1,001 songs to listen to before you die...

[Liam]

331.      

‘When The Levee Breaks’, Led Zeppelin (1971)

This is another song that I’ve heard a cover version of, but have never had a chance to hear this version, let alone the actual original version. Written in 1927 and about the Great Mississippi Flood, this version was given a rockier, bluesier take from Zeppelin. Plant and Paige’s work is good, but the drumming is what carries a lot of this song. Apparently, they played the drums at the bottom of a set of old stairs and placed the microphones above it, leading to the natural echo and reverb. It is an odd one for me, because I appreciate it from a technical standpoint, but it doesn’t do as much for me as Whole Lotta Love or some of their punchier rock songs. I get why people like it though, that’s for sure.

332.      

‘Surf’s Up’, The Beach Boys (1971)

An interesting story lay behind this as it was due to be the song that anchored Brian Wilson’s ‘Smile’ project, with various snippets, re-imaginings and revamps released over the next five decades as it was abandoned. At this point, only ‘Surf’s Up’ found its way onto the next Beach Boys album, though a version that had to be rebuilt from demo material by Carl Wilson. The more I hear from the Beach Boys around some of their more saccharine offerings, I’m all the more impressed by the quality of the songwriting – well, definitely the scope.

333.      

‘Theme from Shaft’, Isaac Hayes (1971)

Some songs are just immeasurably cool – ‘Theme from Shaft’ is one of them. Before things even get to the famous lines from Hayes, there is a lot going on with the instruments. Guitar riffs, insistent hi-hat cymbal work, keyboard and woodwind amongst other elements all add up to a two minute introduction that sets the tone for the character that this became synonymous with. It is equal parts funky and grand, taken over the top by the deep musings of Hayes about Shaft’s various qualities. I’ve not even seen the films, I’ll be honest with you, but I know the song. That ability to transcend where you started from speaks volumes on a list like this.

[METALMAN]

This is a  good set!

I'm with you on the Led Zeppelin one. It's not an amazing song but it's a great experience. I usually listen to the intro then switch over to something else. I couldn't even remember what it sounded like after 1:20. But what an intro.

Surf's Up is great. As much as I like Brian Wilson, my favourite period of the Beach Boys coincides with those albums made when he started to play a less involved part in the band. Surf's Up, Carl and the Passions and Holland are three great albums - perhaps my three favourite Beach Boys ones - with increasingly little involvement from Brian Wilson. That being said, the song Surf's Up is pretty much all Brian Wilson and it's incredible.

Shaft is a really special song.

[Liam]

334.      

‘The Revolution Will Not Be Televised’ Gil Scott-Heron (1971)

Originally recorded in 1970, but re-recorded with a full band treatment in 1971, Heron takes a humorous and cynical look at the world at that time. His lyrics spill out with a rapidity that showcased a level of skill that is still impressive today, showing an acute consciousness of the world surrounding him which made this a popular counter-culture song. It – at least to me – seems like another song that calls for change to come from within, for people who are complaining to rise up and do something about it, rather than sitting back and not being engaged. Powerful work.

335.      

‘It’s Too Late’, Carole King (1971)

Carole King and Tapestry in particular is an artist and an album that I’ve seen kicking around in music stores for years, but have never had any inclination to pick it up and listen. From what I hear, I wouldn’t argue I’ve missed a lot, but the song is pretty good all in all. It is perhaps most interesting for its lyrics as this was a woman singing about a relationship ending, yet being happy for the good times that they’d both experienced. At a time when a lot of songs were about women getting done wrong, or being the cheaters themselves, it was a different take on a breakup song. The jazzy accompaniments are also effective, especially seen through modern eyes – I’ve experienced too many guitar singer/songwriters, so this sounds fresher for that.

336.      

‘Dum Maro Dum’, Asha Bhosle (1971)

The younger sister of Lata Mangeshkar, Bhosle is apparently one of the most recorded artists of all time, primarily due to her being a vocalist for many a Bollywood film. This feels very different to the songs I’ve heard in this style, which can probably be explained by the film and the song title. In the film, the actress is smoking a spliff and the song means ‘Puff, take a puff’. The usual bhangra style accompaniments are interesting bedfellows with rock guitars and some slightly more psychedelic flourishes. Quite a fun little slice of music culture. Not that I need to compare them, but I prefer this to her sister’s song, so there.

[METALMAN]

The GSH one is great.

I really like It's Too Late. Tapestry is a great album, but most of the songs are like that so if you didn't enjoy It's Too Late that much you might be wise in not going further. But Carole King is great - the number of quality songs she's written for herself and others is pretty remarkable.

[VerbalPuke]

Never heard that "Revolution Will Not Be Televised" but it's a great song. Glad I heard that.

[GoGo Yubari]

Gill Scott-Heron is phenomenal.

I feel like I wasn't fully able to get into "Tapestry" when I listened to it but Carole King is a great songwriter, and I do really like "It's Too Late."

Love "Dum Maro Dum," that's one I immediately tracked down to download after hearing it because of this book. Like you said, the way it incorporates psychedelic rock is really great.

[Liam]

337.      

‘Tired Of Being Alone’, Al Greene (1971)

Originally singing in a gospel choir when he was 10, Al Greene was eventually kicked out of not only the choir, but the family home, by his father after he was caught listening to Jackie Wilson. Sounds pretty harsh to me, thought it did lead to him following this musical path instead. A punchy little number at less than three minutes running time, Greene spends it utilising his high vocal stylings making it clear how much he was yearning for someone. I like the little flourishes of the Memphis Horn Section, whilst the almost spoken word segment near the end adds a neat element of reality to proceedings. Perhaps Greene really was tired of being alone.

338.      

‘Won’t Get Fooled Again’, The Who (1971)

Influenced by: Street Fighting Man • The Rolling Stones (1968)

Influence on: Jump • Van Halen (1984)   

Covered by: Labelle (1972) • Skrewdriver (1977) • Van Halen (1993)   Other key track: I Can See for Miles (1967)

This is a perfect example of a song that has everyone working at full capacity. Coming shortly after the rock opera of Tommy, ‘Who’s Next’ provided a number of songs that I – as a non-Who fan – was well aware of. Whilst this mainly has a place in my mind due to its use on CSI: Miami more so than my actual knowledge of the song, the eight minute track is an impressive showcase of all four members of the band. Daltrey’s vocals are great, whilst the bass, drum and guitar create a driving racket that perhaps explains why it was originally the soundtrack to an uprising during the abandoned ‘Lifehouse’ project that had originally been on the table for their next album. Even the last minute or so, when things threaten to meander to a close, things kick back in just before the finish. A great rock song that I’m glad I’ve now finally listened to from start to finish.

339.      

‘Vincent’, Don McLean (1971)

Inspired by: The Starry Night (painting) • Vincent van Gogh (1889)

Inspiration for: “Starry Night” • Tupac Shakur (1999)   

Covered by: Chet Atkins (1972) • The King’s Singers (1989) • Justin Hayward (1994) • Josh Groban (2001) • Rick Astley (2005)

I had a moment when I read this next section in which I couldn’t actually remember who Don McLean was. Anyhoo, this is a really interesting song that explored the life and death of Vincent Van Gogh. Actually more successful chart-wise than ‘American Pie’, this is a less bombastic take on a eulogy, with a simple guitar singer-songwriter setup. McLean has a good, clean voice which was necessary for the sparseness of the arrangement. If there is a knock against it, it is almost too poignant, especially for a song that found its way into the upper echelons of the chart. It feels a little too intimate, too earnest in its exploration of the emotions McLean felt. Still, it is arguably a ‘better’ song than American Pie, depending on what you want from your music.

[METALMAN]

I love Tired of Being Alone. Nearly every single Al Green released around then was a winner.

The Who are one.of those bands that don't really do it for me in the studio, but their live albums are often excellent. Won't Get Fooled Again is really good either way.

I really really really really really really really hate American Pie. I loathe that song and as result I kind of loathe Don McLean. I didn't actually hear his original version of Vincent for ages. I originally came across it because I played piano for a friend who used to do the open mic circuit when I was in first year at university and liked doing that song. I think the version I did with him was slightly better, but because of that experience I like Vincent more than I might otherwise.

[MalaCloudy Black]

I didn't realize Al Green is still alive.

[Liam]

340.      

‘The City of New Orleans’, Steve Goodman (1971)

According to the book, this was made more popular in the years that followed, but this was the highlight of Goodman’s short career. He was in his early twenties when he wrote this and passed away in 1984 from leukaemia, leaving this as his most notable impact on the wider music scene. Perhaps it is due to the sheer size of the country, but the ‘travel song’ for lack of a better definition seems such an American staple, much more so than the UK or others. Standard singer songwriter fare that is an ear worm as Goodman sings about the train that took him from Chicago to New Orleans. A good slice of folk-country.

341.      

‘Peace Train’, Cat Stevens (1971)

An earnest song about hope in reaction to the Vietnam War, Stevens’ eventual conversion to Islam (and name change to Yusuf Islam) cemented this as one of his own personal favourites. Islam used his Greek-Cypriot background as the inspiration for the song’s sound as this was apparently in keeping with what you might hear on a Greek Island. The choral elements and the lively percussion do create a very positive tone, though the song as a whole doesn’t do much for me. It is easy to see why it was popular with people though, those looking for positivity during negative times.

342.      

‘Superstar’, The Carpenters (1971)

A step away from what the Carpenters were known for, as the song was about a groupie wanting to sleep with a musician, but retaining a lot of what made their music effective, ‘Superstar’ is a good bittersweet pop track. There are times when it almost feels like it is a James Bond opening song in prototype, though the chorus bits do take it more towards your standard pop single. If anything, those are the bits that I care for less – catchy, but less interesting for the most part. However, it does allow a song that might have otherwise not fit within the Carpenters’ oeuvre work.

[Skummy]

I love Superstar. I know it mainly through the Sonic Youth cover on a Carpenters tribute album, but it's gorgeous. I find it very haunting, though agree that the chorus is the weakest part of the song, and feels like something almost crowbarred in to make it more palatable.

[Liam]

343.      

‘A Nickel and a Nail’, O.V. Wright (1971)

Coming from a gospel background, O.V. Wright turned to a more bluesy style as his career grew – singing songs brought for cheap by his label boss. What makes this all the more interesting is that he maintains elements of that gospel style, almost like a preacher addressing a congregation, though the achingly raw vocals feel much more bluesy in their delivery. There is a slight roughness that I appreciated when you compare this to some of the other blues/funk music that has made the list so far. It is also worth noting the instrumentation as it sounds simple, yet adds a nice element of funk to an otherwise pretty melancholy story.

344.      

‘Inner City Blues (Make Me Wanna Holler) (1971)

I run the risk – just like the last song – of throwing out words like ‘groove’ and ‘funk’ like a white man who really doesn’t know what he is talking about. However, the restrained brass and percussion give this a groove that hits from the opening beat that allows Gaye to explore ideas about society’s woes. Sometimes it is about the lyrics or the other accoutrements that see a song make the list – we know Gaye can sing, of that there is no doubt. This socially conscious lyric challenges the government’s misguided policies that rarely look to support those who are down and out and need it. Rarely has politics sounded so cool, though the poignancy of the piano-only section before the end brings things back down to the seriousness of the message.

345.      

‘Papa Was A Rolling Stone’, The Temptations (1972)

According to the book, the Temptations were at breaking point when this was recorded, leading to firing their producer, Norman Whitfield, shortly after. What perhaps made this more interesting is that Whitfield won two Grammys for the song; The Temptations only one. Now, I don’t really know how the Grammys work, so maybe that isn’t that much of a big deal…le shrug. What blows my mind a bit with this song is that it goes four minutes before a vocal of any sort. My limited knowledge of the Temptations never incorporated any understanding of them putting out songs that ran almost twelve minutes. It is dubbed ‘psychedelic soul’ and the layers of instrumentation do build up in an effective manner, creating almost a dreamlike feeling before each of the vocalists questions what type of person their father was. Does it need to go this long? Possibly not, but it is engaging for almost all of it.

[METALMAN]

Another good three. 

I love Inner City Blues, but it took me a while. I bought What's Going On when I was still in school, pretty much because I saw it in a record shop and remembered it from all those best album ever lists that every magazine seems to do at some point. At first I thought it was a decent album, good enough, but I couldn't quite see why it was esteemed as the one of the best ever. It took the best part of a decade - maybe once a year I'd listen to it, and each time it grew upon me more and more. Now, I would say it's a classic album, and Inner City Blues is a central part of that. It sounds so weird to hear it out of context though. In the album all the tracks run together, and you kind of get used to them all being the same thing.

The Temptations are great and Papa Was.a Rolling Stone is obviously very special. Twelve minutes long and only two chords: it's amazing how much they did with so little.

I don't know the OV Wright one but it sounds good.

 

[VerbalPuke]

I adore Papa was a rolling stone. As metalman mentioned, it's a pretty simple song musically but just fantastic. Great story, great vocals, from one of the best groups ever. Fun for me to play on bass since I'm shit and it makes me feel better that I can play a Temptations song.

I'm thinking I want to go through this thread again and listen to every song. I haven't done that. Some I know, the songs I don't I choose based on commentary from all of you or if the song title or band name was cool.

[Liam]

346.      

‘I’ll Take You There’, The Staple Singers (1972)

This feels very familiar, which might be due to the general music being taken from another song, ‘The Liquidator’, but I don’t know that one either… Still, this is a pleasant enough song that threatens to feel a little too lightweight to be on that list at times. However, the more gospel call and response moments add a bit more weight to the song, as do the repeated refrains from the chorus as the song moves towards its conclusion. This isn’t going to stop traffic but it is a pleasant diversion.

347.      

‘Soul Makossa’, Manu Dibango (1972)

A hugely influential song, both on disco and broader music in terms of it being covered/sampled by many artists, this was one of Africa’s first global hits. It is an interesting slice of music as it clearly adds the lyrics and percussive elements of more tribal music, yet adds funkier tones to create a really lively mishmash. It does feel like the closest we’ve got yet to a ‘disco’ song (unless I’m forgetting something), perhaps setting the table for what was to come. Apparently there were 9 covers of the song in the charts at once, which in itself is mindblowing.

348.      

‘Superstition’, Stevie Wonder (1972)

There are few songs with a more distinctive opening than ‘Superstition’ by Stevie Wonder. Coming at a time when he had just negotiated full music rights for his songs from Motown – a huge deal for the time – this was also a time when Wonder was pretty much a one man band. A lot of the instrumental work is done by Wonder, which just goes to show what a talented man he is. It was the Hohner clavinet that gives the song its distinct sound, which helps make it a song that lives long in the memory.

Edited May 23, 2020 by Liam

[METALMAN]

Superstition is cool. So is Soul Makossa.

I imagine I'll Take You There is in because they felt like they had to give Mavis Staples something, but I don't think it's that good. The Liquidator is better.

[Liam]

349.      

‘Elected’, Alice Cooper (1972)

Outside of the classic Cooper tracks, I’ve not really heard too much of what he has had to offer throughout the years. I do think I know this in a passing fashion though, or at least a song or two that have ripped it off. Good timing – this was around the time of Watergate – probably helped this song to reach more prominence than it otherwise might have. It is decent enough rock (they actually liken it to the Who, which wouldn’t be the first band I think about when I think of Cooper), though I think it gets a bump for when it was released as much as being worthy to end up on a list such as this.

350.      

‘Sam Stone’, John Prine (1972)

If Bob Dylan shows up to your live show and starts playing the harmonica, that’s a pretty sizeable stamp of approval. A song about the long term effects of going to war is an interesting spin on what we’ve seen with regards to war-based songs so far – it feels like it is the first which tries to cover something akin to PTSD. The vocals are very drawly which isn’t to everyone’s taste, but the power of the narrative that is being sung is hard to argue. The relative jauntiness of the delivery makes it all the more effective; this was the norm, rather than a shock.

351.      

‘Willin’’, Little Feat (1972)

Kicked from Frank Zappa’s band in order to form a group primarily to record this song – or so the story goes – Lowell George is the main thrust behind Little Feat, called because he had…little feet. This is a song that is very American, but in a very good way as it is a great tune about the life of a road weary trucker and the things that get him through the day. A slightly beefier arrangement that wasn’t around for the demo does give a bit more heft to the pre-chorus and the song is all the better for it. Some cool slide guitar as well, something which I’ve grown to appreciate more as this project has gone on.

[METALMAN]

I can see what they mean about the Who on that Alice Cooper song. The first fifty seconds are as obvious a Who pastiche as you can get, although less so later on. Good song anyway, certainly better than the one he put out last week.

I've never knowingly listened to John Prine, though his death last month reminded me that I should do so sometime. I like this song. It's less country and more folky that I had been led to expect.That's a good thing.

Oh Little Feat, what an excellent band. Willin is their most famous song but nowhere near their best. Still good though.

[VerbalPuke]

I love Alice Cooper, actually just posted them on my "Facebook ten albums that influenced you" thing. I think Billion Dollar Babies is possibly their greatest as well. My opinion? I'm putting the title track on this list but I do really like Elected. Great live show also, saw them on 2009 with my wife, mother and father in law (mother in law is a huge fan). It's also cool seeing a hometown band.

Actually, fun Alice Cooper story. When they were trying to break into the rock and roll world they were scheduled to meet with Frank Zappa. He says "meet me at my place tomorrow at 8". So band shows up at Zappas house at 8 AM, and Frank is so baffled/dumb founded that they interpreted "tomorrow at 8" as AM rather than PM that he immediately signs them. This is probably when we got the great Pretties for you and Easy Action albums.

Alice Cooper the guy asked permission from Arthur Brown to borrow the face paint gimmick. 

I painted my face like Alice Cooper a few times for Halloween. In case you haven't guessed, Alice Cooper is 100% my shit.

But really,  they/he had a great string of albums throughout the late 60s to..the 90s? I don't know,i love basically everything until he adapted into the 80s cock rock (poison). But i do give credit that he adapted and stayed relevant. 

[Liam]

352.      

‘It’s A Rainy Day, Sunshine Girl’, Faust (1972)

The first ‘krautrock’ band to find its way onto the list and it is seven minutes of a song that is at least interesting if nothing else. Behind all of the noise that comes with the instrumental work, there is a definite catchiness to the song. It doesn’t vary significantly from what it sets out to do from the opening notes, though it is arguably the clash between the whimsy of the lyrics and the somewhat monotonous melody (with occasional flourishes) that makes it…work? The best bit is probably the end saxophone that pretty much comes out of nowhere. It definitely isn’t in keeping with anything really up until now, so it has that going for it.

353.      

Sail Away’, Randy Newman (1972)

I struggle a little to take Randy Newman seriously after he was joked about on Family Guy many, many years ago. It is probably a little bit harsh, especially as Family Guy isn’t particularly funny. What that looked to knock was Newman’s style mainly as he got older, whilst it undermined work such as this. What seems a very positive song if you don’t pay too much attention to the lyrics turns out to be a song about slavery. The clash of tone versus lyrical content is really effective, even utilising a racial slur to drive home the real message. A thought provoking song, that’s for sure.

354.      

‘Silver Machine’, Hawkwind (1972)

Influenced by: Astronomy Domine • Pink Floyd (1967)   

Influence on: Ladies and Gentlemen We Are Floating In Space • Spiritualized (1997)

Covered by: James Last (1973) • Doctor & The Medics (1985) • Thin White Rope (1993) • The Church (1999) • Sex Pistols (2002)

Hawkwind were a band that I always saw the CDs of in HMV and never did get up the interest to buy them. However, I immediately recognised the song as it began and the clean vocals of Lemmy, distinctive even if somewhat away from what he’d utilise when fronting Motorhead. Musically simple, it hits all of the notes you’d want from a good rock song, with some added spacier elements that places us right in the 70s. Though it is dated in some ways, hooks don’t age the clean vocal chorus from Lemmy is golden.