THIN LIZZY - "Thin Lizzy", 1971: Casual Lizzy fans will probably deduce they're not in Kansas anymore when faced with song titles like "The Friendly Ranger of Clontarf Castle" and "Saga of the Ageing Orphan" on the back of this record. Yes, the Eric Bell era of THIN LIZZY is a different chapter for Ireland's finest - but it's a very intense chapter. The debut should be a mandatory study for fans of the first three IRON MAIDEN discs; Brian Downey's busy fills and Lynott's early style were obviously big influences on Clive Burr and Steve Harris. But "Thin Lizzy" isn't just another proto-metal record. Tracks like "Diddy Levine" reveal a tug-of-war between the hyperactive, can't-wait-to-shred zigs and zags

of Bell/Downey and the warm sing-song verses of Lynott that lap up against the sides of your mind. The band's marriage of Hendrixy psych and traditional Celtic folk still sounds radical and distinctive three decades after the fact. Track-for-track, it's an exceptional debut (much more exciting than listening to SPEED, GLUE, AND SHINKI saw on the 12-bar for 40 minutes), but probably too doggone weird for your OPETH-loving posse to dig it. Pity.

DEEP PURPLE - "Fireball", 1971: Surrounded as it is by legendary classics ("In Rock", "Made in Japan", "Machine Head"), 1971's "Fireball" represents a smorgasbord of ideas and performances that range from astonishing to mediocre. The title track is one of the fastest, heaviest metal blasts of the entire decade, contrasted perfectly by the slashing riffs and brilliant Hammond solos of closer "No One Came". Between these colossal book ends however, the ride gets a little bumpy. Blackmore and Paice lock in perfect tandem for the seductive strut of "Strange Kind of Woman." But "No, No, No" is a tedious hodgepodge of jamming that never seems to end, and the twangy Dylan-esque

"Anyone's Daughter" recalls the unfocused 60s meanderings of the Rod Evans era. Luckily, the spacy stoner rock of "The Mule" offsets the naff material with hypnotic stickwork and Blackmore's volume knob swells rising and falling like cosmic dust. A mixed bag for sure, but the men of Purple would go on to redeem themselves several times over with subsequent releases.

BIRTH CONTROL - "Operation", 1971 : Doo doo doo dum dum da doo doo doo dooo...Many of you will experience passion beyond your wildest dreams as fiendishly over-the-top pulses of opener "Stop Little Lady" manhandle your eardrums. German heavy proggers BIRTH CONTROL seemed capable of standing toe-to-toe with the URIAH HEEPs of the world in 1971. "Operation" is like a heavy rock vending machine, dispensing seismic bottom end during the proto-speed metal of "Just Before the Sun Will Rise" and the audacious DOORS-like groove of "Pandemonium". PURPLE-holics that fancy the Rod Evans era will flip for Bruno Frenzel's warm, smooth vocal delivery chugging along as the raging

organ lines and guitars attempt to vanquish one another in the background. Unfortunately, the horrifying 11+ minute Phil Spector-esque epic "Let Us Do It Now" eliminates "Operation" from landing in the top 25. But you need to buy it anyway, if only for baby-gulping spider on the album cover. Sick, huh?

TOAD - Self-titled, 1971 : Mega fuzzed blues-based Swiss rockers TOAD, have been credited with helping to kick off the entire Swiss hard rock movement of the ‘70’s. One listen to this raging platter of scalding guitar histrionics, doomy bass riffs and propulsive drumming and it’s not hard to see why. Rocking in the heavy blues vein of early ZEP with just a touch of SABBATH heaviness, this is a meaty, big and beefy blues guitar romp, with vocals reminiscent enough of Mr. Plant to effectively get the job done. The opening track “Cotton Wood Hill,” gives you a taste of all that’s to come, massively fuzzed out, bottom heavy tracks, breaking away into some seriously heavy, searing guitar jamming.

Some of the tracks wander off long beyond their expiration date, (“Life Goes On,” clocks in at a doom-filled 11:58 and it’s only the second longest song on the album) and other bands like the aforementioned ZEP and SABBATH plowed these fertile fields with more innovation and panache, but still a damn fine explosion of hard driving early rock. Place this up there with LUCIFER’S FRIEND and LEAF HOUND. Worth hearing, often..

MAHAVISHNU ORCHESTRA - "The Inner Mounting Flame", 1971 : There's much to enjoy about "The Inner Mounting Flame"; splendid guitar work by John McLaughlin, an inventive attitude in arranging a sort of neo-classical jazz, fiery and musical, sometimes a treat to the ears - but too little remains memorable in the long term. Listening to Billy Cobham's artillery on "Vital Transformation" you will realize why jazz musicians may reserve the right to scoff at rock drummers. The name of the band totally makes sense when you get the image of four (or more) armed deities banging away on rock instruments. The problem is that the overall effect leaves one strangely cold. The impression is of

detachment, technical playing for the sake of technical playing to the point that the human factor is sometimes compromised. It's like an album to appreciate as a quality work, like some historically important statuette in a museum, but without inciting the urge to see or touch it again - it's destination is the books, not the record player. We worship the LED ZEPPELIN and JETHRO TULL albums around here because they combine instrumental perfection with emotional satisfaction and the poetic ability to not only go through every imaginable time signature, but to use the variations to tell exquisite stories about light and darkness.

TUCKY BUZZARD - "Warm Slash", 1971 : I remember reading a review of this record on some stoner rock forum one time. It simply said "Boooo!", which for some reason didn't quell my curiosity for exploring the title. Actually, this Bill Wyman-produced UK five-piece struts, laments, and thunders along nine tracks, hurling everything in your path from wahs to organs to blues harps to slide guitar and more. While there's no spellbinding guitar solos that would rival a "Stairway to Heaven", guitarists Terry Taylor and Paul Kendrick show an uncanny knack for side-stepping into evil whiskey-soaked riffage in "Burnin'" and "Need Your Love". The honkin' HEEP-style Moog lines coupled with

Jim Henderson's strong vocals in the 8-minute "Which Way, When For Why" are probably the disc's high point. If you squint a little, you can almost convince yourself it's the follow-up to the first LUCIFER'S FRIEND album. Just sayin...

SANTANA - "Santana III", 1971 : Here's where the selection process gets hairy. There is no easy answer as to why SANTANA hasn't been accepted into the heralded halls of our Essential Albums. Sadly, they'll have to accept yet another honorable mention for 1971. Why, you ask? Is "Santana III" really more of the same when compared to the band's previous two classics? While that argument could possibly be made here, it's a pretty weak one. The reason? Neal Schon. Back when he was a 17-year-old prodigy with an afro that made Sly Stone nervous, his hard rock style complemented that of Carlos so well it sounds like he was always supposed to be part of the equation. Sure, tracks like

"Batuka/Nobody to Depend On" and "Guajira" fit perfectly with the band's earlier work stylistically, but having one extra six-string prodigy does add a noticeable edge to the band's sound. Listeners are given a few detours with the acoustic pop styling of "Everything's Coming Our Way," the candlelight vigil that is "Taboo" and "Everybody's Everything," a track which hits just as hard as vintage James Brown and hints at the R&B leanings to come on albums such as "Amigos." Beyond that, though, "III" is more or less business as usual. But come on… does anyone give Jagger and Richards this much trouble for keeping their signature sound going for so long? If it ain't broke, don't fix it, right? Stiff competition may have kept SANTANA out this time, but don't expect history to repeat itself it we ever do one of these features for '69 or '70…

NOVEMBER - "2:a November", 1971: This short-lived Swedish three-piece formed in 1969 and managed to squeeze out a couple albums before their breakup in 1972, and for the time period, "2:a" is an ambitious record, sonically speaking. The abundant tracking of two separate guitar parts suggests the band was looking to break with the traditional "power trio" sound. The lead and rhythm parts are almost always panned away from each other on the stereo spectrum left and right, and a good portion of NOVEMBER's tunes feature organ and/or piano in the mix, along with some acoustic guitar and additional percussion. The more layers of instruments involved, the more this music starts to sound

like a Swedish version of SPIRIT meets SANTANA. No track herein personifies this effect more than "Gansta Langt Fran Sergel". However, the bass guitar pops out of the mix (overpowering the overdubs) to the point where the "power trio" device is still detectable. Both "Mina Fotspar Fylls Av Vatten" and "Pa Vag" demonstrate that "2:A" is as sonically commanding as GRAND FUNK RAILROAD's "E Pluribus Funk", power trio-wise. The drum sound alone is quite progressive in it's use of the stereo spectrum, as the primary bass drum and snare are panned partly away from each other. The second bass drum comes in on the other speaker solidifying the feeling of a live performance. "2:a" is obscurity for sure, but definitely a slab worth scouring the racks to find.

SKID ROW - "34 Hours", 1971: Kicking a singer like Phil Lynott out of a band and replacing him with a fresh-faced guitar player may have seemed like a crazy move at the time, but it paid huge dividends for SKID ROW when they replaced Lynott with a young and extremely talented guitar player named Gary Moore. The heavy driving power chords and instantly recognizable guitar leads of Moore open this album, and while he doesn't demonstrate a huge range of vocal ability there is no denying that he is also a capable singer. The flashy guitar playing and wah wah effects that surface on his pre-blues solo outings take shape here in tracks like "Night of the White Witch" and the smoking rocker

"First Thing in the Morning" (which features drummer Noel Bridgeman playing like a man possessed). The country / blues hybrid "Mar" evolves into a rockin' jam fest (which thankfully lifts it from being a total snorefest). Unfortunately, straight country track "Lonesome Still" prevents the disc from making our top 25 - it's a shame, but this clunker is truly as interesting as watching paint dry. Regardless, "34 Hours" is a guitar-charged gem worthy of your attention.

THE DOORS - "L.A. Woman", 1971: Not unlike the MC5, Morrison and Company delivered some of their strongest music with the band facing imminent collapse. Disenchanted and despondent, the boys deliver a smoking collection of bare-knuckled blues jams and sparkling meditative trips. Long gone are the oom-pah-band-from-Hell sounds of "The Soft Parade" era; The brawny, guitaristic performance in “Been Down So Long” and the demented calliope march of “"L'America" actually line up closely with early DOORS rockers like "Five To One”. Krieger's iconic leads in the title track and Ray Manzerek’s gem-like piano melodies of "Riders on the Storm" have become integral fare

on classic rock radio. Only the occasional slips into dreary drug tedium ("Cars Hiss Past My Window", “Hyacinth House”) prevent the bodacious collection from attaining top-ten inclusion here. Sadly, Morrison would be dead within months of the album’s release.

JOHN LEE HOOKER & CANNED HEAT - "Hooker 'n Heat", 1971: It's unclear if "collaboration" is the appropriate term for this double-disc, seeing as all the songs were written by Hooker and the CANNED HEAT boys play on less than half the material here as a full band. With little or no backing, Hooker tears it up with "Messin' with The Hook". Strangely, it's not until track seven that harmonica player Alan Wilson joins (Unfortunately he would not live to see this album released as he passed away in September of 1970, the same month as Jimi Hendrix and Janis Joplin). His second tune in, "You Talk Too Much", he really starts rippin' it up. "Bottle Up And Go" introduces some

piano accompaniment, and things pick up considerably when the entire group jams on "Whisky And Wimmen". Somehow three guitars share a sonic space without anyone stepping on toes, starting with "Just You And Me", and continuing through the swingin' bass and drums of "Let's Make It". From this point on "Hooker N' Heat" keeps the jams flowing to the end. Despite the nagging questions of who collaborated on what, "Hooker & Heat" is a solid pick-up for blues 'n boogie aficionados.

MAGMA - "1001 Degrees Centigrade", 1971 : Creating a niche on the edge of progressive rock, MAGMA's unique sound evolved from the combining a melting pot of influences and, get this, even creating their own language for the lyrics, thereby making FOCUS' THIJS VAN LEER seem almost Shakespearian in comparison, and what is a conceptual piece even harder to fathom than it surely still would have been even if delivered using more commonplace words. A mix of more identifiable prog-rock, avant-garde and jazz fusion this must have been a challenging listen even in an age more favorable to musical extremity. The near 22 minute "Riah Sahiltaahk" boasts more time

signatures than an early GENESIS box set and everything from bass guitar, piano, brass instruments and woodwind take their moment to the fore. The shorter "Iss Lansei Doia" especially and to a lesser degree "Ki Iahl O Liahk" are certainly more palatable but whereas say JETHRO TULL's more conventional progressive-rock landmark album of the same year "Aqualung" has some bit size morsels within the whole piece that even the lesser enamored listener can easily appreciate, this album due to the complexity and length of the individual pieces seems to demand it's all or nothing in terms of approval. Approval will just about win through ultimately as in the right mood its actually surprisingly rewarding. Occasionally relaxing but more often dramatic, just make sure you choose your moment to listen with due care.

JIMI HENDRIX - "The Cry of Love", 1971 : Released early in the year and just over five months after HENDRIX's premature death, assumptions that this is perhaps a swift cash-in are soon dispelled thanks to the fact it was assembled by long time engineer Eddie Kramer and Experience drummer Mitch Mitchell. Collecting together tracks recorded during the previous year, with only the bar-room blues nodder of "My Friend" slightly out of context drawn instead from the earlier "Are You Experienced?" sessions, it's actually a fine collection of songs many of which would shine brighter in lesser catalogues. Opener "Freedom" is trademark HENDRIX, upbeat and in your face guitar tones placed

alongside the majestically hard riffing chords of "In From The Storm" they prove the man would have been as relevant in the heavy rock era as he was in the psychedelic one. "Ezy Rider", arguably the best known cut here , and "Straight Ahead" possess funk trimmings offering continuation from BAND OF GYPSY's and both the poignant lyrics of "Angel" and the dreamy "Drifting" are as good slower tracks as any listener could wish for. However, there is little denying that the overall standard of earlier albums, which of course reached legendary status, isn't consistently matched here. The odd snatches of studio chatter, abrupt or untidy endings and the uneven sound quality whilst somehow endearing remind that this is a posthumous collection not a lost, completed album. This fact, and the nagging question of just what he might have added if this music had reached the release stage organically with the man himself at the helm means it doesn't quite make the cut.

FLOWER TRAVELLIN' BAND - "Satori", 1971 : Although "Satori" lists a single guitarist in the credits, every piece of music here has harmonized guitar parts, played with what sounds like Japanese scales (and perhaps two drummers in spots). The first two movements showcase the two guitars, vocal, bass and drums rather effectively, but as the disc moves past the third instrumental section, "Satori" starts to go into different directions, like a rock-blues groove complete with English lyrics and a harmonica solo. Although the style seems to have more in common vocally with the German Krautrock of CAN, there is a bit of a CREAM vibe. Guitarist Hideki Ishima solos quite well, but he

lacks the talent of a Clapton or Rory Gallagher to make such extended soloing worthwhile. A couple minutes worth of editing could have made this tune better. Part Five has same problem, with the second half of the track dragging on much longer than need be. Not that there is too much a problem with dynamics, it's that some of these parts could have been edited to a degree. The closing composition (sung in Japanese) is a perfect example of FTB at their best. Although "Satori" is a pleasing listen for the most part, it's not worthy of being voted in any "best of" lists.

GROUNDHOGS - "Split", 1971 : As is the case with plenty of other acts on this list, THE GROUNDHOGS were yet another British rock band trying to milk the last drop from the teat of the blues. Now while their overlaid stereo guitar sound and frenzied jazz drumming are charming, absolutely nowhere to be found is the attitude of the STONES or the innovation of ZEPPELIN. The main problem with this album is the deadpan vocal style of frontman Tony McPhee, who conveys about as much emotion as a high school science teacher. While his guitar work proves he's a worthy disciple of the blues greats, he should have really taken the advice of SANTANA and put someone else behind the stick.

Another huge weakness here is songwriting. Most of the album is fairly safe jamming, but the risks these guys do take don't really pay off. Take, for instance, the falsetto of "Cherry Red," where McPhee sounds like KING DIAMOND's grandmother, or the meshing of jug band acoustics and frantic electric HENDRIX-style riffs in "Junkman," a combo that works as well as a group of nuns visiting a Hell's Angels club. What's more, the most effective track, album closer "Groundhog," is straight-up, stripped down slide guitar Southern blues (McPhee even has a fairly convincing drawl on this one), suggesting that this is a band that should have probably stuck with what they knew. So, at the end of the day, is this a serviceable example of British blues rock? Sure. But is it essential? Don't bet your copy of "Tupelo Honey" on it.

BANG - "Bang", 1971 : BANG! Pretty cool name for a band, eh, especially one doing heavy music. That had to be the mind-set of this band from the Philly area when they issued their smokin' self-titled slab in 1971. Formed originally by 2 Franks (Ferrara and Gilcken), they hooked up with Tony D'Iorio and forged their love for BLACK SABBATH and THE BEATLES into their own butt-busting amalgam. Admittedly, the more melodic and acoustic dynamics wouldn't find the public ear until 1972's "Mother / Bow To The King," a superior and more complete album. (This, however, may have been more of a...sigh...record company decision, as the band had actually recorded a record previous

to "Bang" on their own, called "Death Of A Country," which was also more diverse but Capitol wanted them to promote the "raw" side more). Still, "Bang," while not quite in the elite of 1971's heyday tabernacle, is a window-down jammer for sure. One listen to opener "Lions, Christians" will tell you these guys mean business, as it's riff would give Iommi pause. Throughout the record, similar golden moments are common. Most appealing are "Our Home" and "Question," laced with melodic sections as well as harmony leads and vocals that occasionally do hint at the Fab Four and act as harbingers for the glorious masterpiece that would be "Mother / Bow To The King." In the meantime, however, this band had made their mark…with a BANG!

JONI MITCHELL - "Blue", 1971 : Widely proclaimed the shining jewel in JONI MITCHELL's discography, the pop-folk masterpiece is regularly name-checked as recently as this month with WISHBONE ASH's Andy Powell naming it the "soundtrack to his life" in the Christmas 2008 edition of UK magazine Record Collector. Often quite bleak, material like "Carey" offers a nice upbeat, feelgood texture in contrast to the seasonal heart breaker "River" which plays out as haunting as the Ghost of Christmas past. "This Flight Tonight" will be familiar to many, although perhaps that is mainly thanks to NAZARETH's song claiming later cover but her original version, both quirky and in its own way as powerful

still has impact. Overall this ranks as one of those albums that cannot be merely played but must be listened to. With her haunting, undulating, expressive voice delivering often uniquely worded lyrics, accompanied often by only acoustic guitar or piano this is as stripped back as you can get. Compare it to VAN MORRISON's "Tupelo Honey", another release with roots in folk music and it makes that one sound positively orchestral. Here's the pinch though, because after sitting through many 1971 releases in recent weeks this has surprisingly proved one of the hardest to really get into. I've a theory that to totally appreciate JONI MITCHELL you had to have been there and witnessed her impact first hand... and unfortunately I wasn't so for me it's merely a great late night album.

HAIRY CHAPTER - "Can't Get Through, 1971: Absolutely frenetic, guitar searing heavy psych from Germany, HAIRY CHAPTER'S Dieter Dierks-produced second album steamrolls past most of the similar tunes of the time. Making the SCORPIONS “Lonesome Crow,” seem positively pastoral by comparison, German axe God Harry Titlbach coaxes, flexes and wrings screaming howls out his guitar, pained with anguish. Only five tracks, but from start to finish a rip-roaring, freakout of blues-based proto-metal. Adding frosting to their meaty cake, a touch of krautrock rears its Teutonic head, adding unusual textures and rhythms to the mix. Blows doors off the slower work of bands like MAY BLITZ, and in

any other year “Can’t Get Through,” would probably make the top 25, but when lined up next to ZEP’s IV, the early doom metal of SABBATH or the raging rock of GRAND FUNK, it just has to take a back seat as some of it’s extended psych trips lack the necessary focus to achieve greatness. Still, essential listening for fans of heavy psych/proto-metal.

SUN RA - "Nuits de la Fondation Maeght, Volume 1", 1971 : A huge influence on the early days of the MC5, cosmic fusion explorer Le Sony'r Ra labored for decades to tear down the walls of conventional jazz with his band's exotic musical excursions. By the time 1971 rolled around, SUN RA was ushering in a new vista that made even his own 60s beatnik coffee-shop fusion sound tame. Recorded live at Saint Paul de Vence in France, "Nuits..." is a multi-dimensional wall of sound executed by no less than 19 musicians. Low-key a cappella duets and languid piano lines give way to uber-hypnotic saxophones croaking in tandem, basslines by way of Venus, unmitigated brass and woodwind torture,

and organs imitating busted household appliances. Some of the sections in "Shadow World" reach an impossibly overpowering crescendo, with the entire band shredding as one. It's surely not the most accessible disc for the common ZEP-loving ham 'n egger, but fans of later ZAPPA and the better noise rock stuff should definitely seek this one out.

BLUES CREATION "Demon and Eleven Children", 1971: The name BLUES CREATION is strangely humble for an act that happens to start a track called "Sorrow" in 1971 with a riff straight out from the books of DISCHARGE and HELLHAMMER and proceeds for the rest of the song to groove like early PENTAGRAM. Plus there's the total NWOBHM gallop and dual-guitar leads in the beginning of "One Summer Day". So what went wrong? "Demon and Eleven Children" is a notable hard rock album for this period but not a total success, because of many lengthy, loose jams, plainly boring parts going on sometimes for five minutes at a clip. Even the best of what is heard here is not that far from

the type of thing SABBATH and BLUE CHEER had already been doing for years, or for that matter what FLOWER TRAVELLIN' BAND unarguably did better during the same year. The album is a collection of excellent riffs and solos and even a few completely worthwhile songs such as "Brane Baster", but too often the tracks seem unable to follow through with the moods or tension that they build, possibly because for a Japanese band it's tough to emulate this more or less alien rock culture. Vocals can sound unintentionally funny and none of the songs really come across as happy, sad, threatening or any other of the feelings so strong and distinct in every individual track of "Master of Reality".

BLOODROCK - "3", 1971: I once heard a fool refer to BLOODROCK as a poor man's GRAND FUNK. The next sound I heard was the same fool's yelping as I slapped him silly. See, I love GRAND FUNK. Shit, I sat in an un-air-conditioned bedroom for a couple straight summers, sweating on my $49 Sears Strat copy, trying to be Mark Farner. The problem is, BLOODROCK were on the same label & had the same producer (Terry Knight) but were just as original a band and if anything, were more in line, style-wise, with DEEP PURPLE. Sporting a robust line-up that included both a lead & rhythm guitarist and a keyboard player, they burst out of the gate in 1970 with an eponymous debut that would

remain their crowning achievement. "Bloodrock" was a long album and yet featured nary a weak moment, with monstrous cuts like "Melvin Laid An Egg" & "Fantastic Piece Of Architecture" being the order of the day. The band quickly followed up this stunning debut with the shockingly titled "2." It was a record that, while strikingly weaker than the debut, would become their most popular thanks to the unlikely hit "D.O.A.," which spoke of a fatal accident. Reaching to seemingly impossible heights for title inspiration, BLOODROCK issued "3" in 1971 and in doing so, delivered a record that while still not matching their 1st, snowed "2" under. The strong production here magnifies the dynamics between the higher energy cuts and the more restrained numbers. Listen to "Whiskey Vengeance." Man, the band is cooking here. Nick Taylor lays down a cranking rhythm while Lee Pickens (lead guitar) and Stevie Hill (keys) alternately smolder and explode. The centerpiece, however, is the 9 minute "Breach Of Lease." In this archetypal mellow/heavy trade-off, vocalist Jim Rutledge gives a command performance as he delivers a damning statement about man's disregard of the earth & environment. Moreover, Lee Pickens unleashes a guitar solo that could remove the paint from the walls of an entire office complex. To be fair, a song like "A Certain Kind" may seem a tad weak when compared to the others and, again, this record is not the front-to-back 5.0 that is BLOODROCK's debut. Still, "3" is far more than just another number.

THE KINKS - "Muswell Hillbillies", 1971: Great as it is to see debuts and young up 'n comers making quality records, there's just something to be said for consistency. THE KINKS streak of quality from '66 to '71 is nothing short of remarkable, and this particular platter doesn't skimp on any of the charm or immediacy that made the Davies boys into rock legends. The raunchy guitars, absurdly witty lyrics, and rolling pianos of "Holiday" and the magnificently titled, "Acute Schizophrenia Paranoia Blues" may seem quaint and whimsical compared to some of the dark proto-metal platters topping this list, but that's no reason to underestimate the album's quality. "Skin and Bone" is four chords

cum-bouncin' party stomper, "Alcohol" melds ragtime horns and Davies' incomparable storytelling power, etc. It doesn't eclipse the band's past masterworks like "Face to Face" or "Village Green Preservation Society", and frankly that have tea with your afternoon tea' stuff may wear a little thin on American ears after a few listens, but otherwise "Muswell Hillbillies" is one lively little rock 'n roll record, and the last relatively undisputed KINKS classic of the 70s.

DUST - "Dust", 1971: DUST's opener "Stone Woman" eliminates it from the front page right off the bat: weak vocals, weak lyrics and way too much of bassist Kenny Aaronson's overdubbed slide guitar that achieves little. "Chasin' Ladies" makes better use of Wise's vocals with effects (delays and reverb) and backing harmonies. "Love Me Hard" and "From a Dry Camel" showcase DUST careening across the landscape on all eight cylinders. The latter features a BLACK SABBATH-ish doom metal vibe to die for and Aaronson's best bass playing on the record. "Often Shadows Felt" includes enough dynamics, psychedelia and over-the-top drumming from Marc Bell to please even the staunchest 1971 acidhead.

The closing instrumental "Loose Goose" is a nasty rave-up chock full of raunchy guitar and walking bass lines. Perhaps the most interesting thing about this band is the resume the respective players would develop post-DUST: Mark Bell would go on to join RICHARD HELL AND THE VOIDOIDS and eventually hook up with THE RAMONES. Bassist Kenny Aaronson would find a home in RICK DERRINGER's band in the late seventies and gigs with BILLY SQUIER, HSAS (Sammy Hagar, Neil Shone, Aaronson and Micheal Shrieve) and others throughout the 80s.

FRANK ZAPPA - "The Mothers, Fillmore East - June 1971": This third installment in the triumvirate of 1971's Fillmore East releases, (see THE ALLMANS and HUMBLE PIE) may not be #1 with a bullet on this list, but that doesn't mean it's not a fabulous good time. Fueled by a version of THE MOTHERS quite heavy on ex-TURTLES members (Mark Volman and Howard Kaylan), this collection of zany keyboard gymnastics, odd shrieks and moans, and unbelievably perverted doo-wop will make you feel warm and wet all over. Surrender yourself to the irresistible vibrations of "The Mud Shark" and root for our heroes to get a piece at the old Holiday Inn during "What Kind of Girl Do You Think We Are?".

On the whole, this live disc doesn't come close to unseating Frank's later masterpieces like "Roxy and Elsewhere", but it's a fun listen from start to finish, from the sizzling version of "Peaches En Regalia" to their super-schmaltzy take on THE TURTLES "So Happy Together". It's a Mothers record endowed beyond your wildest dreams.

LEONARD COHEN - "Songs of Love and Hate", 1971: Considered one of the sixties' best songwriters, “Songs of Love and Hate,” is probably Cohen’s most bleak and intense album to that date in his career. Densely heavy in tone, spartan in instrumentation, piercing in lyric, and nearly bare of production, “Songs,” is the sound of one man cutting open his veins and pouring his blood and soul out onto the stage for his audience to bathe in. Composed nearly entirely of Cohen’s guitar, extremely noncommercial voice, and subdued strings, the music is intended to never get into the way of the poetry of the lyrics. From the densely personal “Avalanche,” to the near TOM WAITS burlesque

of “Diamonds in the Mine,” “Songs of Love and Hate,” is a uncompromising listen, surely intended to create a reaction in each individual listener. Yet for all its dark honesty, compared to the work of a singer/songwriter like VAN MORRISON’s grand “Tupelo Honey,” “Songs” lacks a pastiche of musicianship and variety. A grand bitter vision of lyrical excellence, but not enough to enter the top 25.

STONEHOUSE - "Stonehouse Creek", 1971: It's often difficult to judge an album by its cover. However STONEHOUSE chose to throw their red herring immediately in the form of a melodic pop song that opens this debut disc. Moving on to "Hobo", they show their hand at hard rock with piano backing and high vocals that would be the envy of many a female jazz or blues singer. "Cheater" finally lands us in the realm of heavy rock, thanks to a guitar tone that equals other heavy bands of the time period, but inconsistency seems to be the order of the day with this record. "Nightmare" imparts a huge guitar boogie feel despite the piano playing in parts of the song. The head-turning

drums and bass compliment the mighty guitar tone and commanding leads in tracks like "Down, Down", but often the production (which sounds tinny due to the hissy feedback left on the first few songs) restrict "Stonehouse Creek" to sounding somewhat dated and doesn't demand the volume be turned up all the way through like a "Master of Reality" or "E Pluribus Funk".

THE FACES – “A Nod’s As Good As A Wink…To a Blind Horse”, 1971: What is the perfect rock 'n roll marriage of music and lyrics? Frankly, you can have your "enlightenment" selections like “Born to Run” and “Sunday, Bloody Sunday” because there’s just no topping THE FACES’ “Stay with Me”. When that 90# ragamuffin Rod Stewart belts out, “Let’s go upstairs and read my tarot cards” over Ronnie Wood’s relaxed, behind-the-beat groove it becomes increasingly apparent that this is what it's really all about. Some of the grooves on this record are absolutely sick, particularly the opener “Miss Judy’s Farm”, and Wood’s slide work in “Too Bad” breathes beau coup fire.

It's not a front-to-back crusher like THE STONES’ “Sticky Fingers”, mainly because of the naff stuff like the unbelievably cheesy “You’re So Rude” and “That’s All You Need”. But thanks to Rod, even the obvious filler sports a gluey edge that keeps ‘em more memorable than many of the heavier psych obscurities of the time period. That’s the advantage of having a real lead vocalist fronting your band, kiddies. Sit down, get up, get out!

LEAF HOUND - "Growers of Mushroom", 1971 : "Growers of Mushroom" represents the Grand Poobah acquisition of heavy psych collectors for three reasons: Peter French's throaty bellowing, acres of pachyderm-sized riffs, and...okay, two reasons. Honestly, the opener "Freelance Fiend" may deliver heaviest riff of the entire decade. In fact several tracks on the record rival SIR LORD BALTIMORE's debut in terms of mindnumbing, capsizing fuzz and rough-hewn vocal attack. The occasional slides into hippy-dippyville ("Sad Road to the Sea", "Growers of Mushroom") are largely overshadowed by brutish, everything-in-the-red proto-metal material. The guitar solos are aggressive,

but there's nothing as memorable or timeless as the leads in, say "I'm Eighteen" or "Cross-Eyed Mary". But French's breathy delivery coupled with Stuart Brooks' showstopping basslines in "Work My Body" is a colossal combination. Highly recommended.

SLY & THE FAMILY STONE - "There's A Riot Goin' On", 1971: If seeking a contrast between the optimism of the sixties and the realism that had developed by the early seventies then one good measure is to measure the exuberance of SLY & THE FAMILY STONE's hit single "Dance To The Music" against some of the stark, downbeat fare served up here just three years on. The familiar to most "Family Affair" and the unexpected, drug fueled humor of late cut "Spaced Cowboy" aside it's a challenging body of work that initially hides it's merits well. Dominated by the nine minute "Africa Talks To You" and the almost as lengthy "Thank You For Talking To Me Africa" its easy to dismiss the thing as

somewhat one-dimensional as you become mesmerized by repetitive guitar passages and the sound of electric piano. Repeated listens though will see the bluesy "Time" or the equally dreamy although deceptively negative "(You Caught Me) Smilin'" push their way into the spotlight alongside shorter, although no less effective funk numbers such as "Poet", to register as just as impressive. It's an album that has been described as a snapshot of STONE's dissatisfaction at the time and the beginning of his slight in addiction, but it also marks funk's crossover into acceptance by mainstream rock and both forms would become effective bedfellows in the decade to follow. The key to appreciating this purer funk album lies in developing familiarity. With its overall bleakness and less than commercial appeal though, the more conventional HENDRIX with occasional songs with a funk tint or a funk-rock combination of a, shall we say, GRANDer scale are just easier to digest.

THREE MAN ARMY "A Third Of A Lifetime", 1971 : Using the ammunition of loud CREAM-worshipping guitar harmonies and smooth vocals, THREE MAN ARMY unceremoniously attack the listener. Unfortunately at times axeman Adrian Gurvitz's vocals seem somewhat weak and the lyrics seem trite ("Butter Queen", for example annoys after repeated listens due to it's repetitive chorus). While the hard rock instrumentation lends a heaviness factor to the band's overall sound, the easy-listening vocal approach tends to nullify the appeal of the band. There is a universal catchiness due to the funky groove of instrumental "Nice One", but the disc isn't capable of packing an overall wallop in every

song a la the mighty ZEP IV. The punches are still delivered here and there in songs like "Three Man Army", but in this crowded year they're just not hard-hitting enough to convince.

YES - "Fragile", 1971: Coming hot off the heels of the success of their breakthrough “The Yes Album,” the band, now armed with Rick Wakeman went back into the studio to create their second 1971 entry, the widely regarded “Fragile.” Often considered a cannon achievement by the bands’ fans, there’s no doubt “Fragile,” contains some of YES’s best loved songs in “Roundabout,” and “Long Distance Runaround.” Epic songs, excellent musicianship and dynamite vocals propelled these to profound radio play. But in the end, that also represents the downside to the album. Besides those two great cuts, there are only two other real songs on the album, the swirling organ fest of “The South Side of the

Sky,” and the overblown epic “Heart of Sunrise.” The rest of the tracks were just space holders, filler cuts emphasizing each members skills, the listenability of which varies from the beautiful Steve Howe “Mood For a Day,” and the stunning bass-manship of Squire’s “The Fish,” to the repetitive mantra of the Anderson featured “We Have Heaven,” the pompous neo-classical reworking of Brahms by Wakeman with “Cans and Brahms,” and the quite frankly unnecessary “Five Per Cent of Nothing.” While the musicianship is strong throughout, no one can honestly say they’ve ever had a dying urge to hear “Cans and Brahms,” or “We Have Heaven.” Compared to an album like “Who’s Next,” there’s just too much filler in between some songs to allow this album to take a place in the top 25.

TRAFFIC - "The Low Spark of High Heeled Boys", 1971: "The Low Spark of High Heeled Boys" belongs to the second tier of early 70's psychedelic rock, boasting cute, at times beautiful arrangements, and memorable songs which would be classics to you if you heard them at a meaningful time in your life, but lacks the "bigger than life" grandeur of the heavy metal, hard rock and prog rock masters that populate our top 25 list. This offering from Steve Winwood's band definitely has its high points such as the beautiful and baroque "Hidden Treasure", in the vein of CAMEL's luscious medieval-prog songs and "Rainmaker" which soars like an electrified SIMON & GARFUNKEL hymn. Why this album as

a whole does not completely make it, however, is that the jamming in songs like the title track tend to carry on for an eternity. The style seems a continuation of 60s rock, and in 1971 compared to the blinking future-rock of “Who’s Next” or the genre-stretching soundscapes of “Zep IV” the old boy sounds pretty dated.

PINK FLOYD - "Meddle", 1971: While "Soundtrack From The Film More" (1969) was actually the first PINK FLOYD album that did not include the enigmatic presence of Syd Barrett, "Meddle," 2 years later was probably the first in which the Glimour-Waters-Wright-Mason line up solidified. It's really easy to hear this just listening to the opening track, "One Of These Days." Just check out the thundering bass line issued by Roger Waters here and it's easy to see the evolution that led to such stalwart classics as the entire first half of "Dark Side…," "Dogs" or even "The Wall's" "Run Like Hell." A polar opposite and yet still fitting nicely is the mild, acoustic folk piece "A Pillow Of Winds, a

study in dynamics, as are the choral voicings included in "Fearless." Somewhat more jarring are the 2 tracks that end Side One, the jazzy, smoking-jacket pop of "San Tropez" and "Seamus," which borders on a tavern blues work-up. On one hand, I've wondered what the band were thinking with this pair and yet still seem to always head into Side Two with the oddly satisfied feel of having listened to a band say "fuck off" to being genre-specific pseudo-prog yes-men. Of course, everyone knows the big daddy of "Meddle" is that 2nd side and it's solitary inhabitant, the 23 ½ minute "Echoes." While this lengthy behemoth could've possibly done it's business in, oh maybe 8 or 9 minutes less time, it is nonetheless quite impressive and it's liquidy, flowing plasma contains some of the greatest nods toward the band's creative future. Especially of note are Gilmour's snaking guitar and Wright's aquatic keys. Their playing philosophy of "less-is-more" would send a message to the prog world that music need not be a "notes-per-second" free for all to be innovative. The bottom line is that while "Meddle" is not PINK FLOYD's greatest work (that would come later, in "Wish You Were Here" & "Animals," ) it is surely a critical juncture in the band's long & storied journey.

FRACTION - "Moon Blood", 1971: One of the rarest picks on this list, LA's FRACTION only pressed about 200 copies of this, their sole effort. Primarily a psychedelic band, these guys wrote creeping, almost proto-doom metal compositions. Production-wise, this album is light years ahead of other rarities like the PENTAGRAM demos, and the swirling guitar layers sound as crisp as any major-label release of the time. There are, however, plenty of other issues to pick out. First and foremost, the amount of effort vocalist Jim Beach puts forth to be a carbon copy of Jim Morrison is really embarrassing. Just trying to listen to the monologue in "The Bird (Sky High)" and not burst out laughing. The main

difference, of course, between Mr. Beach and the Lizard King stylistically is that the high register - ahem - shrieking performed on this album (particularly on "Come Out of Her" and "Eye of the Hurricane") is about as pleasing to the ear as a cat puking. Also, every song on this album is plagued with the same problem: the promise of building up to something big and letting the listener down every single damn time. Is this, as Martin Popoff would put it, a rarity that deserves to be? Absolutely. Not to worry, Mr. Iommi, your legacy is perfectly safe!

MAN - "Do You Like It Here Now, Are You Settling In?", 1971: A little-known outfit in the states, this talented South Wales five-piece crafted several dynamic platters in the late sixties and early seventies, propelled by Deke Leonard's compelling vocals and Micky Jones' countrified licks and bluesy meltdowns. Their pursuit of West Coast psychedelia (BYRDS, JEFFERSON AIRPLANE, GRATEFUL DEAD etc.) is just as distinctive and in many cases, more interesting than the bands they were emulating. Jones' trademark legato wails are the perfect foil to the handclap hootenanny of "We're Only Children". "Many Are Called But Few Get Up" is a proggy mad hatter march, and "All Good Clean Fun" figure

skates through campy piano lines and dark, mysterious guitar passages. Of course, closer "Love Your Life" is the album's tour de force, opening up into a 8+ minute DEEP PURPLE-style psych jam rife with thundering guitars.

ELECTRIC FOOD - "Flash", 1971: The sophomore EF disc (a band that featured pre-LUCIFER'S FRIEND axeman Peter Hesslein) doesn't exactly start strong: The cover of FREE's "All Right Now" is stiffer than a cardboard pizza box. But things heat up in a hurry thanks to some nasty pulsing Hammond lines and quivering leads slicing to the front of the mix. This obscure group of Germans is absolutely knocking on GRAND FUNK's door by the time we get to the vibrant R&B flavored goodies "Randall" and "Working on the Railroad". Not every track swings for the fences, but at least 80% of this slab just Fükengrooves meine Damen und Herren, and that's not something we say about many

psych obscurities 'round this prickly place, is it? Seek it out, funsters.

THE ALLMAN BROTHERS BAND - "At Fillmore East" 1971: I'm not the type who's generally intimidated by people's appearance. Going to a host of metal/punk shows over the past 30+ years has made me basically impervious to that. With that in mind, however, there's always been something that's made me take pause with this album cover. Fact is, the picture of THE ALLMAN BROTHERS BAND on the front and their road crew on the back comprise about the most bad-assed looking collection of motherfuckers I've ever seen. Meet this bunch in a dark alley? Sheee-it, I wouldn't want to meet 'em at high noon in Toys R Us. There is more denim, leather boots, hair & beards in these pics

that the last 10 years of Biker Beach Bashes. King of 'em all has got to be the one roadie identified in the credits as Red Dog. Damn. Boy looks like he's made of reinforced concrete…and that's just his face. Still, all that aside, I'm far more intimidated, as an amateur guitarist by the fireworks inside this cover. Only one long snapshot in a series of those authored by this band, "At Fillmore East" is a sprawling organic testimony to the word "jam." Sure, Gregg Allman's soulful vocals (the true Southern rawk singer) spread like warm syrup over cuts like "Stormy Monday" & the 19 minute "You Don't Love Me" while his keys add another layer of greatness. Yes, the late Berry Oakley locks his bass into a panoramic rhythm kaleidoscope with the intricate drum due of Butch Trucks & Jaimoe Johnanson. But it's the dual axe murder unleashed by the late Duane Allman & Dickey Betts that steal the show. From the opening volley called "Statesboro Blues" to the near-half-hour exploratory blues of "Whipping Post," these 2 lay down a great Southern trendkill of the 6-string persuasion that just blazes. Guitar solos make you jumpy? Well, there ain't enough Valium in the world to save you from the slide guitar devastation orchestrated by master of the instrument Duane, not to mention the incendiary blues runs administered by Dickey. I'd be hesitant to include a live album among a Top 10 list, especially in a year like 1971, but as live explosions & guitar statements go, "At Fillmore East" is as volatile as it gets. As Brother Duane himself once said, surveying an awestruck crowd quietly filing out of an Allman's gig that lasted until 5:00 AM, "Feels like church, man." I'm sure Red Dog would agree…and I'd be afraid not to.

HOUND DOG TAYLOR & THE HOUSEROCKERS - Self-Titled, 1971: The six-fingered (originally, before an "accident" involving booze and a razorblade) slide guitar genius lets it rip with emotionally vibrant pieces of pure Chicago blues, and the performances are red-hot from start to finish. The crazed solos in “Phillip’s Theme” suggest that Taylor is on the brink of ripping his guitar to pieces, while the slide tones unleashed at the outset of “Wild About You Baby” are just indescribably badass. While a collection dominated by boogies and shuffles may not seem to offer the vibrant colors of a “Tago Mago” or even "Teenage Head", the disc represents an excellent transition record for rock fans into

the world of straight-up, hootin’, hollerin’ blues. The recording perfectly captures the seedy club atmosphere - and it's obvious that no one could ever teach this man anything new about the bottleneck. Highly recommended for fans of early ZEP or ZZ TOP.

CARAVAN - "In The Land Of Grey & Pink", 1971: Widely regarded as the pinnacle release from CARAVAN, “In the Land of Grey and Pink” represents all the best and worst of the Canterbury Progressive scene. A smooth blend of folk, jazz, rock, classical and traditional English music, the album brims with gentle, rolling beats, strummed acoustic guitars and warm and inviting sense of wit and whimsy. “Golf Girl,” starts us off with a prog in a pub jaunty, nonsensical number, a vibe later mined by bands such as SQUEEZE. “Winter Wine,” carries more weight, with its jazzy/folky quasi-GENESIS style. “Love to Love,” mines a near “Louie Louie” riff as filtered through the Canterbury scene. While the

album’s centerpiece is the sprawling 23-minute freeform improvisational flow of “Nine Feet Underground.” All nicely done, but in the end all trapped in their own world of unrelenting feyness and pastoral whimsy. The album pales in comparison to other more dynamic prog bands of the time, and lacks any killer tracks like JETHRO TULL’s “Aqualung.” Hardly essential, better left to the cult followers.

JAMES BROWN - "Revolution of the Mind", 1971: Like many of Brown's albums of the day, "Revolution Of The Mind" was recorded live, and while the recording's sonics are not the greatest, the performance and song selection is top notch. "I Feel Good" is played ultra-fast, flying by in half a minute, while the live version of "Sex Machine" features some of his best screams - you'll actually lose track of how long the tune is. "It's A Man's World" also gets some extended play past the seven minute mark, allowing the tune real room to breathe and get under the listener's skin. Brown's vocal delivery comes across loud and clear throughout the performance, but unfortunately the band does not come

through as well. The big problem with "Revolution of the Mind" is scarcely audible bass guitar. Soul and funk rely quite a bit on the bass to carry it's melody and rhythm; Keeping it this low in the mix causes it to lose it's real purpose in this music. Fortunately, some of Brown's records in the not-so-distant future make up for this tenfold.

HUMBLE PIE - "Performance: Rockin' the Fillmore", 1971: Put legendary SMALL FACES frontman Steve Marriott together with the shit-hot guitar talents of Clem Clempson and a young Peter Frampton at the legendary Fillmore and what do you get? Probably the most annoying live album of the 1970s. Guitars belch greasy blooze godliness like smog from twin smokestacks, but Marriott's constant hammy caterwauling makes most of the disc unlistenable by today's standards. For some reason, he demands equal solo time as the guitarists for pointless scatting "are you readys" and "all rights". Sadly his aimless croons and the stops and starts create an environment where "I Walk On

Guilded Splinters" and "Rollin' Stone" are endured, not enjoyed. Despite the resumes of the players, this disc doesn't come within 100 miles of touching the awesome power of the mighty GRAND FUNK, be it live or otherwise.

FAUST - "Faust", 1971: Yearning for originality has always meant either exploring or inventing unfamiliar genres. German band FAUST are these days considered a pivotal band of the Krautrock genre. The music of the debut is much more experimental than balls-to-the-wall, four-on-the-floor rock music. In fact, it is difficult to consider many tracks on this album actual songs. There are catchy moments such as the hypnotizing vocals on "Meadow Meal" that command "to stand in line, keep in line" but these moments are far and few between. On "Why Don't You Eat Carrots?", the vocals float over a sort of synthesizer flatulence, sounding like an instrument that was just lying around the studio

floor was noticed, picked up, played and then abandoned once again. There's no denying that the tracks with all their variations in sounds and the risks taken are musically interesting but it's not an album that is easy to revisit again and again regardless of your mood. Experimentation is fine, but those seeking to rock while flying the 'ol freak flag would be best served by SILBERBART, COMUS, or even "Love It To Death".

MARVIN GAYE - "What’s Going On", 1971 : Marvin Gaye continued to carry the soul torch during his tenure at Motown with the same flame Sam Cooke ignited years prior. With lyrics like “things ain’t what they used to be/fish are full of mercury” or “radiation underground”, one would think that Marvin Gaye is some sort of rambling, filthy hippie, but he’s far from it. Gaye’s words smoothly croon true from the heart, singing with a ginormous, beaming heart on his sleeve. Grim, almost deathly heeding lyrics, but with his unmistakably bittersweet delivery. The last three cuts meld into each other: "Right On", "Wholy Holy" and "Inner City Blues (Makes Me Wanna Holler)". The first is almost

Eric Burdon / ANIMALS-like with flute, strings, and percussion. "Wholy Holy" doesn’t come off like Ned Flanders ramming Jesus & The God Squad down your throat, but it does ask folks to look deep inside themselves about what kind of lives they’re living; to get it together with your fellow human beings and aspire to living a good life. What Gaye did was put it out there that you don’t have to be a tree hugging, shithead hacky-sacker to stop & reflect every so often- it’s OK to be a decent person. One of the record's strongest tracks, "Inner City Blues (Makes Me Wanna Holler)" is a glimpse of the day-to-day struggle of living the big city life, with lyrics like “violence increasing/trigger-happy policing” and “panic is spreading/God knows where we’re heading”, it would’ve been a perfect soundtrack addition for Walter Hill's 1979 film cult classic, "The Warriors". Overall, it's not a disc to play alongside the boisterous rock albums of our top 25, but "What's Going On" definitely sits on the top shelf amongst other soul greats like SAM COOKE & JAMES BROWN, something that hack artists attempting what they call “soul” these days should stop & take notice of. What’s going on, indeed.

SPEED, GLUE, AND SHINKI - "Eve", 1971 : Alas, all that glitters is not gold, and all Japanese rock is not drop-dead fantastic. A long-time rave of Goldmine-clutching psych fanatics, "Eve" is a ratty collection of freaky 12-bar blues jams, otherworldly psych noodling, and thin, megaphone vocals. It's strictly third, maybe fourth-tier stuff (unless you paid seventy bucks for the vinyl at a record convention somewhere), like a sampler of CACTUS' least interesting fare pounded out for forty minutes. Really, the only beacon of light on the record is bass sensei Masayoshi Kabe, successfully lighting a fire under otherwise tedious fare like "Ode To The Bad People". Even the acoustic stuff at the end

of the disc fails to conjure anything memorable after repeat listens. Save your money for "Teenage Head"...wait, that didn't come out the way I meant it.

- Peacedogman staff

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