Tag Archives: 1972

1972 – All The Young Dudes

Paul Fitzpatrick: June 2022, London

My good mate Jim Martin (of this parish), sent me the above graphic, listing a selection of albums released 50 years ago in 1972.

Looking at the list we joked that our musical tastes haven’t progressed much as we continue to binge on a daily diet of much the same content.

I expect it will be a similar story next year when we reflect on the top albums from 1973 and no doubt for a few more years to come, probably until 1978, or should I say, 2028.

As far as music critics are concerned it’s well chronicled that 1971 is seen as being the most prolific/creative year for popular music.

Seminal albums like Marvin Gaye’s ‘What’s Going On’, Joni Mitchell’s ‘Blue’ and ‘Led Zeppelin IV’ are all lauded as being among the best and most inspirational albums of their type.

1971 RELEASES

Whilst there’s an argument to be made that 1971 was music’s high point, surely it’s also a moot point, for when it comes to music, or for that matter any art-form, there’s no right or wrong…

One man’s Elvis can be another man’s Shakin’ Stevens, because beauty, as we know, is in the eye, or in this case, the ear, of the beholder.

Despite what highbrow critics will lead you to believe, music isn’t measurable… just because a critic in The Guardian awards 5 stars to the latest ‘Let’s Eat Grandma’ album, it doesn’t mean you’ve got to love it too, or there’s something wrong with your tastes if you don’t.

Music is about opinions, personal taste and the emotions certain songs invoke, particularly tunes from your formative years.

Take 1971 – there’s no doubt it was a classic year, but in truth as an early teen who was just getting into music, it passed me by.

I caught up of course, and looking at my vinyl collection today, Joni, Marvin & Zep are all well represented but in 71 I’d no idea who Joni Mitchell was and the first Zep album I listened to in full was Zeppelin III in 1973.

Cut forward 12 months and things were different, I feel I was present for a lot of the marquee releases in 72 and remember them well, particularly those by Roxy Music, Lou Reed, Alice Cooper, Mott The Hoople, Rod Stewart, Neil Young, Uriah Heep, Deep Purple and of course the baptism of fire that was Bowie’s Ziggy Stardust, which still sounds great today.

Maybe I wasn’t as switched on as I thought I was though, two of my all-time favourite bands, Steely Dan and Little Feat, also released albums in 1972 that I’d no idea about at the time.

Steely Dan – Can’t Buy A Thrill
Little Feat – Sailin Shoes

So why should 12 months make such a difference?
I think I figured it out…

In the summer of 1971, I was adjusting to the evolution of becoming a teen as well as navigating & negotiating the ensuing boundaries.
I was into music but my inputs were basically restricted to two sources – Radio One and Top Of The Pops.

Fast forward to the summer 72, I was heading into my 3rd Year at school, edging ever closer to the coveted back row of seats on the school bus (and the cinema!), I’d experienced my first kiss, had my first beer and there was a new found confidence that on reflection came from nowhere.

Looking back, I relate this embolden sense of self to the scene in Young Frankenstein where Gene Wilder introduces the Creature on stage –

“From what was once a mass of inarticulate lifeless tissues, may I now present a cultured, sophisticated man about town”

Of course the Creature fell on his arse as we all do when we get a bit cocky.

In terms of musical awareness though, the difference between 71 to 72 was enormous and it was primarily down to access.

The incremental freedom I enjoyed in 72 vs 71, enabled me to access a lot more music via….

The Youth Club – where the older girls had great tastes and dominated the record player.
Record shops – I was now allowed to go into town unchaperoned.
Late night listening – Old Grey Whistle Test & Radio Luxembourg.
Gigs – my first gig was at the Greens Playhouse in 72 to see Humble Pie, supported by Peter Frampton.

So, thank’s Jim for triggering some great memories although we both know there’s a glaring omission from the list of albums.
That album being The Temptations ‘All Directions’ which features a 12 minute version of ‘Papa Was A Rolling Stone’.

A track that Jim & I used to listen to open mouthed, in 23rd Precinct’s listening booth on a Saturday afternoon, when there was no football.

I look forward to receiving the 1973 list of albums next year.


*Inspired by this trip down memory lane I’ve cobbled together a playlist of tracks released in 1972. A mishmash of singles and less obvious album tracks for your listening pleasure….

18 With A Bullet: Horse With No Name by America

Paul Fitzpatrick: London, April 2022

Selected 70s hits from across the pond

If like me you thought ‘Horse With No Name’ must have been written under a star-kissed New Mexico sky by a young troubadour then you’d only be half right.

It was actually written in a London bedsit and recorded at the home of Arthur Brown (yes, him of “Fire, I’ll take you to burn“) by Dewey Bunnell who was one third of a trio who imaginatively called themselves America because they were the sons of American servicemen stationed in Britain.

By 1971, the band still in their teens, had already released their debut album without much success and were packed off to Arthur Browns home-studio in Dorset by Warner Brothers with the brief to come up with a hit single.

Inspired by Salvador Dali paintings of surrealist deserts and fuelled with memories of growing up as airforce brats on military bases in Arizona and New Mexico. Early versions of the track were titled ‘Desert Song’ with Bunnell realising that the desert symbolised the tranquility he was searching for whilst the horse represented the means to reach this tranquility.

Released in December 1971, the song dovetailed perfectly with the singer-songwriter vibe of the time, which no doubt helped it to race up the UK charts, early January 72.

On the back of the songs European success, the bands debut album was re-issued to include the single and by March of that year, both the single and the album had reached the respective number one spots in the US charts, catapulting them to instant fame.


So far so good, but this rookie band and their mellow ‘soft-rock’ anthem would hit a few speed bumps along the way to the top of the charts.

On initial hearing, a large majority of people thought they were actually listening to Neil Young and when they realised it was a bunch of rookies mimicking their idol it resulted in a backlash from Neil’s loyal army of fans.
As fate would have it when the song eventually did get to number one, the record it knocked off the top perch was, you’ve guessed it, Young’s ‘Heart of Gold’.
(get it up ye Neil!)

Neil and his followers were far from happy that he’d been trumped by these young imposters, but to be fair, Bunnell never hid his admiration for Young and admitted that he’d always been a big influence on the band.

Apart from the accusation of plagiarism, the band also had to fend off allegations that the song contained sinister undertones, namely that the ‘Horse’ in the song, was a (not so subtle) reference to heroin.
Accused of promoting narcotics, radio stations in Kansas banned the song due to this misplaced reasoning.

Then, if that wasn’t enough, at a time when Bob Dylan’s verbal dexterity was the benchmark for troubadours, the band came under fire from critics and fellow artists alike… (step forward Randy Newman), for the simplistic nature of the songs lyrics…..

There were plants and birds and rocks and things

In his defence Bunnell explained that he was a teenager when he wrote the song in a mates bedsit and it was completed in under two hours as the lyrics and melody just came to him, as if he’d awakened from a dream.

Before starting this piece I wasn’t aware of any cover versions of note until I discovered that Michael Jackson had sampled the main acoustic riff from the song for a track released posthumously, called ‘A Place With No Name’.

It’s actually worth a listen, the trademark MJ grunts and yelps combined with the original two-chord backing track shouldn’t really work, and maybe they don’t, but it’s an interesting coming together.

Michael Jackson
Janet Jackson

This of course wasn’t the first time a Jackson family member had sampled a track by the band.
Janet Jackson also sampled America and their song ‘Ventura Highway‘ several years earlier on her platinum hit – ‘Someone To Call My Lover

No wonder Dewey Bunnell is worth a few quid!

Like a lot of classic 70s songs the popularity of ‘Horse With No Name’ has endured and finds new audiences with every generation.

As a recent example, who can forget the viral video of the young Amsterdam couple interpreting the song in their own way during the recent lockdown….