10 Overhyped 1970s Bands That Didn’t Earn Their Fame
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The 1970s was a time of musical greatness and cool looks as bands like Led Zeppelin, Fleetwood Mac, and Pink Floyd dominated the airwaves. However, within this flood of creativity, a few bands we now regard as excellent might have gotten a little more credit and success than they should have.
Many bands gained rapid popularity through visually striking performances or catchy singles but struggled to follow up with consistent musical excellence. These are ten such bands.
Journey
journey hit it big with singles such as Don’t Stop Believin’ and Any Way You Want It. Formed in 1973, Journey’s lineup featured talented musicians, including former members of Santana and the Steve Miller Band. Their rise began with the addition of lead singer Steve Perry on their 1978 album “Infinity,” But is this late surge enough to justify their legendary status as ’70s icons?
For much of the ’70s, the band was more of a wandering act trying to find its sound. Journey released six albums between 1975 and 1980. Still, it wasn’t until “Departure” in 1980 that they finally broke into the top of the pack on the Billboard 200, climbing as high as No. 8. Rolling Stone magazine’s lengthy review of Infinity called the album “calculated” and “cliché-ridden.
Bay City Rollers
Who can forget the tartan-clad frenzy that was the Bay City Rollers? This Scottish pop band came on the scene in the early 1970s and was soon a hit with teenagers everywhere. With hits like “Saturday Night” and “Bye Bye Baby,” they had a knack for catchy, foot-tapping tunes that had legions of swooning teenage girls in an uproar.
Despite their immediate success, critics often argue that the Bay City Rollers were more of a manufactured product than a genuine musical act. Although “Saturday Night” topped the U.S. Billboard Hot 100 singles chart in 1976, none of their follow-up records were substantial hits despite a large cult following and numerous tours. Their heyday ended sometime in the late 1970s. With a lack of adaptation or innovation, they declined quickly as well.
Foreigner
Foreigner, formed in 1976, quickly climbed the charts with its blend of rock and pop, becoming a staple of late ’70s and ’80s radio. Its debut album sold over 4 million copies in the United States alone, but critics have argued that its success was more about formulaic songwriting rather than groundbreaking innovation.
Rolling Stone wrote: “Foreigner’s sound was designed to appeal to the masses, terming it as’ arena rock by numbers.’ Their 1977 “Double Vision” album was also certified as a multi-platinum the following year.
Grand Funk Railroad
This power trio-turned-quartet from Flint, Michigan, delivered straightforward, hard rock anthems. Their 1973 album We’re an American Band peaked at number one on the Billboard charts, and the eponymous single was a huge chart hit. In July 1971, Grand Funk Railroad famously sold out Shea Stadium in New York faster than The Beatles did in 1965
Their stage presence was electrifying, but their musicianship and songwriting were frequently criticized for lacking depth and complexity. Rolling Stone called them “the worst band in rock and roll.” The band’s repetitive riffs and essential lyrics quickly started to show through, leading to their popularity waning by the late 1970s.
KISS
KISS became stars partly because of their striking stage show, which included fire breathing, blood spitting, and smoke bombs. Critics maintain that their music, with its basic chord sequences and repetitive lyrics, does not have the depth of sound or level of invention displayed by true rock legends from a similar period.
Their 1975 album “Alive!” went multi-platinum, but these numbers were as much a testament to their marketing prowess as to their musical talent. Rolling Stone reports that Dynasty, their 1979 album, is often pointed to as the start of the band’s slow decline. Although a commercial hit, the album’s single, “I Was Made for Lovin’ You,” was disparaged for its disco influences.
Styx
Styx was known for its unique fusion of progressive art rock, pop rock, and hard rock, wowing audiences with its often theatrical live shows and elaborate stage designs. There were several hits, such as ‘Lady,’ ‘Come Sail Away,’ and ‘Babe,’ but its albums always received mixed reviews. For example, The Grand Illusion (1977) peaked at #6 on the Billboard 200 chart. Catchy, okay, but hardly groundbreaking!
One review in Rolling Stone magazine demurred, writing that the band was “trying too hard to be Queen without the same level of ingenuity and wit.” For example, their 1979 album Cornerstone was panned for leaning too heavily into pop ballads like “Babe.”
REO Speedwagon
REO Speedwagon, whose hits included “Keep Pushin'” and “Ridin’ The Storm Out,” received much airplay and concert income. Still, critics often point to their showmanship and tireless touring as reasons for their popularity rather than actual musical innovation.
Through 1978, REO Speedwagon’s highest charting position was with their sixth studio album, You Can Tune a Piano, but You Can’t Tuna Fish, which managed to hit #29 on the Billboard 200—decent but not grab-the-guard-rails-on-your-seat-belting stuff. That’s small potatoes compared to their chart-topping success in the ’80s, when Hi Infidelity sold over 10 million copies. Were the 1970s just a warm-up act for their true potential, or were they overhyped?
Boston
“Boston” debuted in 1976 and was an immediate smash on FM radio. It became one of the best-selling debut albums ever, with 17 million copies sold in the United States. Some people argue that the success of Boston owes more to band founder and production wizard Tom Scholz than any revolutionary musical innovation.
They had the talent, all right, but was there a fire? Their follow-up album, 1978’s “Don’t Look Back,” fared even worse among critics and in the marketplace. And we can’t shake that it took another eight years for their third album, Third Stage, to be released in 1986.
The Doobie Brothers
The Doobie Brothers rose to fame by combining rock, folk, and R&B. From 1972 to 1980, they placed 16 singles on the Billboard Hot 100. Unfortunately for fans, their style hardly evolved.
According to Rolling Stone, the band’s consistency was both a blessing and a curse, as their repetitious sound began to wear thin over the years. Their sound changed noticeably in 1975 when Michael McDonald joined The Doobies, pulling their music into softer rock and blue-eyed soul; this left some fans feeling a bit alienated, as it appeared the band lacked musical identity.
The Carpenters
The Carpenters were big. Their hit “Close to You” held the No. 1 position on the Billboard Hot 100 Chart for four weeks in 1970. They also won three Grammy Awards. Their syrupy ballads primarily catered to a specific, perhaps more conservative audience. They lacked the genre-pushing boundaries seen elsewhere in the decade.
The Carpenters’ total album sales are estimated to be around 100 million worthier; their success is perhaps more due to Richard Carpenter’s production smarts and Karen’s otherworldly contralto than their trailblazing musicianship or lyrical profundity.
Disclaimer – This list is solely the author’s opinion based on research and publicly available information.
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