3 Classic Rock Songs From the 1970s That Take an Unexpected Turn

Once rock music had broken free from the restraints of short radio singles, artists experimented with longer song forms and increasingly complex arrangements. The album replaced the single as a source of focus, and by the 1970s, restless musicians were attempting to make higher art out of rock and roll.

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Though the genre was expanding, you can still hear its blues and folk roots grounding the experiments in something the listener recognized. But unexpected turns were plenty, as you’ll hear in these unpredictable classics.

“Black Betty” by Ram Jam

Ram Jam transforms Lead Belly’s adaptation of “Black Betty”, a 20^th-century African American work song, into a 1970s boogie rock anthem. The stoner groove is undeniable until the track gets hijacked by musical chaos. It starts and stops, with multiple drum breaks, Southern rock, and a raucous guitar solo. Another Southern rock jam à la The Allman Brothers Band returns, as well as more drum breaks. Finally, Ram Jam returns to the infectious groove that made the song a hit. It’s quite a lot for a track that clocks in at just under four minutes.

“Money” by Pink Floyd

As if the title wasn’t clear enough, a tape loop of a cash register and jangly coins begins “Money”. When the band enters, Roger Waters’s bass propels the primary riff, performed in a 7/4 time signature. But the groove feels so easy, many don’t notice the odd count. Over a blues chord progression, David Gilmour sings ironically about greed, and the easy-going track continues straight into a sax solo. Then Gilmour plays one of his finest guitar solos over Waters’s descending bass line, perhaps a metaphor for the pitfalls of excess. The arrangement is irregular, but Pink Floyd makes the complexity sound effortless.

“Over The Hills And Far Away” by Led Zeppelin

“Over The Hills And Far Away” begins as a folk song. As it progresses, Jimmy Page moves seamlessly from one iconic guitar riff to the next. Eventually, the track becomes a bluesy boogie. As the title suggests, the mood is wistful. A dreamy reflection on falling in and out of love, discovery, and growth. Midway through, as Page burns a psychedelic guitar solo, the vibe becomes ominous. Like how the open road you’re gazing upon can suddenly reach a dead end. Soon enough, Robert Plant returns with zoomed-out philosophy before the entire band fades into a lone and distant keyboard. But as the hazy reverb fades, the chords move to the front of the mix. There’s clarity and focus now, as if one has finally seen the light.

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