It looks like we haven't anymore takers for 1970. I'm out for most of tomorrow so I'm going to go a few hours early and post 1971 now.
1971 - The era of Pop is over. The era of Rock has begun.
What an era for music. If 69 and 70 got into a fight over which was best for music what would be the result? 71.
'Boom tish'.
(Say it out loud to discover a ‘hilarious’ 70’s joke).
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From the collage of 1971 album covers it is immediately apparent that this was no ordinary year for music. Indeed, whilst it’s almost impossible to choose just one year as the ‘best’ for contemporary music, 1971 often takes the crown. Why? Firstly, the sheer number of landmark, iconic albums released is quite astonishing and arguably will never be bettered. Second, for a significant number of artists, 1971 was their breakthrough year and they would continue to dominate their particular genre for decades to come. Third, the maturation of a number of subgenres, and the enduring cultural impact of the music. Whether classic rock, folk, singer songwriters, progressive rock, or hard rock, 1971 offers a depth and variety that few other years can come close to, never mind match.
One fact that cements 1971 as the greatest year in rock music can be found close to home. Just look at which two albums top the Blue Moon album thread. What other justification is required? ;-)
Just off the top of my head ;-), these albums were released;
Janis Joplin;Pearl, Carole King;Tapestry, Joni Mitchell;Blue, Mountain;Nantucket Sleighride, Crazy Horse;Craze Horse, Hendrix;Cry of Love, David Bowie;The man who sold the world (UK Release), David Bowie;Hunky Dory, Yes;The Yes Album,Yes;Fragile, Genesis;Nursery Crime, Pink Floyd;Relics, Led Zeppelin;IV, The Rolling Stones;Sticky Fingers, The Doors;LA Woman, Marvin Gaye;Whats Going on, Rod Stewart;Every Picture Tells a Story, Can;Tago Mago, Alice Cooper;Killer, Jethro Tull;Aqualung, Emerson lake and Palmer;Tarkus, Emerson Lake and Palmer;Pictures at an Exhibition, Goundhogs;Split, Paul McArtney;Ram, Rory Gallagher;Rory Gallagher, Rory Gallagher;Deuce, Lindisfrane;Fog on the Tyne, J.J.Cale;Naturally, John Lennon;Imagine, The Who;Who’s Next, Deep Purple;Fireball, Moody Blues;Every Good Boy Deserves Favour, T Rex;Electric Warrior, The Carpenters;The Carpenters, Isaac Hayes;Shaft, Black Sabbath;Masters of Reality,mBeach Boys;Surfs Up, Cat Stevens;Teaser and the Firecat, Dolly Parton;Coat of many Colours, Van Morrison;Tupalo Honey, The Band;Cahoots, Don Mclean; American Pie, Sly and the Family Stone;There’s a riot going on, Santana;Santana III, George Harrison;The concert for Bangladesh, Nick Drake;Bryter Layter, Miles Davis;Jack Johnson, Stevie Wonder;Where I’m coming from, Leonard Cohen;Songs of Love and Hate, Graham Nash; songs for beginners, CSN&Y; 4 way street, James Taylor;Mud Slime Slim, David Crosby;If I could only remember my name, Little Feat;Little Feat, The Doors;LA Woman, The Faces; A nods as good as a wink.., Todd Rundgren;Runt, The Allman Brothers;Live at Filmore east, Wings;Wildlife, The Mahavishnu Orchestra;Inner Mounting Flame, The Kinks;Muswell Hillbillies, The Electric Light Orchestra;ELO, America;America, Status Quo;Dog of two heads, Carly Simon;Anticipation, Bill Withers;Just as I Am, Funkadelic;Maggot Brain,Al Green;Al Green Gets Next to You……………and more!
In the present, where Mercury Prize winners are almost always forgettable albums, from the above list, look what would have been shortlisted for 1971.
On New Years Eve, 1970, Paul McCartney instructed his lawyers to issue a writ at the High Court in London to wind up The Beatles.
In 1971, The Beatles were officially disbanded, but each member was actively pursuing solo careers. McCartney released Ram with Linda. Later that year, he formed Wings (‘They're only the band The Beatles could have been’ A. Partridge). John Lennon released the iconic ‘Imagine’ album in September, featuring the enduring title track and "How Do You Sleep?" — a direct jab at McCartney.
George Harrison continued to ride the success of his 1970 triple album ‘All Things Must Pass’ and organised the landmark Concert for Bangladesh in August 1971, a pioneering charity event featuring artists like Bob Dylan, Eric Clapton, and Ringo Starr. The concert raised funds and awareness for refugees of the Bangladesh Liberation War, setting a precedent for future benefit concerts.
Ringo Starr contributed to the Bangladesh concert and appeared on other ex-Beatles' records. He also began working on new music and acting in films. Though no longer together, the former Beatles remained creatively vital and culturally influential.
Before we get into the playlist, here is the usual precis, or as Marvin said; ‘Whats Going On?’ In 1971? (The unequivocal answer from Sly was ‘There’s a Riot Going on’. And of course he was correct).
It was a year where many still looked back at the break up of the Beatles and the summer of love with yearning and sadness for a dream that died.
UK
In 1971, the UK underwent significant social, political, and economic transformations. One of the most notable events was the decimalisation of the currency on February 15, when the pound sterling shifted from the old system of pounds, shillings, and pence to a simpler, modern system of 100 pence to the pound. This reform marked a critical moment in the modernisation of the British economy. I can still remember spending some of the new money on sweets in a shop opposite school.
Politically, Prime Minister Edward Heath and his Conservative government were focused on joining the European Economic Community (EEC). In June, Heath’s government successfully negotiated Britain’s entry into the EEC, setting the stage for the UK’s membership in what would later become the European Union. This move was controversial, dividing opinion across the political spectrum and foreshadowing future debates about Britain’s relationship with Europe. Heath also provided Mike Yarwood (the planets most unfunny comedian with plenty of prime impersonation material).
1971 was also marked by escalating tensions in Northern Ireland, part of The Troubles. In August, the British government introduced internment without trial in response to rising violence from paramilitary groups. The policy led to widespread protests, increased violence, and deepened divisions between the Catholic and Protestant communities. This year was a critical moment in the deterioration of the situation, with frequent clashes between the British Army and Irish nationalists.
Vietnam
In 1971, the Vietnam War was at a critical and volatile stage. The U.S. had been involved in the conflict for over a decade, but by this point, the American public's support was waning, and anti-war protests were growing in intensity. The war had become deeply unpopular due to high casualties, widespread media coverage of atrocities, and the perception that it was an unwinable conflict.
A significant event in 1971 was the release of the Pentagon Papers, a classified study that revealed the U.S. government's deception about the scale and progress of the war. The papers showed that successive U.S. administrations had misled the public about the likelihood of victory and the extent of American involvement. This revelation further fueled anti-war sentiment.
On the battlefield, U.S. forces were transitioning to a policy of "Vietnamization," which aimed to gradually transfer responsibility for the war to the South Vietnamese military. However, fighting continued between North Vietnamese forces, backed by the Soviet Union and China, and the South Vietnamese government, supported by the U.S.
Despite the American military’s heavy airstrikes and ground operations, including the secret bombing campaign in Cambodia, by 1971, it was clear that the war was far from over, and a negotiated settlement seemed increasingly likely, though still distant.
Protests against the war were widespread, with college campuses becoming major hubs of activism. The Students for a Democratic Society and other student groups organised mass protests, often resulting in clashes with police. The anti-war movement also attracted a wide range of social and political groups, from civil rights organisations to left-wing political parties.
In addition to street protests, the movement included acts of civil disobedience, teach-ins, and even symbolic acts like the "Winter Soldier Investigation," where Vietnam veterans publicly testified about their experiences in the war. By 1971, public pressure and the growing anti-war movement were undeniable forces that shaped U.S. policy and public discourse.
Bangladesh
Bangladesh's independence in 1971 was the result of a brutal and complex conflict between East Pakistan (now Bangladesh) and West Pakistan, which ultimately led to the creation of the new nation of Bangladesh. The roots of the conflict lay in longstanding political, economic, and cultural disparities between the two regions. East Pakistan, despite being the more populous region, felt politically and economically marginalised by the government in West Pakistan. The turning point came after the 1970 general elections, where the Awami League, led by Sheikh Mujibur Rahman, won a landslide victory in East Pakistan. However, the ruling authorities in West Pakistan, led by Yahya Khan and Zulfikar Ali Bhutto, refused to grant East Pakistan autonomy.
In March 1971, after failed negotiations, the Pakistani military launched Operation Searchlight, a brutal crackdown aimed at suppressing the independence movement in East Pakistan. This led to widespread atrocities, including mass killings, rapes, and the displacement of millions. As a result, East Pakistan declared independence on March 26, 1971, initiating the Bangladesh Liberation War.
India intervened in December 1971, supporting the independence movement, and after a decisive military victory, Bangladesh was officially recognised as an independent nation on December 16, 1971, marking the end of the nine-month-long war.
The Rise of the Environmental Movement: In 1971, environmental concerns gained more prominence. The modern environmental movement continued to grow, with awareness of pollution, deforestation, and the need for conservation increasingly influencing policy and culture.
1971 was a time of immense political and cultural change. The Vietnam War, civil rights movements, and rising environmental awareness created a social context that rock music both reflected and influenced. Culturally, the UK experienced significant shifts. The Glam Rock music genre emerged, with artists like T. Rex gaining prominence. Meanwhile, social attitudes were evolving, with growing awareness of issues like gender equality and race, reflecting the broader changes of the 1960s. In the Cinema we had some reflection of the grit and realism of the mean streets of NY in ‘The French Connection’ (I saw it at a drive in movie in Detroit) and further west Clint in ‘Dirty Harry’. We also got ‘Fiddler on The Roof’ and ‘Diamonds are Forever’
On a personal note, 1971 was the year the variety of music I listened to exploded. From boogying with Marc Bolan to cranking my Dads stereo up to ten to listen to Zeppelin 4. From trying to work out the timing and signature changes of Heart of the Sunrise to having heated arguments about the quality of Meddle vs Tarkus (Meddle won).
1971 would become one of my go-to years in building an LP collection (sadly long gone) and of the top 100 albums released that year I must have owned 75% or so.
So to the playlist. I Chose tracks from albums that in some case were multi million sellers, those that both represented and shaped the period they were composed in, albums that represented the breadth of genres from 1971 and most importantly, albums that I like, mean something to me and still play. Where I wanted to represent an artist or a track, but didn’t think the album was of a similar stratospheric quality as others, I chose a track rather than the album. I discounted those albums that have already been reviewed on the album thread: Every Picture Tells a Story by Rod, Naturally by J.J.Cale (top 2, naturally), What’s Going On? By Marvin Gaye and Split by Groundhogs. I have covered multiple genres, folk/country singer/songwriter, hard rock, glam rock, prog rock, blues rock, pop and soul. I haven’t included a jazz track but there are jazz influences on a number of tracks. It’s interesting that despite the enormous evolution of music in the 60’s it’s still very easy to pick out the influences that we wrote about in our ‘history’ articles - particularly The Blues and Country/Folk.
Here are my ten. - Whilst the reviews below are in no particular order - they are just as I wrote them, I have organised the playlist to be an ‘album’ of two sides - the first six tracks showcase some extraordinary songwriting on ‘side 1’ and the next four tracks on ‘side 2’ are to showcase 1971 rock in all its glory. The 10 songs are all 10/10 imho and really showcase the extraordinary quality of music that year. I hope you enjoy them and if by some rare occurrence (like your age) you haven’t sat and listened to these albums, I implore you to do so..
Album, Tapestry - Carole King
Carole King was 28 when she recorded Tapestry. A shy, quiet refugee from Tin Pan Alley, she had moved to California following the breakup of her marriage to Gerry Goffin. It seems strange to talk about 1971 as her breakthrough year as she had been writing songs very successfully since her teens but breakthrough it was as Tapestry was destined to recalibrate the music industry, selling in quantities nobody had thought possible.
The album was made in five three hour sessions in a building on Hollywood Blvd that had once been the Studios of Charlie Chaplin Productions. The A and M building was equipped three studios and in January 1971 they housed the Carpenters making ‘The Carpenters’ (in the largest), Carol (in the middle )and Joni Mitchell recording ‘Blue’ in the smallest (albeit that studio was equipped with the best piano. Legend had it that Carol was snuck in to this studio because of its piano and in three hours recorded ‘You’ve got a friend’ and two other tracks from the album)). Lou Adler , her producer set out to make an album that would feel like ‘a portrait of a woman at work’, a record with a similar vibe to that of Carol’s friend and mentor James Taylors ‘Sweet Baby James’, a record that would make you ‘lean closer to listen’. The album was complete within three weeks and cost $22,000.
The album was released in February 1971 and rose inexorably up the Billboard 100 and by June it had reached number one. When you look at the names that had released records in the first half of 1971 you realise the magnitude of that achievement at a time when Carol was still playing piano in James Taylors band and had to be escorted by him to the front of stage when she performed short solo sets. Album sales had predominantly been aimed at a male audience but that changed with Tapestry. Carol Bayer Seeger described it nicely as an album was ‘a voice every woman thinks she could have’. It was one of the first ‘evergreen’ albums - one that outlasts the normal commercial lifecycle and it remained in the Billboard charts for over 6 years selling 5m by the end of 1971 and (depending on where you get it) 25m to 30m units to date putting it firmly in the ‘Rumours’ ‘Dark Side of the Moon’ ‘Led Zeppelin IV’ League table.
I listen to ‘evergreen’s’ very seldom these days as familiarity lessons the impact they once had. Tapestry is an exception to that - it still makes me feel like I did when I first heard it. Maybe Rolling Stone’s Jon Landau said it best in his initial review of the album ‘the simplicity of the singing and composition achieved the kind of eloquence and beauty that rock is very seldom capable of’. Carol King is a music icon and has to feature in any history of modern music. In a year that produced so many wonderful albums, Tapestry is at the very pinnacle.
Playlist Track - You’ve got a friend
Album, Blue - Joni Mitchell
Blue, released in June 1971, is widely regarded as Joni Mitchell’s masterpiece and one of the most emotionally raw albums in popular music history. Written and recorded during a period of personal upheaval, the album captures the complexities of love, loss, freedom, and vulnerability with stark honesty and lyrical brilliance. Mitchell’s stripped-down arrangements—mostly just piano, dulcimer, and acoustic guitar—allow her soaring voice and intricate lyrics to take centre stage. The piano is the same instrument I referenced in “Tapestry”.
The album includes some of her most iconic songs, such as “A Case of You,” “River,” and the title track “Blue.” Each song reveals a different facet of her emotional landscape, reflecting relationships with Graham Nash and James Taylor, and her own inner journey, including the song ‘Little Green’ which she wrote as a 21-year-old in Toronto facing poverty and an unplanned pregnancy. The birth father, did not wish to be a father and headed to California, leaving Joni on her own. On February 19, 1965, Joni gave birth to a daughter Kelly Dale Anderson. Knowing she could not take on parenthood, Joni placed the baby for adoption. While Joni lived with the secret for nearly three decades, she never stopped thinking about her daughter. “Little Green,” is about the daughter she lost but never stopped loving. It’s an especially poignant song:
Born with the moon in Cancer
Choose her a name she will answer to . . .
Call her green for the children that have made her . . .
Child with a child pretending
Weary of lies you are sending home
So you sign all the papers in the family name
You’re sad and you’re sorry, but you’re not ashamed.
Little green, have a happy ending
Her lyrical style—intimate, confessional, and deeply human—helped redefine what could be expressed in popular music. Critically acclaimed upon release, Blue has only grown in stature, influencing countless artists across genres. Its openness broke barriers for female singer-songwriters in particular, setting a new standard for personal expression in music. More than 50 years later, Blue remains a touchstone for its emotional depth, elegant songwriting, and Mitchell’s unique ability to transform pain into transcendent beauty.
For the Playlist I have chosen the title track “Blue” which is about Joni’s relationship with James Taylor and his struggle with Heroin.
Playlist Track - Blue
Album , IV - Led Zeppelin
What to say about this album that hasn’t been said or written about a 1000 times or more? It is Zeppelins most successful album by a country mile selling 37m copies, topping the UK charts and No2 in the Billboard (Tapestry holding the album off from no 1). The album cemented the groups position as Rock Superstars and elevated them to the ‘biggest band in the world conversation vs The Stones and The Who. It came to be considered by many critics as the most influential Rock album ever made and regularly appears high up in the list of greatest albums of all time and remains one of the best selling.
If Zeppelin 3 marked a distinct shift in sound to more folk influenced, acoustic music, Zeppelin 4 carried on that trend and mixed its quieter tracks with hard rock anthems and one particular magnificent blues cover. It also contained ’Stairway to Heaven’ one of the most played tracks in history on FM radio.
The album was mainly recorded at Headley Grange, an old Victorian Mansion in Hampshire and its relaxed atmosphere and iconic acoustics were a large contributor to the overall icon sound. The drum sound on ‘When the Levee breaks’ was created by miking up the stairwell of the house and Bonham’s thunderous drums have that touch of reverb that made the sound so unusual and often sampled. Sandy Denny of Fairport Convention and Ian Stewart (co-founder of the Stones) guested on Vocals and Piano.
The album was Produced by Page and engineered by Andy Johns who had just finished work on the Stones Album “Sticky Fingers” it was he that recommended the use of the Stones mobile recording studio (to be used at The Grange). Overdubs were added at Island Studios and mixing completed by Page in LA. The Band were not impressed by the original mix so Page reworked it significantly.
The Album was released in November 1971 with no title, no words on the cover (both front and back) and no serial number on the spine. The Band wanted the music to speak for itself. The Album propelled the band to a new level of popularity being one of the key instigators of arena rock and influenced the music industry for ever.
Between the release of IV and Houses of the Holy, the Band toured extensively and I was lucky enough to get a £1 ticket to see them in January 73 at The Kings Theatre in Edinburgh. The venue held just under 1500 and was the first (and last) The Kings has hosted a Rock Concert. It was my very first concert (start at the top eh!) and I can still remember the kick in the chest I got when Bonham hit the bass/snare at the beginning of Rock and Roll. It was very like an assault. They played 3 tracks from the album, Rock and Roll, Black Dog and Stairway to Heaven. I still think it’s an incredible album.
For the playlist I have chosen the Blues classic, When the Levee Breaks. Just for fun ant to tie things back to blues history, here is the original Blues track inspired by one of the biggest natural disasters in American History. In 1927, the Mississippi River flooded over 27,000 square miles of land under 30 feet of water, killing hundreds of people and destroying towns, farms, and homes in Louisiana, Arkansas, Mississippi, and the Mississippi Delta. Considered the most destructive river flooding in U.S. history, two years later “The Great Flood of 1927” inspired Mississippi natives, Kansas Joe McCoy and Memphis Minnie, to write and record “When the Levee Breaks” in 1929.
Playlist Track - When the Levee breaks
Album, Hunky Dory - David Bowie
1971 was a pivotal year for Bowie. 2 Albums released (‘Man Who Sold the World’ was released in Dec 1970 in USA but early 71 in the UK), a further album written (Ziggy), a promotional tour of America in January/February 71, the recording and subsequent release of Hunky Dory, his first Glastonbury appearance and the birth of his son Zowie.
In a number of interviews he asserted that it was during this year that he decided his future ambition to be an iconic rock star rather than a songwriter.
“That laid out what I wanted to do in rock. It was at that period that I said to myself, ‘Okay [Dylan], if you don’t want to do it, I will.’
I saw that leadership void. If there wasn’t someone who was going to use rock ‘n’ roll, then I’d do it.”
So it was that in January 1971, Bowie flew to the states for the first time to publicise The Man Who Sold the World. He created quite an impression with his long hair styled as Veronica Lake and a designer dress chosen by his wife Angie especially for the trip. He spent a month schmoozing record executives and enjoying the New York and Los Angeles underground music scene famously making friends with Worhol and his entourage, various members of the Velvet Underground and Iggy and the Stooges. He had already come up with the concept of Ziggy Stardust and had written a number of songs that would ultimately feature on that album. He was heavily influenced both by this trip and by the underground London gay scene that would ultimately lead to his establishment as the cultural icon. Bowie's influence on culture was profound and multi-faceted, spanning music, fashion, art, and societal norms. His music, theatrical performances, and ever-evolving personas redefined the boundaries of artistic expression and challenged traditional gender roles.
Little known fact: Around this time David stayed in a small flat in Drummond Street in Edinburgh which he shared with Angie and the mime artist Lindsay Kemp. Bowie was very heavily influenced by Kemp - clearly demonstrated by his stage act. Bowie also started to wear make up after befriending the heavily made up Kemp. Ziggy Stardust was incubated in Edinburgh!
But to Hunky Dory itself. Personally, I think it’s my favourite album. Bowie had used Ronson, Boulder and Woodmansy (Future Spiders from Mars) on the heavy, guitar oriented Man Who Sold The World. Had fallen out with them over musical differences or just being a bit of a prima donna. He invited them back to play on Hunky Dory and they were joined by Rick Wakeman, at the time one of the busiest and mos caught after session keyboard gun slingers in the UK. Bowie gave Rick a great deal of licence in the musical interpretation of his songs which is why Hunky Dory is a great deal more Piano lead than his previous album. Another factor in the overall sound was first time produces, Ken Scott who subsequently produced the next three of Bowies albums. Scott had previously worked on a number of Beatle albums and his home base was Trident Studios in London. One of the benefits of this location was a Bechstein grand piano, constructed in 1898 and used on Hey Jude and the Beatles White Album. The tone, along with the particular acoustics of the Trident Studio gave the album its trademark piano forward sound. Subsequently it would be used on many other successful albums by Queen, Genesis and others until the original sound board was replaced and it lost some of its trademark magic. Scott said afterwards that the making of the album had been ‘easy’ with the band, producer and Bowie (who co produced) working very well together with very little conflict. Of special note was Bowies vocal performance which almost without exception laid down each song in one take. The record was meticulously and painstakingly mixed by Scott and subsequently released in December 1971. It is almost unbelievable that most of the recording was completed before Bowie signed a record deal with
Though not an immediate commercial success, the album was critically acclaimed and gained popularity after the success of Ziggy Stardust in 1972.
Playlist Track - The Bewley Brothers
Album, Rory Gallagher - Rory Gallagher
My fifth album choice is not an obvious one - critically acclaimed but modest seller. Its Rory Gallaghers debut ‘solo’ album after the breakup of Taste. In my view (and that of many of his contemporaries) Rory was one of the greatest guitarists ever to wield a axe. Low key, checked shirts and always true to his roots. Rory was the antithesis of Glam Rock preferring to make unpretentious live sounding music through his career. This album, produced by himself (engineered by Eddie Offord) features Gerry McAvoy on bass (Gerry stayed with Rory for most of his career) and Wilgar Campbell on Drums. The album showcases Gallaghers mastery of Blues rock and one or two tracks can be traced directly back to the Delta Blues. There are also touches of jazz and folk and some lovely acoustic guitar. It is honest music and I was very keen that Rory features in any history of 1970’s Rock music. He left an amazing legacy and has never been bettered. Any track from the album would be a worthy representation but I particularly like “I Fall Apart’ which is softer than his norm, inspired by the British folk revival and an affectionate nod to the likes of Richard Thompson and Bert Jansch.
PIaylist Track- I Fall Apart
Album, The Who - Who’s Next
In representing Rock for the Year, Zeppelin IV always had to be included but such is the depth of great albums it would be remiss not to include at least one other. Which one though? Fireball, Aqualung, certainly Sticky Fingers was a very strong consideration but ultimately I plumped for Who’s Next.
In recent years I have fallen out of love with The Who for fairly petty reasons. I saw them in Glasgow a few years ago and whilst Townshend remains a very fine guitarist, the rest of the band left me feeling they were going through the motions with their eyes firmly focused on ho much they would make as a result of the tour. Add to that Daltrey’s idiot political pronouncements at around the same time….
However it would be remiss of me not to include a track from ‘Who’s Next’ and ‘Behind Blue Eyes’ remains probably my favourite Who track showcasing as it does both their delicacy and emotional depth and raw muscular energy. Originally written for Townshend’s abandoned ‘Lighthouse’ project its lyrics portray a man struggling with anger and vulnerability underscored by the tracks gentle acoustic opening breaking into the Who’s full power cords and Moon’s manic drumming. Daltreys vocals are as good as they got. I don’t think that there is a better song on Tommy or Quadrophenia.
Playlist Track, Behind Blue Eyes – The Who
Album Track, Riders on the Storm – The Doors
From LA Woman, I have always loved this song, the last that Morrison recorded before his untimely death. It’s my favourite track from a favourite band and to me it is perfect albeit unsettling. It conjures mental pictures of Manson, Randall Flagg, Wolf Creek….a killer on the road, his brain is squirming like a toad…..
One of the defining features of "Riders on the Storm" is its moody, atmospheric sound. The insistent rainfall and thunder effects, softly layered in the background, while Manzarek’s jazz electric piano provides a cascading melody underpinned by an insistent bass line that gives the song its otherworldly feel. The subtle guitar work by Krieger is also integral to the song’s mood. Krieger’s understated playing complements Morrison’s voice perfectly, never overpowering the vocals but providing just enough tension and release to drive the song forward.
Given that this was Morrison’s final recording with The Doors before his move to Paris and eventual death, the song serves as a poignant reflection on his life’s journey, encapsulating his sense of disassociation as he navigated his final days with the band. Morrison seems to have followed his path to self-destruction quite consistently (Doors drummer John Densmore later called him a "Dionysian kamikaze"), but the circumstances of his death nevertheless remain a mystery to this day. He had left the Doors and the USA in early 1971 to live in Paris, the city of poets he admired. In July 71. he was found dead in the bathtub one morning. Numerous legends entwine around these events. Jim Morrison was only 27 years old when he died. Since several other prominent fellow musicians shared this age of death, the idea of a "Club 27" spread. Jimi Hendrix, Janis Joplin, Amy Winehouse, Kurt Cobain, Brian Jones or Blues legend Robert Johnson were only 27 when they passed away.
I love Doors music but this track remains my favourite if I had to choose one song.
Album Track, Surfs Up - The Beach Boys
If Mozart had written pop songs, this is what he would have written. For me, one of the all time very best by my absolute hero Brian Wilson. Written originally in 1966 with his lyricist Van Dyke Parks, in his sand box, whilst stoned, the song had lain dormant after being abandoned by Wilson in the Spring of 1967. It was intended to be a major part of Brian’s legendary, holy grail album ’Smile’ that never saw the light of day. By 1971, The Beach Boys felt very much like yesterday’s news, having been outstripped by The Beatles and by a multitude of other bands that had made the late 60’s early 70’s what it was. The Beach Boys were riven by internal fighting, on the one hand the brothers Wilson, on the other Love, Jardine and Johnson with Love in particular keen to not just throw a spanner in the works but a whole tool box. Meanwhile the Wilsons were not squeaky clean with Brian’s ongoing demons and Dennis propensity to befriend and mentor renowned serial killer Charles Manson and his entourage. Ultimately, It was Carl Wilson that resurrected Surfs Up. Taking the recorded sections from 66 and splicing them together with the band recording a new section to complete the song. It was released on the 1971 Beach Boys album ’Surfs Up’ which imo is an inconsistent album. Though less commercially successful than earlier hits, “Surf’s Up” is considered one of the band’s artistic masterpieces—hailed by critics as a high point in baroque and progressive pop.
The lyrics are famously opaque but the music is celestial, divine, heavenly (feel free to choose your own adjective). If you are interested, The song was part of Brian Wilson presents Smile, his 2004 album that was released to support the live concerts he performed to finally present Smile to the world. That version is certainly worth a listen as well. I saw the great man live when he performed Pet Sounds in its entirety. Surfs Up was also on the set list and it remains my highlight.
Album Track, Heart of the Sunrise - Yes
I had considered including Fragile as featured album but as good as it is, it isn’t Yes’s greatest (Close to the Edge is better) so discounted that in favour of Rory G’s debut. I also nearly included The Musical Box from Nursery Cryme as my Prog Rock pick but his pipped it at the post.
This track is one of the very few that stopped me in my tracks (see what I did there) the first time I heard I thought wow, wow, wow. Then listened to it over and over until I really understood the signature changes and dynamics. I think it showcases Yes better than almost any other single track. It remains my absolute favourite from Yes and you can listen to different versions - my favourite is on Yessongs (despite its patchy production) as I believe the band are always better live. I have included the original studio version here.
Featuring multiple time signature changes and some terrific bass from Chris Squire (legend). The song races up and down the scales until Jons beautiful pure vocals pierce the intricate instrumentation. Rick Wakeman contributed to the writing of "Heart of the Sunrise" by adding piano interludes to both songs, but was not credited because of contractual conflicts. He was instead promised more money by Atlantic studio executives, which he claims he never saw.
Single, Let’s Stay Together – Al Green
Released in late 1971, “Let’s Stay Together” is Al Green’s signature song and a soul classic that helped define the sound of 1970s R&B. Produced by the legendary Willie Mitchell, the track is smooth, sensual, and emotionally rich, built on a tight rhythm section, gentle horn accents, and Green’s stunning falsetto. The lyrics are a simple but powerful declaration of love and commitment, delivered with tenderness and conviction. Green’s vocal performance is both restrained and deeply expressive, capturing a warmth and vulnerability rarely matched in popular music. The song topped the Billboard Hot 100 and became an instant classic, launching Green to superstardom. Its influence stretches far beyond soul, inspiring covers by artists as diverse as Tina Turner and Seal. “Let’s Stay Together” exemplifies the Memphis soul sound and stands as one of the most beloved love songs in music history—timeless in its message and effortlessly elegant in its execution.
History has decided that 1971 was the most creative, most innovative, most interesting and longest resounding year in Rock history. Of course I didn’t appreciate that at the time, but I do now.
It has never been bettered.
