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 THIRD 100 from 1971. #1: Echoes (1 Viewer)

38. One of These Days -- Pink Floyd (from Meddle)

https://www.youtube.com/watch?v=48PJGVf4xqk

Pink Floyd had put out some pretty awesome instrumentals in their four years' worth of work up to 1971, but One of These Days took things a step further. The bass rumbles, organ stabs and wind sound effects at the beginning convey a sense of an oncoming hurricane (or, if you've been watching Stranger Things recently, a supernatural entity), and then David Gilmour comes in with some gnarly slide guitar and, after a percolating break punctuated by a distorted voice (Nick Mason's only "lead vocal" on a Floyd record), all hell breaks loose. If Gilmour wasn't given his due as a guitar hero before this, he certainly was afterward. 

 
42. Chain Letter -- Todd Rundgren (from Runt. The Ballad of Todd Rundgren)

https://www.youtube.com/watch?v=dL4cZ6aJohw

Rundgren's second solo album, as its name implies, is heavy on Laura Nyro-inspired ballads, two of which, Be Nice to Me and A Long Time, A Long Way to Go, were moderately successful singles. But its best song is a different beast. Chain Letter starts out as another ballad, but slowly speeds up and adds vocals and instruments in a glorious display of majesty. By the end, Todd is wailing on guitar while multiple tracked versions of himself provide blissful harmonies. I've always been amused that the line (one of the last in the song) "For you see it's really twice this long" comes about halfway through the running time. 


first of all ...great review pip

I discovered his first two albums AFTER AWATS ...and it took me back to what initially brought to him with S/A.  

It glimpses into what he was about ...and I LOVE it.

Don't get me wrong ...I went on the whole trip.  After his success at this genre and went completely elsewhere I was disappointed initially like a lot of Todd fans.  But this was like a trip home ...like discovering a whole new S/A but a little more raw.  

Music was changing so much when I was a kid ...but this is just such beautiful, simple song writing, playing and singing.

I am verklemtp. 

Thanks for remember Todd in this effort.   :wub:

 
38. One of These Days -- Pink Floyd (from Meddle)

https://www.youtube.com/watch?v=48PJGVf4xqk

Pink Floyd had put out some pretty awesome instrumentals in their four years' worth of work up to 1971, but One of These Days took things a step further. The bass rumbles, organ stabs and wind sound effects at the beginning convey a sense of an oncoming hurricane (or, if you've been watching Stranger Things recently, a supernatural entity), and then David Gilmour comes in with some gnarly slide guitar and, after a percolating break punctuated by a distorted voice (Nick Mason's only "lead vocal" on a Floyd record), all hell breaks loose. If Gilmour wasn't given his due as a guitar hero before this, he certainly was afterward. 
The big one is still wide open.

Of course, I’m talking about “Seamus”.

 
38. One of These Days -- Pink Floyd (from Meddle)

https://www.youtube.com/watch?v=48PJGVf4xqk

Pink Floyd had put out some pretty awesome instrumentals in their four years' worth of work up to 1971, but One of These Days took things a step further. The bass rumbles, organ stabs and wind sound effects at the beginning convey a sense of an oncoming hurricane (or, if you've been watching Stranger Things recently, a supernatural entity), and then David Gilmour comes in with some gnarly slide guitar and, after a percolating break punctuated by a distorted voice (Nick Mason's only "lead vocal" on a Floyd record), all hell breaks loose. If Gilmour wasn't given his due as a guitar hero before this, he certainly was afterward. 
Not a Floyd fan, but a outstanding song.  

 
37. Halleluhwah -- Can (from Tago Mago)

https://www.youtube.com/watch?v=ot3z7mrFLbs

In the first post I said that 1971 was one of the peak years for prog. That is also true for the subset of prog called krautrock (is it OK to say that these days?) This subgenre was distinct not just because it consisted of German bands, but also because it blended psychedelic rock, avant garde styles and electronic music in ways that other scenes didn't. 

One of the best bands from this scene was Can, and arguably their best album, Tago Mago, came out in '71. The band crafted a double album from free-form jams, edited together by bassist Holger Czukay, and the result was unique and spectacular, and became a tremendous influence on subsequent bands from the prog and psychedelic scenes, as well as the artsier sides of the punk and indie scenes. 

Halleluwah, which takes up all of side 2, is driven by a beat that is both spacey and funky (the drum part has been sampled often), and gives the sense that you're in some sort of freaky trance, but awkwardly dancing your way through it. The vocal bursts starting around 9:40, accompanied by piercing guitar blasts, are either some of the most exhilarating passages you'll hear, or the stuff of nightmares, depending on your perspective. 

 
Last edited by a moderator:
38. One of These Days -- Pink Floyd (from Meddle)

https://www.youtube.com/watch?v=48PJGVf4xqk

Pink Floyd had put out some pretty awesome instrumentals in their four years' worth of work up to 1971, but One of These Days took things a step further. The bass rumbles, organ stabs and wind sound effects at the beginning convey a sense of an oncoming hurricane (or, if you've been watching Stranger Things recently, a supernatural entity), and then David Gilmour comes in with some gnarly slide guitar and, after a percolating break punctuated by a distorted voice (Nick Mason's only "lead vocal" on a Floyd record), all hell breaks loose. If Gilmour wasn't given his due as a guitar hero before this, he certainly was afterward. 
my first full-time job was as a teacher's aide in a pilot class for what would become IDEA - the move to mainstream profoundly handicapped children into public schools. looking back, i am surprised how little the teachers actually knew about what they were doing, caring & dedicated as they were. A LOT of improvising and just making do til the right tactics came to fore. we had one kid who was pretty much in a petit mal seizure 24/7 and he celebrated the successful conclusion of my six wks teaching him to tie his shoes by peeing on me, the pre-verbal autistics were bouncing off the walls as oten as not and the Downs kids were quite upset for being attention-deprived in the light of these events. Pink Floyd were our greatest friend on the bad days - if it all got too much, we'd put Meddle on the record player as loud as school protocols permitted and we'd all, including staff, just zone. the auts would come into line like the music was orders from the mother ship. it's probably the greatest compliment i can pay to musical artists that their work appeared to effect the molecular biology of a highly turbulent colony..

 
36. I Don't Want to Talk About It -- Crazy Horse (from Crazy Horse)

https://www.youtube.com/watch?v=NBz_2EqJ5wI

While Crazy Horse has spent their career in the shadows of Neil Young, as I mentioned earlier, their self-titled debut album shows just how much of a talent Danny Whitten was, and there is no better evidence for that than this gorgeous, tender ballad which became his signature song. Its best known for its cover version by Rod Stewart, which topped the UK charts in the mid-70s and did OK here. It's also been covered by Indigo Girls, Everything But the Girl and Nils Lofgren (who played guitar and sang harmony on the Crazy Horse version), among others. 

 
35. My Wife -- The Who (from Who's Next)

https://www.youtube.com/watch?v=IWwU-KS76xg

Not surprisingly, Tim and Bracie took almost everything from Who's Next. I've never much cared for Love Ain't for Keeping, so My Wife is its only representative on this list. And hey, it's probably John Entwistle's signature song. The propulsive piano and crunchy guitar riffs grab your attention, as does the tale of an oafish drunkard who fears his spouse (I've always imagined the narrator is Andy Capp). The coda with swirling guitars and punchy horns is outstanding as well. 

Fun fact: The song doesn't have a guitar solo because Entwistle didn't know how to write one, and didn't ask Pete Townshend or anyone else for help. 

Fun fact 2: Entwistle wrote The Quiet One (which appears on Face Dances) because he was tired of singing this in concert and wanted something new for his spotlight number in Who sets. (When I saw The Who in 1989, he had three spotlights: My Wife, Trick of the Light (a Daltrey vocal on record) and Boris the Spider.) 

 
34. Sweet Hitch-Hiker -- Creedence Clearwater Revival (released as a single)

https://www.youtube.com/watch?v=TlL3-EmmV64

CCR was starting to fall apart in 1971. The other members chafed at John Fogerty's creative dominance of the band, which led to his brother Tom departing and remaining members Stu Cook and Doug Clifford demanding their material be showcased also. In the midst of all the chaos, they put out a strong single that gave no indication the band was on the verge of imploding. Sweet Hitch-Hiker is just as kickass as their best songs from their peak period. The following year it appeared on Mardi Gras, which turned out to be their final album and has the reputation of being terrible (I've never heard the whole thing.)

 
Pip's Invitation said:
34. Sweet Hitch-Hiker -- Creedence Clearwater Revival (released as a single)

https://www.youtube.com/watch?v=TlL3-EmmV64

CCR was starting to fall apart in 1971. The other members chafed at John Fogerty's creative dominance of the band, which led to his brother Tom departing and remaining members Stu Cook and Doug Clifford demanding their material be showcased also. In the midst of all the chaos, they put out a strong single that gave no indication the band was on the verge of imploding. Sweet Hitch-Hiker is just as kickass as their best songs from their peak period. The following year it appeared on Mardi Gras, which turned out to be their final album and has the reputation of being terrible (I've never heard the whole thing.)
three minutes of hook, so much fun

its amazing they had nine Top 10 hits and five songs made it to #2, but never had a Number One

this one made to #6

 
Pip's Invitation said:
34. Sweet Hitch-Hiker -- Creedence Clearwater Revival (released as a single)

https://www.youtube.com/watch?v=TlL3-EmmV64

CCR was starting to fall apart in 1971. The other members chafed at John Fogerty's creative dominance of the band, which led to his brother Tom departing and remaining members Stu Cook and Doug Clifford demanding their material be showcased also. In the midst of all the chaos, they put out a strong single that gave no indication the band was on the verge of imploding. Sweet Hitch-Hiker is just as kickass as their best songs from their peak period. The following year it appeared on Mardi Gras, which turned out to be their final album and has the reputation of being terrible (I've never heard the whole thing.)
In the misheard lyrics world, it always sounded like “Sweden to Haifa” to me.

 
Pip's Invitation said:
35. My Wife -- The Who (from Who's Next)

https://www.youtube.com/watch?v=IWwU-KS76xg

Not surprisingly, Tim and Bracie took almost everything from Who's Next. I've never much cared for Love Ain't for Keeping, so My Wife is its only representative on this list. And hey, it's probably John Entwistle's signature song. The propulsive piano and crunchy guitar riffs grab your attention, as does the tale of an oafish drunkard who fears his spouse (I've always imagined the narrator is Andy Capp). The coda with swirling guitars and punchy horns is outstanding as well. 

Fun fact: The song doesn't have a guitar solo because Entwistle didn't know how to write one, and didn't ask Pete Townshend or anyone else for help. 

Fun fact 2: Entwistle wrote The Quiet One (which appears on Face Dances) because he was tired of singing this in concert and wanted something new for his spotlight number in Who sets. (When I saw The Who in 1989, he had three spotlights: My Wife, Trick of the Light (a Daltrey vocal on record) and Boris the Spider.) 
Most underrated song on Who’s Next IMO.

 
Pip's Invitation said:
35. My Wife -- The Who (from Who's Next)

https://www.youtube.com/watch?v=IWwU-KS76xg

Not surprisingly, Tim and Bracie took almost everything from Who's Next. I've never much cared for Love Ain't for Keeping, so My Wife is its only representative on this list. And hey, it's probably John Entwistle's signature song. The propulsive piano and crunchy guitar riffs grab your attention, as does the tale of an oafish drunkard who fears his spouse (I've always imagined the narrator is Andy Capp). The coda with swirling guitars and punchy horns is outstanding as well. 

Fun fact: The song doesn't have a guitar solo because Entwistle didn't know how to write one, and didn't ask Pete Townshend or anyone else for help. 

Fun fact 2: Entwistle wrote The Quiet One (which appears on Face Dances) because he was tired of singing this in concert and wanted something new for his spotlight number in Who sets. (When I saw The Who in 1989, he had three spotlights: My Wife, Trick of the Light (a Daltrey vocal on record) and Boris the Spider.) 
Great song that gets lost on this album.

 
33. Inner City Blues (Make Me Wanna Holler) -- Marvin Gaye (from What's Going On)

https://www.youtube.com/watch?v=57Ykv1D0qEE

The first two hit singles from What's Going On were included on the previous lists, but this one wasn't. The tune seamlessly fuses blues and soul and contains some top-grade high-pitched vocalizing from Gaye, but is especially notable for its lyrics, which were based on the premise of "the government will pay to put a man on the moon but not to help people in the ghetto." Many of its words are still familiar and poignant today. 

 
Last edited by a moderator:
33. Inner City Blues (Make Me Wanna Holler) -- Marvin Gaye (from What's Going On)

https://www.youtube.com/watch?v=57Ykv1D0qEE

The first two hit singles from What's Going On were included on the previous lists, but this one wasn't. The tune seamless fuses blues and soul and contains some top-grade high-pitched vocalizing from Gaye, but is especially notable for its lyrics, which were based on the premise of "the government will pay to put a man on the moon but not to help people in the ghetto." Many of its words are still familiar and poignant today. 
folks still throwin' up both their hands 50 years later. sry, Brother Mahvin...

 
32. Name of the Game -- Badfinger (from Straight Up)

https://www.youtube.com/watch?v=yDfH5j0o5hk

Like everything related to Badfinger, the birth of Straight Up was difficult. It took nine months to record and went through three producers, Geoff Emerick, George Harrison and Todd Rundgren. But it did spawn two hit singles, Day After Day and Baby Blue, which appeared on the previous lists.

Equally great is the Harrison-produced Name of the Game, a gorgeous, sweeping ballad with a magnificent vocal from Pete Ham. It was supposed to be the lead single, but was withdrawn when the album was reworked. It could well have been the third hit from the record if given a chance. (It did get a single release in the Phillippines.) 

This is the second Badfinger-related entry, as Ham and Tom Evans wrote Without You, the massive hit for Harry Nilsson. 

 
31. I Don't Need No Doctor -- Humble Pie (from Performance: Rockin' the Fillmore)

https://www.youtube.com/watch?v=mSyrf-FYKVE

One of the preeminent early '70s "boogie rock" tracks was written by ... Ashford and Simpson? Yep, back in their songwriters-for-hire days, Nicolas Ashford and Valerie Simpson (along with Jo Armstead) penned this tune, which was originally a failed single by Ashford himself. Then Ray Charles covered it, and the song became known to R&B fans everywhere, including four guys across the pond who were in Humble Pie. They added a freaky, fried arrangement to their live set and released it as the closer to their 1971 live album. This version, featuring some of Steve Marriott's most extreme vocal gymnastics (and cowbell! Lots of cowbell!), hit the lower range of the Hot 100 in '71 and became an FM radio favorite. You can hear the glorious sweat in every note. 

 
31. I Don't Need No Doctor -- Humble Pie (from Performance: Rockin' the Fillmore)

https://www.youtube.com/watch?v=mSyrf-FYKVE

One of the preeminent early '70s "boogie rock" tracks was written by ... Ashford and Simpson? Yep, back in their songwriters-for-hire days, Nicolas Ashford and Valerie Simpson (along with Jo Armstead) penned this tune, which was originally a failed single by Ashford himself. Then Ray Charles covered it, and the song became known to R&B fans everywhere, including four guys across the pond who were in Humble Pie. They added a freaky, fried arrangement to their live set and released it as the closer to their 1971 live album. This version, featuring some of Steve Marriott's most extreme vocal gymnastics (and cowbell! Lots of cowbell!), hit the lower range of the Hot 100 in '71 and became an FM radio favorite. You can hear the glorious sweat in every note. 
Frampton was masterful here, too. Nice precursor to his own monster live album a handful of years later.

 
33. Inner City Blues (Make Me Wanna Holler) -- Marvin Gaye (from What's Going On)

https://www.youtube.com/watch?v=57Ykv1D0qEE

The first two hit singles from What's Going On were included on the previous lists, but this one wasn't. The tune seamlessly fuses blues and soul and contains some top-grade high-pitched vocalizing from Gaye, but is especially notable for its lyrics, which were based on the premise of "the government will pay to put a man on the moon but not to help people in the ghetto." Many of its words are still familiar and poignant today. 
Yeah, I think that seven to nine tracks off of the album could be on a best of '71 list, if you ask me. 

This spurred me to put on my Motown test pressing of the album, which I believe is from 1980, and is supposed to be one of the better recorded outputs of the album. 

 
Last edited by a moderator:
30. Into the Void -- Black Sabbath (from Master of Reality)

https://www.youtube.com/watch?v=KSSEzWXqGKY

I said there would be more from Master of Reality, so here we go. The opening riff of Into the Void is iconic and its presence can be heard everywhere in the various heavy music genres of the '80s and '90s. If the song had ended at 3:08, it would have still been a masterpiece, but things really take off from there, shifting from slow to fast to slow again to chaos, and making you want to pump your fist the whole time. 

The original US LP split the track in two and called the first 3:08 "Deathmask". The UK LP always had it as one, as did subsequent US pressings. 

 
30. Into the Void -- Black Sabbath (from Master of Reality)

https://www.youtube.com/watch?v=KSSEzWXqGKY

I said there would be more from Master of Reality, so here we go. The opening riff of Into the Void is iconic and its presence can be heard everywhere in the various heavy music genres of the '80s and '90s. If the song had ended at 3:08, it would have still been a masterpiece, but things really take off from there, shifting from slow to fast to slow again to chaos, and making you want to pump your fist the whole time. 

The original US LP split the track in two and called the first 3:08 "Deathmask". The UK LP always had it as one, as did subsequent US pressings. 
Such a cool song 👍

 
29. Hello in There -- John Prine (from John Prine)

https://www.youtube.com/watch?v=dcB_ZvyL35o

28. Coat of Many Colors -- Dolly Parton (from Coat of Many Colors)

https://www.youtube.com/watch?v=SyP0Sy9KFf0

After hitting you with some heavy stuff, here are a pair of songs from the quieter side of the 1971 music scene -- country and I guess what would become alt-country. 

John Prine's self-titled debut album is astonishing. He was only 24 when it was released, but the lyrics and vocals sound like they come from someone with much more life experience than that. While his contemporaries were concerned about themselves and living for the moment, in Hello in There, Prine ponders a future with little purpose where people are just waiting around to die. 

You know that old trees just grow stronger
And old rivers grow wilder every day
Old people just grow lonesome
Waiting for someone to say, "Hello in there, hello"


And he urges people to engage with each other to make life more meaningful. 

So if you're walking down the street sometime
And spot some hollow ancient eyes
Please don't just pass 'em by and stare
As if you didn't care, say, "Hello in there, hello"


Dolly Parton has said that Coat of Many Colors is her favorite song that she ever wrote and it's easy to see why. It's about how, despite having no money, her mother made her a coat out of rags, which represented how much she was loved and valued growing up even if there weren't material goods to show for it. It's a sentiment that's prevalent throughout the history of country music, and it's delivered very poignantly here.

But they didn't understand it, and I tried to make them see
One is only poor, only if they choose to be
Now I know we had no money, but I was rich as I could be
In my coat of many colors my momma made for me


 
29. Hello in There -- John Prine (from John Prine)

https://www.youtube.com/watch?v=dcB_ZvyL35o

28. Coat of Many Colors -- Dolly Parton (from Coat of Many Colors)

https://www.youtube.com/watch?v=SyP0Sy9KFf0

After hitting you with some heavy stuff, here are a pair of songs from the quieter side of the 1971 music scene -- country and I guess what would become alt-country. 

John Prine's self-titled debut album is astonishing. He was only 24 when it was released, but the lyrics and vocals sound like they come from someone with much more life experience than that. While his contemporaries were concerned about themselves and living for the moment, in Hello in There, Prine ponders a future with little purpose where people are just waiting around to die. 

You know that old trees just grow stronger
And old rivers grow wilder every day
Old people just grow lonesome
Waiting for someone to say, "Hello in there, hello"


And he urges people to engage with each other to make life more meaningful. 

So if you're walking down the street sometime
And spot some hollow ancient eyes
Please don't just pass 'em by and stare
As if you didn't care, say, "Hello in there, hello"


Dolly Parton has said that Coat of Many Colors is her favorite song that she ever wrote and it's easy to see why. It's about how, despite having no money, her mother made her a coat out of rags, which represented how much she was loved and valued growing up even if there weren't material goods to show for it. It's a sentiment that's prevalent throughout the history of country music, and it's delivered very poignantly here.

But they didn't understand it, and I tried to make them see
One is only poor, only if they choose to be
Now I know we had no money, but I was rich as I could be
In my coat of many colors my momma made for me
two titans..........................three?

just hope there's no Jackson Browne in the 1-27 slots. JP will haunt you with spectral sarcasm for the rest of your days if there is.

 
John Prine's self-titled debut album is astonishing. He was only 24 when it was released, but the lyrics and vocals sound like they come from someone with much more life experience than that. While his contemporaries were concerned about themselves and living for the moment, in Hello in There, Prine ponders a future with little purpose where people are just waiting around to die. 

You know that old trees just grow stronger
And old rivers grow wilder every day
Old people just grow lonesome
Waiting for someone to say, "Hello in there, hello"


And he urges people to engage with each other to make life more meaningful. 

So if you're walking down the street sometime
And spot some hollow ancient eyes
Please don't just pass 'em by and stare
As if you didn't care, say, "Hello in there, hello"
one of the greatest songwriters of our generation. although he had a very devoted following, I always thought of him as a songwriters songwriter. he’s the guy that makes other musicians think “I want be more like him.” 

his lyrics resonate on a whole different level. humble, hilarious & heartfelt.

 
one of the greatest songwriters of our generation. although he had a very devoted following, I always thought of him as a songwriters songwriter. he’s the guy that makes other musicians think “I want be more like him.” 

his lyrics resonate on a whole different level. humble, hilarious & heartfelt.
i did not know Prine, but knew a lot of people who did. he made other substantial artists feel inadequate-unto-fraudulent, either intentionally (as in Browne) or vicariously(?) because they wished their work could tell as much truth while leaving the particulars as unresolved. more&more as time goes on, i realize how lucky i was to be around such folks even as briefly & peripherally as i was. having been a witness makes me ever sure we can.... 

 
27. South Side of the Sky -- Yes (from Fragile)

https://www.youtube.com/watch?v=hBAauFYod80

The "major" songs from Yes' incredible three-album run in '71 and '72 all got played to death on FM radio, except for this one, which is one of the best of all. The riffage at the beginning and end is monstrous but what truly makes it stand out in the Yes catalog comes in the middle. After Rick Wakeman's gorgeous piano interlude, Jon Anderson, Steve Howe and Chris Squire engage in an incredible passage of wordless harmonies that rivals anything CSN ever did. 

Perhaps because of the difficulty of nailing those harmonies, this was the only "major" song from The Yes Album/Fragile/Close to the Edge that did not appear regularly in live sets in the '70s or show up on the Yessongs live album. In their latter years, they have attempted it from time to time. 

 
27. South Side of the Sky -- Yes (from Fragile)

https://www.youtube.com/watch?v=hBAauFYod80

The "major" songs from Yes' incredible three-album run in '71 and '72 all got played to death on FM radio, except for this one, which is one of the best of all. The riffage at the beginning and end is monstrous but what truly makes it stand out in the Yes catalog comes in the middle. After Rick Wakeman's gorgeous piano interlude, Jon Anderson, Steve Howe and Chris Squire engage in an incredible passage of wordless harmonies that rivals anything CSN ever did. 

Perhaps because of the difficulty of nailing those harmonies, this was the only "major" song from The Yes Album/Fragile/Close to the Edge that did not appear regularly in live sets in the '70s or show up on the Yessongs live album. In their latter years, they have attempted it from time to time. 


reaction.

 
With all due to respect to the previous 1971 countdowns, you’re crushing it here, Pip👍
 

Shows how amazing of a year it was. 
True, but Tim’s list kind of sucked. I like Bracie 100 & Pip’s 73 and counting way better.

Tremendous year. But also painful - lost Janis and Jimi 16 days apart in fall 1970 and Morrison the next summer. The Beatles had broken up. Dylan was in a period of relative dormancy.

That’s the beautiful thing about music. There’s always a new wellspring bubbling up.

 

Users who are viewing this thread

Top