea of Air)” and the groove-dominated “Raging River of Fear.” The back half of the record wades more in progressive waters as songs seamlessly flow into each other, making for a wholly different experience than the front side of ‘Captain Beyond.’

66. Aerosmith, ‘Aerosmith’

Columbia

66. Aerosmith, ‘Aerosmith’

(Columbia, 1973) Aerosmith burst onto the scene in 1973 with what turned out to be one of the most cherished songs in the entirety of rock ‘n’ roll. The eponymous debut contained the powerhouse ballad “Dream On,” often towering over the remainder of the album. “Mama Kin” stands as another all-time hit as the group nailed their sound from the start, trading bluesy leads and romping rhythms. Steven Tyler’s voice was well-suited for the bluesy focus with his soulful croon and harmonica playing.

65. Deep Purple, ‘Fireball’

Harvest / Warner Bros.

65. Deep Purple, ‘Fireball’

(Harvest / Warner Bros., 1971) With ‘In Rock’ serving as the foundation for Deep Purple, they began to build the rest of the house of rock album by album. ‘Fireball’ served as the successor to the all-time record, opening with the barn-burning title track. Dialing back the intensity, “No No No” followed the seminal cut, lending credence to the band’s oft-improvised live takes with meandering bass lines and drawn out bluesy guitar licks. “Fools” comes the closest to resembling their ‘60s material, but is short-lived after the first 90 seconds as they return to stomping rhythms trading off Ian Gillan’s gritty delivery.

64. Rush, ‘Fly By Night’

Anthem / Atlantic / Epic / Sony / Mercury

64. Rush, ‘Fly By Night’

(Anthem / Atlantic / Epic / Sony / Mercury, 1975) ‘Fly By Night’ is one of the cornerstones in the Rush discography not only for the music, but for the entrance of now drum legend Neil Peart. The band began to weave progressive elements into their sound on the thinking man’s song “By-Tor and the Snow Dog.” Of course “Fly By Night” and “Best I Can” dished out the punchier side of the band, favoring hooks and simpler song structures over mind-bending composition.

63. Scorpions, ‘In Trance’

RCA

63. Scorpions, ‘In Trance’

(RCA, 1975) With two albums behind them, Scorpions morphed into the hard rocking outfit fans grew to love them as on ‘In Trance.’ The album featured more focused songs, though guitarist Uli Jon Roth’s fingers melt into his fretboard on “Life Is Like a River” and conjure mournful blues on “Living and Dying.” Strong-armed riffing dominated elsewhere as the band helped pioneer heavy metal with “Top of the Bill” and the catchy “Robot Man.”

62. New York Dolls, ‘New York Dolls’

Mercury

62. New York Dolls, ‘New York Dolls’

(Mercury, 1973) The New York Dolls were a perfect storm of glitter rock fused with a sleazy, street punk sound seemingly suffering from an identity crisis, though their self-titled debut would argue they had a “Personality Crisis” instead. Singer David Johansen’s slightly nervous and trembling voice adds grit and a sense of mystery to their sound, most noticeably on the hazy isolation of “Lonely Planet Boy.” ‘New York Dolls’ turned into one of the most influential punk records of the day, spanning a variety of sounds, forging something truly unique.

61. The Damned, ‘Damned Damned Damned’

Stiff

61. The Damned, ‘Damned Damned Damned’

(Stiff, 1977) UK band The Damned were one of the pioneers of punk, and their debut album ‘Damned Damned Damned’ is a classic. The disc was produced by Nick Lowe and it featured standout tracks like “New Rose” and “Neat Neat Neat.”

60. Budgie, ‘In for the Kill!’

MCA

60. Budgie, ‘In for the Kill!’

(MCA, 1974) Budgie were among the earliest bands to play what was then regarded as ‘heavy metal.’ Their fourth album, ‘In for the Kill!,’ boasted a production wallowing in low end, representing a band whose heaviness was about to see the wheels fall off the rock ‘n’ roll chassis. The title track opens the album with a heavy-handed rhythm as Budgie explored the line between lead guitar work and fortified riff-mongering. The best known track, “Crash Course in Brain Surgery” was given new life by Metallica in the following decade, but rightfully stands tall on its own.

59. Thin Lizzy, ‘Jailbreak’

Vertigo / Mercury

59. Thin Lizzy, ‘Jailbreak’

(Vertigo / Mercury, 1976) Thin Lizzy’s ‘Jailbreak’ is naturally a go-to for fans and rightfully so as it boasts two powerhouse singles in the title track and the ever-popular “The Boys Are Back in Town.” A deeper listen will always reveal there’s more to this album than just those two tracks. “Angel From the Coast” is on the verge of breaking loose at any moment with perfectly restrained drumming and slack-wristed guitar playing. Closer “Emerald” is one of the darker songs in the group’s discography, ending ‘Jailbreak’ on a dirty and dangerous note.

58. Iggy Pop, ‘Lust for Life’

RCA

58. Iggy Pop, ‘Lust for Life’

(RCA, 1977) Iggy Pop’s second solo album proved he had life after the demise of The Stooges. With help from producer and co-writer David Bowie, Pop slowed things down a bit from his Stooges days, but still showed raw aggression on the classic title track. The disc also features the sing-along classic “The Passenger.”

57. Whitesnake, ‘Lovehunter’

United Artists / Polydor

57. Whitesnake, ‘Lovehunter’

(United Artists / Polydor, 1979) It wasn’t long before David Coverdale and organist Jon Lord teamed back up following the dissolution of Deep Purple. Lord joined the singer for Whitesnake’s sophomore effort, ‘Lovehunter.’ The album hits harder than the debut, with the punchy and decidedly heavy “Mean Business” being the most sterling example. “Medicine Man” is a song about Coverdale making carnal house calls, dirty and bluesy just like the title track and “Rock ‘n’ Roll Women” which also speak to the singer’s undying libido.

56. KISS, ‘Love Gun’

Casablanca

56. KISS, ‘Love Gun’

(Casablanca, 1977) By 1977, KISS were on a certified hot streak. ‘Love Gun’ served as their sixth studio album and saw Ace Frehley contribute lead vocals for the first time. The Space Ace wrote “Shock Me” after being electrocuted onstage, furthering one of the most notable moments in the band’s history. “Christine Sixteen” and the title track helped cement the release as another stellar addition to the KISS catalog and marked the last record before each member would release respective solo albums.

55. Alice Cooper, ‘Billion Dollar Babies’

Warner Bros.

55. Alice Cooper, ‘Billion Dollar Babies’

(Warner Bros., 1973) With more buzz surrounding the Alice Cooper band than ever thanks to the smash hit single, “School’s Out,” all eyes were on the band and they delivered with ‘Billion Dollar Babies.’ Retaining the genuinely haunting elements present on the morbidly perverse “I Love the Dead” and “Sick Things,” the band stepped up their feature attraction image elsewhere. Opener “Hello Hooray” and “Elected” round out the more commercial elements with understated lead guitar work and a circusy romp. Of course, the biggest standouts here are the masterfully arranged title track and the ever-popular “No More Mr. Nice Guy.”

54. Uriah Heep, ‘Look at Yourself’

Bronze / Mercury

54. Uriah Heep, ‘Look at Yourself’

(Bronze / Mercury, 1971) Uriah Heep’s third album, ‘Look at Yourself,’ kept their hot streak alive with their finest album yet. The title track blows the doors clean off the hinges with a hard-driving rhythm and quick-strike organ work. The pace is broken by massive drum fills in the chorus that merely keep the rhythm suspended rather than halted. “I Wanna Be Free” dials back the pace with its stunted rhythm, giving way to the 10 minute “July Morning.” Opening Side B is “Tears In My Eyes,” boasting a playful arrangement and proves the depth of the work at hand.

53. AC/DC, ‘Dirty Deeds Done Dirt Cheap’

Albert

53. AC/DC, ‘Dirty Deeds Done Dirt Cheap’

(Albert, 1975) AC/DC’s second internationally released record came by way of ‘Dirty Deeds Done Dirt Cheap.’ The group further established what would become their legacy with the the indomitable guitar duo in Angus and Malcolm young. The two truly round out the ‘power’ aspect of power chord with their ‘spoiling for a fight’ machismo bleeding through the gritty title track and “Problem Child.” With tongue firmly in cheek, the group penned “Big Balls,” which no one could help but crack a smile at.

52. Deep Purple, ‘Stormbringer’

Purple Records / EMI / Warner Bros.

52. Deep Purple, ‘Stormbringer’

(Purple Records / EMI / Warner Bros., 1974) When Deep Purple were writing ‘Stormbringer,’ Ritchie Blackmore was quietly working on assembling his next outfit, Rainbow, unbeknownst to the rest of the group. His waning contributions opened the floor for David Coverdale and Glenn Hughes to step up the songwriting and leave their fingerprints on the Deep Purple legacy. The title track is a hard-driving album opener, falling in line with previously established classics along with “Lady Double Dealer” and “Highball Shooter.” The remainder of the album saunters through groove-laden tracks like “Holy Man” and “You Can’t Do it Right,” highlighting Hughes’ Detroit-influenced, soulful delivery.

51. KISS, ‘KISS’

Casablanca

51. KISS, ‘KISS’

(Casablanca, 1974) Who are these four painted men? KISS launched what would be a historic career with their self-titled debut, proudly displaying their personas underneath a glittery take on their logo. Rough around the edges, the record contributed songs like “Deuce,” “Strutter,” “Cold Gin” and “Firehouse,” all of which still stand tall among the vast KISS discography. Though the album didn’t initially sell well, it was just a matter of time before their live reputation translated to multiple gold and platinum records.

50. Rush, ‘A Farewell to Kings’

Anthem / Atlantic / Epic / Sony / Mercury

50. Rush, ‘A Farewell to Kings’

(Anthem / Atlantic / Epic / Sony / Mercury, 1977) Following the release of the breakthrough ‘2112,’ Rush served up ‘A Farewell to Kings’ in 1977. “Closer to the Heart” highlighted the more melancholic facet of the progressive power trio, but was not representative of the overall sound on the record. Synth work began to show a larger presence in the moodier elements on the lengthy “Xanadu.” The closing track “Cygnus X-1 Book I: The Voyage” was the first of two parts and its sequel would lead Side A of the follow-up, ‘Hemispheres.’

49. Alice Cooper, ‘Killer’

Warner Bros.

49. Alice Cooper, ‘Killer’

(Warner Bros., 1971) Earlier in 1971, Alice Cooper released the wildly successful ‘Love It to Death’ and before fans could even fully digest it, another album was in front of them. ‘Killer’ once again showcases the band’s youthful charisma on the front half of both sides of the record, serving as a clever juxtaposition for the eerie remaining tunes. “Halo of Flies” is lauded for its clever arrangements and ability to play with moods while “Desperado” follows it in dreary haste. Closing out the record are “Dead Babies” which speaks for itself and the title track, representing why the act had such a frightening reputation.

48. Rainbow, ‘Long Live Rock ‘n’ Roll’

Polydor

48. Rainbow, ‘Long Live Rock ‘n’ Roll’

(Polydor, 1978) While ‘Long Live Rock ‘n’ Roll’ doesn’t best its predecessor — asking it to is just unfair — it certainly carries its own proto-heavy metal heft. The last to feature Ronnie James Dio at the vocal helm, the record proudly boasts the speeding “Kill the King” and the mystical “Gates of Babylon,” helping to inspire what would later become power metal. The title track was a fun call to the genre’s longevity with more signature riffs from Ritchie Blackmore, especially on the underrated “The Shed (Subtle).”

47. Ramones, ‘Road to Ruin’

Sire

47. Ramones, ‘Road to Ruin’

(Sire, 1978) The Ramones were on a roll throughout the mid-to-late ‘70s, finishing off the decade with ‘Road to Ruin.’ This is the record which gave us “I Wanna Be Sedated” and the tremendous cover of the Searchers’ “Needles and Pins.” What the Ramones never get true credit for, however, is directly influencing the early stages of hardcore punk with aggressive cuts like “I’m Against It” and “Bad Brain”… you can probably guess who that last track most influenced. The ‘70s were perfect for the Ramones and ‘Road to Ruin’ remains an all-time great punk album.

46. Thin Lizzy, ‘Black Rose’

Vertigo / Mercury / Warner Bros.

46. Thin Lizzy, ‘Black Rose’

(Vertigo / Mercury / Warner Bros., 1979) ‘Black Rose: A Rock Legend’ is the most diverse album of Thin Lizzy’s career. The bold move paid off as the record stands as one of the most successful album in the band’s career, leading off with triumphant twin melodies and a feel-good vibe on “Do Anything You Want to Do.” Getting back to their edge, “Toughest Street in Town” boasts an understated rhythm with pointed, anthemic drum work. “Waiting for an Alibi” delivers a groovy bass line and more of Thin Lizzy’s screaming guitar leads.

45. Blue Oyster Cult, ‘Tyranny and Mutation’

Columbia

45. Blue Oyster Cult, ‘Tyranny and Mutation’

(Columbia, 1973) Blue Oyster Cult followed up the success of their debut record with ‘Tyranny and Mutation.’ The album was written while on the road and fortified their burgeoning early heavy metal fingerprints with the one-two punch of Side A closers “Hot Rails to Hell” and “7 Screaming Diz-Busters.” On the surface, the record has commercial overtones, but the playing style and fuzz guitar elements the band dubbed ‘stun guitar’ indicated Blue Oyster Cult were striving for much heavier directions.

44. Black Sabbath, ‘Sabotage’

Vertigo / Warner Bros.

44. Black Sabbath, ‘Sabotage’

(Vertigo / Warner Bros., 1975) ‘Sabotage’ stands as the final album in Black Sabbath’s remarkable six album streak in just over a five year timespan before their descent with the following two records. Within the 43 minute runtime are the the swinging might of “Hole in the Sky” and the supersonic rumbling of “Symptom of the Universe.” Closing out Side A is “Megalomania,” perhaps the most brilliantly arranged song in the band’s storied discography. The lyrics were largely introspective, offering an insight into the mindset of the band at the time and foreshadowing what the next four years were about to bring.

43. Judas Priest, ‘Sin After Sin’

CBS / Columbia

43. Judas Priest, ‘Sin After Sin’

(CBS / Columbia, 1977) Following “Sad Wings of Destiny,” Judas Priest released “Sin After Sin.” The album strengthened the heavy metal bonds found on its predecessor, kicking the door down with the riff-heavy “Sinner.” Front-loaded with more hits in the Joan Baez cover “Diamonds and Rust,” “Starbreaker” and the underrated ballad “Last Rose of Summer,” the back half of the album is often overshadowed. Muscling its way through for attention, “Dissident Aggressor” closes out the record and stands as one of Priest’s finest tracks.

42. Motorhead, ‘Bomber’

Bronze

42. Motorhead, ‘Bomber’

(Bronze, 1979) Motorhead came up big in 1979, releasing ‘Bomber’ just months after ‘Overkill’ hit the shelves. The two releases embodied what would become instantly recognizable as the Motorhead sound with ‘Bomber’ serving up ageless cuts like the riffy “Dead Men Tell No Tales” and the slow burn of “Lawman” and “Sweet Revenge.” Lemmy Kilmister’s outlaw lyrics come to life on “Poison,” a playful tune about consuming poison being a favorable alternative to getting married.

41. The Stooges, ‘Fun House’

Elektra

41. The Stooges, ‘Fun House’

(Elektra, 1970) While not pure punk rock like the bands that would follow them, the Stooges set the blueprint for punk in the late ’60s and early ’70s, led by the one and only Iggy Pop. ‘Fun House’ is a down-and-dirty album kicking off with the 1-2-3 punch of “Down on the Street,” “Loose” and “T.V. Eye.”

40. Rainbow, ‘Ritchie Blackmore’s Rainbow’

Oyster / Polydor

40. Rainbow, ‘Ritchie Blackmore’s Rainbow’

(Oyster / Polydor, 1975) When Ritchie Blackmore split from Deep Purple, he continued his remarkable writing streak under Rainbow. ‘Ritchie Blackmore’s Rainbow’ was the first album from the new outfit, which also helped launch the career of former Elf singer Ronnie James Dio. The album mixed hard-driving rockers like “Man on the Silver Mountain” and “Snake Charmer” with gorgeous, dreamy tracks “Catch the Rainbow” and “Temple of the King,” showcasing Dio’s affinity for fantasy-themed lyrics.

39. Uriah Heep, ‘Demons and Wizards’

Bronze / Mercury

39. Uriah Heep, ‘Demons and Wizards’

(Bronze / Mercury, 1972) Uriah Heep were able to keep pace with the unstoppable forces in Black Sabbath and Deep Purple, turning around five albums between 1970 and 1972. With Ken Hensley behind the organ rivaling Jon Lord, Uriah Heep’s sound was forged with bottom-heavy riffing and Hensley’s magic fingers. “Rainbow Demon” is inarguably the heaviest organ-centric track of the decade, delving deep into fantasy. ‘Demons and Wizards’ also contains one of the band’s most successful tracks in the speedy “Easy Livin’” and the delightful opener “The Wizard” could not be ignored either.

38. Scorpions, ‘Lovedrive’

Harvest / EMI / Mercury

38. Scorpions, ‘Lovedrive’

(Harvest / EMI / Mercury, 1979) Another Scorpions album, another lineup change. ‘Lovedrive’ brought in guitarist Matthias Jabs who replaced Uli Jon Roth, cementing what is largely regarded as the classic Scorpions lineup. With a more refined sound, they churned out the classics “Loving You Sunday Morning” and the sleazy “Coast to Coast.” Leads intertwined with rhythms like never before, forging a new sound that would have unprecedented staying power.

37. Rush, ‘Hemispheres’

Anthem / Atlantic / Epic / Sony / Mercury

37. Rush, ‘Hemispheres’

(Anthem / Atlantic / Epic / Sony / Mercury, 1978) In 1978, Rush picked up where they left off on ‘A Farewell to Kings,’ starting off with the second part of the “Cygnus X-1” saga with the 18 minute “Cygnus X-1 Book II: Hemispheres.” The band, fully entrenched in their progressive nature, once again showcased their diverse musicianship as the song was divided into six chapters. The back half of the record contains “Circumstances” and “The Trees” as two of the more conventional songs before getting to the nearly 10 minute instrumental “La Villa Strangiato.”

36. AC/DC, ‘High Voltage’

Atlantic

36. AC/DC, ‘High Voltage’

(Atlantic, 1976) The first two AC/DC albums were released in Australia only, but here we’re starting with the international debut of ‘High Voltage.’ The album contained every song from the Australian-released T.N.T. save for the Chuck Berry cover of “School Days” and “Rocker.” “She’s Got Balls” and “Little Lover” from the initial ‘High Voltage’ release were added in and the classic was ready for the world. All-timers like “It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll)” and “T.N.T.” are the undenied standouts with “Can I Sit Next to You Girl” following close behind.

35. Alice Cooper, ‘Welcome to My Nightmare’

Atlantic

35. Alice Cooper, ‘Welcome to My Nightmare’

(Atlantic, 1975) ‘Welcome to My Nightmare’ is the first record under the Alice Cooper moniker to represent the frontman as a solo act. The title track is a fitting introduction to Alice’s solo career as he welcomes everyone to entertain his ghoulish delights. Lyrically, the album is the most shocking of any Alice Cooper record, returning to necrophilia on “Cold Ethyl,” menstruation on “Only Women Bleed” and the maddening spoken word from Vincent Price on “Black Widow” is genuinely horrifying. Throw in the four closing tracks making for one of the most chilling moments to date in all of rock. The album would also be the last to land inside the Top 10 of the ‘Billboard’ 200 chart and its platinum status would only be seen once more with 1989’s ‘Trash.’

34. Ramones, ‘Leave Home’

Sire / Philips

34. Ramones, ‘Leave Home’

(Sire / Philips, 1977) Though it was released during the Ramones’ legendary Golden Age, ‘Leave Home’ may be the iconic punk band’s most underrated album. The Ramones’ sophomore record showcased the world’s fastest band further pressing the accelerator while becoming more abrasive and tongue-in-cheek. “Carbona Not Glue” could have been a monster hit had it not been for the song’s then-controversial lyrics, “Pinhead” carried on the Ramones’ knack for penning pure anthems and “California Sun” was crafted as the perfect bridge between punk purists and summertime romantics.

33. Led Zeppelin, ‘Led Zeppelin III’

Atlantic

33. Led Zeppelin, ‘Led Zeppelin III’

(Atlantic, 1970) After rocking listeners with their first two albums, Led Zeppelin expanded their sound to include more folk and acoustic instrumentation, giving ‘Led Zeppelin III’ a more eclectic overall feel. The disc dropped in October of 1970, and while not one of their bigger sellers (it was still certified 6 times platinum by the RIAA), it has received its share of critical praise. The driving rocker “Immigrant Song” is the standout here, with John Bonham’s undeniable beat and Robert Plant’s wail. But the disc also spawned several other stellar cuts, such as “Gallows Pole,” the bluesy “Since I’ve Been Loving You,” and “Celebration Day.”

32. Hawkwind, ‘Space Ritual’

United Artists

32. Hawkwind, ‘Space Ritual’

(United Artists, 1973) Typically, we don’t include live albums on lists like these, but there are exceptions to every rule, right? Well, Hawkwind’s masterful double live album ‘Space Ritual’ is one of those exceptions. Boasting a pre-Motorhead Lemmy Kilmister on the most ambitious bass work of his career, ‘Space Ritual’ is a cosmic journey taking listeners around the universe and back on “Born to Go,” “Space is Deep” and “Orgone Accumulator.” The interludes help keep an aural constant rather than pausing between songs. The maddening spoken word “Sonic Attack” is so intense it will bring captivated listeners to their knees. Space rock never got better than ‘Space Ritual.’

31. KISS, ‘Destroyer’

Casablanca

31. KISS, ‘Destroyer’

(Casablanca, 1976) Following ‘Alive!’ KISS released their most successful record yet in ‘Destroyer.’ Eventually going double platinum in the U.S., ‘Destroyer’ saw the band’s blend of hard-hitting riffs combined with an overt arena aesthetic coalesce on tracks like “Detroit Rock City” and the pounding rhythm of “God of Thunder.” “Shout It Out Loud” spoke to the band’s live reputation, serving as a call to fans to release their primal energy. The album also contained the ballad “Beth,” which stands as the highest charting single of the band’s storied career.

30. Queen, ‘News of the World’

EMI / Parlaphone / Elektra / Hollywood

30. Queen, ‘News of the World’

(EMI / Parlaphone / Elektra / Hollywood, 1977) Queen’s ‘News of the World’ is the band’s highest selling record and has been certified quadruple platinum by the RIAA. The famous one-two punch of “We Will Rock You” and “We Are the Champions” rightfully garners most of the attention and have poured through stadium speakers around the world. The rest of the album doesn’t slouch, serving up the hard and heavy “Sheer Heart Attack” right after. Freddie Mercury again showcases his masterful vocal control, particularly on “My Melancholy Blues.”

29. King Crimson, ‘Red’

Island / Atlantic

29. King Crimson, ‘Red’

(Island / Atlantic, 1974) King Crimson’s masterpiece ‘Red’ served as the final studio effort from the progressive rock progenitors until reuniting the following decade. The bottom-heavy title track is a six-minute instrumental and one of the heaviest pieces of music in existence in 1974. Boasting “One More Red Nightmare” and the dazzling buildup of “Starless and Bible Black” help send the band out on what is possibly the strongest album of their career, though the ‘Court of the Crimson King’ debut will forever keep the argument raging.

28. Black Sabbath, ‘Sabbath Bloody Sabbath’

WWA / Vertigo

28. Black Sabbath, ‘Sabbath Bloody Sabbath’

(WWA / Vertigo, 1973) In 1973, Black Sabbath stepped up their sound with Tony Iommi’s beefiest guitar tone yet on ‘Sabbath Bloody Sabbath.’ Ozzy Osbourne’s vocal takes were downright manic as the band, dove headfirst into pummeling rhythms and some of their most ambitious songwriting yet. From the crushing weight of the title track, it was clear the Birmingham bunch were still very much on the upswing as they continued to define heavy metal, adding “A National Acrobat” and “Killing Yourself to Live” to their fortified list of what would be ageless classics.

27. Alice Cooper, ‘Love It to Death’

Straight / Warner Bros.

27. Alice Cooper, ‘Love It to Death’

(Straight / Warner Bros., 1971) ‘Love It to Death’ was the Alice Cooper band’s first commercially viable record after two largely experimental and avant-garde albums released on Frank Zappa’s label. With the all-time classic “I’m Eighteen” thrust in the spotlight to test the waters, the single found success and helped propel the band to their first chart debut. The group moved to Detroit, Mich. to hone their sound and the result was a distinctively edgy album seesawing between the playful nature of “Caught in a Dream” and “Long Way to Go” and the hair-raising “Black Juju” as the band’s darkest track to date. “Ballad of Dwight Fry” lyrically did little to alleviate the notion that this band was dangerous.

26. Motorhead, ‘Overkill’

Bronze

26. Motorhead, ‘Overkill’

(Bronze, 1979) Two years removed from their eponymous debut, Motorhead unleashed the indomitable ‘Overkill.’ The title track sees the band at a songwriting apex and its devastating effects can only truly be felt in the live setting. “Capricorn” and “Metropolis” showcased the bluesy facet of the band, giving a perfect ebb and flow to their typically punchy sound. Lemmy Kilmister’s unbridled attitude shines through on “Stay Clean” and “No Class” as the album was the first true statement from one of rock ‘n’ roll’s most venerable acts.

25. Judas Priest, ‘Stained Class’

CBS / Columbia

25. Judas Priest, ‘Stained Class’

(CBS / Columbia, 1978) Hot off an untouchable string of releases in ‘Sad Wings of Destiny’ and ‘Sin After Sin,’ Judas Priest delivered yet again on ‘Stained Class.’ Boasting the most lead work of any Priest album to date, the band practically invented speed metal on the scorching opener “Exciter.” Halford’s piercing and diverse range was once again in full force, belting out maddening highs on the title track and the grooving “Saints in Hell.” The band also penned their finest ballad yet in “Beyond the Realms of Death,” which saw a coalescence of their expansive songwriting abilities employing clever arrangements, mystical acoustic guitar playing and more of Halford’s jaw-dropping vocal abilities.

24. Deep Purple, ‘Burn’

Purple Records / EMI / Warner Bros.

24. Deep Purple, ‘Burn’

(Purple Records / EMI / Warner Bros., 1974) The MK III lineup of Deep Purple exchanged Ian Gillan and Roger Glover for then-unknown singer David Coverdale and co-lead vocalist and bass player Glenn Hughes. Both were influenced by the sounds coming from Detroit, and the duo brought a newfound feel to a band in dire need of a shot in the thigh. The result was ‘Burn,’ rejuvenating both the band and fans who felt just as home with new songs like the unyielding title track, “Lay Down, Stay Down” and “Sail Away.” Coverdale’s woeful croon and the soulfulness of Hughes did wonders as they exchanged lines and sang together in glorious harmony at times. “Mistreated” stands uncontested as the most impassioned song Purple have ever delivered.

23. Blue Oyster Cult, ‘Secret Treaties’

Columbia

23. Blue Oyster Cult, ‘Secret Treaties’

(Columbia, 1974) ‘Secret Treaties’ was the product of a band on a massive upward trajectory and perhaps Blue Oyster Cult’s crowning achievement when discarding sales and chart positions. The riff-oriented “Career of Evil,” the angsty “Dominance and Submission” and the speedy “Cagey Cretins” represent the hardest hitting tracks forged in a proto-metal fire. “Subhuman, the piano-dominated “Flaming Telepaths” and “Astronomy” round out the occult themes that had permeated the group’s image thus far.

22. Ramones, ‘Rocket to Russia’

Sire / Philips

22. Ramones, ‘Rocket to Russia’

(Sire / Philips, 1977) The Ramones’ third album, ‘Rocket to Russia,’ was yet another masterpiece way ahead of its time. Though the seminal New York punks kept their sonic assault pure with cuts like “We’re a Happy Family” and “Teenage Lobotomy,” ‘Rocket to Russia’ expanded on the emotive tones of vocalist Joey Ramone. Covers of Bobby Freeman’s “Do You Wanna Dance?” and the Trashmen’s “Surfin’ Bird” became live pillars of Ramones concerts, as “Locket Love” and “Ramona” allowed Joey to bare his soul with original tracks.

21. AC/DC, ‘Highway to Hell’

Albert / Atlantic

21. AC/DC, ‘Highway to Hell’

(Albert / Atlantic, 1979) AC/DC’s ‘Highway to Hell’ was the last album the band would record in the ‘70s and also the last with iconic singer Bon Scott. If their career had ended here, it would’ve been an admirable run. Of course, “Highway to Hell” was perhaps the biggest statement from the group yet, but let’s not forget about the other nine tracks here. “Girls Got Rhythm,” “Touch Too Much,” “Shot Down in Flames” and “Beating Around the Bush” all represent the band’s cheeky attitude towards the fairer sex while “Night Prowler” paraded their tough guy image. The album was the first to crack the Top 100 on the U.S. ‘Billboard’ charts.

20. Black Sabbath, ‘Vol. 4’

Vertigo

20. Black Sabbath, ‘Vol. 4’

(Vertigo, 1972) Black Sabbath’s ‘Vol. 4’ further ramped up the drug intake, nearly dedicating the title of the album to cocaine. Originally intended to be named after “Snowblind,” the title was switched in favor of one that did not condone wanton use of the white powder. Iommi proved that the first year and a half was no fluke, once again delivering timeless riffs on the punchy “Supernaut,” the aforementioned “Snowblind” and the towering might of “Under the Sun / Every Day Comes and Goes.” Ozzy Osbourne’s voice hinges on maniacal with wide-eyed energy and a certain degree of his charming timidity.

19. KISS, ‘Alive!’

Casablanca

19. KISS, ‘Alive!’

(Casablanca, 1975) When making these types of lists, live albums are typically discounted, but KISS’ ‘Alive!’ record was so paramount that no list of this sort would be right to leave it off. The album landed KISS their first Top 10 record and bolstered attendances now that they had properly captured the live energy of songs like “Deuce,” “Strutter,” “Cold Gin” and “Rock and Roll All Nite.” The concern over how much of the album was overdubbed in the studio is still felt, but the band has always been so meticulous in their product that it speaks to the ethos of the band’s brand.

18. The Stooges, ‘Raw Power’

Columbia

18. The Stooges, ‘Raw Power’

(Columbia, 1973) Call it garage rock, proto-punk or what have you, ‘Raw Power’ is exactly what the title says it is. The Stooges and their leader Iggy Pop tore it up on songs like ‘Search and Destroy’ ‘Gimme Danger’ and the title track.

17. Black Sabbath, ‘Master of Reality’

Vertigo

17. Black Sabbath, ‘Master of Reality’

(Vertigo, 1971) By the time ‘Master of Reality’ was released in July of 1971, Black Sabbath were just 18 months into their recording career and had notched three albums that are still regarded largely as untouchable over four decades later. Opening with perhaps the most famous cough in music, the band’s ode to marijuana, “Sweet Leaf,” kicks down the door with an all-time riff from Tony Iommi. The band condemns religion on “After Forever,” maintaining their dark edge and close out Side A with the rumbling gallop of “Children of the Grave.” Flip the disc over and after the “Orchid” interlude comes the often imitated but never replicated “Lord of This World.” Closing out the record is “Into the Void,” which inarguably boasts the heaviest riff ever created when heard live.

16. The Clash, ‘The Clash’

CBS

16. The Clash, ‘The Clash’

(CBS, 1977) Before the Sex Pistols’ ‘Never Mind the Bullocks’ had even hit shelves, The Clash delivered Britain’s first full-length punk classic in the form of the band’s 1977 self-titled album. Heavily influenced by the Ramones, The Clash brought a British edge to punk rock with undeniable classics like the anthemic “White Riot” and the controversial “London’s Burning.” The Clash even put a spotlight on America’s issues, penning “I’m So Bored With the USA,” helping pioneer a rich lineage of politically charged punk.

15. The Who, ‘Who’s Next’

Track / Decca

15. The Who, ‘Who’s Next’

(Track / Decca, 1971) Bookended by the classic and powerful opening and closing tracks, “Baba O’Riley” and “Won’t Get Fooled Again,” respectively, ‘Who’s Next’ is perhaps the Who’s best studio album. The disc also features standout tracks like “Bargain” and “Behind Blue Eyes.”

14. Aerosmith, ‘Toys in the Attic’

Columbia

14. Aerosmith, ‘Toys in the Attic’

(Columbia, 1975) ‘Toys in the Attic’ is arguably Aerosmith’s apex. With two albums behind them and a set of seriously sharpened skills, the band laid down nine tracks that would help change the face of rock music. The title track made an immediate impression with a sleek, driving rhythm and anthemic cord progressions that just begged for the song to be played live. The funky riff and Steven Tyler’s rapid, rhyming lyrics on “Walk This Way” brought new sounds to the genre as “Sweet Emotion” seesawed between their proto-heavy metal side and the one that was still clinging tightly to the moodier elements of the ‘70s.

13. Deep Purple, ‘Machine Head’

Purple Records / EMI / Warner Bros.

13. Deep Purple, ‘Machine Head’

(Purple Records / EMI / Warner Bros., 1972) Deep Purple’s biggest selling record is ‘Machine Head,’ which was propelled by the instant hit “Smoke on the Water.” The album is bookended by the over-the-speed-limit “Highway Star” and “Space Truckin’” the latter being a song that could have easily been placed at the front of the record with as much effectiveness. Often overshadowed are the riff-centric “Maybe I’m a Leo” and the swinging “Pictures of Home.” Jon Lord’s organ presence takes a noticeable back seat, allowing Blackmore to take even more of a spotlight. The record has been certified double platinum by the RIAA.

12. Rush, ‘2112’

Anthem / Atlantic / Epic / Sony / Mercury

12. Rush, ‘2112’

(Anthem / Atlantic / Epic / Sony / Mercury, 1976) Rush’s first commercial success came with an unlikely album. ‘2112’ famously opens with the 20 minute conceptual title track. The story tells the tale of a dystopian future where each aspect of life is strictly controlled by the Red Star of the Solar Federation. A child finds a guitar hoping to create his own content, but his dreams are destroyed leading to his suicide. The back half of the album features five concise tracks with “A Passage to Bangkok” and “The Twilight Zone” as the standouts.

11. Rainbow, ‘Rising’

Oyster / Polydor

11. Rainbow, ‘Rising’

(Oyster / Polydor, 1976) The crowning achievement from Rainbow came in 1976 with the release of ‘Rising.’ Boasting just six tracks, the album is arguably pound-for-pound Ritchie Blackmore’s greatest work. His trailblazing riffing is found on “Starstruck” and “Run With the Wolf,” but his neoclassical efforts brought out the best in his writing. “Stargazer” is the quintessential Blackmore track, melding his influences into a towering epic with heavy orchestration and Dio’s magical lyricism and one of the most masterfully arranged songs in all of rock. “A Light in the Black” is a scorcher that somehow manages to follow “Stargazer,” bursting with power and ending the album on a devastating note.

10. Black Sabbath, ‘Black Sabbath’

Vertigo

10. Black Sabbath, ‘Black Sabbath’

(Vertigo, 1970) Black Sabbath’s eponymous debut is deeply rooted in the blues with the most sinister overtones courtesy of Tony Iommi’s downtuned and heavily distorted guitar. The tritone that opens the title track is one of the most haunting moments in all of metal, strangely enough giving birth to the genre in those three notes. With songs like the rumbling of “NIB” and the harmonica-driving and grimey riffing of “The Wizard” and Ozzy Osbourne’s nervous groans and delightfully shaky delivery, Black Sabbath changed the game forever.

9. Judas Priest, ‘Sad Wings of Destiny’

Gull

9. Judas Priest, ‘Sad Wings of Destiny’

(Gull, 1976) In 1976, Judas Priest released the first true bona-fide heavy metal album in “Sad Wings of Destiny.” Sure, Black Sabbath had already churned out six indomitable albums, but Priest defined what became traditional metal. The twin guitars and complex arrangement came with the first song, the all-time classic “Victim of Changes.” Short and speedy tracks like “The Ripper,” “Deceiver” and the punchy “Tyrant” are as effective as they are concise. One of the many peaks of Rob Halford’s range was found on the whimsical “Dreamer Deceiver,” complete with ear-shattering falsetto wails.

8. Sex Pistols, ‘Never Mind the Bollocks’

Virgin

8. Sex Pistols, ‘Never Mind the Bollocks’

(Virgin, 1977) The Sex Pistols only released one studio album during their legendary career, but oh, what an album it was! ‘Never Mind the Bollocks, Here’s the Sex Pistols’ is a punk-rock masterpiece from start to finish. Other bands’ greatest-hits albums would have a hard time matching the songs on this disc, which features “Holidays in the Sun.” “Anarchy in the U.K.,” “God Save the Queen,” “Pretty Vacant” and “Bodies,” among others.

7. Led Zeppelin, ‘Houses of the Holy’

Atlantic

7. Led Zeppelin, ‘Houses of the Holy’

(Atlantic, 1973) With 1973’s ‘Houses of the Holy,’ Led Zeppelin continued to evolve. One of the band’s more eclectic releases, the album featured the opening epic, “The Song Remains the Same,” the melodically somber favorite “The Rain Song” and even a reggae-tinged cut called “D’yer Mak’er.” Songs like “Over the Hills and Far Away,” “Dancing Days” and “No Quarter” also earned plenty of love. The album became one of the band’s biggest sellers, having been certified 11 times platinum.

6. Ramones, ‘Ramones’

Sire / Philips

6. Ramones, ‘Ramones’

(Sire / Philips, 1976) The Ramones’ debut album is the epitome of accomplishing something monumental by utilizing the basics. The Ramones didn’t want to be stellar technical musicians or pop superstars. If anything, ‘Ramones’ was seen almost as anti-music when it arrived in 1976. Despite initial backlash for its buzzsaw-guitared, bite-sized and straight-forward approach, ‘Ramones’ has legitimately influenced every subsequent artist who wanted to play fast. Staples like “Blitzkrieg Bop,” “I Wanna Be Your Boyfriend” and “Now I Wanna Sniff Some Glue” have kept the kids bouncing for the past four decades.

5. Deep Purple, ‘In Rock’

Harvest

5. Deep Purple, ‘In Rock’

(Harvest, 1970) With bassist Nick Simper and singer Rod Evans out and their replacements of Roger Glover and Ian Gillan respectively in, Deep Purple MK II was underway. Shaking off the ‘60s, Ritchie Blackmore took his guitar and bashed down the door, rebuilding the framework from the moment the needle touched the record as “Speed King” sounded the proto-metal alarm. Top to bottom, ‘In Rock’ is a treasure trove and deservedly puts the members faces on a redone Mount Rushmore on the cover. “Child in Time” was one of the first true hard rocking songs that saw wailing high notes enter the fold and establish the blueprint that would later become the heavy metal singing staple.

4. Van Halen, ‘Van Halen’

Warner Bros.

4. Van Halen, ‘Van Halen’

(Warner Bros., 1978) When Van Halen unleashed their debut album, the guitar work laid down by Eddie Van Halen quite literally set the world on fire. More or less redefining lead guitar playing in one album, the record is stacked with party-time anthems like “Runnin’ With the Devil,” “Ain’t Talkin’ ‘Bout Love,” “Jamie’s Cryin’” and the Ray Davies cover of “You Really Got Me.” Maybe David Lee Roth isn’t the best technical singer, but he oozes charisma and unbridled, reckless youth. Of course, nothing would be the same again after Eddie’s signature “Eruption” solo.

3. The Clash, ‘London Calling’

CBS / Epic

3. The Clash, ‘London Calling’

(CBS / Epic, 1979) Just making it into the ’70s, ‘London Calling’ was released in December 1979, and the Clash closed out the decade with a masterpiece. The album kicks off with the explosive title track and never relents throughout its 19 songs. Among the other standout cuts on this genre-bending album are ‘Rudie Can’t Fail,’ ‘Lost in the Supermarket’ and the closing track ‘Train in Vain.’

2. Black Sabbath, ‘Paranoid’

Vertigo

2. Black Sabbath, ‘Paranoid’

(Vertigo, 1970) Just seven months after they released their eponymous debut, Black Sabbath had another record on the shelves. While ‘Black Sabbath’ may have created heavy metal, ‘Paranoid’ defined it in late 1970. Shedding some of their blues sound, they found favor with the indomitable riffing style of Tony Iommi, who cemented his legacy early on with “War Pigs,” “Paranoid” and “Iron Man.” All standouts casting hulking shadows, the eerie “Electric Funeral,” ethereal, tripped-out “Planet Caravan,” the further horrors of war detailed in “Hand of Doom” and the skinhead-bashing “Fairies Wear Boots” also helped catapult Black Sabbath into a league they had exclusive ownership over.

1. Led Zeppelin, ‘Led Zeppelin IV’

Atlantic

1. Led Zeppelin, ‘Led Zeppelin IV’

(Atlantic, 1971) Is there any better album side than Side 1 of Led Zeppelin’s 1971 classic, ‘Led Zeppelin IV’? You start with the undeniable groove of “Black Dog” followed by the unabashed rock fury of “Rock and Roll,” dig into folksy “The Battle of Evermore” with Plant and female vocalist Sandy Denny, the finish out the side with the legendary epic “Stairway to Heaven.” But Zeppelin weren’t done, with an amazing Side 2 that included “Misty Mountain Hop,” “Four Sticks,” “Going to California” and “When the Levee Breaks.” That all said, ‘Led Zeppelin IV’ tops our list of the Top 70 Hard Rock + Metal Albums of the 1970s.

Filed Under: Klaus Meine, Scorpions

Categories: Concerts, Metal, News, Rock

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