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The 100 Greatest Songs of 1972. #1. All The Young Dudes (2 Viewers)

94. Bread “Everything I Own” (from Baby I’m-a Want You

https://youtu.be/AeadLurGR1U

David Gates’ homage to his late father was one of the finest soft rock songs of 1972, and quite possibly the best tunes that Bread ever released. Gorgeous melody and lyrics. 
girls loved Bread back then

my brother & I had bunk beds in a small room; our sisters were adjacent in a larger, corner bedroom. they had a little 45 player with a built-in speaker - we had a proper receiver with decent speakers & hung the turntable from the ceiling with fishing line (so albums wouldn’t skip when we were wrestling or playing nerf basketball.)

every time they’d try to play something from Bread, we’d crank up Exile on Main Street or Eat a Peach

I looked over their singles the other day when wikkid referenced them before we started. think I recognized at least 7 songs, def prolific hitmakers. 

 
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92. Jackson Browne “Looking Into You” (from Jackson Browne)

https://youtu.be/TxhM2g72PAM

Jackson Browne’s debut album, arguably his best, is filled with brilliant introspective and autobiographical tunes. This is one of the best, describing his return to his childhood house (in Buena Park, California) as well as an encounter with Bob Dylan. 

 
This is going to be the most suspect list yet, isn't it? 

I think no hope is left in sight on this starry starry night
got no prob with starry nights - like it or not, '72 was the catbird seat for the whole singer/songwriter thang - it's the castrated ear that bothers me. I just know that this MOR crap mr timmy's got at the bottom is going in place of the prog & fusion that may have been an even greater hallmark of the era than anything.

i have great respect for the car radio push-button. the success of my comedy show on radio is that i didnt have to sweat the end of my sketches like NatLamp or SNL - i had like 40 different change-the station sounds to go to when i'd written myself into a corner. but this guy puts 8 automatic button-pushers in his first 10, ignores vital segments of the listening spectrum and refuses to put up "Favorite" over "Greatest" to describe his list

 
is going in place of the prog & fusion that may have been an even greater hallmark of the era than anything.


I know you don't mind singer/songwriters of the era. I actually like the song in question.

As for the quote, for guys of a certain age it may have been a hallmark, that is. Just like my post rock. I suspect not many lists of the aughts will have it, though. It never got absorbed into the pop consciousness. The music consciousness, maybe. Or the music conscience, even. But not within the bounds of the major lines of thought at the time. 

Just a thing that goes on. Prog and post are cousins, really, and will forever be dedicated to the sweaty men that hung out together to have light beamed down upon by people who tried really hard. 

Look at tim's as a pop list. The greatest pop songs of the era. Then you'll be somewhat mollified by the horror it unveils. 

 
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91. The Edgar Winter Group “Frankenstein” (from They Only Come Out at Night

https://youtu.be/P8f-Qb-bwlU

The link is to a live version of the song, 9 minutes in length. Some versions lasted over 30 minutes. 
I regard Edgar’s brother Johnny as the best blues guitarist I have ever heard, and Edgar is nearly as good as a multi-instrumentalist. On this tune he is downright amazing. He is joined by a bunch of legendary musicians, most notably guitarist Ronnie Montrose. 

The only reason this isn’t ranked higher is because it’s a somewhat repetitive instrumental, and difficult to compare to other actual “songs”. Even so it’s a classic. 

 
I listened to Frankenstein more times than I can count back in the 90s in my heavy classic rock days, but I cannot remember the last time I turned it on.  Still a great song I am sure, just not one I reach for anymore.  

 
91. The Edgar Winter Group “Frankenstein” (from They Only Come Out at Night

https://youtu.be/P8f-Qb-bwlU

The link is to a live version of the song, 9 minutes in length. Some versions lasted over 30 minutes. 
I regard Edgar’s brother Johnny as the best blues guitarist I have ever heard, and Edgar is nearly as good as a multi-instrumentalist. On this tune he is downright amazing. He is joined by a bunch of legendary musicians, most notably guitarist Ronnie Montrose. 

The only reason this isn’t ranked higher is because it’s a somewhat repetitive instrumental, and difficult to compare to other actual “songs”. Even so it’s a classic. 
Being within 9 of one of the worst songs ever, seems way too low to me.

 
91. The Edgar Winter Group “Frankenstein” (from They Only Come Out at Night

https://youtu.be/P8f-Qb-bwlU

The link is to a live version of the song, 9 minutes in length. Some versions lasted over 30 minutes. 
I regard Edgar’s brother Johnny as the best blues guitarist I have ever heard, and Edgar is nearly as good as a multi-instrumentalist. On this tune he is downright amazing. He is joined by a bunch of legendary musicians, most notably guitarist Ronnie Montrose. 

The only reason this isn’t ranked higher is because it’s a somewhat repetitive instrumental, and difficult to compare to other actual “songs”. Even so it’s a classic. 


Fail.

Fun tune.  I expect we see 30-40 piles of dreck high than this.  Bring on Donny Osmond's Puppy Love Timmy.

 
Continuing my exploration of 1970s music. 
 

100. “I Am Woman” Helen Reddy 

99. “Sitting In My Hotel” The Kinks 

98. “Your Mama Don’t Dance” Loggins and Messina 

97. “Black and White” Three Dog Night 

96. “Ain’t Wastin Time No More” The Allman Brothers Band 

95. “Garden Party” Rick Nelson 

94. “Everything I Own” Bread 

93. “Will It Go Round In Circles” Billy Preston 

92. “Looking Into You” Jackson Browne

91. “Frankenstein” The Edgar Winter Group 
If this is the first 10, this is either a bad year, or @timschochet is having a particularly bad ranking here. For me, these are probably the worst 91-100 songs in any of these lists that I can remember.

I know it will get better.

 
I know you don't mind singer/songwriters of the era. I actually like the song in question.

As for the quote, for guys of a certain age it may have been a hallmark, that is. Just like my post rock. I suspect not many lists of the aughts will have it, though. It never got absorbed into the pop consciousness. The music consciousness, maybe. Or the music conscience, even. But not within the bounds of the major lines of thought at the time. 

Just a thing that goes on. Prog and post are cousins, really, and will forever be dedicated to the sweaty men that hung out together to have light beamed down upon by people who tried really hard. 

Look at tim's as a pop list. The greatest pop songs of the era. Then you'll be somewhat mollified by the horror it unveils. 
never seen you post anything less than correct. prog & fusion chased the natural progression toward complexity that hard music had made since leaving the blues and which had seen electric music break precedent on an almost daily basis since the British Invasion began. for listeners, they've become a genre because much of it became complexity for complexity's sake (forcing the market connections of punk & such,, but comparing it to post-rock (and Mogwai is among my most-listened bands of the Spotify age) is like comparing micro-greened tweezer dishes to microwave burritos.

 
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never seen you post anything less than correct. prog & fusion chased the natural progression toward complexity that hard music had made since leaving the blues and which had seen electric music break precedent on an almost daily basis since the British Invasion began. for listeners, they've become a genre because it became complexity for complexity's sake, but comparing it to post-rock (and Mogwai is among my five most-listened bands of the last deacde+) is like comparing micro-greened tweezer dishes to microwave burritos.
Kudos to you for having Mogwai as one of your most listened to bands of the last decade.

I get what you're saying. Musically, Mogwai and prog rock are different. Prog-rock is complex and maximal while Mogwai's post-rock veers towards punk minimalism and the reliance upon a loud/soft dynamic throughout their recordings. But Mogwai are but one band in post-rock and they make explicit their fidelity to punk rock. They became post-rock ambassadors, but not without a sort of understanding that they're supposedly a punk rock band in spirit. Other post-rock bands are similar in spirit and not in minimalism or the loud/soft dynamic Mogwai has. Godspeed! You Black Emperor is a found sound band. Tortoise is a jazz/fusion band. Do Make Say Think has elements of jazz and groove all throughout theirs. 

But that wasn't really my point, which was, more largely, about prog-rock and post-rock's relation to pop, and each genre's demographic. It is that each appealed to the same demographic audience. I'm not sure I can prove that, but tons of concerts with sweaty men from the ages of 20-44 certainly speaks to it on my end. Prog, by the accounts I've read, was very much the same. (For that I rely on the good work of Dave Wiegel, as I was not even born yet at its height, so I have to source.) 

My post was an observation about each genre's appeal and demographic within the context of pop writ large. 

But maybe you gleaned that upon first glance. I don't know. I figured I'd at least clarify a point that may not be up to snuff. And I gave you the "like" for the clarity of thought on your end, and also because you're the Raven. 

 
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And every time I see "Frankenstein," I think of 1973, Todd Rundgren, and a particular "mock rock" outfit. That blues riffage buried under such bombast. The response they were getting and their views about New York CIty were summed up in the song. It actually was called "Frankenstein (Orig.)" as a nod to Edgar Winter, who put out the song in question here just before the Dolls's version. 

And oh, his shoes are too big
And oh, his jacket's too small
I'll show you a Frankenstein, Frankenstein
We're asking you as a person
Is it a crime, is it a crime
For you to fall in love in with Frankenstein?


 
timschochet said:
91. The Edgar Winter Group “Frankenstein” (from They Only Come Out at Night

https://youtu.be/P8f-Qb-bwlU

The link is to a live version of the song, 9 minutes in length. Some versions lasted over 30 minutes. 
I regard Edgar’s brother Johnny as the best blues guitarist I have ever heard, and Edgar is nearly as good as a multi-instrumentalist. On this tune he is downright amazing. He is joined by a bunch of legendary musicians, most notably guitarist Ronnie Montrose. 

The only reason this isn’t ranked higher is because it’s a somewhat repetitive instrumental, and difficult to compare to other actual “songs”. Even so it’s a classic. 
This is not prog. It is, however, one of the best instrumentals in rock history and deserves to be higher (Binky: lower).

 
This is not prog. It is, however, one of the best instrumentals in rock history and deserves to be higher (Binky: lower).
Neither wikkid nor I argued that, just for clarification. I was responding to his thoughts about the list. Prog entered into it. 

 
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Just Win Baby said:
If this is the first 10, this is either a bad year, or @timschochet is having a particularly bad ranking here. For me, these are probably the worst 91-100 songs in any of these lists that I can remember.

I know it will get better.
Lol I will repeat what I’ve written before: there will never be a song on this list that I don’t really really like and that I don’t think is really really good. 

 
Thanks. Apologies to Pip's Invitation. Thought maybe he thought the interlude wikkid and I had was due to Edgar Winter. 
I have no idea how to define prog myself. There are some songs upcoming on this list by bands that are defined as prog by most people, but the songs themselves are, at least IMO, indistinguishable from other classic rock. So what makes them prog? Because the musicians are expert? I don’t know. 

 
I have no idea how to define prog myself. There are some songs upcoming on this list by bands that are defined as prog by most people, but the songs themselves are, at least IMO, indistinguishable from other classic rock. So what makes them prog? Because the musicians are expert? I don’t know. 


Ask wikkid, he'll tell you like Potter Stewart would. 

 
90. Alice Cooper “School’s Out” (from School’s Out)

(For the record- I don’t think this is prog).

Alice Cooper had been around the glam scene for a few years but this song made him a household name. I really like this tune, especially the opening guitar riff, but a lot of folks love it far more than I do (Rolling Stone has had it on their top 500 lists in the past, and VH1 on their hard rock top 10, etc.) I always thought it was a bit repetitive and the lyrics are pretty hokey. 

That did not, however, stop me from singing along at the top of my lungs on the school bus coming home on the last day of school for 6th, 7th, and 8th grade. 

 
I have no idea how to define prog myself. There are some songs upcoming on this list by bands that are defined as prog by most people, but the songs themselves are, at least IMO, indistinguishable from other classic rock. So what makes them prog? Because the musicians are expert? I don’t know. 
since rockaction insists upon equating cooking with leftovers and farm-to-table, i have plenty of time to explain prog.

progressive (and fusion) rock lies not in the result but the ambition. it is almost impossible to describe the experience of walking into a record shop between 1967 and 1973. the face of electric music changed more in a week than it currently does in a decade. A buyer who could actually see over the counter (the key flaw in mr timmy's assessment of this era) was going home with not only something that they'd never heard before but was even money to change their outlook on music. Beatles went from skifflers to boy band to hitmakers to fusioneers to experimental chemists in three years; Stones went from blues purists to Edwardian fops to bad boys to lizard kings in the same period; Clapton and his unindicted co-conspirators brought blues thru 5-6 different levels and the music by which the most popular prog band of all time is remembered happened AFTER they sold out on progressing with Dark Side of the Moon. And scores of artists who'd been listening entered studios knowing that they wouldnt get a second chance unless what they recorded topped or changed what those guys had. And together they made the biggest snowball in the history of art.

many of those players, flush with electronic adventurism & liberal arts educations, circled the rhythms & blueses back to the operatic and symphonic forms where performance music - for the greater glory of God - began. Call & response; theme & variation, dramaturgy, movements, reprises, crescendi etcetc. to make the first fine point between that era and the next, OG progsters dont consider Rush to be prog because they only riff & rage. they dont connect their riffs thematically, just nextnextnext. it's Target shopping, headlines without articles. though creating new sounds was a big part of prog, it wasnt prog unless those sounds were integrated into themes & concepts grander than the sound itself. the rock opera and concept album were big showcases of that, but it was the ambition to write new musical equations which determined whether jazz was fusion or rock was prog. Google Rick Beato or Daily Doug if you wanna know more.

 
Thanks. Apologies to Pip's Invitation. Thought maybe he thought the interlude wikkid and I had was due to Edgar Winter. 
Nope, my comment was based on Tim saying “the next entry is a prog classic” before posting Frankenstein.

However, it’s amazing where the discussions go in the music threads on this board. Where else would you find a discussion of Mogwai in a thread about songs from 1972?

 
90. Alice Cooper “School’s Out” (from School’s Out)

(For the record- I don’t think this is prog).

Alice Cooper had been around the glam scene for a few years but this song made him a household name. I really like this tune, especially the opening guitar riff, but a lot of folks love it far more than I do (Rolling Stone has had it on their top 500 lists in the past, and VH1 on their hard rock top 10, etc.) I always thought it was a bit repetitive and the lyrics are pretty hokey. 

That did not, however, stop me from singing along at the top of my lungs on the school bus coming home on the last day of school for 6th, 7th, and 8th grade. 
I don't want to be pedantic but we're kind of glossing over some important history here. Alice Cooper, circa 1968-73, was the name of the band. The following year was their final LP before their breakup - Billion Dollar Babies. Two years after the breakup, Vince Furnier legally changed his name to Alice Cooper and released Welcome to My Nightmare. But to this day he still has to pay royalties to his ex-bandmates bc legally they own the name of the band.

This song is another one that was right in my junior high wheelhouse. We weren't terribly sophisticated - if it sounded good at 90-100dB, we were into it. Never really listened to him that much after BDB, didn't think he was doing anything unique and the stage theatrics were goofy (though I guess a few folks got their panties in a bunch.) That said, I like him as a person. He's engaging, loves to play golf (replaced alcoholism with chasing a little white ball), and even though he only lived in Pontiac for a few years, he's a loyal Detroit sports fan. Been on the Tigers and Pistons bandwagons since the early 70s. Seems like a good dude.

 
I don't want to be pedantic but we're kind of glossing over some important history here. Alice Cooper, circa 1968-73, was the name of the band. The following year was their final LP before their breakup - Billion Dollar Babies. Two years after the breakup, Vince Furnier legally changed his name to Alice Cooper and released Welcome to My Nightmare. But to this day he still has to pay royalties to his ex-bandmates bc legally they own the name of the band.

This song is another one that was right in my junior high wheelhouse. We weren't terribly sophisticated - if it sounded good at 90-100dB, we were into it. Never really listened to him that much after BDB, didn't think he was doing anything unique and the stage theatrics were goofy (though I guess a few folks got their panties in a bunch.) That said, I like him as a person. He's engaging, loves to play golf (replaced alcoholism with chasing a little white ball), and even though he only lived in Pontiac for a few years, he's a loyal Detroit sports fan. Been on the Tigers and Pistons bandwagons since the early 70s. Seems like a good dude.
well i saw them in '71 and Furnier was introduced as Alice. Boston's great underground radio station, WBCN, had a softball team and would play the members & crew of an up&coming band and then the band would play a show.  i had no idea who they were but remember being confused when the 2b was announced as Alice but was clearly male. i didnt care cuz they played hard #### and the guy electrocuted himself at the end. became a big fan and was proud, when i returned to school halfway thru my sr yr, to have gotten "The Ballad of Dwight Fry" (i...i wanna get outta here!") on the ballot for Class Song (frikkin "Teach Your Children" won...wimps).

 
well i saw them in '71 and Furnier was introduced as Alice. Boston's great underground radio station, WBCN, had a softball team and would play the members & crew of an up&coming band and then the band would play a show.  i had no idea who they were but remember being confused when the 2b was announced as Alice but was clearly male. i didnt care cuz they played hard #### and the guy electrocuted himself at the end. became a big fan and was proud, when i returned to school halfway thru my sr yr, to have gotten "The Ballad of Dwight Fry" (i...i wanna get outta here!") on the ballot for Class Song (frikkin "Teach Your Children" won...wimps).
Oh he used it as a stage name, sure. But it was the bands name - he wasn’t a solo act at the time.

 
since rockaction insists upon equating cooking with leftovers and farm-to-table, i have plenty of time to explain prog

many of those players, flush with electronic adventurism & liberal arts educations, circled the rhythms & blueses back to the operatic and symphonic forms where performance music - for the greater glory of God - began. Call & response; theme & variation, dramaturgy, movements, reprises, crescendi etcetc.
Honey, come quick -- we got a prog going serious on us!

Act Won - farm fresh 

wasnt prog unless those sounds were integrated into themes & concepts grander than the sound itself. the rock opera and concept album were big showcases of that, but it was the ambition to write new musical equations which determined whether jazz was fusion or rock was prog.
Act Two -  :lmao:  -- Tommy, can you hear me? 

See Me
Feel Me 
Touch Me 
Heal Me 


Google Rick Beato or Daily Doug if you wanna know more
Act Three - Meets its untimely demise and replaces its fan base

"Rick Wakeman, eat your heart out. Hubba hubba." - Jello Biafra

All sung to throngs of 18-44 year-old men. 

 
*crackling voice over in-house speaker system*

"We got a largemouth prog on the line in aisle 12. Sir, you can't fish here." 

"Honey, come quick. I got 'em. We'll eat for a week!" 

 
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89. Manassas “Johnny’s Garden” (from Manassas

https://youtu.be/5u3OMoKbrrg

Manassas was the name of Stephen Still’s band in 1972, so this is basically a Stephen Stills solo effort. The album was meh, but there are a couple of really excellent songs. This one, about his time in England, later became a concert staple for Stills (the link is to a CSNY show.) 
I strongly disagree with a good chunk of this post.

The first Manassas album is great. The “band” was extraordinarily good at playing a number of different genres. This song is about middle of the pack among its tracks. But it is the one that sounds most like the “soft rock” that is close to your heart. 

 
90. Alice Cooper “School’s Out” (from School’s Out)

That did not, however, stop me from singing along at the top of my lungs on the school bus coming home on the last day of school for 6th, 7th, and 8th grade. 
KEZY in Anaheim was the only station that played it. 7th and 8th grade for sure.

 
88. Creedence Clearwater Revival “Someday Never Comes” (from Mardi Gras

https://youtu.be/NwNuQulK6N0

The end of an era. This song, written about John Fogerty’s parents’ divorce when he was a child, was the last great tune by CCR. It was their last single and within a few months after releasing it they disbanded. 
Fogerty would go on to make two solo albums before taking an almost ten year hiatus from the music industry before coming out with Centerfield in 1985. We’ll never know how many great songs might have been lost during the ten years in between. 

 
88. Creedence Clearwater Revival “Someday Never Comes” (from Mardi Gras

https://youtu.be/NwNuQulK6N0

The end of an era. This song, written about John Fogerty’s parents’ divorce when he was a child, was the last great tune by CCR. It was their last single and within a few months after releasing it they disbanded. 
Fogerty would go on to make two solo albums before taking an almost ten year hiatus from the music industry before coming out with Centerfield in 1985. We’ll never know how many great songs might have been lost during the ten years in between. 
7 LPs 1968-72, two #1 albums, 29 singles, 14 Top Ten hits - but never a #1 song

Until the pandemic

 
Yeah, that's cool but it's apples and oranges. If there were as many genre-related charts back then as there are now, Creedence would likely have topped them multiple times. 

 
87. Emerson, Lake & Palmer “From The Beginning” (from Trilogy

https://youtu.be/hsJ9YXHqnr8

So this is one of the songs I was thinking of earlier: I’ve heard it all my life on classic rock stations and always really enjoyed it as a classic rock song with British folk elements (like so much of Led Zeppelin, for example). For many years I didn’t know the artist. Then I later learned it was ELP and it immediately became progressive rock for me because ELP is of course one of the greatest prog rock bands of all time. But is it prog rock? What, outside of the artist, makes it so? 
 

In any event this was ELP’s best selling single in the USA, their only ever top 40 hit (peaked at #39). 

 

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