Heaps of wonderful music was released in 1971, here are my 30 chosen songs.
Wild Horses – The Rolling Stones
A song by The Rolling Stones from their 1971 album Sticky Fingers, written by Mick Jagger and Keith Richards. Rolling Stone ranked it at No. 334 in its “500 Greatest Songs of All Time” list in 2004.
– Childhood living is easy to do The things you wanted I bought them for you Graceless lady you know who I am You know I can’t let you slide through my hands
1969 was another great year in music, here are my 20 chosen songs (and those who came close).
Gimme Shelter – The Rolling Stones
One of the greatest rock songs from any artist, “Gimme Shelter” is a glowering, snarling beast of a recording. It tiptoes in on one of music’s most recognizable chord-based riffs, ghostly “oooh’s,” and percussion ratcheting up the tension. When the full band enters—sinister low piano notes, fuzzy harmonica, organ chimes—it grabs you by the lapels and shakes you, begging you for shelter from an ominous storm.
-Bill Janovitz (Rocks Off: 50 Tracks That Tell the Story of the Rolling Stones)
It first appeared as the opening track on the band’s 1969 album Let It Bleed. Greil Marcus, writing in Rolling Stone magazine at the time of its release, said of it, “The Stones have never done anything better.”
The recording features Richards playing in his new open tuning on electric guitar. The recording also features vocals by Merry Clayton, recorded at a last-minute late-night recording session during the mixing phase, arranged by her friend and record producer Jack Nitzsche.Lisa Fischer was later recruited to perform the song during their concerts.
– Oh, a storm is threat’ning
My very life today
If I don’t get some shelter
Oh yeah, I’m gonna fade away
Ground Control to Major Tom
Ground Control to Major Tom
Take your protein pills and put your helmet on
Ground Control to Major Tom (ten, nine, eight, seven, six)
Commencing countdown, engines on (five, four, three)
Check ignition and may God’s love be with you (two, one, liftoff)
…Finally, he teamed up with Elton John producer Gus Dudgeon to create “Space Oddity,” a song he’d been fiddling with all year. The folk ballad about astronaut Major Tom getting stranded in space was rushed out by his label to coincide with the launch of the Apollo 11 moon landing, and the BBC played the song during the coverage of the event. “In England, it was always presumed that it was written about the space landing, because it kind of came to prominence around the same time. But it actually wasn’t,” he told Performing Songwriter. “It was written because of going to see the film 2001, which I found amazing.
When this came out in 1974, it was roundly dismissed as Ziggy Stardust’s last strangled gasp. In hindsight, Diamond Dogs is marginally more worthwhile; its resigned nihilism inspired interesting gloom and doom from later goth and industrial acts such as Bauhaus and Nine Inch Nails.
~Mark Kemp (rollingstone.com in 2004)
All this hopelessness and annihilation would be suffocating if it weren’t for Bowie’s exuberance. He throws himself into Orwell’s draconian hell as if strutting around in Kansai Yamamoto’s Aladdin Sane-era bodysuit; it fits his skeletal contours. Determined to reaffirm his relevance in spite of his setbacks, the singer sparkled so brightly that he offset the darkness of his material. Just as Watergate was coming to a boil, singer-songwriters and prog-rockers were glutting the charts, and ’60s resistance was morphing into ’70s complacency, this sweet rebel (rebel) made revolution strangely sexy again. Glaring at you from Dogs’ cover with canine hindquarters and emaciated features like the circus sideshow Freaks he footnotes in the title cut, he served notice that rock’s outsiders remained more compelling than the softies who increasingly occupied its center, even as his ever-growing popularity chipped away at it. You can bet Patti Smith, the Ramones, and Television sat up and took notes.
-Barry Walters (pitchfork.com)
“The return of the Thin White Duke Throwing darts in lovers’ eyes Here are we, one magical moment, such is the stuff“
Station to Station is a collection of soul, rock, funk, and disco, twisted by an influence of experimental German artists. This is David Bowie’s “plastic soul” mixed with krautrock. This is the introduction of the “Thin White Duke”.
It is Bowie’s tenth album, one of his most important and in my opinion, one of his very best!
David Bowie came from the soul infused “Young Americans” into Nicolas Roeg’s film, “The Man who fell to Earth” (the picture on the cover is a still from the film) and then into this masterpiece of a record. If you see the film and listen to Young Americans you get a sense of what made the album. There is a switch from popular dance oriented music into a more artful approach. But, without losing the pop sensibility. It is also a start for Bowie on his journey back to a more European approach to his music, even if it was recorded in LA.
“I know it was in LA because I’ve read it was”
– David Bowie
TVC15 (from rehearsals for the Station to Station tour 1976):