Recorded - May 15 & June 14, 22 and 28, 1972
Released - July 27, 1972 (album), September 28, 1972, (single)
#1 for week of December 2, 1972.
Isn't it amazing just how much a group's sound can change when a key member leaves the group? Now, try having two key members depart, and you've got The Temptations circa late 1971. Eddie Kendricks' instantly recognizable falsetto voice had helped "Just My Imagination" top the pop charts in '71. Now that voice was moving on to a solo career. Paul Williams' smokey baritone voice would never be heard from again. He left the Temptations due to health problems. Sadly, in 1973, he took his own life.
Since David Ruffin was already long out of the group, this left just two classic Temptations members in the lineup: Bass singer Melvin Franklin and "Tenor in the middle" Otis Williams. One could easily come to the assumption that the Temptations were a group, in name only. Me? I consider this to be just another phase in their career.
"Papa Was A Rolling Stone" was one of the last Temptations songs written by the Whitfield/Strong songwriting team. By this point in their career, tensions were arising between Whitfield and some of the Temptations members. Of course, as Fleetwood Mac's Rumors has taught us, sometimes high tension produces great results.
Just going to show how advanced the productions were getting for Temptations music, the album version of "Papa..." is over twelve minutes long! Even the single version is a lengthy seven minutes. The instrumentation includes funky guitar lines, reverb-filled trumpets, a heartbeat-like bassline, and some tension-filled strings. If you are listening to the single version, it takes a whopping two minutes for the vocals to come in. Of course, with a music track this rich, I'm not complaining!
Dennis Edwards, Richard Street (the new baritone, who was originally in an early lineup of the Temptations), Damon Harris (the new falsetto vocalist), and Melvin Franklin, all alternate lead vocals on the song. Of particular note is the opening verse sung by Edwards about "The Third of September...the day my daddy died". Dennis' father had died on the "Third" of a month, and he was quite livid about singing such a touchy line. If you listen to the recording, his voice sounds genuinely anguished, and now you know why!
After the smash success of "Papa...", the Temptations streak of hit singles began to wane. Aside from a reunion album in 1982 with all the surviving members, the success of the group has since been limited. The 1990's saw the deaths of David Ruffin, Eddie Kendricks, and Melvin Franklin. Only Otis Williams remains both alive and as an original Temptation. Since the current lineup of the group has resorted to such lowsy modern production "Techniques" such as Auto-Tune, one can further argue that the group is a pale imitation of a once magnificent vocal group.
Final Verdict - "Papa Was A Rollin' Stone" is a drastic departure from the formerly upbeat-sounding quintet. I applaud the song for featuring a mesmerizing music track, and superb emotional vocals. On the other hand, if you give me a choice of which era of the Temptations I enjoy most, I'll still choose the classic 1964-1968 period. Nonetheless, "Papa..." is a funky classic that remains a highly enjoyable listen.
Coming Up Next - "I Am Woman" by Helen Reddy.
Until Next Time, I'm Dr. Rock and I'm a rollin' stone -
Sunday, April 27, 2014
Friday, April 25, 2014
Song #289 - "I Can See Clearly Now" - Johnny Nash
Recorded - winter or spring 1972
Released - June 2, 1972 (UK), July 19, 1972 (US)
#1 for weeks of November 4, 11, 18 and 25, 1972.
Reggae music has occasionally popped up during my various 1972 song reviews. Well, we now have a song and an artist who are closely tied to the genre. Although his biggest hit identifies him with the 1970's, Johnny Nash began his music career as early as the late 1950's. By the early 1970's, he was living and recording in England, hence the reason why a UK release date is listed first. The biggest fruit of this English soujourn? "I Can See Clearly Now". But is this song any good, and does it still hold up today?
First off, Johnny wrote "I Can See Clearly Now" himself, that's an automatic gold star in my eyes. Second, the lyrics hit that happy balance between accessible and well-written. Finally, the song goes from a mellow, almost easy-listening tune to a Woodstock worthy anthem in less than three minutes. Thus, in my eyes, the song is immune to a "Skip" rating.
Although the amount of reggae influence in the song is limited to the drum rhythm and relatively upbeat lyrics, there are still plenty of musical wonders to behold. . The music can be considered slightly dated due to the liberal use of Moog Synthesizers towards the end. However, I feel this adds to the "Sunshine" feel of the song. I'd also consider Johnny's vocals to be reminiscent of the singer/songwriters of the era such as Carole King and Paul Simon.
Johnny never managed to follow up the massive success of "I Can See Clearly Now". The highest charting pop hit he would achieve afterwards only reached #77. Although Johnny could be considered a lowly one hit wonder, the fact that he recorded with the Wailers and had Jimmy Cliff cover his biggest hit is quite an accomplishment.
Final Verdict - "I Can See Clearly Now" may come off as just a wee-bit dated, yet the lyrics still hold up to this day. The song is a winner in my eyes because it builds in complexity as it goes on, and Johnny Nash's vocals are full of life and energy. In terms of pop music, this is certainly a highlight of the year.
Coming Up Next - "Papa Was A Rollin' Stone" by The Temptations.
Until Next Time, I'm Dr. Rock, and I'm hoping tomorrow is gonna be a bright sunny day -
Released - June 2, 1972 (UK), July 19, 1972 (US)
#1 for weeks of November 4, 11, 18 and 25, 1972.
Reggae music has occasionally popped up during my various 1972 song reviews. Well, we now have a song and an artist who are closely tied to the genre. Although his biggest hit identifies him with the 1970's, Johnny Nash began his music career as early as the late 1950's. By the early 1970's, he was living and recording in England, hence the reason why a UK release date is listed first. The biggest fruit of this English soujourn? "I Can See Clearly Now". But is this song any good, and does it still hold up today?
First off, Johnny wrote "I Can See Clearly Now" himself, that's an automatic gold star in my eyes. Second, the lyrics hit that happy balance between accessible and well-written. Finally, the song goes from a mellow, almost easy-listening tune to a Woodstock worthy anthem in less than three minutes. Thus, in my eyes, the song is immune to a "Skip" rating.
Although the amount of reggae influence in the song is limited to the drum rhythm and relatively upbeat lyrics, there are still plenty of musical wonders to behold. . The music can be considered slightly dated due to the liberal use of Moog Synthesizers towards the end. However, I feel this adds to the "Sunshine" feel of the song. I'd also consider Johnny's vocals to be reminiscent of the singer/songwriters of the era such as Carole King and Paul Simon.
Johnny never managed to follow up the massive success of "I Can See Clearly Now". The highest charting pop hit he would achieve afterwards only reached #77. Although Johnny could be considered a lowly one hit wonder, the fact that he recorded with the Wailers and had Jimmy Cliff cover his biggest hit is quite an accomplishment.
Final Verdict - "I Can See Clearly Now" may come off as just a wee-bit dated, yet the lyrics still hold up to this day. The song is a winner in my eyes because it builds in complexity as it goes on, and Johnny Nash's vocals are full of life and energy. In terms of pop music, this is certainly a highlight of the year.
Coming Up Next - "Papa Was A Rollin' Stone" by The Temptations.
Until Next Time, I'm Dr. Rock, and I'm hoping tomorrow is gonna be a bright sunny day -
Wednesday, April 23, 2014
Song #288 - "My Ding-a-Ling" - Chuck Berry
Recorded - February 3, 1972
Released - June 1972
#1 for weeks of October 21 and 28, 1972.
Imagine if the only Beatles record to reach #1 was "Revolution #9". Imagine if the only Elvis Presley #1 was his version of "Wooden Doll". Imagine if the only Chuck Berry record to top the charts was "My Ding-a-Ling"...Oh wait...the latter actually happened...Wow...
There is no need for me to go into the back story of the father of Rock and Roll. Chuck Berry's influence on all forms of popular music is still being felt to this very day. Although Chuck had dried up commercially by the second half of the 1960's, the rock and roll revival of the late '60's/early '70's reignited his career.
During a February 1972 concert over in England, Chuck ran through a highly improvisational version of Dave Bartholomew's "My Ding-a-Ling". Somehow, this version was taped and released without Chuck's knowledge. Even more surprising, it reached #1, for two whole weeks!
The original Dave Bartholomew version of "My Ding-a-Ling" is rooted in risque hokum blues. For those who don't know, hokum blues was an R&B music style, most popular during the 1930's through the early 1950's. It featured highly suggestive lyrics, sometimes without euphemisms. In other words, "My Ding-a-Ling", is not about a boy playing with a set of musical bells.
Much of Chuck's version of the song features the audience singing...,shouting, along. It gives the song a stadium anthem-feeling. The main problem most people have with Chuck Berry's rendition of the tune is that this was the only song of his that managed to top the charts. "Johnny B Goode?", "Roll Over Beethoven?", "Rock And Roll Music?". Nope, just the song about Chuck Berry's...er...ding-a-ling......
Actually, I could care less that this was his only #1. Again, just because a song reaches #1 doesn't mean it's the best of the best. Likewise, just because an artist never has any big chart hits doesn't mean they aren't highly influential.
My only minor problem with this song reaching #1 is that it was a cover song, not an original. Unlike Elvis Presley, who never wrote a song in his life, Chuck Berry was a highly prolific songwriter. Sure, some of his songs were highly formulaic, but what a formula it was! So the fact that his only hit was not one of his own tunes is a bit of an insult.
Final Verdict - I enjoy listening to "My Ding-a-Ling" for its novelty factor every now and then. However, the song gets annoying after repeated listens, and it doesn't showcase Berry's singing, songwriting, or guitar-playing talents at all. It's not the worst, but hardly the best either.
Coming Up Next - "I Can See Clearly Now" by Johnny Nash.
Until Next Time, I'm Doc-a-Rock -
Released - June 1972
#1 for weeks of October 21 and 28, 1972.
Imagine if the only Beatles record to reach #1 was "Revolution #9". Imagine if the only Elvis Presley #1 was his version of "Wooden Doll". Imagine if the only Chuck Berry record to top the charts was "My Ding-a-Ling"...Oh wait...the latter actually happened...Wow...
There is no need for me to go into the back story of the father of Rock and Roll. Chuck Berry's influence on all forms of popular music is still being felt to this very day. Although Chuck had dried up commercially by the second half of the 1960's, the rock and roll revival of the late '60's/early '70's reignited his career.
During a February 1972 concert over in England, Chuck ran through a highly improvisational version of Dave Bartholomew's "My Ding-a-Ling". Somehow, this version was taped and released without Chuck's knowledge. Even more surprising, it reached #1, for two whole weeks!
The original Dave Bartholomew version of "My Ding-a-Ling" is rooted in risque hokum blues. For those who don't know, hokum blues was an R&B music style, most popular during the 1930's through the early 1950's. It featured highly suggestive lyrics, sometimes without euphemisms. In other words, "My Ding-a-Ling", is not about a boy playing with a set of musical bells.
Much of Chuck's version of the song features the audience singing...,shouting, along. It gives the song a stadium anthem-feeling. The main problem most people have with Chuck Berry's rendition of the tune is that this was the only song of his that managed to top the charts. "Johnny B Goode?", "Roll Over Beethoven?", "Rock And Roll Music?". Nope, just the song about Chuck Berry's...er...ding-a-ling......
Actually, I could care less that this was his only #1. Again, just because a song reaches #1 doesn't mean it's the best of the best. Likewise, just because an artist never has any big chart hits doesn't mean they aren't highly influential.
My only minor problem with this song reaching #1 is that it was a cover song, not an original. Unlike Elvis Presley, who never wrote a song in his life, Chuck Berry was a highly prolific songwriter. Sure, some of his songs were highly formulaic, but what a formula it was! So the fact that his only hit was not one of his own tunes is a bit of an insult.
Final Verdict - I enjoy listening to "My Ding-a-Ling" for its novelty factor every now and then. However, the song gets annoying after repeated listens, and it doesn't showcase Berry's singing, songwriting, or guitar-playing talents at all. It's not the worst, but hardly the best either.
Coming Up Next - "I Can See Clearly Now" by Johnny Nash.
Until Next Time, I'm Doc-a-Rock -
Tuesday, April 22, 2014
Song #287 - "Ben" - Michael Jackson
Recorded - January 1972
Released - July 12, 1972
#1 for week of October 14, 1972.
"A number one song about a young boy who befriends the leader of a killer rat colony" - Under normal circumstances, a song with this kind of subject matter wouldn't stand a chance at reaching number one. Then again, we do have the future king of 1983 singing lead vocals so that makes these chances invert.
Now, without the context of the film of the same name that "Ben" was featured in, one may assume that young Michael Jackson was merely singing about a close friend. Even knowing the song's rather unfortunate real meaning, Michael gives the song a good vocal performance. His voice manages to have a unique charm, despite the highly sugary lyrics.
Although "Ben" is one of Michael's most noteworthy early hits, I confess to not being a huge fan of the song. From the extremely twee backing vocalists to the cloyingly sweet music, down to the fact that the song is about a pet rat, I've never considered the song one of Michael's best. Of course, Michael had nothing to do with the composition of "Ben" so he's not to blame for any of the song's musical or lyrical fluffiness.
No matter my personal opinion of "Ben", the song is an important milestone in Michael's career. It was his last #1 hit while he still had his younger singing voice. By 1979, when Michael hit the top of the singles charts again, his career was soon headed "Off The Wall" and into the stratosphere. But that's another story for a future year...
Final Verdict - This may be an unpopular opinion, but I don't consider "Ben" to be a truly good song, let alone a #1 pop hit. Even a solid Michael vocal can't save the song from its rather sappy music and lyrics. Without the context of the movie it is based on, "Ben" doesn't hold up on its own.
Coming Up Next - "My Ding-a-Ling" by Chuck Berry.
Until Next Time, there's no other friend, like Dr. Rock -
Released - July 12, 1972
#1 for week of October 14, 1972.
"A number one song about a young boy who befriends the leader of a killer rat colony" - Under normal circumstances, a song with this kind of subject matter wouldn't stand a chance at reaching number one. Then again, we do have the future king of 1983 singing lead vocals so that makes these chances invert.
Now, without the context of the film of the same name that "Ben" was featured in, one may assume that young Michael Jackson was merely singing about a close friend. Even knowing the song's rather unfortunate real meaning, Michael gives the song a good vocal performance. His voice manages to have a unique charm, despite the highly sugary lyrics.
Although "Ben" is one of Michael's most noteworthy early hits, I confess to not being a huge fan of the song. From the extremely twee backing vocalists to the cloyingly sweet music, down to the fact that the song is about a pet rat, I've never considered the song one of Michael's best. Of course, Michael had nothing to do with the composition of "Ben" so he's not to blame for any of the song's musical or lyrical fluffiness.
No matter my personal opinion of "Ben", the song is an important milestone in Michael's career. It was his last #1 hit while he still had his younger singing voice. By 1979, when Michael hit the top of the singles charts again, his career was soon headed "Off The Wall" and into the stratosphere. But that's another story for a future year...
Final Verdict - This may be an unpopular opinion, but I don't consider "Ben" to be a truly good song, let alone a #1 pop hit. Even a solid Michael vocal can't save the song from its rather sappy music and lyrics. Without the context of the movie it is based on, "Ben" doesn't hold up on its own.
Coming Up Next - "My Ding-a-Ling" by Chuck Berry.
Until Next Time, there's no other friend, like Dr. Rock -
Monday, April 21, 2014
Song #286 - "Baby, Don't Get Hooked On Me" - Mac Davis
Recorded - March 1-3, 1972
Released - May 12, 1972
#1 for weeks of September 23 and 30 & October 7, 1972.
We step once again into country territory, a terrain that I'm not usually accustomed to. Nevertheless, I'm determined to give a fair and unbiased review regardless of my own tastes. Since today's song is unfamiliar to me, I'm hoping for a pleasant surprise.
Mac Davis is best known for composing some of Elvis' finest late 1960's work including "In The Ghetto". Mac also released many songs on his own during the 1960's. So with these credentials under his resume, certainly he knew how to create a #1 pop hit? Well, he did strike the top, for three weeks, with "Baby, Don't Get Hooked On Me". But does the song hold up today, and is it any good?
The short answer to those questions is, not really and...yes. As for the longer answers - read on, dear reader...
"Baby, Don't Get Hooked On Me" sounds VERY early 1970's. There is heavy use of electric organ, Mac sings in a Neil Diamond-esque croon, and there is obligatory soft-pop orchestra. Although this song is classified as a country ballad, I would only classify Mac's vocals as representative of the genre.
However, "Baby, Don't Get Hooked On Me" fails to live up to its name, in that the song contains lots of hooks. Mac kicks up the performance during the choruses with extra vocal dynamics and extra energy. The use of bongos creates a unique sounding percussion part. Even the guitars pop in with lead lines in all the right places. It's a perfect example of how to write a catchy pop song, without resorting to cliches.
Final Verdict - "Baby, Don't Get Hooked On Me" comes off as a bit dated sounding, and the song is far more soft-pop/rock than country. However, I can't deny that the song is well-crafted and full of hooks that work. Overall, it is a dated, period piece that still deserves a listen.
Coming Up Next - "Ben" by Michael Jackson.
Until Next Time, I'm Dr. Rock and I hope you get hooked on my blog -
Released - May 12, 1972
#1 for weeks of September 23 and 30 & October 7, 1972.
We step once again into country territory, a terrain that I'm not usually accustomed to. Nevertheless, I'm determined to give a fair and unbiased review regardless of my own tastes. Since today's song is unfamiliar to me, I'm hoping for a pleasant surprise.
Mac Davis is best known for composing some of Elvis' finest late 1960's work including "In The Ghetto". Mac also released many songs on his own during the 1960's. So with these credentials under his resume, certainly he knew how to create a #1 pop hit? Well, he did strike the top, for three weeks, with "Baby, Don't Get Hooked On Me". But does the song hold up today, and is it any good?
The short answer to those questions is, not really and...yes. As for the longer answers - read on, dear reader...
"Baby, Don't Get Hooked On Me" sounds VERY early 1970's. There is heavy use of electric organ, Mac sings in a Neil Diamond-esque croon, and there is obligatory soft-pop orchestra. Although this song is classified as a country ballad, I would only classify Mac's vocals as representative of the genre.
However, "Baby, Don't Get Hooked On Me" fails to live up to its name, in that the song contains lots of hooks. Mac kicks up the performance during the choruses with extra vocal dynamics and extra energy. The use of bongos creates a unique sounding percussion part. Even the guitars pop in with lead lines in all the right places. It's a perfect example of how to write a catchy pop song, without resorting to cliches.
Final Verdict - "Baby, Don't Get Hooked On Me" comes off as a bit dated sounding, and the song is far more soft-pop/rock than country. However, I can't deny that the song is well-crafted and full of hooks that work. Overall, it is a dated, period piece that still deserves a listen.
Coming Up Next - "Ben" by Michael Jackson.
Until Next Time, I'm Dr. Rock and I hope you get hooked on my blog -
Sunday, April 20, 2014
Song #285 - "Black And White" - Three Dog Night
Recorded - circa early 1972
Released - March 27, 1972 (album), July 1972 (single)
#1 for week of September 16, 1972
As I mentioned in my review of "Mama Told Me Not To Come", Three Dog Night were, for the most part, not songwriters. Naturally, their third and final #1 pop hit, "Black And White", was a cover. Composed back in the 1950's by David Arkin and Earl Robinson, "Black And White" is an anti-segregation song. Considering how turbulent the 1950's were with regards to the subject matter, the lyrics were a hot topic then and still ring true today.
Three Dog Night's cover "Black And White" came out during a time period where racial issues were still impacting the lives of many Americans. The lead vocals come courtesy of Danny Hutton, who had a more rock-style singing voice as opposed to the other two more soulful "Dogs". Musically, "Black And White" is an integrated blend of poppier rock with a Caribbean groove. Since Reggae music was steadily becoming a defined genre, perhaps this comparison isn't too far off the mark.
My only major nitpicks are that I feel the song gets a wee bit repetitive. Also, the children's backing vocals are a bit too much. On the other hand, one could view these vocals as symbolizing the next generation growing up more tolerant than the previous generation. When you combine the very singalong quality of "Black And White" with its poignant lyrical content, it's easy to see why the song reached the top of the charts.
Final Verdict - I feel that Three Dog Night have more memorable tunes in their back catalog. Despite these reservations, "Black And White" is musically intricate and lyrically strong and powerful. It may not be one of the highest musical achievements of 1972, but I'd give it a thumbs up.
Coming Up Next - "Baby, Don't Get Hooked On Me" by Mac Davis.
Until Next Time, I'm Dr. Rock and this blog's text is black, the page is white -
Released - March 27, 1972 (album), July 1972 (single)
#1 for week of September 16, 1972
As I mentioned in my review of "Mama Told Me Not To Come", Three Dog Night were, for the most part, not songwriters. Naturally, their third and final #1 pop hit, "Black And White", was a cover. Composed back in the 1950's by David Arkin and Earl Robinson, "Black And White" is an anti-segregation song. Considering how turbulent the 1950's were with regards to the subject matter, the lyrics were a hot topic then and still ring true today.
Three Dog Night's cover "Black And White" came out during a time period where racial issues were still impacting the lives of many Americans. The lead vocals come courtesy of Danny Hutton, who had a more rock-style singing voice as opposed to the other two more soulful "Dogs". Musically, "Black And White" is an integrated blend of poppier rock with a Caribbean groove. Since Reggae music was steadily becoming a defined genre, perhaps this comparison isn't too far off the mark.
My only major nitpicks are that I feel the song gets a wee bit repetitive. Also, the children's backing vocals are a bit too much. On the other hand, one could view these vocals as symbolizing the next generation growing up more tolerant than the previous generation. When you combine the very singalong quality of "Black And White" with its poignant lyrical content, it's easy to see why the song reached the top of the charts.
Final Verdict - I feel that Three Dog Night have more memorable tunes in their back catalog. Despite these reservations, "Black And White" is musically intricate and lyrically strong and powerful. It may not be one of the highest musical achievements of 1972, but I'd give it a thumbs up.
Coming Up Next - "Baby, Don't Get Hooked On Me" by Mac Davis.
Until Next Time, I'm Dr. Rock and this blog's text is black, the page is white -
Saturday, April 19, 2014
Song #284 - "Brandy (You're A Fine Girl)" - Looking Glass
Recorded - early 1972
Released - May 18, 1972
#1 for week of August 26, 1972.
Welcome back to Dr. Rock's one hit wonder series...err...I mean, "Hit or miss". The never-ending gauntlet of artists who only have one hit to their name has no end. In fact, there are quite a few more one hit wonders left to hear from the 1970's alone! "Brandy (You're A Fine Girl)" defines the early 1970's soft rock scene. Yet, were Looking Glass, the band which wrote and released the song, worth more than just their only hit? Let's find out...
Looking Glass, based in New Jersey, formed in the late 1960's. Unlike many poppy groups and singers who have graced or soiled this blog with their presence, Looking Glass were self-contained artists. Their first of only two albums was initially a flop, and even after the success of "Brandy", this album only reached 113 on the pops. In fact, it wasn't until a radio DJ gave the song repeated airtime that "Brandy" became a runaway smash hit.
A watery electric organ is the dominant instrument in "Brandy", and I've always felt that this gives the song a very seaside feel. Considering the lyrics pertain to sailors and the shore, this feel is quite fitting. The song also has quite a few hooks, especially during the upbeat choruses. "Brandy" also presents us with some welcome lyrical dissonance: We have a very happy melody against a lyrically saddening chorus. Perfect!
If you don't include singer and songwriter Elliot Lurie's rich-sounding baritone voice, I'd say the song foreshadows the upcoming sounds of fellow Jersey rockers, the E-Street Band. I personally would have removed the rather poppy-sounding string section while keeping the very fitting brass intact.
So what happened to Looking Glass after "Brandy" sailed away from the charts? Well, their second and final single, "Jimmy Loves Mary-Anne" only reached #33 on the charts. Its parent album didn't even chart. By 1974, Looking Glass' ship had sailed. Perhaps it was the rapid rush to fame due to their only hit, or perhaps they resented being considered a pop band. Either way, Looking Glass are now forever known as a one hit wonder.
Final Verdict - Despite "Brandy" being a solitary hit, the song is quite enjoyable. We have a captivating narrative, a unique-sounding lead vocalist, and an overall pleasant melody. I'd consider it an oft-overlooked gem that deserves another look into.
Coming Up Next - "Black And White" by Three Dog Night.
Until Next Time, I'm Dr. Rock and my life my love and my lady, is the sea -
Released - May 18, 1972
#1 for week of August 26, 1972.
Welcome back to Dr. Rock's one hit wonder series...err...I mean, "Hit or miss". The never-ending gauntlet of artists who only have one hit to their name has no end. In fact, there are quite a few more one hit wonders left to hear from the 1970's alone! "Brandy (You're A Fine Girl)" defines the early 1970's soft rock scene. Yet, were Looking Glass, the band which wrote and released the song, worth more than just their only hit? Let's find out...
Looking Glass, based in New Jersey, formed in the late 1960's. Unlike many poppy groups and singers who have graced or soiled this blog with their presence, Looking Glass were self-contained artists. Their first of only two albums was initially a flop, and even after the success of "Brandy", this album only reached 113 on the pops. In fact, it wasn't until a radio DJ gave the song repeated airtime that "Brandy" became a runaway smash hit.
A watery electric organ is the dominant instrument in "Brandy", and I've always felt that this gives the song a very seaside feel. Considering the lyrics pertain to sailors and the shore, this feel is quite fitting. The song also has quite a few hooks, especially during the upbeat choruses. "Brandy" also presents us with some welcome lyrical dissonance: We have a very happy melody against a lyrically saddening chorus. Perfect!
If you don't include singer and songwriter Elliot Lurie's rich-sounding baritone voice, I'd say the song foreshadows the upcoming sounds of fellow Jersey rockers, the E-Street Band. I personally would have removed the rather poppy-sounding string section while keeping the very fitting brass intact.
So what happened to Looking Glass after "Brandy" sailed away from the charts? Well, their second and final single, "Jimmy Loves Mary-Anne" only reached #33 on the charts. Its parent album didn't even chart. By 1974, Looking Glass' ship had sailed. Perhaps it was the rapid rush to fame due to their only hit, or perhaps they resented being considered a pop band. Either way, Looking Glass are now forever known as a one hit wonder.
Final Verdict - Despite "Brandy" being a solitary hit, the song is quite enjoyable. We have a captivating narrative, a unique-sounding lead vocalist, and an overall pleasant melody. I'd consider it an oft-overlooked gem that deserves another look into.
Coming Up Next - "Black And White" by Three Dog Night.
Until Next Time, I'm Dr. Rock and my life my love and my lady, is the sea -
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