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1971 Never A Dull Moment
*THE SUNDAY TIMES TOP TEN BESTSELLER*
The Sixties ended a year late – on New Year's Eve 1970, when Paul McCartney initiated proceedings to wind up The Beatles. Music would never be the same again.
The next day would see the dawning of a new era. 1971 saw the release of more monumental albums than any year before or since and the establishment of a pantheon of stars to dominate the next forty years – Led Zeppelin, David Bowie, the Rolling Stones, Pink Floyd, Marvin Gaye, Carole King, Joni Mitchell, Rod Stewart, the solo Beatles and more.
January that year fired the gun on an unrepeatable surge of creativity, technological innovation, blissful ignorance, naked ambition and outrageous good fortune. By December rock had exploded into the mainstream.
How did it happen? This book tells you how. It's the story of 1971, rock’s golden year.
The Sixties ended a year late – on New Year's Eve 1970, when Paul McCartney initiated proceedings to wind up The Beatles. Music would never be the same again.
The next day would see the dawning of a new era. 1971 saw the release of more monumental albums than any year before or since and the establishment of a pantheon of stars to dominate the next forty years – Led Zeppelin, David Bowie, the Rolling Stones, Pink Floyd, Marvin Gaye, Carole King, Joni Mitchell, Rod Stewart, the solo Beatles and more.
January that year fired the gun on an unrepeatable surge of creativity, technological innovation, blissful ignorance, naked ambition and outrageous good fortune. By December rock had exploded into the mainstream.
How did it happen? This book tells you how. It's the story of 1971, rock’s golden year.
432 pages, Paperback
First published April 7, 2016
290 people are currently reading
3819 people want to read
About the author
David Hepworth
11 books216 followersDavid Hepworth is a music journalist, writer, and publishing industry analyst who has launched several successful British magazines, including Smash Hits, Q, Mojo and The Word, among many others. He presented the definitive BBC rock music program Whistle Test and anchored the BBC's coverage of Live Aid in 1985. He has won the Editor of the Year and Writer of the Year awards from the Professional Publishers Association and the Mark Boxer Award from the British Society of Magazine Editors. He is the radio columnist for the Saturday Guardian and a regular media correspondent for the newspaper.
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Displaying 1 - 30 of 403 reviews
November 9, 2024
Reading this is like spending an evening in the company of a loquacious, knowledgeable, and highly opinionated rock fan. Like all true music obsessives Hepworth has a tendency to state very debatable opinions as though they were self-evident truths. The book argues that 1971 was ‘the most creative, most innovative, most interesting and longest-resounding year’ in the history of rock music. As it also happened to be the year Hepworth turned twenty-one I can’t help suspecting he is just nostalgic for his youth. In his prologue he acknowledges that everyone has a soft spot for the music they loved when young, but then comes the punchline: ‘There’s an important difference in the case of me and 1971. The difference is this: I’m right’.
I’m not convinced. Personally I think the halcyon years of rock were roughly between 1966 and 1980. This was a period when a narrative appeared to be unfolding through the music year by year and innovation and originality seemed as natural as breathing. Singling out any particular year within this timeframe as the best or most influential strikes me as more than a touch arbitrary. One could write a book with the same thesis on 1967 or 1978 or (insert year of your own choice here) which would be equally convincing and equally full of holes. It’s also noticeable that Hepworth never strays very far from the household names: Led Zeppelin, the Who, Rod Stewart, the Rolling Stones, Bowie (wasn’t 1972 Bowie’s big year?). Some of my own favourite albums of 1971 (by Kevin Ayers, Caravan, Van Der Graaf Generator, Gong and Roy Harper) are either not mentioned at all or only in passing, and none of them feature in his list of 100 great albums at the back of the book.
But you don’t have to agree with a writer to be engaged by what they have to say and Hepworth is extremely engaging. He throws out ideas and theories like confetti and part of the pleasure I got from this book was in disagreeing with him. He says that Carole King’s Tapestry ‘invented the album business’. And there I was thinking that the shift from singles to albums started in the mid-sixties, the big explosion coming after Sgt. Pepper. More persuasive was his suggestion that Elvis Presley’s 1971 tour, in which audiences and artist came together to celebrate a shared past and mythology, set the template for what all the famous acts of 1971 would be doing in the decades to come: heritage rock.
Hepworth certainly deserves Brownie points for his complete lack of pretension. (Why has pop music, of all things, produced so much pretentious writing about it? It’s one of the great mysteries). His prose style is so deceptively unassuming that it sometimes takes a moment to realise how provocative he is being. 1971 is a contentious yet entertaining mixture of opinion, anecdotes, history, music criticism and nostalgia. It’s an enjoyable read and, for all its questionable assertions, a powerful refutation of the popular myth that the early seventies were a musical wasteland awaiting the rejuvenation of punk rock.
I’m not convinced. Personally I think the halcyon years of rock were roughly between 1966 and 1980. This was a period when a narrative appeared to be unfolding through the music year by year and innovation and originality seemed as natural as breathing. Singling out any particular year within this timeframe as the best or most influential strikes me as more than a touch arbitrary. One could write a book with the same thesis on 1967 or 1978 or (insert year of your own choice here) which would be equally convincing and equally full of holes. It’s also noticeable that Hepworth never strays very far from the household names: Led Zeppelin, the Who, Rod Stewart, the Rolling Stones, Bowie (wasn’t 1972 Bowie’s big year?). Some of my own favourite albums of 1971 (by Kevin Ayers, Caravan, Van Der Graaf Generator, Gong and Roy Harper) are either not mentioned at all or only in passing, and none of them feature in his list of 100 great albums at the back of the book.
But you don’t have to agree with a writer to be engaged by what they have to say and Hepworth is extremely engaging. He throws out ideas and theories like confetti and part of the pleasure I got from this book was in disagreeing with him. He says that Carole King’s Tapestry ‘invented the album business’. And there I was thinking that the shift from singles to albums started in the mid-sixties, the big explosion coming after Sgt. Pepper. More persuasive was his suggestion that Elvis Presley’s 1971 tour, in which audiences and artist came together to celebrate a shared past and mythology, set the template for what all the famous acts of 1971 would be doing in the decades to come: heritage rock.
Hepworth certainly deserves Brownie points for his complete lack of pretension. (Why has pop music, of all things, produced so much pretentious writing about it? It’s one of the great mysteries). His prose style is so deceptively unassuming that it sometimes takes a moment to realise how provocative he is being. 1971 is a contentious yet entertaining mixture of opinion, anecdotes, history, music criticism and nostalgia. It’s an enjoyable read and, for all its questionable assertions, a powerful refutation of the popular myth that the early seventies were a musical wasteland awaiting the rejuvenation of punk rock.
August 17, 2016
It's maddening to attempt to review a nonfiction musical history when both anecdotes and writing style are top-notch, yet the premise on which the book is crafted is totally misdirected. One can average it out by awarding three stars as I did, though it would be tempting to scrawl a big red I for Incomplete across the title page.
I've made it known several times in the past that titling a book with a particular year is preposterous, because few trends can be summarized in a single year, and the attempt to do so leads the author to artificially stuff things into misshapen categories. It's certainly wrong with 1170 BC or 1493, and it is wrong in rock music for the year 1971. I also am annoyed when an author uses the phrase "golden era" to describe any genre of music or art. It's all flow, and it's all good. Hepworth seemed bound and determined to break all my personal taboos in one fell swoop.
I know it's not just me. David Byrne and Elvis Costello, in two excellent recent music memoirs/analyses, have taken a more defensible path. In How Music Works, Byrne describes an unbroken continuum in music evolution since recorded music began early in the 20th century. He adds the important caveat that we should attach particular negative handicaps to music that was released during our adolescent years, because the interplay between our adolescent hormones, developing neural networks, and the music we hear, leads us to the incorrect conclusion that the music we heard in teen years was the best ever made. It ain't necessarily so. Costello, in his recent memoir, describes how much he appreciates music of all genres, and says quite bluntly that there never was a golden age of anything.
It's fine that Hepworth wants to choose a year or period that is often neglected, as these are the areas that are richest to mine. Pop critics, for example, agree that 1966 was a far stronger year for rock than the Summer of Love that followed, and Hepworth can make a decent case for the importance of 1971. But the most important year of the arena-rock era? Why not say 1970 or 1972? Hepworth would rank the importance (popularity or critical) of certain albums and the seminal years for certain artists, but his statistics are fudged.
He's on solid ground when talking about the breakthroughs of Slade, Carole King, Neil Young, or Marvin Gaye. I might even grant him the point that David Bowie's real breakthrough was not 1972's Ziggy Stardust, but 1971's Hunky Dory. After that, the math gets fuzzy. Pink Floyd's Meddle was in no way the band's turning point - insiders discovered the band at Ummagumma or before, while the great unwashed didn't jump aboard until Dark Side of the Moon. Roxy Music gets deserved mention in the book, but the first album by the band did not arrive until 1972. And Led Zeppelin did not have a critical year in 1971 at all - it was a transitional year between III and IV, and did not signify much in particular for the band.
The insider anecdotes are delightful in this book, and Hepworth adds some great social commentary on the difference between British and US rock audiences, the rise of the album format for listeners over 18, and how society had reached certain points of no return after the 1960s. Hepworth manages to skewer sacred cows, as one would expect from a music critic with his extensive background. He tells us that Nick Drake did not even have much of a literati audience while he was alive, partially because of his own lack of desire to be a star. Hepworth avoids genuflecting at the feet of John Peel, while at the same time acknowledging when Peel made a call that was basically correct despite being unpopular - such as saying that Marc Bolan made a big mistake when moving from a hippie-dippie to a protopunk T. Rex, and that Bolan did not have the requisite talent to live up to the star reputation he briefly had.
At the same time, however, readers will find several areas where they will vehemently disagree with Hepworth's conclusions, which are presented as matters of fact. My own exasperated moment stems from my belief as a teenager that Lee Abrams, trend spotter and analyst, was one of the most evil commercializing influences in the history of rock music. Hepworth is one of the few writers to understand the role of Abrams at all, but he credits Abrams with making pop music better with the semi-standardization of Album-Oriented Rock (AOR) formats. Now, I'd be the first to say there were too many spaced-out hippie DJs in college radio who exploited free-form music selection methods, but Abrams' efforts to standardize music simply cannot be seen as a positive influence by anyone who cares about music as art form.
We get plenty of hints at what is to come in the remaining years of the 70s when Hepworth adds stories of the 1971 recording sessions for The Modern Lovers' "black heart" eponymous album, or talks of the pre-history of The New York Dolls under the name Actress. But again, this shows the artificiality of using 1971 as a signpost. Creative beginnings may have happened in that year, but glam rock was still in its infancy, and punk rock had yet to be born.
Hepworth could have retained the interesting format of this book and dispensed with the static presentation by expanding its period from, say, 1969 to 1975, calling the book Tweenies: Rock Between the Psychedelic and Punk Eras. That would have ruined his theory that 1971 held some special place in the pantheon of the arena-rock era, but frankly, that theory is baseless in the first place. To borrow an image from Heraclitus, Hepworth needs to abandon the static mile-markers and just go with the flow.
I've made it known several times in the past that titling a book with a particular year is preposterous, because few trends can be summarized in a single year, and the attempt to do so leads the author to artificially stuff things into misshapen categories. It's certainly wrong with 1170 BC or 1493, and it is wrong in rock music for the year 1971. I also am annoyed when an author uses the phrase "golden era" to describe any genre of music or art. It's all flow, and it's all good. Hepworth seemed bound and determined to break all my personal taboos in one fell swoop.
I know it's not just me. David Byrne and Elvis Costello, in two excellent recent music memoirs/analyses, have taken a more defensible path. In How Music Works, Byrne describes an unbroken continuum in music evolution since recorded music began early in the 20th century. He adds the important caveat that we should attach particular negative handicaps to music that was released during our adolescent years, because the interplay between our adolescent hormones, developing neural networks, and the music we hear, leads us to the incorrect conclusion that the music we heard in teen years was the best ever made. It ain't necessarily so. Costello, in his recent memoir, describes how much he appreciates music of all genres, and says quite bluntly that there never was a golden age of anything.
It's fine that Hepworth wants to choose a year or period that is often neglected, as these are the areas that are richest to mine. Pop critics, for example, agree that 1966 was a far stronger year for rock than the Summer of Love that followed, and Hepworth can make a decent case for the importance of 1971. But the most important year of the arena-rock era? Why not say 1970 or 1972? Hepworth would rank the importance (popularity or critical) of certain albums and the seminal years for certain artists, but his statistics are fudged.
He's on solid ground when talking about the breakthroughs of Slade, Carole King, Neil Young, or Marvin Gaye. I might even grant him the point that David Bowie's real breakthrough was not 1972's Ziggy Stardust, but 1971's Hunky Dory. After that, the math gets fuzzy. Pink Floyd's Meddle was in no way the band's turning point - insiders discovered the band at Ummagumma or before, while the great unwashed didn't jump aboard until Dark Side of the Moon. Roxy Music gets deserved mention in the book, but the first album by the band did not arrive until 1972. And Led Zeppelin did not have a critical year in 1971 at all - it was a transitional year between III and IV, and did not signify much in particular for the band.
The insider anecdotes are delightful in this book, and Hepworth adds some great social commentary on the difference between British and US rock audiences, the rise of the album format for listeners over 18, and how society had reached certain points of no return after the 1960s. Hepworth manages to skewer sacred cows, as one would expect from a music critic with his extensive background. He tells us that Nick Drake did not even have much of a literati audience while he was alive, partially because of his own lack of desire to be a star. Hepworth avoids genuflecting at the feet of John Peel, while at the same time acknowledging when Peel made a call that was basically correct despite being unpopular - such as saying that Marc Bolan made a big mistake when moving from a hippie-dippie to a protopunk T. Rex, and that Bolan did not have the requisite talent to live up to the star reputation he briefly had.
At the same time, however, readers will find several areas where they will vehemently disagree with Hepworth's conclusions, which are presented as matters of fact. My own exasperated moment stems from my belief as a teenager that Lee Abrams, trend spotter and analyst, was one of the most evil commercializing influences in the history of rock music. Hepworth is one of the few writers to understand the role of Abrams at all, but he credits Abrams with making pop music better with the semi-standardization of Album-Oriented Rock (AOR) formats. Now, I'd be the first to say there were too many spaced-out hippie DJs in college radio who exploited free-form music selection methods, but Abrams' efforts to standardize music simply cannot be seen as a positive influence by anyone who cares about music as art form.
We get plenty of hints at what is to come in the remaining years of the 70s when Hepworth adds stories of the 1971 recording sessions for The Modern Lovers' "black heart" eponymous album, or talks of the pre-history of The New York Dolls under the name Actress. But again, this shows the artificiality of using 1971 as a signpost. Creative beginnings may have happened in that year, but glam rock was still in its infancy, and punk rock had yet to be born.
Hepworth could have retained the interesting format of this book and dispensed with the static presentation by expanding its period from, say, 1969 to 1975, calling the book Tweenies: Rock Between the Psychedelic and Punk Eras. That would have ruined his theory that 1971 held some special place in the pantheon of the arena-rock era, but frankly, that theory is baseless in the first place. To borrow an image from Heraclitus, Hepworth needs to abandon the static mile-markers and just go with the flow.
January 17, 2021
A really fun book. Basically it is a book about Rock and Roll with good solid research that gives great references.
It starts by saying 1971 is the seminal year for for rock ‘n’ roll. After reading the book, I tend to agree.
However, it's opening thesis I disagreed with. That being, “...with McCartney turning in his suit against the Beatles on December 31, 1970 and then 1971 was like the birth of a new era.” They say it is the end of pop and the beginning of R&R. Obviously, they never heard songs like “Helter Skelter”--it is not pop, nor most of the Stones stuff. I would say that the music continued to broaden.
That being said, I really enjoyed this book. It was a walk down memory lane for me. I turned 21 in 71. I was single and living in Korea. My budget was mostly clothes, beer and records. So, I knew most of these great bands.
Some of my all-time favorites like Carol King, Jim Croce and Lwd Zeppelin are covered very well.
A rocking book that I am happy to recommend.
It starts by saying 1971 is the seminal year for for rock ‘n’ roll. After reading the book, I tend to agree.
However, it's opening thesis I disagreed with. That being, “...with McCartney turning in his suit against the Beatles on December 31, 1970 and then 1971 was like the birth of a new era.” They say it is the end of pop and the beginning of R&R. Obviously, they never heard songs like “Helter Skelter”--it is not pop, nor most of the Stones stuff. I would say that the music continued to broaden.
That being said, I really enjoyed this book. It was a walk down memory lane for me. I turned 21 in 71. I was single and living in Korea. My budget was mostly clothes, beer and records. So, I knew most of these great bands.
Some of my all-time favorites like Carol King, Jim Croce and Lwd Zeppelin are covered very well.
A rocking book that I am happy to recommend.
August 12, 2016
Hepworth has a good line on when everything happened, but he has no idea why it happened. No insight into the artists, the politics, or the era, but each chapter ends with a list of really great tunes to download. Oh, and the cheap shots about rock stars making too much money and having too much sex become tiresome after a while. It's all veddy veddy British!
December 11, 2018
Having enjoyed, “Uncommon People,” by David Hepworth, I decided to go back to his earlier book, “1971 – Never a Dull moment: Rock’s Golden Year.” In 1971 I was five, so, unlike Mr Hepworth, most of the music of that year passed me by. However, my musical tastes are very much stuck in the Sixties and Seventies and I enjoyed this volume, in which David Hepworth takes a month by month tour through the year and examines the musical soundtrack, while also giving us a social background – films, books, the advent of decimal currency – of the time.
The author suggests 1971 as both the end of the Sixties, and the start of the Seventies; triggered by Paul McCartney’s writ to wind up the Beatles. All four of the Beatles feature in this book, as they embarked on solo careers. The various other names featured – either having huge success, or just starting out – include Bruce Springsteen, Pink Floyd, the Rolling Stones, the Who, Carole King, Joni Mitchell, David Bowie, Led Zeppelin, Rod Stewart, the Beach Boys, Bob Dylan, the Eagles, Neil Young, Harry Nilsson, Stevie Wonder and Frank Zappa. One of the interesting points made in this book is that these acts are still revered and many are still touring, and selling the albums they made all those years ago. This was not just great music, at the time, it has lasted.
I listened to this on Audible and enjoyed the author reading his own work – occasionally giving a wry chuckle, as he meandered through an incredible musical year. During the book, he covers touring, the musical press, the Concert for Bangladesh, live albums, the changing music business, and much more. To be honest, I am not completely sure I was convinced that 1971 was THE greatest year in music, but it was one of them, and I greatly enjoyed hearing the author’s thoughts on why this was and look forward to reading more of his work.
The author suggests 1971 as both the end of the Sixties, and the start of the Seventies; triggered by Paul McCartney’s writ to wind up the Beatles. All four of the Beatles feature in this book, as they embarked on solo careers. The various other names featured – either having huge success, or just starting out – include Bruce Springsteen, Pink Floyd, the Rolling Stones, the Who, Carole King, Joni Mitchell, David Bowie, Led Zeppelin, Rod Stewart, the Beach Boys, Bob Dylan, the Eagles, Neil Young, Harry Nilsson, Stevie Wonder and Frank Zappa. One of the interesting points made in this book is that these acts are still revered and many are still touring, and selling the albums they made all those years ago. This was not just great music, at the time, it has lasted.
I listened to this on Audible and enjoyed the author reading his own work – occasionally giving a wry chuckle, as he meandered through an incredible musical year. During the book, he covers touring, the musical press, the Concert for Bangladesh, live albums, the changing music business, and much more. To be honest, I am not completely sure I was convinced that 1971 was THE greatest year in music, but it was one of them, and I greatly enjoyed hearing the author’s thoughts on why this was and look forward to reading more of his work.
April 27, 2022
1971 - Never a Dull Moment: Rock's Golden Year is a supremely enjoyable trawl through the popular music of the year 1971.
David Hepworth makes a compelling case that 1971 was the high water mark for popular music. I was initially sceptical about this claim. As David states, every generation thinks that the music they encounter in adolescence and early adulthood is the most vital and important ever made.
Having just finished the book, I think David Hepworth may well be correct. By any measure 1971 was an extraordinary musical year when many artists made their best work, a year chock full of classic releases, and a period when the seeds of many future genres and trends were sown.
What also makes 1971 - Never a Dull Moment: Rock's Golden Year so enjoyable is that David discusses other things that were happening in his month-by-month dissection of the year, and which embraces politics, television, social trends, sexism and equality, cinema, social attitudes, and so on. It's wide ranging, very well written, and pleasingly contextualises 1971's plethora of wonderful key artists and their music.
5/5
David Hepworth makes a compelling case that 1971 was the high water mark for popular music. I was initially sceptical about this claim. As David states, every generation thinks that the music they encounter in adolescence and early adulthood is the most vital and important ever made.
Having just finished the book, I think David Hepworth may well be correct. By any measure 1971 was an extraordinary musical year when many artists made their best work, a year chock full of classic releases, and a period when the seeds of many future genres and trends were sown.
What also makes 1971 - Never a Dull Moment: Rock's Golden Year so enjoyable is that David discusses other things that were happening in his month-by-month dissection of the year, and which embraces politics, television, social trends, sexism and equality, cinema, social attitudes, and so on. It's wide ranging, very well written, and pleasingly contextualises 1971's plethora of wonderful key artists and their music.
5/5
September 20, 2021
A tedious ode to the of likes of David Bowie and Rod Stewart. The author’s lack of insight into the musicians of 1971, the broad statements without explanation, and heavy handed opinions are front and center. Twelve months of music and only one of those months covered African American artists, rock and roll having become segregated once again by the early years of the decade. Naturally, women like Carole King and Joni Mitchell are mentioned but not in any depth. Actually, there was not much depth to be found here. Perhaps one influential year in music is too big a bite to take on in one book. The inaccurate statements caused me to become skeptical early on, and as the book continued, my interest waned.
There were a few bright spots that did keep me turning the pages such as the Louisiana music festival misnamed “Celebration of Life” that occurred in June was new to me. The influence of the Woodstock music festival in 1969 and subsequent attempts to reproduce the cultural impact of that lineup which by 1971 heralded the age of the arena concerts is another example.
Ultimately this is a mixed bag and coming on the heels of reading “Fire and rain: The Beatles, Simon and Garfunkel, James Taylor, CSNY, and the lost story of 1970” by David Browne, which I thoroughly enjoyed and is richly detailed led to my disappointment.
There were a few bright spots that did keep me turning the pages such as the Louisiana music festival misnamed “Celebration of Life” that occurred in June was new to me. The influence of the Woodstock music festival in 1969 and subsequent attempts to reproduce the cultural impact of that lineup which by 1971 heralded the age of the arena concerts is another example.
Ultimately this is a mixed bag and coming on the heels of reading “Fire and rain: The Beatles, Simon and Garfunkel, James Taylor, CSNY, and the lost story of 1970” by David Browne, which I thoroughly enjoyed and is richly detailed led to my disappointment.
August 23, 2016
Nicely detailed and well-researched work that makes a convincing argument that rock/pop/soul albums finally came of age in '71. With the listed notable output by the Who, Zeppelin, and Stones (not to mention various others like Isaac Hayes, Carole King, and solo Beatle projects) I'd have to agree. It made me want to spin "Sticky Fingers" and "Who's Next" the next time I have the opportunity. The book was an entertaining fast read - recommended to those with an interest in US/UK music history.
July 2, 2021
When I saw the year this covered, I knew I had to read it. I was born in 1971 and so I have grown up listening to many of the bands discussed in the book.
Hepworth takes the year month by month so that we can understand how the creativity unfolded. This is a pivotal moment in the careers of many bands and artists that still are known today and revered (The Rolling Stones, Led Zeppelin, The Who, Rod Stewart, Cat Stevens, David Bowie, Carole King, Carly Simon). We come to understand the terrain in which many albums were created. Some artists spent merely hours to create masterpieces.
It is amazing to me that so many people were creating music at the same time. Hepworth gives a small list of songs released for the month at the end of each chapter. At the back of the book, we get a list of albums released in 1971 - a testament to the greatness of this moment in music.
Hepworth takes the year month by month so that we can understand how the creativity unfolded. This is a pivotal moment in the careers of many bands and artists that still are known today and revered (The Rolling Stones, Led Zeppelin, The Who, Rod Stewart, Cat Stevens, David Bowie, Carole King, Carly Simon). We come to understand the terrain in which many albums were created. Some artists spent merely hours to create masterpieces.
It is amazing to me that so many people were creating music at the same time. Hepworth gives a small list of songs released for the month at the end of each chapter. At the back of the book, we get a list of albums released in 1971 - a testament to the greatness of this moment in music.
April 9, 2025
3.5 stars rounded up
i enjoyed this, there should be more books like this as i am sure there are other great years for music, maybe 1994 or 2016.
half a star taken off bc it does come across like that one annoying rock fan you meet in college who thinks he knows anything and everything about the music industry
i enjoyed this, there should be more books like this as i am sure there are other great years for music, maybe 1994 or 2016.
half a star taken off bc it does come across like that one annoying rock fan you meet in college who thinks he knows anything and everything about the music industry
June 25, 2017
Was 1971 the greatest year of rock music?....it certainly was one of the best but I would argue that the great era stretched a little before and after that date. I'm not sure one can say that a particular year was the "best" but 1971 comes close. The author is a British music critic and not everyone agrees with critics! But he does a pretty good job of outlining some of the history of that year, month by month, and touches on the careers of many artists/groups who still hold our attention and can still draw a crowd.....the Rolling Stones, Rod Stewart, Elton John, etc. He also is not afraid to trash some of the artists who were not particularly good or exciting, such as Marc Bolan and his band T Rex who rather lucked into stardom. And of course, the world lost many musicians Janis Joplin, Jimmi Hendrix, Gram parsons and the aforementioned Marc Bolan, to drugs during this time. Others crashed and burned due to their excessive habits.
The concentration is mostly on albums as the popularity of singles was fading and many radio stations were starting to play songs that were longer than 2 minutes and 30 seconds, the usual playing time of a single, Songs like "Stairway to Heaven" and "Layla" were getting air time and albums were flying off the shelves. We get an insiders look at the lifestyles of rockers and it wasn't a pretty picture....sex, drugs, and rock and roll. He calls attention to something that he correctly calls "evergreen" albums..."Tapestry" by Carole King, "Concert for Bangladesh" featuring multiple groups, and "Surfs Up" by the Beach Boys.....albums that will continue to sell as long as fans love rock and roll. This is a good book for the fan of music nostalgia and for those who will forever linger over the memories that the music brings.
The concentration is mostly on albums as the popularity of singles was fading and many radio stations were starting to play songs that were longer than 2 minutes and 30 seconds, the usual playing time of a single, Songs like "Stairway to Heaven" and "Layla" were getting air time and albums were flying off the shelves. We get an insiders look at the lifestyles of rockers and it wasn't a pretty picture....sex, drugs, and rock and roll. He calls attention to something that he correctly calls "evergreen" albums..."Tapestry" by Carole King, "Concert for Bangladesh" featuring multiple groups, and "Surfs Up" by the Beach Boys.....albums that will continue to sell as long as fans love rock and roll. This is a good book for the fan of music nostalgia and for those who will forever linger over the memories that the music brings.
February 6, 2018
Had to read this; I was in my early 20s at this point, so I could sing along to much of the music written about here. This was the era of amazing LPs on both sides of the Atlantic - Carole King ‘Tapestry’, Led Zepp lV, The Stones ‘Sticky Fingers’, Bowie ‘Hunky Dory’ and many many more.
I found the journalistic style a trifle grating. There were many sweeping statements and a few good jokes and aphorisms, and a few nuggets where I said ‘Well I never knew that.’
But hey - the music was great! Hepworth starts his prologue ‘I was born in 1950. For a music fan that’s the winning ticket in the lottery of life.’ I’ll drink to that.
I found the journalistic style a trifle grating. There were many sweeping statements and a few good jokes and aphorisms, and a few nuggets where I said ‘Well I never knew that.’
But hey - the music was great! Hepworth starts his prologue ‘I was born in 1950. For a music fan that’s the winning ticket in the lottery of life.’ I’ll drink to that.
July 3, 2016
I will admit to having some preconceived biases when it comes to the music of 1971, but David Hepworth does a fabulous job of supporting those biases. Hepworth makes the case that this was the year that changed the direction of rock music forever. His claims are supported with significant research, facts, and analysis. He also adds information about cultural and political events which enhances his scrutiny. I enjoyed the pieces of trivia as well. An added bonus was the list of singles and/or albums at the end of each month written about. At the end of the book, Hepworth provides a list entitled "1971 in 100 Albums".
Since Hepworth is British, he included several English fringe bands in his analysis. These sections did not really appeal to me. However, I could overlook these inclusions because he devoted almost an entire chapter to Carole King's "Tapestry" album.
Overall, this book provides much food for thought, and ample topics for discussions between those of us who were fortunate enough to have experienced all of the joy this music brought.
I highlighted too much of this book to include all of the passages that I enjoyed, but here is a sampling:
"All the extra cash that came my way was instantly converted into albums. There was simple nothing else that I wanted to spend money on."
"Up to that point most of the people who bought albums had been men. Tapestry changed all that and pointed to a future where in order to sell huge numbers of long-playing records, you had to sell them to women."
"A great deal of the music recorded in 1971 has had an afterlife that none of the people who played it could have predicted."
"Many of the musicians who made those 1971 records are still playing today, in bigger venues than ever. These records are not just remarkably good and uniquely fresh; they have also enjoyed the benefit of being listened to more times than any recorded music in human history."
Since Hepworth is British, he included several English fringe bands in his analysis. These sections did not really appeal to me. However, I could overlook these inclusions because he devoted almost an entire chapter to Carole King's "Tapestry" album.
Overall, this book provides much food for thought, and ample topics for discussions between those of us who were fortunate enough to have experienced all of the joy this music brought.
I highlighted too much of this book to include all of the passages that I enjoyed, but here is a sampling:
"All the extra cash that came my way was instantly converted into albums. There was simple nothing else that I wanted to spend money on."
"Up to that point most of the people who bought albums had been men. Tapestry changed all that and pointed to a future where in order to sell huge numbers of long-playing records, you had to sell them to women."
"A great deal of the music recorded in 1971 has had an afterlife that none of the people who played it could have predicted."
"Many of the musicians who made those 1971 records are still playing today, in bigger venues than ever. These records are not just remarkably good and uniquely fresh; they have also enjoyed the benefit of being listened to more times than any recorded music in human history."
September 16, 2019
[In all honesty, I was a toddler in 1971, but I have a Masters in Rock n’ Roll.]
I enjoyed this book, if for no other reason than it’s written from the perspective of someone who was coming of age in the UK that year.
Some might argue that 1971 had many DULL moments —mostly involving the continued mass mourning of The Beatles’ break up—but the author was clearly optimistic, and excited about what was going on, and what was coming next. As he wrote in the epilogue Anyone can make a case for the popular music of their youth.
If you’re not British you will find that he devotes only a little over one-third of the book to bands and artists in the US. He mentions most of them briefly, just not at any length. (A big exception would be Carol King and “Tapestry” of which he is obviously a huge fan, but hey, she sold 150 million copies of “Tapestry.” So yes, she was a very big part of 1971.)
UK bands and artists covered at length: The Rolling Stones (and accompanying rock royalty,) Beatles solo work, The Who, Led Zeppelin, David Bowie, T. Rex, Cat Stevens, Rod Stewart and others
US bands covered at some length: Neil Young, The Beach Boys, Bob Dylan, Alice Cooper, Marvin Gaye, Stevie Wonder, Sly & the Family Stone, and others.
He talks about the festivals— especially “The Concert For Bangladesh.” He also wrote about one disastrous festival I’ve never read about: “The Celebration of Life” in Louisiana. It’s a bizarre story all by itself. I wonder if there’s a book on that?
Some other surprises— Roxy Music, Jonathan Richman and The Modern Lovers...
And Big Star? What?
Ironically I have “A Man Called Destruction: The Life and Music of Alex Chilton” sitting on the nightstand and I intend to read it very soon.
I enjoyed this book, if for no other reason than it’s written from the perspective of someone who was coming of age in the UK that year.
Some might argue that 1971 had many DULL moments —mostly involving the continued mass mourning of The Beatles’ break up—but the author was clearly optimistic, and excited about what was going on, and what was coming next. As he wrote in the epilogue Anyone can make a case for the popular music of their youth.
If you’re not British you will find that he devotes only a little over one-third of the book to bands and artists in the US. He mentions most of them briefly, just not at any length. (A big exception would be Carol King and “Tapestry” of which he is obviously a huge fan, but hey, she sold 150 million copies of “Tapestry.” So yes, she was a very big part of 1971.)
UK bands and artists covered at length: The Rolling Stones (and accompanying rock royalty,) Beatles solo work, The Who, Led Zeppelin, David Bowie, T. Rex, Cat Stevens, Rod Stewart and others
US bands covered at some length: Neil Young, The Beach Boys, Bob Dylan, Alice Cooper, Marvin Gaye, Stevie Wonder, Sly & the Family Stone, and others.
He talks about the festivals— especially “The Concert For Bangladesh.” He also wrote about one disastrous festival I’ve never read about: “The Celebration of Life” in Louisiana. It’s a bizarre story all by itself. I wonder if there’s a book on that?
Some other surprises— Roxy Music, Jonathan Richman and The Modern Lovers...
And Big Star? What?
Ironically I have “A Man Called Destruction: The Life and Music of Alex Chilton” sitting on the nightstand and I intend to read it very soon.
July 6, 2017
I love all things classic rock, and when the Hepcat scribbler here boldly makes claim that 1971 was most significant year for music ever, well, he had my attention. Unfortunately Hepworth fails to address the argument with data or exercise a compelling analysis to prove his point. Such leg work could be done; comparing an artists popularity over a time, influence over later generations, effect on culture, year by year – act by act, hit by hit, etc. Or you could just assume it’s whatever you listened to when you were 21.
He provides appreciatively brief sketches of lesser known artists like Cat Stevens, T Rex, Carole King, and Nick Drake –nicely detailing all anyone really needs to know. Suspect accounting is littered thruout, as all the action seems to hinge on 1971, even for bands that might have only started and were in fact only popular years later. Likewise bands brewing up material in the late 60’s and finding overnight success in 1971, get logged in as part of club 71.
It kinda scary to think Hepworth worked in the music magazine writing industry, as I get the impression he stopped discovering new music in the mid 70’s.
Perhaps a more engaging question to ask is: When did Rock die?
He provides appreciatively brief sketches of lesser known artists like Cat Stevens, T Rex, Carole King, and Nick Drake –nicely detailing all anyone really needs to know. Suspect accounting is littered thruout, as all the action seems to hinge on 1971, even for bands that might have only started and were in fact only popular years later. Likewise bands brewing up material in the late 60’s and finding overnight success in 1971, get logged in as part of club 71.
It kinda scary to think Hepworth worked in the music magazine writing industry, as I get the impression he stopped discovering new music in the mid 70’s.
Perhaps a more engaging question to ask is: When did Rock die?
January 11, 2018
I was disappointed, as there were many dull moments in this book. The best bit about it were the monthly playlists from that year and the bibliography. I'd heard most of the rock star anecdotes before and didn't need Hepworth to tell me that Bowie's Hunky Dory was the best album of 1971. I was expecting more about life in Britain in 1971 with a bit more social history thrown in. I was also disappointed that a lot of the focus was on US music.
December 9, 2016
David Hepworth's Never A Dull Moment: 1971 claims that 1971 was the most important year in rock history. While many fans are sentimental about specific years or time spans, Hepworth makes the case that no other year has produced so much influential, memorable music or generated so many currents that rippled through what came after.
Let's begin with a list of some of the albums released in 1971:
Carole King: Tapestry
The Allman Brothers Band: At Fillmore East
Marvin Gaye: What’s Going On
The Rolling Stones: Sticky Fingers
Led Zeppelin: IV
Jethro Tull: Aqualung
Carly Simon: Carly Simon and Anticipation
The Who: Who’s Next
John Prine: John Prine
The Beach Boys: Surf's Up
Nitty Gritty Dirt Band: Will the Circle Be Unbroken
Black Sabbath: Masters of Reality
Nilsson: Nilsson Schmilson
The Doors: L. A. Woman
Isaac Hayes: Shaft
Van Morrison: Tupelo Honey
On that list are some of the best-selling albums of all time, including work that influenced what would become blues-rock, heavy metal, country-rock, and folk-rock. Some of these albums are from established bands; others are by newcomers. And it's just the beginning.
Here are some songs released in 1971 that have stood the test of time, although they were not on albums as distinguished as those above. (Get ready to hum.)
Neil Diamond: “I Am … I Said”
Elton John: “Tiny Dancer”
Jackson Browne: "Doctor My Eyes"
America: "Ventura Highway"
John Lennon/Plastic Ono Band: "Power to the People"
John Lennon: "Imagine"
Don McLean: "American Pie"
Yes: "Roundabout"
Badfinger: "Baby Blue" and "Day After Day"
Rod Stewart: "Maggie May"
Al Green: "Tired of Being Alone"
Janis Joplin: "Me and Bobby McGee"
Ringo Starr: "It Don't Come Easy"
Paul and Linda McCartney: "Uncle Albert/Admiral Halsey"
James Taylor: "You've Got a Friend"
Bill Withers: "Ain't No Sunshine"
The Jackson 5: "Never Can Say Goodbye"
Sly and The Family Stone: "Family Affair"
Stevie Wonder: "If You Really Love Me"
Whew. Those albums and those songs seem like they should be a decade's worth of music, but they all arrived in 1971.
Never A Dull Moment: 1971 isn't a book of lists. It's a book of stories. The stories and personalities blend to create a vivid picture of that year in music. Hepworth takes us through 1971 month by month, telling about the most important recordings and happenings from each flip of the calendar. By examining in more detail some of what was going on, we see the recordings in a context as rich as the individual records. For example, Motown was changed forever by the 1971 work of Stevie Wonder and Marvin Gaye. Then the first big rock concert staged for a cause was George Harrison's Concert for Bangladesh with Bob Dylan, Ringo Starr, Eric Clapton, Badfinger, and Leon Russell. Rock journalism also took a big step forward as something separate from entertainment journalism with Rolling Stone's "The Beach Boys: A California Saga" cover story about the darker side of the band. Mick Jagger got married in a frenzy, and Stevie Wonder was introduced to new musical technology. All of these events wrap around the music to provide insights into the culture on both sides of the Atlantic. Any discussion of rock music in 1971 requires a balanced view of the British and American scenes, and Hepworth handles that masterfully without any obvious bias toward one side of the Atlantic or the other.
Some of the smaller moments are the most memorable, including juicy bits such as Cat Stevens introducing his then-girlfriend Carly Simon to her future husband James Taylor, and John Prine's first record deal growing out of a serendipitous late-night prowl with … Paul Anka.
1971 was also the beginning of what Hepworth calls "heritage rock" as the first generation of rock stars attempted to figure out how to look forward and backward at the same time. 1971 was the first post-Beatles year. George and Ringo did the Bangladesh concert while John and Yoko did their thing, and Paul and Linda did theirs. The Rolling Stones were re-tooling but created Sticky Fingers, their first record conceived as an album rather than as a song collection. The Beach Boys had their distinctive sound but wanted to move beyond songs about girls, cars, and surfing with Brian Wilson largely sidelined by mental problems. Bob Dylan reunited with The Band. And Elvis Presley went on tour for the first time in almost fourteen years.
In addition to the rock veterans, some newcomers were making impressive stirrings: Kraftwerk, The Eagles, Roxy Music. 1971 also saw the emergence of Alice Cooper, Cat Stevens, David Bowie, and Rod Stewart. Think about it. That's an amazingly diverse group of artists to be surfacing at the same time.
Never A Dull Moment: 1971 is an absorbing, fascinating, thoroughly satisfying romp through twelve months of glorious music, dynamic personalities, and raucous goings-on.
I can recommend the audiobook version of Never A Dull Moment: 1971 narrated by Hepworth himself. His British accent with a touch of the Liverpudlian is charming and energetic. Hepworth never seems to be reading as he enthusiastically tells the tales of this remarkable year.
Cross-posted in slightly different form on What's Not Wrong?
Let's begin with a list of some of the albums released in 1971:
Carole King: Tapestry
The Allman Brothers Band: At Fillmore East
Marvin Gaye: What’s Going On
The Rolling Stones: Sticky Fingers
Led Zeppelin: IV
Jethro Tull: Aqualung
Carly Simon: Carly Simon and Anticipation
The Who: Who’s Next
John Prine: John Prine
The Beach Boys: Surf's Up
Nitty Gritty Dirt Band: Will the Circle Be Unbroken
Black Sabbath: Masters of Reality
Nilsson: Nilsson Schmilson
The Doors: L. A. Woman
Isaac Hayes: Shaft
Van Morrison: Tupelo Honey
On that list are some of the best-selling albums of all time, including work that influenced what would become blues-rock, heavy metal, country-rock, and folk-rock. Some of these albums are from established bands; others are by newcomers. And it's just the beginning.
Here are some songs released in 1971 that have stood the test of time, although they were not on albums as distinguished as those above. (Get ready to hum.)
Neil Diamond: “I Am … I Said”
Elton John: “Tiny Dancer”
Jackson Browne: "Doctor My Eyes"
America: "Ventura Highway"
John Lennon/Plastic Ono Band: "Power to the People"
John Lennon: "Imagine"
Don McLean: "American Pie"
Yes: "Roundabout"
Badfinger: "Baby Blue" and "Day After Day"
Rod Stewart: "Maggie May"
Al Green: "Tired of Being Alone"
Janis Joplin: "Me and Bobby McGee"
Ringo Starr: "It Don't Come Easy"
Paul and Linda McCartney: "Uncle Albert/Admiral Halsey"
James Taylor: "You've Got a Friend"
Bill Withers: "Ain't No Sunshine"
The Jackson 5: "Never Can Say Goodbye"
Sly and The Family Stone: "Family Affair"
Stevie Wonder: "If You Really Love Me"
Whew. Those albums and those songs seem like they should be a decade's worth of music, but they all arrived in 1971.
Never A Dull Moment: 1971 isn't a book of lists. It's a book of stories. The stories and personalities blend to create a vivid picture of that year in music. Hepworth takes us through 1971 month by month, telling about the most important recordings and happenings from each flip of the calendar. By examining in more detail some of what was going on, we see the recordings in a context as rich as the individual records. For example, Motown was changed forever by the 1971 work of Stevie Wonder and Marvin Gaye. Then the first big rock concert staged for a cause was George Harrison's Concert for Bangladesh with Bob Dylan, Ringo Starr, Eric Clapton, Badfinger, and Leon Russell. Rock journalism also took a big step forward as something separate from entertainment journalism with Rolling Stone's "The Beach Boys: A California Saga" cover story about the darker side of the band. Mick Jagger got married in a frenzy, and Stevie Wonder was introduced to new musical technology. All of these events wrap around the music to provide insights into the culture on both sides of the Atlantic. Any discussion of rock music in 1971 requires a balanced view of the British and American scenes, and Hepworth handles that masterfully without any obvious bias toward one side of the Atlantic or the other.
Some of the smaller moments are the most memorable, including juicy bits such as Cat Stevens introducing his then-girlfriend Carly Simon to her future husband James Taylor, and John Prine's first record deal growing out of a serendipitous late-night prowl with … Paul Anka.
1971 was also the beginning of what Hepworth calls "heritage rock" as the first generation of rock stars attempted to figure out how to look forward and backward at the same time. 1971 was the first post-Beatles year. George and Ringo did the Bangladesh concert while John and Yoko did their thing, and Paul and Linda did theirs. The Rolling Stones were re-tooling but created Sticky Fingers, their first record conceived as an album rather than as a song collection. The Beach Boys had their distinctive sound but wanted to move beyond songs about girls, cars, and surfing with Brian Wilson largely sidelined by mental problems. Bob Dylan reunited with The Band. And Elvis Presley went on tour for the first time in almost fourteen years.
In addition to the rock veterans, some newcomers were making impressive stirrings: Kraftwerk, The Eagles, Roxy Music. 1971 also saw the emergence of Alice Cooper, Cat Stevens, David Bowie, and Rod Stewart. Think about it. That's an amazingly diverse group of artists to be surfacing at the same time.
Never A Dull Moment: 1971 is an absorbing, fascinating, thoroughly satisfying romp through twelve months of glorious music, dynamic personalities, and raucous goings-on.
I can recommend the audiobook version of Never A Dull Moment: 1971 narrated by Hepworth himself. His British accent with a touch of the Liverpudlian is charming and energetic. Hepworth never seems to be reading as he enthusiastically tells the tales of this remarkable year.
Cross-posted in slightly different form on What's Not Wrong?
May 9, 2018
Downloaded this to listen to after having enjoyed Hepworth's latest book, and found this one to be similarly accessible, informative and enjoyable. Always a sucker for a good music bio or history, and Hepworth's writing certainly fits the bill in this regard.
February 21, 2017
I turned 14 in 1971 so much of what is written here resounds very strongly as you might expect. But Hepworth makes an excellent case for 1971 being the pivotal year in rock history.
The book takes a month by month overview of the year but uses the music/events of that month to place things in a wider context whether as a comment on how things got to that point, or to the impact on the future of rock.
A handful of factual errors aside (not really detracting from the narrative but I WAS THERE) this is a very readable book worth reading for anyone interested in this era or in music history generally. I won't get upset that despite some footy references, no mention was made of Partick Thistle's historic Scottish League Cup win in that year.
The book concludes with a list of 100 albums to musically explain 1971. I own 75 of then. 'Nuff said.
The book takes a month by month overview of the year but uses the music/events of that month to place things in a wider context whether as a comment on how things got to that point, or to the impact on the future of rock.
A handful of factual errors aside (not really detracting from the narrative but I WAS THERE) this is a very readable book worth reading for anyone interested in this era or in music history generally. I won't get upset that despite some footy references, no mention was made of Partick Thistle's historic Scottish League Cup win in that year.
The book concludes with a list of 100 albums to musically explain 1971. I own 75 of then. 'Nuff said.
June 11, 2021
Should have been called...this book is filled with dull moments. For a year so full of great music this story telling was a disappointment.
January 19, 2023
Torn between 3 stars and 4 stars, so a solid 3.5 is what it's getting from me.
Despite being dedicated to the niche subject of 1971 in music, somehow, multiple parts of this book felt shallow and lackluster. Spoiler: there were, in fact, many dull moments in 1971 even with the excitement of the author shining through at every page.
Bit disappointed that Motown and Black pop only got one chapter and a bit frustrated that in many points of the book Hepworth pointed to past or future musical creations. Seemed like bit of a cop out on both points.
I did really enjoy the exploration of the impact and legacy of Tapestry in terms of album sales and audiences. This book really does pinpoint a specific moment in Rock and it was very cool to explore that through a variety of different artists.
Unfortunately, as I'm reflecting there was just a disappointing amount of aspects of this book for it to be a complete stand out, but I value a lot of the information presented and the clear amount of passion from the author.
Despite being dedicated to the niche subject of 1971 in music, somehow, multiple parts of this book felt shallow and lackluster. Spoiler: there were, in fact, many dull moments in 1971 even with the excitement of the author shining through at every page.
Bit disappointed that Motown and Black pop only got one chapter and a bit frustrated that in many points of the book Hepworth pointed to past or future musical creations. Seemed like bit of a cop out on both points.
I did really enjoy the exploration of the impact and legacy of Tapestry in terms of album sales and audiences. This book really does pinpoint a specific moment in Rock and it was very cool to explore that through a variety of different artists.
Unfortunately, as I'm reflecting there was just a disappointing amount of aspects of this book for it to be a complete stand out, but I value a lot of the information presented and the clear amount of passion from the author.
March 15, 2020
Month by month Hepworth details the significant musical and cultural events of 1971, arguing it was the most important year in music.
The book is for people who lived through the era. It would have been interesting seeing a series of these books for each year of music during the peak of the rock era.
The book is for people who lived through the era. It would have been interesting seeing a series of these books for each year of music during the peak of the rock era.
November 27, 2020
If you a music fan, terrific book about the Year 1971 and the artists that made the charts. Interesting facts and trends from the year. Great resource for research and/ or a term paper. Enjoy!
June 14, 2022
1971 was a pivotal year for me. Jan.- May finishing up my MA in Latin and Greek at Tufts. Met some of my greatest friends there. June - July -studying Greek history and art in Poros, Greece. Sept. - Dec. - my first teaching job ever.
It was such fun to relieve the sounds that I associated with all those times. Really enjoyed this book because of the time frame. Excellent read.
It was such fun to relieve the sounds that I associated with all those times. Really enjoyed this book because of the time frame. Excellent read.
October 4, 2025
maybe rock and roll should always be just seventeen!!!¡¡
April 23, 2016
I have been a fan of David Hepworth's writing for some time, as he has been a music journalist for many years and I have always enjoyed his writing, most recently in the now defunct publication 'The Word'. I have been aware that this book was due for publication for some months now and couldn't wait to read it.
In the book he makes the case for 1971 being the year that rock music 'came of age' and he cites all the factors that were present for the this to happen. Each chapter is devoted to a month of the year in chronological order and in each chapter he tells the stories of the different artists and bands and what they did that was significant that month and how it went onto shape the year and also their subsequent careers. He also mixes the music stories with significant world events that happened that year and also adds a bit of the social history of Britain and America to give a backdrop to how this influenced the music that was being created at the time. A lot of the artists and albums that he writes about are familiar to me, having 'discovered' them at the time too and they have went on to become household names, such as The Rolling Stones, David Bowie, Stevie Wonder, Elton John, Rod Stewart, Carole King, Led Zeppelin and the solo Beatles. He also writes about other artists such as Nick Drake and Big Star who produced music in 1971 but basically sunk without trace at the time but have become a great influence on future generations of artists and fans. At the end of each chapter Hepworth also adds a playlist of the significant tracks from that month.
I really enjoyed the book as I am a big music fan and I am familiar with the majority of the artists and albums that he is writing about but a lot of anecdotes and stories were new to me. The book is informative, interesting, funny and enjoyable. I also liked Hepworth's writing style and also how he sounds quite dismissive of artists he doesn't seem to like which seemed to include Marc Bolan and The Rolling Stones ( who I never managed to get into myself !!). I've always thought that the big year in rock was 1972 but a lot of the 'good stuff' released that year was, I discovered, written or recorded in 1971. Probably a writer from a different generation could write a similar book citing another year as being more significant but as this one is truly rooted in my youth I'm quite happy to side with Mr Hepworth and his viewpoint.
In the book he makes the case for 1971 being the year that rock music 'came of age' and he cites all the factors that were present for the this to happen. Each chapter is devoted to a month of the year in chronological order and in each chapter he tells the stories of the different artists and bands and what they did that was significant that month and how it went onto shape the year and also their subsequent careers. He also mixes the music stories with significant world events that happened that year and also adds a bit of the social history of Britain and America to give a backdrop to how this influenced the music that was being created at the time. A lot of the artists and albums that he writes about are familiar to me, having 'discovered' them at the time too and they have went on to become household names, such as The Rolling Stones, David Bowie, Stevie Wonder, Elton John, Rod Stewart, Carole King, Led Zeppelin and the solo Beatles. He also writes about other artists such as Nick Drake and Big Star who produced music in 1971 but basically sunk without trace at the time but have become a great influence on future generations of artists and fans. At the end of each chapter Hepworth also adds a playlist of the significant tracks from that month.
I really enjoyed the book as I am a big music fan and I am familiar with the majority of the artists and albums that he is writing about but a lot of anecdotes and stories were new to me. The book is informative, interesting, funny and enjoyable. I also liked Hepworth's writing style and also how he sounds quite dismissive of artists he doesn't seem to like which seemed to include Marc Bolan and The Rolling Stones ( who I never managed to get into myself !!). I've always thought that the big year in rock was 1972 but a lot of the 'good stuff' released that year was, I discovered, written or recorded in 1971. Probably a writer from a different generation could write a similar book citing another year as being more significant but as this one is truly rooted in my youth I'm quite happy to side with Mr Hepworth and his viewpoint.
July 11, 2016
Hepworth's thesis is that 1971 was a watershed year in the history of modern music: the time was exactly right and the planets were aligned for an unprecedented outpouring of nonpareil rock, pop, and soul music. In his epilogue he says it succinctly: "The fact that the Beatles had broken up meant there was a prize to play for. The record business was expanding at such a rate that the companies signed up anyone they thought might have an outside shot. Music was king: TV was nowhere, movies were in retreat, radio was growing, record stores were sprouting up like coffee shops, and the only material goods that anyone who counted was remotely interested in were black, vinyl, and twelve inches across."
The entire book reads in this lively, confident style. Filled with anecdotes and inside information, it instructs and informs while certainly entertaining the reader. Hepworth includes a great deal of social, political, and pop culture details as he moves chapter to chapter from January through December of 1971. Those of us who were there are reminded of events we recall and learn some of the behind-the-scene action, while younger readers will learn a great deal about early 70s America.
I was a bit skeptical when I started the book, but I very quickly became a believer. Consider the LPs that Hepworth covers in his book: Hunky Dory, Every Picture Tells A Story, Who's Next, Led Zeppelin IV, Imagine, Ram, Meddle, Madman Across the Water, Sticky Fingers, Aqualung, Tapestry, There's a Riot Goin' On, What's Going On, Nilsson Schmilsson, Blue, Pearl, American Pie, L.A. Woman, and Mud Slide Slim and the Blue Horizon. Those are just the albums he goes in-depth on.
This is an excellent book, one I had trouble pulling myself away from for any amount of time.
The entire book reads in this lively, confident style. Filled with anecdotes and inside information, it instructs and informs while certainly entertaining the reader. Hepworth includes a great deal of social, political, and pop culture details as he moves chapter to chapter from January through December of 1971. Those of us who were there are reminded of events we recall and learn some of the behind-the-scene action, while younger readers will learn a great deal about early 70s America.
I was a bit skeptical when I started the book, but I very quickly became a believer. Consider the LPs that Hepworth covers in his book: Hunky Dory, Every Picture Tells A Story, Who's Next, Led Zeppelin IV, Imagine, Ram, Meddle, Madman Across the Water, Sticky Fingers, Aqualung, Tapestry, There's a Riot Goin' On, What's Going On, Nilsson Schmilsson, Blue, Pearl, American Pie, L.A. Woman, and Mud Slide Slim and the Blue Horizon. Those are just the albums he goes in-depth on.
This is an excellent book, one I had trouble pulling myself away from for any amount of time.
January 6, 2017
Anyone looking for a nostalgia trip will enjoy this book. Most of this was not new to me although I did learn a few things. For instance, I had never heard the gory details of the "Celebration of Life" rock festival which would have been more aptly titled "Celebration of Death." It made Altamont look like Monterey because it was held in a mosquito bog in Louisiana in June.
Also, I am not sure I agree that 1971 was the greatest year in music. That distinction belongs to 1966/1967 if you ask me. However, it was certainly a good year (a lot better than now). The author's premise was a bit of a stretch because he includes a lot of things that may have gotten started then that had yet to hit the big time (like David Bowie). Conversely, there were bands that were huge, but actually started in the 1960s (Led Zeppelin). The author's criteria may be valid, but it more properly describes 1969 - 1974. He includes a lot of people like Nick Drake, who was a complete unknown until a Volkswagen ad in the '90s put him on the map.
The reader should also be aware that it is little bit skewed toward Britain and therefore does not include much in the way of American Top 40 (if that is what you are looking for).
Also, I am not sure I agree that 1971 was the greatest year in music. That distinction belongs to 1966/1967 if you ask me. However, it was certainly a good year (a lot better than now). The author's premise was a bit of a stretch because he includes a lot of things that may have gotten started then that had yet to hit the big time (like David Bowie). Conversely, there were bands that were huge, but actually started in the 1960s (Led Zeppelin). The author's criteria may be valid, but it more properly describes 1969 - 1974. He includes a lot of people like Nick Drake, who was a complete unknown until a Volkswagen ad in the '90s put him on the map.
The reader should also be aware that it is little bit skewed toward Britain and therefore does not include much in the way of American Top 40 (if that is what you are looking for).
August 22, 2018
This book is much more than a trip down Memory Lane. Hepworth does a really good job of evoking a very important year for Pop Music in general and Rock in particular. He traces the background and development of an incredible number of memorable songs and albums released in 1971.
He makes a good argument for 1971 as a Golden Age of Rock and the anecdotes and profiles he shares of the musicians and producers behind the music support his thesis. For Baby Boomers like me Rock was the soundtrack of our lives. All the tumultuous events of the late 60’s and early 70’s were accompanied by these sounds.
The author uses these stories to evoke an Era that impacted the world we live in today. He paints pictures of the players and traces the trends they created or rode. But this is more than a music list, though that list is there. It’s a documentary of an Age.
My only complaint is that each chapter devotes a few pages to accounts of happenings on the British Music scene. This is to be expected. It’s a British Book after all, but many of the referenced artists and their work are totally unknown to me. My problem, not the book’s, but I mention it as a caveat to future readers.
He makes a good argument for 1971 as a Golden Age of Rock and the anecdotes and profiles he shares of the musicians and producers behind the music support his thesis. For Baby Boomers like me Rock was the soundtrack of our lives. All the tumultuous events of the late 60’s and early 70’s were accompanied by these sounds.
The author uses these stories to evoke an Era that impacted the world we live in today. He paints pictures of the players and traces the trends they created or rode. But this is more than a music list, though that list is there. It’s a documentary of an Age.
My only complaint is that each chapter devotes a few pages to accounts of happenings on the British Music scene. This is to be expected. It’s a British Book after all, but many of the referenced artists and their work are totally unknown to me. My problem, not the book’s, but I mention it as a caveat to future readers.
December 13, 2016
David Hepworth was 21 years old in 1971 and living in London. This may have tainted his view about the importance of that year in rock-n-roll history, but he makes a pretty sturdy case. From Carole King to Led Zeppelin, David Bowie to the Eagles, there was certainly a lot going on in many different genres of rock and pop music. The industry was moving from 45's to LPs, synthesizers were being introduced, it was the dawn of FM radio and festivals were still few and far between. I was nine years old but even at that young age I knew that something was going on.
The book is broken down by month, with a handy list at the end of each chapter to highlight the 10 most important releases. There are few mentions of the world outside of the USA and UK, but there was plenty to keep English-speaking music lovers occupied without crossing borders for new kicks. Overall, the author does a good job in balancing nostalgia with more objective reporting. This is a fun, quick read with a few surprises even for a rock nerd like me.
The book is broken down by month, with a handy list at the end of each chapter to highlight the 10 most important releases. There are few mentions of the world outside of the USA and UK, but there was plenty to keep English-speaking music lovers occupied without crossing borders for new kicks. Overall, the author does a good job in balancing nostalgia with more objective reporting. This is a fun, quick read with a few surprises even for a rock nerd like me.
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