Las Vegas, get ready for a music-induced Sheer Heart Attack. Queen with Adam Lambert are heading to Sin City this fall.

<iframe width="620" height="349" src="https://www.youtube.com/embed/HgzGwKwLmgM" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe>

On May 7, the GRAMMY-nominated band announced they will be taking over Park Theater at Park MGM in Las Vegas for a limited 10-day engagement starting Sept. 1 and concluding Sept. 22. Aptly titled The Crown Jewels, fans can expect plenty of gems from the Queen catalog — "We Will Rock You," "We Are The Champions," "Bohemian Rhapsody," and more — courtesy of Lambert and co-founders guitarist Brian May and drummer Roger Taylor.

<blockquote class="twitter-tweet" data-lang="en"><p lang="en" dir="ltr">.<a href="https://twitter.com/QueenWillRock?ref_src=twsrc%5Etfw">@QueenWillRock</a> + <a href="https://twitter.com/adamlambert?ref_src=twsrc%5Etfw">@adamlambert</a> Announce Las Vegas Run this September! Full details @ <a href="https://t.co/bgPT1Yueqh">https://t.co/bgPT1Yueqh</a> <a href="https://t.co/maU41Cjpd3">pic.twitter.com/maU41Cjpd3</a></p>&mdash; Queen (@QueenWillRock) <a href="https://twitter.com/QueenWillRock/status/993478487473377280?ref_src=twsrc%5Etfw">May 7, 2018</a></blockquote><script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>

"We're ready to take on the ultimate challenge … to dazzle Vegas," May said in a press release, a sentiment echoed by Taylor, who said, "Looking forward to rocking the Strip."

"I'm so excited to help share The Crown Jewels with the Strip," added Lambert, who has served as the group's lead singer since 2011. "You'll be humming them all night!"

Tickets for Queen's Vegas residency will be available to presale members starting May 8, with tickets opening to the general public on May 11.

Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? "Talk To GRAMMYs"

Fifteen years into his career, Adam Lambert is primed for the after-party. In fact, the pop star has made an entire EP for the occasion — fittingly titled Afters.

The six-track project, which drops July 19 via More Is More Records, finds the big-voiced singer trading the expansive covers of his last LP, 2023's High Drama, for a no-holds-barred romp that takes listeners from the club to the after-party to the bedroom and beyond.

"It's my love letter to our nightlife culture," Lambert tells GRAMMY.com on a phone call from New York City. And though he admits to recording the bulk of Afters in L.A., the project is imbued with the club kid spirit of New York's queer community — from the primal sexuality dripping off dual lead singles "LUBE" and "WET DREAM" to the strutting, ballroom-ready kiss-off (and nearly NSFW title) of follow-up track "CVNTY."

Ahead of the EP's release, the queer GRAMMY nominee (and frequent Queen collaborator) celebrated his new musical chapter with a special party at The Standard High Line's nightclub Le Bain. Organized by legendary NYC nightlife impresario Susanne Bartsch as part of her famous On Top! event series, the soiree felt like a full-circle moment for Lambert as he watched drag artists like God Complex and ShowPonii slay the house down boots to his new music. 

"I've always really been drawn to that kind of world," Lambert says of the thriving LGBTQIA+ party scene. "I think even way back before '[American] Idol,' I remember being in L.A., when I was in my early twenties and trying to find the parties. They were pretty underground at the time, where people would dress up and wear crazy makeup. And of course, I was there in my platform boots, stompin' in. So I've always sort of sought out that community. I love it."

Below, Lambert takes GRAMMY.com through the colorful and unapologetically queer inspirations that led to Afters, from the '90s house sounds of Crystal Waters to finding freedom in radical creative expression — and, of course, plenty of sex.  

Feeling Free — And Sexy

I've always loved electronic dance music, I've always loved house. And it's interesting because, for a long time, it was considered sort of "niche" for a gay person to make dance music. And now it just feels like it makes sense. [Laughs.] It's so obvious, you know?

I was working so hard for so long and on tour for so long, and I did a lot of tours with Queen and on my own stuff. I was so focused on my career for so many years, and then as the pandemic kind of faded and we were getting into that next chapter, I made some time for a social life. Which was much needed. That's what kind of inspired me to want to make this music. 

I just wanted to make something that felt like my actual social life — that felt like my life. I'm in a relationship, we've made lots of friends in L.A., we have lots of after-parties. We socialize, we go out, we go to clubs, we go to bars. I wanted to make music for that.

My private life is...exciting is how I would probably put it, and passionate. So it's definitely fueled from that. The music is written in first person, but it's also sort of meant to inspire the listener to want to feel that type of freedom as well. You listen to something about sex and hopefully it makes you go, "Yeah! I feel sexy!"

Overcoming Post-'American Idol' PTSD

When I first came out the gate after Idol, I did a big old performance [at the 2009 American Music Awards]. I got in trouble for kissing the guy and having sexy dance moves and stuff, and that gave me a little dash of almost a PTSD of, like, "Oh, OK, there's a line that I can't cross. And if I do, I could risk losing everything." And that fear drove me down a certain path where I felt like I had to hold back a certain amount. 

That was very much a reflection of where we were at as a society at the time, and what the mainstream was able to digest. The music industry was a different game back then. There were a lot more gatekeepers, a lot more obstacles that I encountered. Now, the industry has shifted so much, just in terms of how people get music, how you can reach your listener, how you can make music, what kind of label situation you have set up. There's a lot less filtering going on. That's what also inspired me to want to make something that was more liberated. 

My perspective has shifted a lot. That fear early on came from a place of, "I don't want to lose this opportunity." There was a little dash of imposter syndrome in there. You know, coming off of "Idol," feeling like, "Oh my god, how did I get here?" It happened so fast. And I think just having stayed in the game over the last 14 years has given me a sense of confidence. It's given me a sense of belonging.

I've found more of who exactly I am over that time. Working with Queen has been a real boost in confidence as well, and has allowed me to sort of feel like I've earned something.

Setting The Mood

I love music that puts you in a mood, in a headspace. And that's what I wanted Afters to be. That's why I called it Afters. It was, yes, you could totally listen to these at a club, but it's also, like, lyrically, when you go to a club and then you go to an afterparty, the rules are out the window. You can do whatever you want, you know? And people feel that freedom. 

There's something to be said about growing up a bit and maturing as a performer. You feel less of a need to prove something [vocally]. I think I'm finding less of an impulse to be, like, "Look what I can do!" and more, "Look what I can make you feel." The "less is more" thing does start to become more obvious.

As I've gotten a little older, too, my voice has shifted a bit. And I have, like, lower parts of my voice that I haven't really dug into before that I definitely did on this project. Which is kind of a fun experiment. I just wanted to do something that was more vibey. 

'90s House & '20s Hyperpop

I like going into a project with, like, a reference and a direction. It gives you sort of a roadmap…I have a whole playlist of newer stuff that I kept adding. A lot of it's somewhat obscure, but then there's artists out there that I think are really cool, like Slayyyter [or] COBRAH. A lot of the DJs that I really like — Chris Lake is amazing. Even stuff like Disclosure… I really love them. I just wanted to make music that made me move.  

I found myself gravitating towards a similar sound over and over again — sort of a dirty house, kind of sexy tech-house sound. Certain textures and sonics that I started noticing as a pattern of the stuff that I liked. 

I love a good, soulful house vocal, always…Like Crystal Waters or any of those. I love that, like, '90s house vibe. And obviously "DEEP HOUSE" [on Afters] has a little bit of that. So does "WET DREAM," where you get into that soulful pocket. It's so fun to sing from that place.

Queer Voices In The Studio 

It was really important for me to make sure there were queer people in the room when I was writing these songs. Back when I was first starting, the major label writing setups that I was put into, there weren't many queer people. And that's changed so much — there's more and more queer people in the music space. Definitely top-line songwriters, and then even more and more, I'm finding producers that identify as queer, and that's really exciting. 'Cause it makes everybody less afraid and just willing to sort of go for it.

"WET DREAM," I did with Sarah Hudson and JHART and Ferras, who I've known for ages. Vincint and Parson James worked with me on "LUBE." Just people that I really admire. Vincint did some background vocals on "LUBE," actually, which is cute. Vincint and I did a collab on his project recently as well, so that was cool that we got to each kind of add to each other's project.

A lot of the songwriters are friends of mine who I've known for a long time. I was like, "Do you want to do a song?" Which makes the writing process so much fun.

Queer Rebellion & Sexual Healing

I think, right now, people want to find freedom. I think people want to find an escape. There is a lot of sociopolitical energy right now that's kind of dark and negative, that's coming at us from the right wing, super-conservative side of the world. Some of that can make us feel dark as well, and kind of discouraged. 

But I also think there's a lot of us, including myself, that feel like that lights a bit of a rebellious flame in us, and makes us want to shine brighter and be bolder and be wilder and crazier than we are. And [I] see that out and about: people are more and more expressive, emotionally, with their identity [and] how they want to explore [it].

There are members of our community that want to explore their gender identity; there are members of our community that want to explore their feminine side or their masculine side. There's, I think, more acceptance in that exploration and that expression right now than there's ever been. It's f—ing great. It's always been there in the [LGBTQIA+] community, but you're just seeing it on display a little bit more. People are more comfortable going there and exploring it, and I love that. 

There's less and less shame around sex than there's ever been. We're more mainstream than we've ever been — there's more with social media and [pauses] other types of media on the internet. And that's really exciting. 'Cause sex is f—ing great. And healing, and wonderful, and exciting. It's our human right to explore our sexuality, and I see more people feeling freer in that. 

Finishing With A Climax

One of the Afters songs, "FACE," was actually created a while ago. I wrote that with Pete Nappi, like…four-ish years ago? During the pandemic, I think. But it sounded very different. And once I started getting more house tunes together, I kinda was like, "OK, can we take this idea and evolve it into a higher BPM and a dancier kind of direction?" 

We sped it up, we added a bigger beat to it, more of a four-on-the-floor feel to make it feel "club." But it's definitely the last track on the EP for a reason. 'Cause it slows down compared to the other songs a bit. If the rest of the EP is foreplay, it's sort of like the home run. [Laughs.] It's like once you get that person that you've been into all night into the bed, what happens?

For countless Americans, "American Idol" is intertwined with core memories as a show that had families eagerly glued to their TVs twice a week. It brought generations together, creating moments of both suspense and excitement that are still remembered today, as the show continues to run in its 22nd season.

Created by visionary entrepreneur Simon Fuller, "American Idol" premiered on June 11, 2002, as a fresh spin-off of the British program "Pop Idol." It revolutionized how Americans engaged with reality TV through its interactive, viewer-driven voting system, which encouraged audience participation in the success of their favorite contestants. The show also offered viewers a glimpse into contestants' candid backstories and personal journeys, anchoring emotional investment and skyrocketing the show's popularity.

The show's debut season featured a dynamic trio of judges: singer Paula Abdul, TV personality Simon Cowell, and producer Randy Jackson. Their contrasting personalities brewed a chemistry as captivating as the hopeful performances. Abdul’s warmth, Cowell's blunt wit, and Jackson’s humor added extra layers of entertainment, making the twice a week broadcasts a must-watch.

The first season of "American Idol" also unforgettably introduced the country to Kelly Clarkson. Since her debut — with a heart-tugging backstory about being the average girl-next-door with big dreams — Clarkson has gone on to tour the world, host her own TV talk show, and secured her spot as one of music’s most beloved talents. 

"I had dreams since I was a little girl that I wanted to be on the GRAMMYs, or some award show and sing on there," Clarkson mentioned in her pre-audition interview. Flash forward 22 years, the pop singer has accumulated 17 GRAMMY nominations and three wins, propelled by a powerful vocal gift.

Other artists who launched their careers from the show's platform include Jordin Sparks, Carrie Underwood, Adam Lambert, and Jennifer Hudson, who each serve as testament to the show’s impact in music.

"American Idol" has not only opened our eyes to some of our favorite musicians, but it also has given us some of our favorite pop culture moments.

A video that frequently resurfaces on social media captures a memorable moment between Katy Perry and contestant Noah Davis, where they bond over the slang term 'wig'. 

"No, it’s not your language. It’s just for us," Perry joked to her fellow judges, Lionel Richie and Luke Bryan, when they questioned the term’s meaning.

After two decades on air, "American Idol" has etched a lasting legacy in pop culture. It has paved the way for other reality TV music shows and created lasting memories for music fans along the way.

“The show transcends age, gender, ethnicity, everything,” Underwood told Billboard in 2005. 

How Many "American Idol" Winners Have Won GRAMMYs? A Rundown Of Wins And Nominations For Kelly Clarkson, Carrie Underwood & More

After the cookouts and kickbacks of Memorial Day weekend, getting through the workweek is never easy. But you made it through — and now it's time for another weekend of however you decompress. As always, killer jams and musical food for thought have arrived down the pipeline.

As you freshen up your late-spring playlist, don't miss these offerings by artists across generations, moods, genres, and vibes — from K-pop to classic country and beyond.

It looks like Dua Lipa isn't the only artist to name-drop Erik Weisz this year. In a recent Instagram video with magician David Blaine, Eminem hinted at a major career move, quipping, "For my last trick, I'm going to make my career disappear," as Blaine casually noshed on a broken wineglass.

With Em's next album titled The Death of Slim Shady, fans were left in a frenzy — was he putting the mic down for good? If "Houdini" is in fact part of Eminem's final act, it seems he'll be paying homage to his career along the way: the song includes snippets of Em classics "Without Me," "The Real Slim Shady," "Just Lose It" and "My Name Is."

The superhero comic-themed video also calls back to some of the rapper's iconic moments, including the "Without Me" visual and his 2000 MTV Video Music Awards performance. It also features cameos from the likes of Dr. Dre, Snoop Dogg, 50 Cent, and Pete Davidson — making for a star-studded thrill ride of a beginning to what may be his end. 

Read More: Is Eminem's “Stan” Based On A True Story? 10 Facts You Didn't Know About The GRAMMY-Winning Rapper

"What the Chaos Angel is to me," Maya Hawke explained in a recent Instagram video, "is an angel that was raised in heaven to believe they're the angel of love, then sent down to do loving duties."

Chaos Angel, the third album by Maya Hawke, out via Mom+Pop Records, is an alt-rock treasure with a psychologically penetrating bent. Smoldering tracks like "Dark" and "Missing Out" plumb themes of betrayal and bedlam masterfully.

Before May 31, Jessie Reyez's 2024 releases have come in the form of airy contributions for Bob Marley: One Love and Rebel Moon. And for the first release of her own, she's bringing the heat.

Teaming up with fellow rapper Big Sean for "Shut Up," Reyez delivers some fiery lines on the thumping track: "They b—es plastic, that b— is a catfish, oh-so dramatic/ And I'm sittin' pretty with my little-ass t—es winnin' pageants." Big Sean throws down, too: "B—, better read the room like you telepromptin'/ And watch how you speak to a n—a 'cause I'm not them."

Indie dance-pop favorites Foster The People — yes, of the once-inescapable "Pumped Up Kicks" fame — are back with their first new music since 2017's Sacred Hearts Club. The teaser for their future-forward, disco-powered new song, "Lost in Space," brings a psychedelic riot of colors to your eyeballs.

The song is equally as trippy. Over a swirling, disco-tinged techno beat, the group bring their signature echoing vocals to the funky track, which feels like the soundtrack to an '80s adventure flick. 

"Lost in Space" is the first taste of Foster The People's forthcoming fourth studio album, Paradise State of Mind, which will arrive Aug. 16. If the lead single is any indication — along with frontman Mark Foster's tease that the album started "as a case study of the late Seventies crossover between disco, funk, gospel, jazz, and all those sounds" — fans are in for quite the psychedelic ride.

Arooj Aftab landed on the scene with the exquisitely blue Vulture Prince, which bridged modern jazz and folk idioms with what she calls "heritage material" from Pakistan and South Asia. The album's pandemic-era success threatened to box her in, though; Aftab is a funny, well-rounded cat who's crazy about pop music, too. Crucially, the guest-stuffed Night Reign shows many more sides of this GRAMMY-winning artist — her sound is still instantly recognizable, but has a more iridescent tint — a well-roundedness. By the strength of songs like "Raat Ki Rani" and "Whiskey," and the patina of guests like Moor Mother and Vijay Iyer, this Reign is for the long haul.

Learn More: Arooj Aftab, Vijay Iyer & Shahzad Ismaily On New Album Love In Exile, Improvisation Versus Co-Construction And The Primacy Of The Pulse

By some counts, Willie Nelson has released more than 150 albums — try and let that soak in. The Red Headed Stranger tends to crank out a Buddy Cannon-produced album or two per year in his autumn years, each with a slight conceptual tilt: bluegrass, family matters, tributes to Harlan Howard or the Great American Songbook. Earthy, muted The Border is another helping of the good stuff — this time homing in on songwriters like Rodney Crowell ("The Border"), Shawn Camp ("Made in Texas") and Mike Reid ("Nobody Knows Me Like You.") Elsewhere, Nelson-Cannon originals like "What If I'm Out of My Mind" and "How Much Does It Cost" fold it all into the 12-time GRAMMY winner's manifold musical universe.

Explore More: Listen To GRAMMY.com's Outlaw Country Playlist: 32 Songs From Honky Tonk Heroes Willie Nelson, Waylon Jennings, Merle Haggard & More

South Korean boy band ATEEZ last released new material with late 2023's The World EP.Fin: Will. Now, they're bringing the K-pop fire once again with their 10th mini-album, GOLDEN HOUR  Part.1.

Released in a rainbow of physical editions, the release was teased by a short clip for "WORK," where ATEEZ pans for gold like old prospectors in an off-kilter desert scene, then proceeds to throw the mother of all parties. As for the rest of GOLDEN HOUR, they bring flavors of reggaeton ("Blind), wavy R&B ("Empty Box") and reggae ("Shaboom") — further displaying their versatility as a group, and setting an exciting stage for Part.2.

Learn More: Inside The GRAMMY Museum's ATEEZ & Xikers Pop-Up: 5 Things We Learned

Beninese-Nigerian singer and GRAMMY nominee for Best African Music Performance Ayra Starr pays homage to the big two-one with her second album, The Year I Turned 21, which she's been teasing all month. We've seen the crimson, windswept cover art; we've soaked up the 14 track titles, which reveal collaborations with the likes of ASAKE, Anitta, Coco Jones, and Giveon. Now, after small tastes in singles "Commas,""Rhythm & Blues" and "Santa" (with Rvssian and Rauw Alejandro), we can behold what the "Rush" star has called "excellent, sonically amazing" and "unique, because I've been evolving sonically."

Watch: Ayra Starr’s Most Essential “Item” On The Road Is Her Brother | Herbal Tea & White Sofas

The "American Idol" and Queen + Adam Lambert star is turning heads — for very good reason. He's going to release AFTERS, a new EP of house music and an unflinching exploration of queerness and sex-positivity. "I throw many house parties and my aim was to create a soundtrack inspired by wild nights, giving a voice to our communities' hedonistic desires and exploits," Lambert explained in a press release.

The first two singles, "LUBE" and "WET DREAM," achieve exactly that. From the pulsing beat of "LUBE" (along with the "Move your body like I do" demand of the chorus) to the racing melody of "WET DREAM," it's clear AFTERS will bring listeners straight to a sweaty dance floor — right where Lambert wants them.

Wallows Talk New Album Model, "Entering Uncharted Territory" With World Tour & That Unexpected Sabrina Carpenter Cover

Despite claims by surveyed CNN readers, 1974 was not a year marked by bad music. The Ramones played their first gig. ABBA won Eurovision with the earworm "Waterloo," which became an international hit and launched the Swedes to stardom. Those 365 days were marked by chart-topping debuts, British bangers and prog-rock dystopian masterpieces. Disenchantment, southern pride, pencil thin mustaches and tongue-in-cheek warnings to "not eat yellow snow" filled the soundwaves.  

1974 was defined by uncertainty and chaos following a prolonged period of crisis. The ongoing OPEC oil embargo and the resulting energy shortage caused skyrocketing inflation, exacerbating the national turmoil that preceded President Nixon’s resignation following the Watergate scandal. Other major events also shaped the zeitgeist: Stephen King published his first novel, Carrie, Muhammad Ali and George Foreman slugged it out for the heavyweight title at "The Rumble in the Jungle," and People Magazine published its first issue. 

Musicians reflected a general malaise. Themes of imprisonment, disillusionment and depression — delivered with sardonic wit and sarcasm — found their way on many of the records released that year. The mood reflects a few of the many reasons these artistic works still resonate.  

From reggae to rock, cosmic country to folk fused with jazz, to the introduction of a new Afro-Trinidadian music style, take a trip back 18,262 days to recall 20 albums celebrating their 50th anniversaries in 2024. 

Joni Mitchell - Court & Spark

Joni Mitchell’s Court & Spark is often hailed as the pinnacle of her artistic career and highlights the singer/songwriter’s growing interest in jazz, backed by a who’s who of West Coast session musicians including members of the Crusaders and L.A. Express. 

As her most commercially successful record, the nine-time GRAMMY winner presents a mix of playful and somber songs. In an introspective tone, Mitchell searches for freedom from the shackles of big-city life and grapples with the complexities of love lost and found. The record went platinum — it hit No.1 on the Billboard charts in her native Canada and No. 2 in the U.S., received three GRAMMY nominations and featured a pair of hits: "Help Me" (her only career Top 10) and "Free Man in Paris," an autobiographical song about music mogul David Geffen.

Gordon Lightfoot - Sundown

In 2023 we lost legendary songwriter Gordon Lightfoot. He left behind a treasure trove of country-folk classics, several featured on his album Sundown. These songs resonated deeply with teenagers who came of age in the early to mid-1970s — many sang along in their bedrooms and learned to strum these storied songs on acoustic guitars. 

Recorded in Toronto, at Eastern Sound Studios, the album includes the only No.1 Billboard topper of the singer/songwriter’s career. The title cut, "Sundown," speaks of "a hard-loving woman, got me feeling mean" and hit No. 1 on both the pop and the adult contemporary charts. 

In Canada, the album hit No.1 on the RPM Top 100 in and stayed there for five consecutive weeks. A second single, "Carefree Highway," peaked at the tenth spot on the Billboard Hot 100, but hit No.1 on the Easy Listening charts.

Eric Clapton - 461 Ocean Boulevard

Eric Clapton’s 461 Ocean Boulevard sold more than two million copies worldwide. His second solo studio record followed a three-year absence while Clapton battled heroin addiction. The record’s title is the address where "Slowhand" stayed in the Sunshine State while recording this record at Miami’s Criteria Studios. 

A mix of blues, funk and soulful rock, only two of the 10 songs were penned by the Englishman. Clapton’s cover of Bob Marley’s "I Shot the Sheriff," was a massive hit for the 17-time GRAMMY winner and the only No.1 of his career, eclipsing the Top 10 in nine countries. In 2003, the guitar virtuoso’s version of the reggae song was inducted into the GRAMMY Hall of Fame. 

Lynyrd Skynyrd - Second Helping

No sophomore slump here. This "second helping" from these good ole boys is a serious serving of classic southern rock ‘n’ roll with cupfuls of soul. Following the commercial success of their debut the previous year, Lynyrd Skynyrd’s second studio album featured the band’s biggest hit: "Sweet Home Alabama." 

The anthem is a celebration of Southern pride; it was written in response to two Neil Young songs ("Alabama" and "Southern Man") that critiqued the land below the Mason-Dixon line. The song was the band’s only Top 10, peaking at No. 8 on the Billboard Top 100. Recorded primarily at the Record Plant in Los Angeles, other songs worth a second listen here include: the swampy cover of J.J. Cale's "Call Me The Breeze," the boogie-woogie foot-stomper "Don’t Ask Me No Questions" and the country-rocker "The Ballad of Curtis Loew." 

Bad Company - Bad Company

A little bit of blues, a token ballad, and plenty of hard-edged rock, Bad Company released a dazzling self-titled debut album. The English band formed from the crumbs left behind by a few other British groups: ex-Free band members including singer Paul Rodgers and drummer Simon Kirke, former King Crimson member bassist Boz Burrel, and guitarist Mick Ralphs from Mott the Hoople. 

Certified five-times platinum, Bad Company hit No.1 on the Billboard 200 and No. 3 in the UK, where it spent 25 weeks. Recorded at Ronnie Lane’s Mobile Studio, the album was the first record released on Led Zeppelin’s Swan Song label. Five of the eight tracks were in regular FM rotation throughout 1974; "Bad Company," "Can’t Get Enough" and "Ready for Love" remain staples of classic rock radio a half century later. 

Supertramp - Crime of the Century

"Dreamer, you know you are a dreamer …" sings Supertramp’s lead singer Roger Hodgson on the first single from their third studio album. The infectious B-side track "Bloody Well Right," became even more popular than fan favorite, "Dreamer." 

The British rockers' dreams of stardom beyond England materialized with Crime of the Century. The album fused prog-rock with pop and hit all the right notes leading to the band’s breakthrough in several countries — a Top 5 spot in the U.S. and a No.1 spot in Canada where it stayed for more than two years and sold more than two million copies. A live version of "Dreamer," released six years later, was a Top 20 hit in the U.S. 

Big Star - Radio City

As one of the year’s first releases, the reception for this sophomore effort from American band Big Star was praised by critics despite initial lukewarm sales (which were due largely to distribution problems). Today, the riveting record by these Memphis musicians is considered a touchstone of power pop; its melodic stylings influenced many indie rock bands in the 1980s and 1990s, including R.E.M. and the Replacements. One of Big Star’s biggest songs, "September Gurls," appears here and was later covered by The Bangles. 

In a review, American rock critic Robert Christgau, called the record "brilliant and addictive." He wrote: "The harmonies sound like the lead sheets are upside down and backwards, the guitar solos sound like screwball readymade pastiches, and the lyrics sound like love is strange, though maybe that's just the context." 

The Eagles - On the Border

The third studio record from California harmonizers, the Eagles, shows the band at a crossroads — evolving ever so slightly from acoustically-inclined country-folk to a more distinct rock ‘n’ roll sound. On the Border marks the studio debut for band member Don Felder. His contributions and influence are seen through his blistering guitar solos, especially in the chart-toppers "Already Gone" and "James Dean." 

On the Border sold two million copies, driven by the chart topping ballad "Best of My Love" — the Eagles first No.1 hit song. The irony: the song was one of only two singles Glyn Johns produced at Olympic Studios in London. Searching for that harder-edged sound, the band hired Bill Szymczyk to produce the rest of the record at the Record Plant in L.A. 

Jimmy Buffett - Livin’ and Dyin in ¾ Time & A1A

Back in 1974, 28-year-old Jimmy Buffett was just hitting his stride. Embracing the good life, Buffett released not just one, but two records that year. Don Grant produced both albums that were the final pair in what is dubbed Buffett’s "Key West phase" for the Florida island city where the artist hung his hat during these years.

The first album, Livin’ and Dyin’ in ¾ Time, was released in February and recorded at Woodland Sound Studio in Nashville, Tennessee. It featured the ballad "Come Monday," which hit No. 30 on the Hot 100 and "Pencil Thin Mustache," a concert staple and Parrothead favorite. A1A arrived in December and hit No. 25 on the Billboard 200 charts. The most beloved songs here are "A Pirate Looks at Forty" and "Trying to Reason with Hurricane Season." 

Buffett embarked on a tour and landed some plume gigs, including opening slots for two other artists on this list: Frank Zappa and Lynyrd Skynyrd. 

Genesis - The Lamb Lies Down on Broadway

Following a successful tour of Europe and North America for their 1973 album, Selling England by the Pound, Genesis booked a three-month stay at the historic Headley Grange in Hampshire, a former workhouse. In this bucolic setting, the band led by frontman Peter Gabriel, embarked on a spiritual journey of self discovery that evolved organically through improvisational jams and lyric-writing sessions. 

This period culminated in a rock opera and English prog-rockers’s magnum opus, a double concept album that follows the surreal story of a Puerto Rican con man named Rael. Songs are rich with American imagery, purposely placed to appeal to this growing and influential fan base across the pond. 

This album marked the final Genesis record with Gabriel at the helm. The divisiveness between the lyricist, Phil Collins, Mike Rutherford and Tony Banks came to a head during tense recording sessions and led to Gabriel’s departure from the band to pursue a solo career, following a 102-date tour to promote the record. The album reached tenth spot on the UK album charts and hit 41 in the U.S. 

David Bowie - Diamond Dogs

Is Ziggy Stardust truly gone? With David Bowie, the direction of his creative muse was always a mystery, as illustrated by his diverse musical legacy. What is clear is that Bowie’s biographers agree that this self-produced album is one of his finest works. 

At the point of producing Diamond Dogs, the musical chameleon and art-rock outsider had disbanded the band Spiders from Mars and was at a crossroads. His plans for a musical based on the Ziggy character and TV adaptation of George Orwell’s "1984" both fell through. In a place of uncertainty and disenchantment, Bowie creates a new persona: Halloween Jack. The record is lyrically bleak and evokes hopelessness. It marks the final chapter in his glam-rock period — "Rebel Rebel" is the swaggering single that hints at the coming punk-rock movement. 

Bob Marley - Natty Dread

Bob Marley’s album "Natty Dread," released first in Jamaica in October 1974 later globally in 1975, marked his first record without his Rastafari brethren in song Peter Tosh and Bunny Wailer. It also introduced the back-up vocal stylings of the I Threes (Rita Marley, Judy Mowatt and Marcia Griffiths.) 

The poet and the prophet Marley waxes on spiritual themes with songs like "So Jah Seh/Natty Dread'' and political commentary with tracks,"Them Belly Full (But We Hungry)" and "Rebel Music (3 O’clock Road Block)." The album also Includes one of the reggae legend’s best-loved songs, the ballad "No Woman No Cry," which paints a picture of "government yards in Trenchtown" where Marley’s feet are his "only carriage." 

Queen - Sheer Heart Attack

The third studio album released by the British rockers, Queen, is a killer. The first single, "Killer Queen," reached No. 2 on the British charts — and was the band’s first U.S. charting single. The record also peaked at No.12 in the U.S. Billboard albums charts. 

This record shows the four-time GRAMMY nominees evolving and shifting from progressive to glam rock. The album features one of the most legendary guitar solos and riffs in modern rock by Brian May on "Brighton Rock." Clocking in at three minutes, the noodling showcases the musician’s talent via his use of multi-tracking and delays to great effect. 

Randy Newman - Good Old Boys

Most recognize seven-time GRAMMY winner Randy Newman for his work on Hollywood blockbuster scores. But, in the decade before composing and scoring movie soundtracks, the songwriter wrote and recorded several albums. Good Old Boys was Newman’s fourth studio effort and his first commercial breakthrough, peaking at No. 36 on the Billboard charts. 

The concept record, rich in sarcasm and wit, requires a focused listen to grasp the nuances of Newman’s savvy political and social commentary. The album relies on a fictitious narrator, Johnny Cutler, to aid the songwriter in exploring themes like "Rednecks" and ingrained generational racism in the South. "Mr. President (Have Pity on the Working Man)" is as relevant today as when Newman penned it as a direct letter to Richard Nixon. Malcolm Gladwell described this record as "unsettling" and a "perplexing work of music." 

Frank Zappa - Apostrophe

Rolling Stone once hailed Frank Zappa’s Apostrophe as "truly a mother of an album." The album cover itself, featuring Zappa’s portrait, seems to challenge listeners to delve into his eccentric musical universe. Apostrophe was the sixth solo album and the 19th record of the musician’s prolific career. The album showcases Zappa’s tight and talented band, his trademark absurdist humor and what Hunter S. Thompson described as "bad craziness."  

Apostrophe was the biggest commercial success of Zappa’s career. The record peaked at No. 10 on the Billboard Top 200. The A-side leads off with a four-part suite of songs that begins with "Don’t Eat the Yellow Snow" and ends with "Father Oblivion," a tale of an Eskimo named Nanook. The track "Uncle Remus," tackles systemic racism in the U.S. with dripping irony. In less than three minutes, Zappa captures what many politicians can’t even begin to explain. Musically, Apostrophe is rich in riffs from the two-time GRAMMY winner that showcases his exceptional guitar skills in the title track that features nearly six minutes of noodling.

Gram Parsons - Grievous Angel

Grievous Angel can be summed up in one word: haunting. Recorded in 1973 during substance-fueled summer sessions in Hollywood, the album was released posthumously after Gram Parsons died of a drug overdose at 26. Grievous Angel featured only two new songs that Parsons’ penned hastily in the studio "In My Hour of Darkness" and "Return of the Grievous Angel." 

This final work by the cosmic cowboy comprises nine songs that have since come to define Parson’s short-lived legacy to the Americana canon. The angelic voice of Emmylou Harris looms large — the 13-time GRAMMY winner sings harmony and backup vocals throughout. Other guests include: guitarists James Burton and Bernie Leadon, along with Linda Ronstadt’s vocals on "In My Hour of Darkness." 

Neil Young - On The Beach

On the Beach, along with Tonight’s the Night (recorded in 1973, but not released until 1975) rank as Neil Young’s darkest records. Gone are the sunny sounds of Harvest, replaced with the singer/songwriter’s bleak and mellow meditations on being alone and alienated. 

"Ambulance Blues" is the centerpiece. The nine-minute track takes listeners on a journey back to Young’s "old folkie days" when the "Riverboat was rockin’ in the rain '' referencing lament and pining for time and things lost. The heaviness and gloom are palpable throughout the album, with the beach serving as an extended metaphor for Young’s malaise. 

Dolly Parton - Jolene

Imagine writing not just one, but two iconic classics in the same day. That’s exactly what Dolly Parton did with two tracks featured on this album. The first is the titular song, "Jolene," recorded  at RCA Studio B in Nashville. The song has been covered by more than a dozen artists. 

Released as the first single the previous fall, "Jolene," rocketed to No.1 on the U.S. country charts and garnered the 10-time GRAMMY winner her first Top 10 in the U.K. The song was nominated for a GRAMMY in 1975 and again in 1976 for Best Country Vocal Performance. However, it didn’t take home the golden gramophone until 2017, when a cover by the Pentatonix featuring Parton won a GRAMMY for Best Country Duo/Group Performance. 

Also included on this album is "I Will Always Love You," a song that Whitney Houston famously covered in 1992 for the soundtrack of the romantic thriller, The Bodyguard, earning Parton significant royalties. 

Barry White - Can’t Get Enough

The distinctive bass-baritone of two-time GRAMMY winner Barry White, is unmistakable. The singer/songwriter's sensual, deep vocal delivery is as loved today as it was then. On this record, White is backed by the 40-member strong Love Unlimited Orchestra, one of the best-selling artists of all-time. 

White wrote "Can’t Get Enough of Your Love, Babe," about his wife during a sleepless night. This song is still played everywhere — from bedrooms to bar rooms, even 50 years on. In the U.S., the record hit the top of the R&B pop charts and No.1 on the Billboard 200. Although the album features only seven songs, two of them, including "You’re the First, the Last, My Everything" reached the top spot on the R&B charts. 

Lord Shorty - Endless Vibrations

Lord Shorty, born Garfield Blackman, is considered the godfather and inventor of soca music. This Trindadian musician revolutionized his nation’s Calypso rhythms, creating a vibrant up-tempo style that became synonymous with their world-renowned Carnival. 

Fusing Indian percussion instrumentation with well-established African calypso rhythms, Lord Shorty created what he originally dubbed "sokah," meaning, "calypso soul." The term soca, as it’s known today, emerged because of a journalist’s altered writing of the word, which stuck. The success of this crossover hit made waves across North America and made the island vibrations more accessible outside the island nation. 

Artists Who Are Going On Tour In 2024: The Rolling Stones, Drake, Olivia Rodrigo & More