What's new
Fantasy Football - Footballguys Forums

Welcome to Our Forums. Once you've registered and logged in, you're primed to talk football, among other topics, with the sharpest and most experienced fantasy players on the internet.

The Next 100 Songs from 1975, aka Sanbornpalooza. #1: Black Friday (1 Viewer)

@krista4 This project has led me to the conclusion that David Sanborn is the Jim Keltner of saxophonists. I wouldn't have expected you to pick up on that since you hate sax. 😆
I like sax in the right situation!*  I do have a weird appreciation for Sanborn, actually, because (much later than 1975) my college boyfriend had the same last name, and Sanborn had been so ubiquitous for a time that my bf always had to answer the question of whether he was related!  Also I thought David Sanborn was rather cute.  :lol:  

*There aren't many.

 
Last edited by a moderator:
Pip's Invitation said:
62. Bob Seger -- Travelin' Man (from Beautiful Loser)
Early Seger is a favorite guilty pleasure of mine. Tales of Lucy Blue (retitled Ramblin’ Gamblin’ Man in subsequent pressings),  Smokin’ OPs, Back in ‘72, Beautiful Loser, couple other forgettable efforts as he struggled to find his place. Love this song and the one you bypassed in the 61-70 spoiler post. The Punch Andrew days of the Bob Seger System were raw, unapologetic, straight ahead rocking. Exhibit A from 1969.

Live Bullet gets bagged on for having so many covers and low production quality (ditto for Yessongs, my other fav concert album) but IDC. Perfectly captures the energy of the Silver Bullet Band at their peak. No airs about these guys, all from the Detroit/Ann Arbor area. Just good music to remember good times by.

Would be a ton of hit records and top tens to follow, but none of the platinum albums come close to capturing my affection like the stuff he recorded in his 20s.

 
Binky helped me out in the Desert Island Jukebox year-draft-thingie by giving me some Todd songs from 1974 and 1975 so I could fill in a hole there.  I don't remember if this is the one I ultimately chose, but I remember loving it.
You picked 1974's A Dream Goes On Forever

You mentioned his beef with John and said he didn't get along with the other Beatles except Ringo. His beef with George was that he was asked to come in and salvage a Badfinger album that George was producing but abandoned (to do the Dark Horse tour, I think) and felt that George was getting more credit for the album's success than he was. I don't know if he had any interaction/beef with Paul. 

 
57. You're a Big Girl Now -- Bob Dylan (from Blood on the Tracks)

I am just as high on Blood on the Tracks as Tim is. I love the acoustic guitar and piano interplay on this one, and it features some of Dylan's finest singing. He stretches out on the "oooooooooohs" without cracking his voice or coming off as grating, which is not easy for someone with his vocal "skills". 

The songs on Blood are all about relationships*. Some may or may not have been inspired by Dylan's impending divorce, and this one may fall into that category, as the narrator is coming to terms with the end of a relationship and realizing that his partner needs to fly off on her own.

A change in the weather is known to be extreme
But what's the sense of changing horses in midstream?
I'm going out of my mind oh oh
With a pain that stops and starts
Like a corkscrew to my heart
Ever since we've been apart.


&

* -- although I have no idea WTH Lily, Rosemary and the Jack of Hearts is about. 

 
Last edited by a moderator:
58. You're a Big Girl Now -- Bob Dylan (from Blood on the Tracks)

I am just as high on Blood on the Tracks as Tim is. I love the acoustic guitar and piano interplay on this one, and it features some of Dylan's finest singing. He stretches out on the "oooooooooohs" without cracking his voice or coming off as grating, which is not easy for someone with his vocal "skills". 

The songs on Blood are all about relationships*. Some may or may not have been inspired by Dylan's impending divorce, and this one may fall into that category, as the narrator is coming to terms with the end of a relationship and realizing that his partner needs to fly off on her own.

A change in the weather is known to be extreme
But what's the sense of changing horses in midstream?
I'm going out of my mind oh oh
With a pain that stops and starts
Like a corkscrew to my heart
Ever since we've been apart.


&

* -- although I have no idea WTH Lily, Rosemary and the Jack of Hearts is about. 
I love this song, but I first heard it on Biograph, which is an alternative version. So now I prefer that. Achingly beautiful. 

 
58. You're a Big Girl Now -- Bob Dylan (from Blood on the Tracks)

I am just as high on Blood on the Tracks as Tim is. I love the acoustic guitar and piano interplay on this one, and it features some of Dylan's finest singing. He stretches out on the "oooooooooohs" without cracking his voice or coming off as grating, which is not easy for someone with his vocal "skills". 

The songs on Blood are all about relationships*. Some may or may not have been inspired by Dylan's impending divorce, and this one may fall into that category, as the narrator is coming to terms with the end of a relationship and realizing that his partner needs to fly off on her own.

A change in the weather is known to be extreme
But what's the sense of changing horses in midstream?
I'm going out of my mind oh oh
With a pain that stops and starts
Like a corkscrew to my heart
Ever since we've been apart.


&

* -- although I have no idea WTH Lily, Rosemary and the Jack of Hearts is about. 
My brother gave me Blood on the Tracks for my 13th birthday. I wore out the grooves on it. Such great stories on that LP.

 
I like sax in the right situation!*  I do have a weird appreciation for Sanborn, actually, because (much later than 1975) my college boyfriend had the same last name, and Sanborn had been so ubiquitous for a time that my bf always had to answer the question of whether he was related!  Also I thought David Sanborn was rather cute.  :lol:  

*There aren't many.
Sax has its place.  Some songs wouldn't be the same.

Money - Pink Floyd  

Us And Them

The Doors - Touch Me

The Logical Song

Old Time Rock and Roll

Born to Run

Tenth Avenue Freeze Out

And my favorite, a two-part song one leading right into the next.  Luv me sum Big Man sax on Rosie.

Bruce Springsteen - Incident on 57th Street/Rosalita (Come Out Tonight)

Lots-a-others.

Sax has its place.

 
56. You Make It Easy -- James Taylor (from Gorilla)

IMO this is the best vocal Taylor ever recorded. It's extremely expressive but never overwhelms. Soulful and vulnerable. Oh, and guess who's playing sax? Yep, David Sanborn. 

"Now me and my wife, we got the rest of our lives to make this thing right, but you and me will only see tonight." Foreshadowing much? 

 
Last edited by a moderator:
Sax has its place.  Some songs wouldn't be the same.

Money - Pink Floyd  

Us And Them

The Doors - Touch Me

The Logical Song

Old Time Rock and Roll

Born to Run

Tenth Avenue Freeze Out

And my favorite, a two-part song one leading right into the next.  Luv me sum Big Man sax on Rosie.

Bruce Springsteen - Incident on 57th Street/Rosalita (Come Out Tonight)

Lots-a-others.

Sax has its place.
Baker Street is another that comes to mind. Oh,  and Waiting on a Friend.

 
Sax has its place.  Some songs wouldn't be the same.

Money - Pink Floyd  

Us And Them

The Doors - Touch Me

The Logical Song

Old Time Rock and Roll

Born to Run

Tenth Avenue Freeze Out

And my favorite, a two-part song one leading right into the next.  Luv me sum Big Man sax on Rosie.

Bruce Springsteen - Incident on 57th Street/Rosalita (Come Out Tonight)

Lots-a-others.

Sax has its place.
Baker Street is another that comes to mind. Oh,  and Waiting on a Friend.
Long Long Way From Home

Turn the Page

 
I was a DJ back in college up in the mountains in a ski town and then went to the University of Colorado at Boulder.  I tried to get into contemporary music so I could learn more but that class was full and I got put into a History of Jazz class.  I was not happy but the first class the dean of the music college comes in.  He had his alto sax and played for us.  Turns out he was in two different jazz bands and they came in to play for us and the prof Willie Hill brought in all sorts of guest jazz players.  

Best class I ever took.  So many great jazz sax players that I could rattle off.  I love jazz and the sax is a huge part of the history of jazz.

And who could forget this classic sax infused jazz tune by one of the best jazz saxophonists  Stan Getz

 
I was a DJ back in college up in the mountains in a ski town and then went to the University of Colorado at Boulder.  I tried to get into contemporary music so I could learn more but that class was full and I got put into a History of Jazz class.  I was not happy but the first class the dean of the music college comes in.  He had his alto sax and played for us.  Turns out he was in two different jazz bands and they came in to play for us and the prof Willie Hill brought in all sorts of guest jazz players.  

Best class I ever took.  So many great jazz sax players that I could rattle off.  I love jazz and the sax is a huge part of the history of jazz.

And who could forget this classic sax infused jazz tune by one of the best jazz saxophonists  Stan Getz
Very cool.  What an opportunity.

My disdain for sax does not extend to other types of music but only to when it is plopped willy-nilly into pop/rock.

 
Very cool.  What an opportunity.

My disdain for sax does not extend to other types of music but only to when it is plopped willy-nilly into pop/rock.
I'm holding back a lot of in-depth detail about the criminal codification of jazz done by Berkley students in THE REAL BOOK that is the root cause of what you hate and I understand 'that' sort of hate.  

THE REAL BOOK 

 
Sorry to disappoint, but there is no saxophone on this track. 

55. Feel Like Makin' Love -- Roberta Flack (from Feel Like Makin' Love)

Yes, there were two big songs by this title in 1975, which couldn't be any different from each other. Now, Flack's song was released as a single in the summer of 1974, topping the Hot 100, R&B and Adult Contemporary charts, but the album on which it appeared was not released until March 1975. (One of my top 10 entries has a similar situation but in reverse; album in summer '74, single well into '75). 

The delay was because the album took 14 months to finish, with Flack going through two producers before finishing the job on her own. I don't know what the hangup with the other tracks was, but this one is effortlessly graceful. 

 
Last edited by a moderator:
54. Pardon My Heart -- Neil Young and Crazy Horse (from Zuma)

Like CSN, Neil upped his songwriting game in 1974 in part due to the CSNY reunion tour and planned album (which never happened). Many of these songs were about his breakup with actress Carrie Snodgress, the mother of his oldest son. In fact, his next solo album after CSNY fell apart was supposed to be Homegrown, a collection of songs about the breakup and the physical and emotional debauchery it led him to. Dozens of these songs were recorded in late '74 and an album was prepared for release in early/mid '75. But one night at a party, Neil played a cassette with Homegrown on one side and Tonight's the Night, a ragged concept album about the seedy side of the counterculture and the early deaths that resulted from it that his label had rejected in 1973, on the other. Everyone there, including members of Crazy Horse and The Band, told him that they liked Tonight's the Night better and he should release it instead of Homegrown. Using his renewed clout from the (financial, at least) success of the CSNY tour, Neil convinced his label to shelve Homegrown and put out Tonight's the Night, which it did in mid-75.

This didn't mean Neil completely forgot about the Homegrown songs, though. They dribbled out on subsequent albums, tours and archival releases. And finally, this summer, Homegrown got an archival release in its own right.

One of the first of the breakup songs to see the light of day was Pardon My Heart, released on Zuma, Neil's next album of new material, issued in late '75. Most of Zuma is earthshaking rock and roll, capped by Cortez the Killer, arguably my favorite song of all time (it's #1 on my Neil list and #1 on my 1975 list, and was taken by Tim). Pardon My Heart, #43 in my Neil countdown, by contrast is graceful and subdued, with gentle harmonies and absolutely heartbreaking lyrics. 

Pardon my heart
If I showed that I cared
But I love you more than moments
We have or have not shared

&

Pardon My Heart did not appear on the Homegrown archival release, but we don't know if its tracklist is an exact match with what Neil intended to release in '75. I doubt he remembers. 

Tomorrow morning: A song that may or may not appear in @krista4's solo Beatles countdown. 

 
Last edited by a moderator:
Very cool.  What an opportunity.

My disdain for sax does not extend to other types of music but only to when it is plopped willy-nilly into pop/rock.
Love this. That is all. I, too, think the saxophone should stay out of most songs not written by Springsteen and performed by the E Street Band.

Or the swingin' sounds of the Dave Clark Five.

 
56. Feel Like Makin' Love -- Roberta Flack (from Feel Like Makin' Love)

Yes, there were two big songs by this title in 1975, which couldn't be any different from each other.
I’m quite embarrassed to realize I never made this connection on my own.

:lmao:  

This was quite an iconic song, surprised it wasn’t in the top 100. She’s the only solo artist to win b2b record of the year Grammy awards (1973-74) and she was very popular.

I always found her style bland and uninspired. She’s classically trained (graduated college when she was 19) and while I guess smooth would be one apt adjective, it just doesn’t have any depth or emotion to it. But def a huge contributor to pop culture in the mid-70s, in a Barry Manilow kind of way.

Interesting Factoid: her Dakota co-op apt was next to Judy Garland’s sprawling pad that had 7 fireplaces. Both sold together a few years ago to a Disney Exec for $20M+, who planned to combine them into one family home.

 
Last edited by a moderator:
53. Letting Go -- Wings (from Venus and Mars)

Tim took the two successful singles from this album, I'm taking the less successful one (which still made the lower rungs of the top 40). Paul McCartney wrote this song about his wife and bandmate Linda, wondering whether he wasn't letting her pursue her own interests enough. (Is this what led to Cook of the House on the next album?) But it's the music that earns it a spot here. It may be the most Stones-y Paul ever sounded. The guitars are thick and grinding, the rhythm is a flexible take on blues, and Paul's vocal is quite forthright. 

Even better is the slightly faster and much louder live version from the Wings over America live album and Rockshow concert film: https://www.youtube.com/watch?v=S7frF7Ir2oA. This version is what made the song a favorite. 

 
Last edited by a moderator:
52. Marvellous Moses -- Nektar (from Recycled)

Nektar was a much-underappreciated prog/hard rock band who released a bunch of fascinating albums in the '70s. The members were from the UK but the band formed in Germany in the '60s after each original member had made his way to Hamburg to try to follow in the footsteps of the Beatles. By the time of their debut album in 1971, they had grown into something much louder and more complex than British Invasion music. The original lineup's six albums from 1971 to 1975 are all outstanding, particularly A Tab in the Ocean (1972), which sounds like a more intricate version of prime Deep Purple, Remember the Future (1973), a concept album about a clairvoyant blind boy that gained them a cult following in the US in part due to some spectacular Floydian instrumental passages, and Recycled, their 1975 output.

Recycled is another concept album, this one about environmental devastation. On both sides, the songs all run together (and were originally labeled just as "Recycled Part 1" and "Recycled Part 2"; the same had been the case for Remember the Future). Side 1 details a future in which only "recycled energy" remains and the human race is on the brink of extinction. Side 2 ponders how we might have gotten there via excessive tourism and overuse of the wilderness. The album expands the band's use of synthesizers and its influence can be heard in latter-day prog-influenced bands from Ozric Tentacles to Umphrey's McGree. 

Marvellous [sic] Moses and another song from side 2 (It's All Over) are more distinct as individual songs than the rest; they date from at least early 1974 (they appear in the Remember the Future tour setlists) and thus were probably written before the others. Marvellous Moses makes great use of synthesizers, set to a backdrop of a bouncing rhythm and memorable melody. It sticks in my head frequently.

Unfortunately, the band were unable to build on the achievements of this record. Burned out from their frantic touring and recording pace from '71 to '75, singer/guitarist Roye Albrighton quit the band in '76. They carried on with a new frontman but gained no traction. When Albrighton returned in 1980, musical trends had changed and their output struggled to balance their old sound with the new landscape, leading to a breakup in 1982. The band reappeared in 2000 and has continued with various lineups since then, even after Albrighton's death in 2016. 

 
Last edited by a moderator:

Users who are viewing this thread

Top