'70s Supergroup Classics That Sound Even Cooler Today

There is something tantalizing about the idea of a rock supergroup, with the promise of the best of the best coming together to offer top-class performances — indeed, the name of arguably the first rock supergroup, Cream, is a nod toward that idea. But while supergroups continue to form to this day, the heyday of the rock supergroup was undoubtedly the 1970s, when the big beasts of the genre, many of whom had cut their teeth in the previous decade, began merging and reforming to create new and exciting line-ups offering some of the coolest rock songs of the era. In this article, we've selected four classics by '70s rock supergroups that sound even cooler today than when they were first released. 

Some, such as Derek & the Dominos' "Layla," have become classic rock favorites, while others, like the opening track from the debut album by the short-lived progressive rock group U.K., have more of a cult following. Nevertheless, each demonstrates the incredible musicianship of '70s rock artists, which some fear we may never see the like of again. See how many of these you have in your collection.

Crosby, Stills, Nash & Young were arguably the greatest folk-rock supergroup of the 1970s, who together managed to release some of the era's finest music despite frequent splits. Their 1970 album "Deja Vu" is widely considered to be their masterpiece, with "Almost Cut My Hair" arguably the coolest song that the foursome put out.

Penned by David Crosby, the song features searing guitar work and atmospheric keys to express the rebellious narrator wanting to "let [their] freak flag fly" by continuing to wear their hair long. Crosby's lyrics explore the difficulties countercultural "freaks" and hippies of the late 1960s and early 1970s faced at the hands of suspicious police, and the sense of paranoia such figures lived with, having chosen to style themselves as outsiders. Such issues around hair length are difficult to imagine in many walks of life today, but Crosby, Stills, Nash & Young's impassioned playing lends the song a degree of swagger along with a believable emotional weight. "Almost Cut My Hair" is an enjoyable glimpse into the past, as well as a reminder that Crosby, Stills, Nash & Young offered far more than just great vocal harmonies.

Eric Clapton was arguably the mastermind of the '70s rock supergroup Derek and the Dominoes. An acclaimed guitarist from his teenage years, his renown skyrocketed in his native U.K. after performing with The Yardbirds and later John Mayall's Bluesbreakers. His playing was central to that group's classic "John Mayall's Bluesbreakers and Eric Clapton" album, aka the "Beano" album — which has Clapton reading the British comic on the cover — though he left in 1966 looking for greater creative freedom. In the final years of the 1960s, he was the guitarist in the legendary trio Cream, with Ginger Baker and Jack Bruce, releasing four albums together before breaking up acrimoniously in 1969, when he briefly helmed the short-lived group, Blind Faith.

His next group, Derek & the Dominos, which brought him together with prior members of Delaney & Bonnie and Friends and featured the input of Duane Allman, was similarly short-lived, though with them he delivered one of the defining albums of his career, "Layla and Other Assorted Love Songs." The title track has gone down in history as one of the coolest love songs ever written, with an infectiously melodic lead guitar riff inspired by Clapton's forbidden love for the wife of his friend George Harrison, Patti Boyd. Clapton's yearning is also apparent in his vocal performance, which oozes with raw longing.

Made up of British guitar legend Jeff Beck as well as bassist Tim Bogert and drummer Carmine Appice — both formerly of the bands Vanilla Fudge and Cactus — Beck, Bogert & Appice was a supergroup trio that specialized in hard-hitting, swampy power rock that provided its three members plenty of room to display their virtuoso talents. While the band's music is primarily rooted in the blues, they were able to lock effortlessly into all kinds of grooves from various musical genres — leading to their celebrated cover version of Stevie Wonder's funk-soul classic, "Superstition."

The song has its roots in Beck's involvement in "Talking Book," the 1972 Stevie Wonder studio album that contains Wonder's hit version of the song. Wonder had initially written the song to give to Beck in exchange for his help on the album, but was soon convinced to record his own version first, which became a smash.

Nevertheless, the song did make its way to Beck, Bogert & Appice, becoming the infectious highlight of their sole studio album and the impactful opening track of their live LP. The song is the perfect vehicle for the group, taking unexpected turns despite the song's familiarity, and features a killer guitar tone and top-class solos from Beck, especially in the live version.

"In the Dead of Night" is the opening track of "U.K.," the self-titled 1978 debut album by the acclaimed progressive rock band made up of members of Yes, King Crimson, Soft Machine, and Roxy Music. Underpinned by the exemplary drumming of Bill Bruford, the band offered a mind-expanding though melodic track that provided a demonstration of the depth of talent present in the new supergroup.

Featuring off-kilter rhythms, soaring vocals, driving keys, and exciting riffs throughout, the song builds to epic proportions through its five-and-a-half-minute runtime, while passage by passage it embraces sonics that evoke everything from jazz fusion to new wave. The solo from guitarist Allan Holdsworth is especially enjoyable, starting off cool and minimalistic before building in complexity and blending back into the song's haunting vocal refrain. Progressive rock may be out of fashion nowadays, but songs like "In the Dead of Night" are a reminder as to why it was so big in the '70s, and why it has remained so beloved among hardcore fans.