5 Fantastic ’70s Songs That Deserve Way More Airplay

The 1970s were a remarkable decade for music—a vibrant mix of rock, pop, folk, funk, and beyond. For one lifelong music enthusiast, those teenage years spent glued to the radio became the soundtrack to growing up. Even decades later, the songs of that era continue to evoke the same warmth and excitement as they did the first time they played.

Many listeners today still tune in to the BBC’s Sounds of the 70s with Johnnie Walker. Walker, a veteran DJ who once broadcast from pirate radio and later worked in California, has a gift for reminding audiences just how bold and innovative that decade was. A recent episode unearthed several long-forgotten treasures that instantly brought back memories. It felt like reconnecting with old friends after years apart—a reminder of so many great ’70s tracks that were once everywhere but have since faded from the airwaves. While a few niche stations still spin them, mainstream radio rarely does. Here are five outstanding songs from that golden era that deserve another moment in the spotlight.

“Blowin’ Free” – Wishbone Ash
“Blowin’ Free” remains the defining track of Wishbone Ash, one of the first rock bands to build their sound around dual lead guitars. Though hailing from Devon, England, the band created a sound that evoked the laid-back feel of Southern rock. Featured on their 1972 album Argus, the song blends blues rhythms with melodic guitar lines that influenced an entire generation of musicians.

The twin-guitar interplay between Ted Turner and Andy Powell is a masterclass in harmony. Powell later remarked that bands like Steely Dan and Thin Lizzy borrowed from their style—a claim that feels justified when listening to “Reelin’ in the Years” or “The Boys Are Back in Town.” “Blowin’ Free” is the kind of rock classic that deserves a place on modern FM playlists as a reminder of how timeless genuine musicianship can be.

“I Know What I Like (In Your Wardrobe)” – Genesis
With its odd title and eccentric arrangement, this song captures the creative flair of early Genesis. “I Know What I Like” became the band’s first U.K. hit, reaching number 21 in 1973.

Featured on Selling England by the Pound, the song was written by all five members and inspired by Betty Swanwick’s painting, which also appears on the album’s cover. Peter Gabriel’s lyrics tell the story of Jacob, a man content with his simple life, mowing lawns and living on his own terms. With its literary wit, swirling synthesizers, and sharp percussion, the track is a whimsical celebration of individuality and joy in the everyday.

“All the Way to Memphis” – Mott the Hoople
While Mott the Hoople are best remembered for “All the Young Dudes,” their 1973 single “All the Way to Memphis” deserves equal praise. Written by frontman Ian Hunter, it’s a rollicking road song about a musician’s misadventure when his instrument is shipped to the wrong city.

The track bursts with personality—from the piano-driven opening to the bold saxophone solos and Hunter’s talk-singing delivery. The soaring chorus is irresistibly anthemic, capturing the humor and chaos of life on tour. It’s a reminder that Mott the Hoople were far more than one-hit wonders—they were master storytellers of rock ’n’ roll.

“Bad, Bad Boy” – Nazareth
Scottish rockers Nazareth were known for their gritty energy and the unmistakable rasp of lead singer Dan McCafferty. While many remember their power ballad “Love Hurts,” their heavier material is equally compelling. “Bad, Bad Boy,” from the 1973 album Razamanaz, channels pure blues-rock swagger.

Produced by Deep Purple’s Roger Glover, the track opens with a killer guitar riff before McCafferty’s gravelly vocals take over. It’s raw, loud, and infectious—the kind of barroom rocker that begs to be played at full volume. Fast, fun, and fierce, it’s a track that deserves far more airplay today.

“Sylvia” – Focus
To close the list is something truly unique. “Sylvia,” an instrumental by the Dutch band Focus, proves that lyrics aren’t necessary to create a memorable tune. Their performance on The Old Grey Whistle Test in 1972 catapulted them to fame, and the single soon reached number four on the U.K. charts.

Jan Akkerman’s fluid guitar melodies pair perfectly with Thijs van Leer’s organ work, producing a sound that’s both sophisticated and instantly catchy. When van Leer adds his distinctive vocal flourishes, it becomes impossible not to smile. Though Focus later scored with the eccentric “Hocus Pocus,” “Sylvia” remains their most elegant and enduring piece—a shining example of musical craftsmanship from the 1970s.