Headed by electronics wizard Tom Scholz, Boston carefully crafts its debut album. Featuring soaring guitar solos over trademarked lavishly-produced harmonies,
Boston would sell over sixteen-million copies to become the greatest-selling debut recording of all-time.

Fleetwood Mac, resuscitated by the addition of the duo of Lindsey Buckingham and Stevie Nicks and sparked by the creative ferment of band in-fighting and interrelationships, lay down the multi-million selling classic and critically- acclaimed Rumours. Spawing multiple number one hits, Rumours is considered by many critics to one of the most complete and satisfying albums recorded in the rock idiom.

Summarizing four albums of well-crafted ballads and arena rock and capturing the dynamism of a popular supporting tour, Peter Frampton releases Frampton Comes Alive, the greatest selling live album in popular music history.

Philip Glass premeires his groundbreaking and genre-defining opera, Einstein on the Beach. Nearly five hours in length and featuring an ensemble of electronic instruments, Einstein on the Beach is not only Glass's magnum opus, but arguably the visionary epic of opera for the 20th Century. Simultaneously abstruse and yet comprehensible and alluring on an instinctive level, Glass's Einstein is an enduring monument of elemental sight, sound, and movement which transcends genre and categorization.

Politically vigilant, unashamedly unihibited, obnoxiously irreverant, and purposefully tatseless, the Sex Pistols would unwittingly revive rock'n'roll and subvert the evergrowing commercialism and pre-packaged high-gloss produciton which infilitrated rock since the beginning of the decade and kept it from its original artistic intentions. Cleverly masterminded by enfant terrible manager Malcolm Maclaren, The Sex Pistols took a would-be joke for a ride into the musical history books and catalyzed a semi-serious threat to the establishment by agitating a seething, liminal anti-establishment nihilism growing on both sides of the Atlantic. With their infamous appearance on B.B.C. morning television and the release of "Anarchy in the U.K.," in late 1976, the Sex Pistols brand of punk would be the tributatory from which all creativity in rock would henceforth flow, from industrial, to grunge, to riot grrrl.

Johnny Rotten's first lyrics uttered for public consumption—"I am an antichrist"—couldn't more accurately capture his dual role as both destroyer of rock's regression into status quo conformity and rejuvenator of the original impulses which ignited rock in the first place. Rotten's prophetic pronouncement is merely the motto of anyone carrying the archetype of Uranus in the collective, for the elements of Uranus are expressed by the admirable qualities of Lucifer, the light bringer. It is Lucifer who awakens us to our repressed, forgotten elements which are never comfortable to look at but serve as the pathway to our highest potentials.