Hit Parade: “Spirit of ’71, Part 1” (September 10, 2021) – Detailed Summary

Host: Chris Molanphy
Podcast: Hit Parade by Slate
Theme: Exploring why 1971 is so often considered one of the greatest years in popular music history—chart milestones, iconic albums, legendary artists, and the enduring cultural impact of that year’s pop hits and LPs.

Episode Overview

Chris Molanphy delves into the music charts of 1971, a year that continues to stand out as a high-water mark in pop and rock history. He examines what made '71 exceptional—its chart-topping acts, genre diversity, landmark albums, and why this semi-centennial year has spurred so many retrospectives. The episode identifies seven acts that achieved both a No. 1 single and album, highlighting how artist legacies from the 1960s came to full fruition, while also grappling with the year’s schlockier moments and darker tales of loss.

Major Discussion Points & Insights

1. Setting the Scene: 1971 as a Watershed Year

• 1971’s Chart Riches: The year was “an embarrassment of riches” (03:19), with hitmakers from the 60s maturing into even more adventurous, yet mass-appeal artists.

• Schlock and Exception: Donny Osmond’s “Go Away Little Girl”—held up as a rare, non-great No. 1—serves as a contrast to the overall brilliance of 1971’s charts.

  “Go Away Little Girl by Donny Osmond is one of the few chart topping hits of 1971 that wasn’t great.” (01:59)

• Key Albums: Carole King’s “Tapestry,” Marvin Gaye’s “What’s Going On,” Janis Joplin’s “Pearl,” and the Rolling Stones’ “Sticky Fingers.”

• Critical Consensus: Acknowledges past arguments over other “greatest years” (e.g., '64, '67, '77, '84), but stresses how both critics and popular culture have coalesced around 1971 as central.

  "Much of the reputation of 1971 rests on albums more than singles..." (09:06)

• Cultural Reflection: Highlights documentaries and books like “1971: The Year That Music Changed Everything” and David Hepworth's “Never a Dull Moment,” indicating the growing agreement on the year’s importance.

Timestamp: [00:00–13:00]

2. The Albums of ’71: Innovation, Influence, and Stardom

• Landmark Albums:
  • “Blue” by Joni Mitchell: Critically revered, it produced no singles but is now among the most celebrated albums ever.

    "Though it generated no top 40 hits, Blue was hailed upon release and has only grown in stature since." (11:41)

  • “Who’s Next” by The Who: Produced multiple hits, scored as a major event album.
  • “Led Zeppelin 4”: Spawned “Stairway to Heaven” and other classics.
  • Marvin Gaye's “What’s Going On”: Cited as Rolling Stone’s #1 album of all time (2020), proving that profound, cohesive albums could also spawn several hit singles.

Timestamp: [10:54–15:57]

3. 1971’s Hit Singles: Highbrow and Schlock, Side by Side

• Schlocky No. 1s:

  • “Knock Three Times” (Tony Orlando & Dawn)
  • “Indian Reservation” (Paul Revere & the Raiders)
  • The Osmonds’ “One Bad Apple”—originally rejected by the Jackson 5 and sounding like them.

• Groundbreaking R&B and Soul:

  • Honey Cone’s “Want Ads” marked the last girl group No. 1 for half a decade.

• Enduring Pop Classics:

  • “Just My Imagination” by The Temptations
  • “How Can You Mend a Broken Heart?” by the Bee Gees

• The ‘Kitschy’ vs. The Essential:

  • Cher’s “Gypsies, Tramps & Thieves”
  • Three Dog Night’s “Joy to the World”—a song described as a possible novelty but with undeniable staying power.

    “Is Joy to the World a kids' song? Some band members say it is. Is it a novelty record? Sorta, though not exactly. Is it second rate white soul? Oh, clearly yes.” (21:14)

    • Still, Molanphy admits:

    “Three Dog Night’s ‘Joy to the World’ has endured...” (22:51)

Timestamp: [16:06–24:03]

4. The Seven Double Chart-Toppers: Album and Single No. 1s

Chris sets out to recount the seven acts who achieved both a No. 1 single and album in 1971.

A. George Harrison

• Background: His song “All Things Must Pass,” rejected by The Beatles, becomes the title track of his solo debut.
• Post-Beatles Transition:

  “Harrison was now the world’s favorite ex-Beatle, and his divine smash song topped charts around the world…” (35:08)

• "My Sweet Lord" & Legal Controversy:
  • Massive hit, but embroiled in a plagiarism lawsuit for similarity to The Chiffons’ “He’s So Fine.”

    “My Sweet Lord is a note for note rewrite of 'He's So Fine.'” (36:42)

• Philosophical Take:

  "I've always looked at All Things Must Pass like somebody who's had constipation for years and then finally they get diarrhea." (29:35)

• Chart Feat: Only ex-Beatle to have simultaneous No. 1 single and album in 1971.

Timestamps: [24:27–39:53]

B. Janis Joplin (Tragedy and Posthumous Success)

• Rise: Noted for her explosive live performances with Big Brother and the Holding Company.
• Solo Struggles and Revival:
  • After mixed reviews of her first solo album, she assembled the Full Tilt Boogie Band.
• Recording "Pearl":
  • Featuring “Me and Bobby McGee,” which became a No. 1 hit after her death.

    “Joplin leans into the song's most indelible line: ‘Freedom is just another word for nothing left to lose...’” (48:04)

• Her Passing: Died of a heroin overdose at 27—second after Otis Redding to have a posthumous No. 1 hit.
• Cultural Significance:
  • Membership in the “27 Club.”
  • “Pearl” spends nine weeks at No. 1.
• Casey Kasem’s Tribute:

  “Now the number one song in America this week, it’s by an artist who lived a lifetime in 27 years... this week, one of her songs became the most popular song in the country at number one, me and Bobby McGee.” (50:42)

Timestamps: [40:13–53:24]

C. Rolling Stones (From Singles Band to Album Legends)

• Evolution: From a singles-driven band in the 60s to an album powerhouse in the early 70s.
• “Sticky Fingers” Album: Iconic Warhol cover, launched their record label, and reached No. 1 quickly.
• "Brown Sugar"—Controversial Smash:
  • Lyrics acknowledge sexual violence and slavery—called “one of the most racist songs of all time.”
  • Mick Jagger later admitted he would not write it again, but some critics maintain its musical impact is undeniable.

    “But it’s okay to love a song and to hate it at the same time. Its disturbing lyrics bother me, but lyrics aren’t the only thing it has to offer. It’s a great rock and roll song.” —Loretta Charlton (63:49)

  • Casey Kasem on the Stones:

    “They're perverted, outrageous, violent, repulsive, ugly, tasteless, incoherent, a travesty. That's what's good about them.” (63:24)

Timestamps: [53:32–65:48]

5. Teaser for Carole King & What’s Next

• Transition: The episode closes as Chris sets up Carole King as the next artist—her success with “Tapestry” and her ability to bridge genres and audiences.

  “Carole King brings everybody together, the rockers and the popsters, black and white, old and young with the assurance that they had a friend.” (65:55)

Timestamp: [65:48–end]

Notable Quotes & Memorable Moments

• On 1971’s diversity:

  “1971 stands as one of the most varied, widest-ranging, and even experimental years for hits ever.” (04:10)

• On “Blue,” Joni Mitchell:

  “People go inside this work and better know themselves.” (12:26)

• George Harrison’s candidness:

  “I had a backlog of songs when I did All Things Must Pass. It was good to just get them all out of the way.” (29:35)

• Casey Kasem’s reflections:

  “Now the number one song in America this week, it's by an artist who lived a lifetime in 27 years… me and Bobby McGee.” (50:42)

• On “Brown Sugar”:

  "I never would write that song now. I would probably censor myself." —Mick Jagger (63:49)

  "It's okay to love a song and to hate it at the same time.” — Loretta Charlton (63:49)

Key Timestamps

• 00:00–13:00: Introduction; setting up 1971 as a landmark year
• 13:00–24:03: Landmark albums; schlock vs. innovative singles
• 24:03–39:53: George Harrison’s “All Things Must Pass” & “My Sweet Lord”
• 40:13–53:24: Janis Joplin, posthumous hit and “Pearl”
• 53:32–65:48: Rolling Stones, “Sticky Fingers” & “Brown Sugar”
• 65:48–end: Teaser for Part 2—focus on Carole King

Tone and Style

Chris Molanphy’s style is passionate, wry, and deeply informed. He balances reverence for music history with frankness about pop’s less enduring moments and awkward legacies. Listeners come away with a sense not just of what happened in 1971, but why it matters—and why its echoes persist.

In Summary

"Spirit of ’71, Part 1" unpacks how 1971’s Billboard charts came to be a definitive cultural snapshot—a year bridging the turbulent 60s with new musical honesty, experimentation, and, at times, crossover schlock. From George Harrison’s spiritual and legal battles to Janis Joplin’s tragic posthumous triumph and the controversial bravado of the Rolling Stones, the seeds of modern pop’s complexity and appetite for reinvention are unmistakable. Part 2 promises to dive deeper, with legends like Carole King waiting in the wings.