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 -
Thursday, April 17, 2014
Song #283 - "Alone Again (Naturally)" - Gilbert O'Sullivan
Recorded - late 1971
Released - February 18, 1972 (UK), May 1972 (US)
#1 for weeks of July 29 & August 5, 12 and 19 & September 2 and 9, 1972.
In my previous review, I talked about the timeless quality of "Lean On Me". The song may have been recorded over 42 years ago, and some may not even know who the artist is. Yet, the song lives on through the current generation. As for today's song and artist, anyone under the age of 40 might be scratching their heads. "Gilbert O'Sullivan? Who is that?" Those, not in the know, will most likely shoot you a confused glance when you mention his first and only #1 pop hit, "Alone Again (Naturally)".
Born in Ireland but raised in England, Gilbert O'Sullivan humbly began his music career during the later half of the 1960's. This early material, as well as the bowl-cut schoolboy image he portrayed stand in sharp contrast with the British psychedelic movement. All of the music was his own, and one could say he was ahead of the times in terms of being a piano-based singer/songwriter. So it's only natural that the introspective "Alone Again" was such a smash hit during a time period where piano-based singer/songwriters ruled the pop charts.
If I were to describe "Alone Again" in one word, it would be, "Dark". The song has incredibly depressing lyrics, and I'm not exaggerating in the slightest. For example, the first verse alone includes lyrics about wanting to jump off a tall building and getting stood up at an alter. Fittingly, the music track is incredibly melancholic. Besides the ever-prominent piano, there are some gentle acoustic guitars and a full orchestra.
While I'm not very well-versed in Gilbert's music, his voice has always come off as sounding one of a kind. Due to his rather androgynous vocal timbre as well as the time period that "Alone Again" became a hit, I could easily hear this being sung by Carly Simon. I wouldn't exactly call his voice something I'd care to listen to over several albums, but I always appreciate a deviation from the norm.
Final Verdict - Once again, I have mixed feelings about "Alone Again". Mostly, it's just the lyrical content, which is downright depressing. The song to me comes across as way too serious and bleak. It's not a bad song, in fact the main melody is quite good. I just wouldn't consider it a major high point of the 1970's.
Coming Up Next - "Brandy (You're A Fine Girl)" by Looking Glass.
Until Next Time, I'm Dr. Rock (Naturally) -
Released - February 18, 1972 (UK), May 1972 (US)
#1 for weeks of July 29 & August 5, 12 and 19 & September 2 and 9, 1972.
In my previous review, I talked about the timeless quality of "Lean On Me". The song may have been recorded over 42 years ago, and some may not even know who the artist is. Yet, the song lives on through the current generation. As for today's song and artist, anyone under the age of 40 might be scratching their heads. "Gilbert O'Sullivan? Who is that?" Those, not in the know, will most likely shoot you a confused glance when you mention his first and only #1 pop hit, "Alone Again (Naturally)".
Born in Ireland but raised in England, Gilbert O'Sullivan humbly began his music career during the later half of the 1960's. This early material, as well as the bowl-cut schoolboy image he portrayed stand in sharp contrast with the British psychedelic movement. All of the music was his own, and one could say he was ahead of the times in terms of being a piano-based singer/songwriter. So it's only natural that the introspective "Alone Again" was such a smash hit during a time period where piano-based singer/songwriters ruled the pop charts.
If I were to describe "Alone Again" in one word, it would be, "Dark". The song has incredibly depressing lyrics, and I'm not exaggerating in the slightest. For example, the first verse alone includes lyrics about wanting to jump off a tall building and getting stood up at an alter. Fittingly, the music track is incredibly melancholic. Besides the ever-prominent piano, there are some gentle acoustic guitars and a full orchestra.
While I'm not very well-versed in Gilbert's music, his voice has always come off as sounding one of a kind. Due to his rather androgynous vocal timbre as well as the time period that "Alone Again" became a hit, I could easily hear this being sung by Carly Simon. I wouldn't exactly call his voice something I'd care to listen to over several albums, but I always appreciate a deviation from the norm.
Final Verdict - Once again, I have mixed feelings about "Alone Again". Mostly, it's just the lyrical content, which is downright depressing. The song to me comes across as way too serious and bleak. It's not a bad song, in fact the main melody is quite good. I just wouldn't consider it a major high point of the 1970's.
Coming Up Next - "Brandy (You're A Fine Girl)" by Looking Glass.
Until Next Time, I'm Dr. Rock (Naturally) -
Wednesday, April 16, 2014
Song #282 - "Lean On Me" - Bill Withers
Recorded - 1971 or 1972
Released - April 21, 1972
#1 for weeks of July 8, 15 and 22, 1972.
"Ain't no sunshine when she's gone..." - Not a bad way to start your music carreer eh?
Bill Withers is not just an acclaimed 1970's soul singer, he also wrote all of his own music. Bill's 1971 debut album, Just As I Am has garnered critical acclaim, and it included the #3 pop hit, "Ain't No Sunshine". So how do you follow up a successful album, and a hit record? In Bill's case, you release an even better album with an even stronger lead single. In this case, his first and only #1.
"Lean On Me" features a simple, yet instantly catchy piano-based melody. The song alternates between the reflective verses and choruses, and the uplifting handclap-driven bridges. Bill's vocal performance comes across as heavily rooted in gospel. So naturally, it becomes hard not to want to sing along, especially during the song's bridges.
Lyrically, "Lean On Me" delivers a simple yet powerful universal message: There is always someone who will be there to look out for you and help you up when you are down. Whether the listener chooses to take these lyrics literally, or on a deeper spiritual level, it is hard not to feel just a little bit happier after giving the song a listen.
After the massive success of "Lean On Me" as well as several high charting 1970's singles, Bill retired from the music industry in the mid 1980's. Considering how much his music still continues to move us, and especially considering all the hardships the States have endured for the last 25 years, I'd say a Bill Withers comeback would be more than welcome.
Final Verdict - "Lean On Me" remains a timeless classic that is still cherished today. The song is musically extremely catchy and the lyrics are uplifting and relatable to just about everyone. A well-deserved #1 hit, and certainly among the finest soul ballads of all time.
Coming Up Next - "Alone Again (Naturally)" by Gilbert O' Sullivan.
Until Next Time, I'm Dr. Rock and you can lean on me -
Released - April 21, 1972
#1 for weeks of July 8, 15 and 22, 1972.
"Ain't no sunshine when she's gone..." - Not a bad way to start your music carreer eh?
Bill Withers is not just an acclaimed 1970's soul singer, he also wrote all of his own music. Bill's 1971 debut album, Just As I Am has garnered critical acclaim, and it included the #3 pop hit, "Ain't No Sunshine". So how do you follow up a successful album, and a hit record? In Bill's case, you release an even better album with an even stronger lead single. In this case, his first and only #1.
"Lean On Me" features a simple, yet instantly catchy piano-based melody. The song alternates between the reflective verses and choruses, and the uplifting handclap-driven bridges. Bill's vocal performance comes across as heavily rooted in gospel. So naturally, it becomes hard not to want to sing along, especially during the song's bridges.
Lyrically, "Lean On Me" delivers a simple yet powerful universal message: There is always someone who will be there to look out for you and help you up when you are down. Whether the listener chooses to take these lyrics literally, or on a deeper spiritual level, it is hard not to feel just a little bit happier after giving the song a listen.
After the massive success of "Lean On Me" as well as several high charting 1970's singles, Bill retired from the music industry in the mid 1980's. Considering how much his music still continues to move us, and especially considering all the hardships the States have endured for the last 25 years, I'd say a Bill Withers comeback would be more than welcome.
Final Verdict - "Lean On Me" remains a timeless classic that is still cherished today. The song is musically extremely catchy and the lyrics are uplifting and relatable to just about everyone. A well-deserved #1 hit, and certainly among the finest soul ballads of all time.
Coming Up Next - "Alone Again (Naturally)" by Gilbert O' Sullivan.
Until Next Time, I'm Dr. Rock and you can lean on me -
Monday, April 14, 2014
Song #281 - "Song Sung Blue" - Neil Diamond
Recorded - 1972
Released - April 1972
#1 for week of July 1, 1972.
When we last left Neil Diamond, he had secured his first #1 pop hit with "Cracklin' Rosie" from 1970. For the next two years, he straddled the upper reaches of the pop charts, even getting his, "I Am...I Said" to chart at a respectable #4. Neil's first single release of 1972 was his own composition, "Song Sung Blue". It would be Neil's last #1 for six years.
Previously, I was unfamiliar with "Song Sung Blue". Compared to some of Neil's past hits from the 1960's, the song has a far more Adult Contemporary feel to it. Add with this a heavy country-tinge and already, I can say it's not my style. On top of this highly easy-listening melody, there is a sweet string part and some rather twee backing vocals. It reminds me of some of the early 1960's soft pop hits, and that's not a good thing.
I will give the song credit for being a song sung well, by Neil at least. Lyrically, it's not too bad either. I also find the electric organ and bass-led intro to be enjoyable to hear. Too bad these two parts are understated as the song progresses. Perhaps a version without the strings and MOR backing vocalists would be an improvement?
"Song Sung Blue" just comes off to me as a foreshadowing of Neil's even more MOR material from the late '70's. One of these later period songs happened to be his final #1 pop hit. So once we get to 1978, we'll see if he managed to bring back that original spark from his earlier hits, or if he went even mellower.
Final Verdict - I feel that"Song Sung Blue" overdoes it on the easy-listening scale. When compared to some of Neil's more upbeat and more musically dynamic hits such as "Solitary Man", "Song Sung Blue" sounds like an anti-climax. If softer music is your cup of tea, you might find this song to your liking. Me? I'll stick with my "Sweet Carolines" and "Cherry, Cherrys".
Coming Up Next - "Lean On Me" by Bill Withers.
Until Next Time, I'm Dr. Rock and my song is sung blue -
Released - April 1972
#1 for week of July 1, 1972.
When we last left Neil Diamond, he had secured his first #1 pop hit with "Cracklin' Rosie" from 1970. For the next two years, he straddled the upper reaches of the pop charts, even getting his, "I Am...I Said" to chart at a respectable #4. Neil's first single release of 1972 was his own composition, "Song Sung Blue". It would be Neil's last #1 for six years.
Previously, I was unfamiliar with "Song Sung Blue". Compared to some of Neil's past hits from the 1960's, the song has a far more Adult Contemporary feel to it. Add with this a heavy country-tinge and already, I can say it's not my style. On top of this highly easy-listening melody, there is a sweet string part and some rather twee backing vocals. It reminds me of some of the early 1960's soft pop hits, and that's not a good thing.
I will give the song credit for being a song sung well, by Neil at least. Lyrically, it's not too bad either. I also find the electric organ and bass-led intro to be enjoyable to hear. Too bad these two parts are understated as the song progresses. Perhaps a version without the strings and MOR backing vocalists would be an improvement?
"Song Sung Blue" just comes off to me as a foreshadowing of Neil's even more MOR material from the late '70's. One of these later period songs happened to be his final #1 pop hit. So once we get to 1978, we'll see if he managed to bring back that original spark from his earlier hits, or if he went even mellower.
Final Verdict - I feel that"Song Sung Blue" overdoes it on the easy-listening scale. When compared to some of Neil's more upbeat and more musically dynamic hits such as "Solitary Man", "Song Sung Blue" sounds like an anti-climax. If softer music is your cup of tea, you might find this song to your liking. Me? I'll stick with my "Sweet Carolines" and "Cherry, Cherrys".
Coming Up Next - "Lean On Me" by Bill Withers.
Until Next Time, I'm Dr. Rock and my song is sung blue -
Sunday, April 13, 2014
Song #280 - "The Candy Man" - Sammy Davis Jr
Recorded - August 19, 1971
Released - December 1971
#1 for weeks of June 10, 17 and 24, 1972.
Two members of the famed "Rat Pack" have already been featured in past reviews of mine. Dean Martin had a #1 with his timeless "Everybody Loves Somebody". Frank Sinatra had one and a half #1's with "Strangers In The Night" and his duet with Nancy - "Something Stupid". So where does that leave the last of the big three, Mr. Sammy Davis Jr? Well, it turns out he had an unexpected and unfortunate #1 pop hit with "The Candy Man". Poor Sammy... he deserved so much better.
Of course, "The Candy Man" dates from the classic 1971 film adaptation of Willy Wonka And The Chocolate Factory. In the film, the song is a lighthearted romp, which is soon overshadowed by some of the film's even more memorable songs. With the movie still fresh in everyone's mind, it's only natural that somebody wanted to capitalize on the its success. It's also natural that a song as lighthearted and twee as "The Candy man" did NOT need to be remade into a Vegasy showdance number. But then again, we don't live in a perfect world.
Sammy's rendition of "The Candy Man" announces its unsightly presence right from the very first seconds. We have a schmaltzy big band arrangement, a group of backing vocalists that make the Osmonds sound butch, and an overall saccharine atmosphere. While I'm not too familiar with much of Sammy's catalog, I'm confident that he sang far superior songs than this cavity-inducing sucrose overload.
If there's any consolation to me having to sit through this song three times, it's that I'm not alone in my disgust. Sammy himself found the song too sugary for his taste. Of course, with the song spending an outrageous three weeks on top of the charts, perhaps he was laughing all the way to the bank.
Final Verdict - "The Candy Man", as interpreted by Sammy Davis Jr, is an overly saccharine, overblown, overly dated rendition of a simple children's tune. I'm baffled that people in 1972 brought enough copies of this to have it summit on the pop charts for three weeks. In a year that brought us such progressive and innovative music as "Close To The Edge", it's baffling that such schlock was held in such a high regard.
Coming Up Next - "Song Sung Blue" by Neil Diamond.
Until Next Time, I'm Dr. Rock and I've had enough candy for quite a while -
Released - December 1971
#1 for weeks of June 10, 17 and 24, 1972.
Two members of the famed "Rat Pack" have already been featured in past reviews of mine. Dean Martin had a #1 with his timeless "Everybody Loves Somebody". Frank Sinatra had one and a half #1's with "Strangers In The Night" and his duet with Nancy - "Something Stupid". So where does that leave the last of the big three, Mr. Sammy Davis Jr? Well, it turns out he had an unexpected and unfortunate #1 pop hit with "The Candy Man". Poor Sammy... he deserved so much better.
Of course, "The Candy Man" dates from the classic 1971 film adaptation of Willy Wonka And The Chocolate Factory. In the film, the song is a lighthearted romp, which is soon overshadowed by some of the film's even more memorable songs. With the movie still fresh in everyone's mind, it's only natural that somebody wanted to capitalize on the its success. It's also natural that a song as lighthearted and twee as "The Candy man" did NOT need to be remade into a Vegasy showdance number. But then again, we don't live in a perfect world.
Sammy's rendition of "The Candy Man" announces its unsightly presence right from the very first seconds. We have a schmaltzy big band arrangement, a group of backing vocalists that make the Osmonds sound butch, and an overall saccharine atmosphere. While I'm not too familiar with much of Sammy's catalog, I'm confident that he sang far superior songs than this cavity-inducing sucrose overload.
If there's any consolation to me having to sit through this song three times, it's that I'm not alone in my disgust. Sammy himself found the song too sugary for his taste. Of course, with the song spending an outrageous three weeks on top of the charts, perhaps he was laughing all the way to the bank.
Final Verdict - "The Candy Man", as interpreted by Sammy Davis Jr, is an overly saccharine, overblown, overly dated rendition of a simple children's tune. I'm baffled that people in 1972 brought enough copies of this to have it summit on the pop charts for three weeks. In a year that brought us such progressive and innovative music as "Close To The Edge", it's baffling that such schlock was held in such a high regard.
Coming Up Next - "Song Sung Blue" by Neil Diamond.
Until Next Time, I'm Dr. Rock and I've had enough candy for quite a while -
Saturday, April 12, 2014
Song #279 - "I'll Take You There" - The Staple Singers
Recorded - August 1971
Released - February 1972
#1 for week of June 3, 1972.
The Staple Singers were a family band, originally rooted in the gospel and forming as early as 1948. By the early 1970's the band had become far more secular in their sound and had evolved into a modern R&B group. This change in direction proved highly fruitful as they scored their first #1 with "I'll Take You There". And take us there they did...This song is light years away from any R&B sounds we have heard so far.
"I'll Take You There" was written and produced by Al Bell, one of the most prominent of Stax Records' personnel. With a name like Stax behind the tune, you can guarantee there is a massive musical sound to behold. There is a pronounced bassline as well as jazzy horn section. I'll even go as far as to say that the song has some Jamaican musical influences, mostly via the song's overall groove and bassline.
The vocals for "I'll Take You There" are worlds away from the harmony rich Philly Soul or later period Motown songs which were popular during the early 1970's. I'll even go as far as to say that singer Mavis Staples' spoken words segments pre-date rap by several years. Overall, the emphasis is more about setting a groove as opposed to deep lyrics. Whether this is a good or bad thing depends on your music taste.
I will say that there is quite a large amount of repetition in "I'll Take You There". With just two chords, and relatively few lyrics, the song can get quite repetitive. This is especially true if you listen to the full four minute version. After hearing the title of the song sung dozens of times, I want to say, "Yes, I get it! You'll take me there. But can you just do it already instead of saying you will?"
The Staple Singers would continue to have moderate success for the next few years. In 1975, they struck gold one final time with "Let's Do It Again". This song ended up not only being the group's second and final number one pop hit, but also the most successful one, commercially. We'll pick up the band's history when we eventually reach that momentous year...
Final Verdict - "I'll Take You There" has a different and fresher sound than some of my previously reviewed R&B hits. However, I do feel that the song can get repetitive, both musically and lyrically. It's not a song I feel deserves multiple listens, and I wouldn't call it one of the finest songs of the year. However, I'd still recommend giving it a spin and judging for yourself.
Coming Up Next - "The Candy Man" by Sammy Davis Jr.
Until Next Time, I'm Dr. Rock and if you're looking to take a trip back into music's past, I'll take you there -
Released - February 1972
#1 for week of June 3, 1972.
The Staple Singers were a family band, originally rooted in the gospel and forming as early as 1948. By the early 1970's the band had become far more secular in their sound and had evolved into a modern R&B group. This change in direction proved highly fruitful as they scored their first #1 with "I'll Take You There". And take us there they did...This song is light years away from any R&B sounds we have heard so far.
"I'll Take You There" was written and produced by Al Bell, one of the most prominent of Stax Records' personnel. With a name like Stax behind the tune, you can guarantee there is a massive musical sound to behold. There is a pronounced bassline as well as jazzy horn section. I'll even go as far as to say that the song has some Jamaican musical influences, mostly via the song's overall groove and bassline.
The vocals for "I'll Take You There" are worlds away from the harmony rich Philly Soul or later period Motown songs which were popular during the early 1970's. I'll even go as far as to say that singer Mavis Staples' spoken words segments pre-date rap by several years. Overall, the emphasis is more about setting a groove as opposed to deep lyrics. Whether this is a good or bad thing depends on your music taste.
I will say that there is quite a large amount of repetition in "I'll Take You There". With just two chords, and relatively few lyrics, the song can get quite repetitive. This is especially true if you listen to the full four minute version. After hearing the title of the song sung dozens of times, I want to say, "Yes, I get it! You'll take me there. But can you just do it already instead of saying you will?"
The Staple Singers would continue to have moderate success for the next few years. In 1975, they struck gold one final time with "Let's Do It Again". This song ended up not only being the group's second and final number one pop hit, but also the most successful one, commercially. We'll pick up the band's history when we eventually reach that momentous year...
Final Verdict - "I'll Take You There" has a different and fresher sound than some of my previously reviewed R&B hits. However, I do feel that the song can get repetitive, both musically and lyrically. It's not a song I feel deserves multiple listens, and I wouldn't call it one of the finest songs of the year. However, I'd still recommend giving it a spin and judging for yourself.
Coming Up Next - "The Candy Man" by Sammy Davis Jr.
Until Next Time, I'm Dr. Rock and if you're looking to take a trip back into music's past, I'll take you there -
Thursday, April 10, 2014
Song #278 - "Oh Girl" - The Chi-Lites
Recorded - 1971 or early 1972
Released - March 2, 1972
#1 for week of May 27, 1972.
It's amazing just how much the term "R&B" has changed over the years. Most modern day casual music fans associate the term with poppier singers such as Beyonce. The current form of mainstream R&B concentrates more on vocals and beats. Compare this to something like classic Motown, which featured intricate musical arrangements. While this transition from older to modern R&B was quite a long-term change, we can pinpoint a major shift in sound to 1971, with The Chi-Lites.
Forming as far back as 1959, The Chi-Lites were a vocal quartet consisting of Eugene Record, Robert Lester, Red Jones, and Marshall Thompson. However, it wouldn't be until 1969 that the quartet saw any chart success and it wouldn't be until 1971 that they struck gold with "Have You Seen Her". Featuring an extremely laid-back music track, with nearly all of the emphasis on vocals, this is a perfect example of proto-modern R&B. Is this a bad thing? Not even remotely!
Proof that the earliest examples of a new sound are fresh and new, "Have You Seen Her" is a classic catchy hit with a superb melody. I'm a bit bummed that the song won't be fully covered on this blog. However, I am excited to hear the Chi-Lites' only #1 pop hit, 1972's "Oh Girl". Not being familiar with this song, I only have left to wonder whether this was a successful followup to "Have You Seen Her" or if the song's success is unjustified.
Right away, the song's melody sounds familiar. I've most certainly heard this song before, and I most certainly consider it a perfect followup single. There is also a much more intricate instrument track than "Have You Seen Her". With piano, soaring strings, and even a melodica, it all sounds VERY Elton John-esque.
I'll give the song some further bonus points for being written by its singer, in this case, Eugene Record. His vocal style for this particular song seems once again to be very inspired by Elton John. Add on top of this a rich soulful vocal harmony part and you have instant magic.
After the success of "Oh Girl", the Chi-Lites rapidly descended the upper reaches of the pop charts with each subsequent single they released. Sadly Marshall Thompson is the only surviving member of the quartet although he continues to lead the reformed group, now a trio, to this very day.
Final Verdict - "Oh Girl" is the best song Elton John never wrote. Putting aside these similarities, the song contains an instantly catchy melody and fantastic vocals. It's a thumbs up for me.
Coming Up Next - "I'll Take You There" by The Staple Singers.
Until Next Time, Oh Girl (Or Guy)... I'm Dr. Rock -
Released - March 2, 1972
#1 for week of May 27, 1972.
It's amazing just how much the term "R&B" has changed over the years. Most modern day casual music fans associate the term with poppier singers such as Beyonce. The current form of mainstream R&B concentrates more on vocals and beats. Compare this to something like classic Motown, which featured intricate musical arrangements. While this transition from older to modern R&B was quite a long-term change, we can pinpoint a major shift in sound to 1971, with The Chi-Lites.
Forming as far back as 1959, The Chi-Lites were a vocal quartet consisting of Eugene Record, Robert Lester, Red Jones, and Marshall Thompson. However, it wouldn't be until 1969 that the quartet saw any chart success and it wouldn't be until 1971 that they struck gold with "Have You Seen Her". Featuring an extremely laid-back music track, with nearly all of the emphasis on vocals, this is a perfect example of proto-modern R&B. Is this a bad thing? Not even remotely!
Proof that the earliest examples of a new sound are fresh and new, "Have You Seen Her" is a classic catchy hit with a superb melody. I'm a bit bummed that the song won't be fully covered on this blog. However, I am excited to hear the Chi-Lites' only #1 pop hit, 1972's "Oh Girl". Not being familiar with this song, I only have left to wonder whether this was a successful followup to "Have You Seen Her" or if the song's success is unjustified.
Right away, the song's melody sounds familiar. I've most certainly heard this song before, and I most certainly consider it a perfect followup single. There is also a much more intricate instrument track than "Have You Seen Her". With piano, soaring strings, and even a melodica, it all sounds VERY Elton John-esque.
I'll give the song some further bonus points for being written by its singer, in this case, Eugene Record. His vocal style for this particular song seems once again to be very inspired by Elton John. Add on top of this a rich soulful vocal harmony part and you have instant magic.
After the success of "Oh Girl", the Chi-Lites rapidly descended the upper reaches of the pop charts with each subsequent single they released. Sadly Marshall Thompson is the only surviving member of the quartet although he continues to lead the reformed group, now a trio, to this very day.
Final Verdict - "Oh Girl" is the best song Elton John never wrote. Putting aside these similarities, the song contains an instantly catchy melody and fantastic vocals. It's a thumbs up for me.
Coming Up Next - "I'll Take You There" by The Staple Singers.
Until Next Time, Oh Girl (Or Guy)... I'm Dr. Rock -
Wednesday, April 9, 2014
Song #277 - "The First Time Ever I Saw Your Face" - Roberta Flack
Recorded - February 25, 1969
Originally Released - June 20, 1969
Re-released as a single - March 7, 1972
#1 for weeks of April 15, 22 and 29 & May 6, 13 and 20, 1972.
The 1970's saw jazz music fuse with several more mainstream musical genres. Out of the jazz/rock merge, we got the self-explanatory "Fusion". When jazz and pop met face to face, we got a nice blend of smooth accessible soulful vocals with jazzy musical undertones. One of the finest examples of this latter style is Roberta Flack.
Even if you don't know her by name, you most likely are familiar with her later #1 hit, "Killing Me Softly With His Song". Well, that song is going to be put on the back burner for another day. Instead, here's Roberta's first #1 hit, "The First Time Ever I Saw Your Face".
Written by Ewan MaColl, "The First Time..." was originally recorded by several prominent folk singers such as The Kingston Trio. Roberta's more soulful version dates from 1969, and it was included on her first album, appropriately titled First Take.
So how did a song from 1969 become a hit in 1972? Turns out "The First Time..." was featured in a scene from Clint Eastwood's 1971 film Play Misty For Me. Naturally, this led to a new found popularity of the song. In fact, its re-release was so successful that Billboard named it the top pop song of the year. I personally don't consider "The First Time..." to be the finest pop tune of '72, (Not taking into account that the song was then-three years old!) I can, however, rate this song highly as a love ballad.
The song is quite subdued for the first two minutes. The only instrumentation is a gentle guitar, double bass, and light cymbal part. Around the middle of the song, an understated string section creeps in, although these strings never get too loud, and they gradually putter out as the song winds down. Finally, Roberta's vocals are soft, quite relaxing as well. Although I'm reviewing this song quite late at night so I wonder if I'd view the vocals differently had it been the middle of the day.
Final Verdict - "The First Time..." works as a late night romantic tune, or as a song to play before you go to sleep. However, it lacks the memorability or vocal hooks that some of Roberta's later hits have. It's certainly not among the greatest pop songs of the year, but as a gentle and unpretentious ballad, it certainly has a distinct charm.
Coming Up Next - "Oh Girl" by The Chi-Lites.
Until Next Time, I'm Dr. Rock and the only Flack I put up with is Roberta -
Originally Released - June 20, 1969
Re-released as a single - March 7, 1972
#1 for weeks of April 15, 22 and 29 & May 6, 13 and 20, 1972.
The 1970's saw jazz music fuse with several more mainstream musical genres. Out of the jazz/rock merge, we got the self-explanatory "Fusion". When jazz and pop met face to face, we got a nice blend of smooth accessible soulful vocals with jazzy musical undertones. One of the finest examples of this latter style is Roberta Flack.
Even if you don't know her by name, you most likely are familiar with her later #1 hit, "Killing Me Softly With His Song". Well, that song is going to be put on the back burner for another day. Instead, here's Roberta's first #1 hit, "The First Time Ever I Saw Your Face".
Written by Ewan MaColl, "The First Time..." was originally recorded by several prominent folk singers such as The Kingston Trio. Roberta's more soulful version dates from 1969, and it was included on her first album, appropriately titled First Take.
So how did a song from 1969 become a hit in 1972? Turns out "The First Time..." was featured in a scene from Clint Eastwood's 1971 film Play Misty For Me. Naturally, this led to a new found popularity of the song. In fact, its re-release was so successful that Billboard named it the top pop song of the year. I personally don't consider "The First Time..." to be the finest pop tune of '72, (Not taking into account that the song was then-three years old!) I can, however, rate this song highly as a love ballad.
The song is quite subdued for the first two minutes. The only instrumentation is a gentle guitar, double bass, and light cymbal part. Around the middle of the song, an understated string section creeps in, although these strings never get too loud, and they gradually putter out as the song winds down. Finally, Roberta's vocals are soft, quite relaxing as well. Although I'm reviewing this song quite late at night so I wonder if I'd view the vocals differently had it been the middle of the day.
Final Verdict - "The First Time..." works as a late night romantic tune, or as a song to play before you go to sleep. However, it lacks the memorability or vocal hooks that some of Roberta's later hits have. It's certainly not among the greatest pop songs of the year, but as a gentle and unpretentious ballad, it certainly has a distinct charm.
Coming Up Next - "Oh Girl" by The Chi-Lites.
Until Next Time, I'm Dr. Rock and the only Flack I put up with is Roberta -
Tuesday, April 8, 2014
Song #276 - "A Horse With No Name" - America
Recorded - late 1971
Released - December, 1971 (UK), January 12, 1972 (US)
#1 for weeks of March 25 & April 1 and 8, 1972.
Next up is a most unusual US #1 Pop hit. We have a band called "America" who, despite their name, were all born in England. Sound-wise, America could be considered part of the California folk/rock scene that brought us Crosby, Stills, Nash and sometimes Young. Speaking of Neil Young, Dewey Bunnell: the lead singer of America, sounded almost uncannily like Neil. This is demonstrated full force on America's first #1 hit - "A Horse With No Name".
For those who haven't had a chance to listen to "A Horse With No Name", a quick Google search will bring up several articles and songlists that chastise the tune. I've even seen the song placed rather high in "Worst song ever" lists. Really? I'd hardly consider this to be a bad song, let alone one of the worst of all time. However, is the song really any good? Let's find out...
Musically, "A Horse With No Name" sounds firmly dated to the late 1960's/early 1970's folk rock era. There is an abundance of acoustic guitars, intricate three part harmonies, and an overall laid-back atmosphere. I honestly consider this song to be delightful in terms of the music and vocal arrangement. It reminds me of lazing away by a woodsy hillside during a mild summer's day.
Of course, I'd be ignoring the elephant in the room if I didn't bring up the main point of contention that most critics have - The lyrics. While I get the overall "Stranded in the desert" theme the band was going for, the song comes across as in dire need of lyrical revision. For example, there's the infamous "Plants, and birds, and rocks, and things". "Things!?" Really, America? I do feel, however, that most of the critics are a bit unduly harsh on the song. Just because it has some poor lyric choices doesn't make it a candidate for worst song of all time.
Yet, when you put these rather elementary lyrics on the back burner of your mind, the rest of the song gets a bigger chance to shine. Upon my first listen to this song around 15 years ago, I barely paid any attention to the lyrics as I was too entranced by the music and vocal track. In other words, it was a perfect example of an unbiased listen, which is what I strive for on this blog.
Final Verdict - With some major lyrical revisions, "A Horse With No Name" could have been a minor classic, or at least a solid period piece. As it stands, it is a flawed yet hauntingly serene example of early 1970's folk-rock. If you're a fan of that style of music, give the song a spin. Fans of harder-edged or more cynically-themed music are probably better off skipping this one.
Coming Up Next - "The First Time Ever I Saw Your Face" by Roberta Flack.
Until Next Time, I'm Dr. Rock and I review songs, and albums, and bands, and things -
Released - December, 1971 (UK), January 12, 1972 (US)
#1 for weeks of March 25 & April 1 and 8, 1972.
Next up is a most unusual US #1 Pop hit. We have a band called "America" who, despite their name, were all born in England. Sound-wise, America could be considered part of the California folk/rock scene that brought us Crosby, Stills, Nash and sometimes Young. Speaking of Neil Young, Dewey Bunnell: the lead singer of America, sounded almost uncannily like Neil. This is demonstrated full force on America's first #1 hit - "A Horse With No Name".
For those who haven't had a chance to listen to "A Horse With No Name", a quick Google search will bring up several articles and songlists that chastise the tune. I've even seen the song placed rather high in "Worst song ever" lists. Really? I'd hardly consider this to be a bad song, let alone one of the worst of all time. However, is the song really any good? Let's find out...
Musically, "A Horse With No Name" sounds firmly dated to the late 1960's/early 1970's folk rock era. There is an abundance of acoustic guitars, intricate three part harmonies, and an overall laid-back atmosphere. I honestly consider this song to be delightful in terms of the music and vocal arrangement. It reminds me of lazing away by a woodsy hillside during a mild summer's day.
Of course, I'd be ignoring the elephant in the room if I didn't bring up the main point of contention that most critics have - The lyrics. While I get the overall "Stranded in the desert" theme the band was going for, the song comes across as in dire need of lyrical revision. For example, there's the infamous "Plants, and birds, and rocks, and things". "Things!?" Really, America? I do feel, however, that most of the critics are a bit unduly harsh on the song. Just because it has some poor lyric choices doesn't make it a candidate for worst song of all time.
Yet, when you put these rather elementary lyrics on the back burner of your mind, the rest of the song gets a bigger chance to shine. Upon my first listen to this song around 15 years ago, I barely paid any attention to the lyrics as I was too entranced by the music and vocal track. In other words, it was a perfect example of an unbiased listen, which is what I strive for on this blog.
Final Verdict - With some major lyrical revisions, "A Horse With No Name" could have been a minor classic, or at least a solid period piece. As it stands, it is a flawed yet hauntingly serene example of early 1970's folk-rock. If you're a fan of that style of music, give the song a spin. Fans of harder-edged or more cynically-themed music are probably better off skipping this one.
Coming Up Next - "The First Time Ever I Saw Your Face" by Roberta Flack.
Until Next Time, I'm Dr. Rock and I review songs, and albums, and bands, and things -
Monday, April 7, 2014
Song #275 - "Heart Of Gold" - Neil Young
Recorded - February 8, 1971
Released - February 14, 1972
#1 for week of March 18, 1972.
Now we come to the other unexpected singer/songwriter who managed to have a #1 pop hit. Here the term "Unexpected" counts even more as Neil Young's music lies on a higher plain, far above that of AM Radio. In fact, I'm pleasantly baffled that someone who represents musical artistry and maturity is featured on the same charts that later welcomed "Disco Duck" and "The Harlem Shake" with open arms...but I digress.
Neil Young's name first became set in stone during his two year tenure with Buffalo Springfield. It was here that he brought some of the band's most groundbreaking work such as "Expecting To Fly" to the table. After the band broke up, Neil recorded and released two excellent late 1960's solo albums, both of which contain some of his finest work. "Cinnamon Girl", "The Loner", "Down By The River"...all are fantastic compositions that are musically and lyrically high class.
After a brief but fascinating time period working with Crosby, Stills & Nash and with another classic album, (After The Gold Rush) to add to his legacy, Neil began working on one of his most acclaimed albums, Harvest. Recorded throughout 1971 in several different studios and with many different producers, the album is an eclectic work which blends lighthearted country rock melodies ("Old Man", "Harvest"), with mammoth productions, ("A Man Needs A Maid"), as well as somber and stripped down acoustic numbers, ("The Needle And The Damage Done".
One song which lies somewhere in between all of these tropes is "Heart Of Gold". Of course, this just so happened to be a #1 pop hit. Previously, Neil had singles charting in the lower reaches of the chars, but never anything higher than #33. Perhaps it is the inclusion of James Taylor and Linda Ronstadt on backing vocals near the end of the song. Perhaps it was the fact that singer/songwriters were very popular in the early 1970's. Or perhaps it was the simple fact that "Heart Of Gold" is a fantastic song. Whatever the reason, I'm putting my bets on the latter.
Musically, "Heart Of Gold" is an acoustic guitar-heavy number. The ever-present harmonica adds a folk element while the slide guitar adds a country rock element. I'd also single out the rhythm track, which features a thumping bass drum that adds a heartbeat-like rhythm to the song. It is the sum of all these parts that give "Heart Of Gold" a haunting and rich quality. And this is all accomplished by relatively few instruments. In this instance, less is indeed more.
Besides his intricate music arrangements, Neil is also known for his one of a kind singing voice and his lyrics. For much of "Heart Of Gold", he sings alone, only being joined much later by James and Linda. This mostly one-man vocal performance helps his lyrics stand out on display: We are all searching for success in life. Yet when we refuse to compromise or change our identity, that road to "Gold" becomes rough and seemingly impossible. No matter how long it takes to achieve satisfaction, we continue to pursue these goals. That way, when we do achieve success, we feel like we truly earned it.
After the unexpected and massive success of "Heart Of Gold", Neil never managed to have such a high charting pop single. The closest would be the followup, "Old Man", which got to #31 on the US pop charts. Hey, you know what? I'm actually glad about this. Why? Because Neil Young is the polar opposite of a pop singer, and doesn't need pop hits to have success.
Neil's music isn't well-regarded because of the amount of copies sold. His near-endless amount of classic songs and albums are considered golden because he never compromised or gave up his identity. Whether he is singing quaint acoustic songs, whether he is living up to his nickname as "The Godfather of Grunge", or whether is is releasing songs and albums that contain satisfyingly direct anti-war lyrics, Neil will always go down in history as a classic artist.
Final Verdict - "Heart Of Gold" transcends its status as a pop hit by its sheer brilliance. The song is musically, lyrically, and vocally satisfying. If you haven't heard the song before, don't just go out and by it as a standalone track. Instead, go buy some of Neil's albums, and get lost in his near-endless sea of brilliant music.
Coming Up Next - "A Horse With No Name" by America.
Until Next Time, I'm Dr. Rock and I've got a heart of gold -
Released - February 14, 1972
#1 for week of March 18, 1972.
Now we come to the other unexpected singer/songwriter who managed to have a #1 pop hit. Here the term "Unexpected" counts even more as Neil Young's music lies on a higher plain, far above that of AM Radio. In fact, I'm pleasantly baffled that someone who represents musical artistry and maturity is featured on the same charts that later welcomed "Disco Duck" and "The Harlem Shake" with open arms...but I digress.
Neil Young's name first became set in stone during his two year tenure with Buffalo Springfield. It was here that he brought some of the band's most groundbreaking work such as "Expecting To Fly" to the table. After the band broke up, Neil recorded and released two excellent late 1960's solo albums, both of which contain some of his finest work. "Cinnamon Girl", "The Loner", "Down By The River"...all are fantastic compositions that are musically and lyrically high class.
After a brief but fascinating time period working with Crosby, Stills & Nash and with another classic album, (After The Gold Rush) to add to his legacy, Neil began working on one of his most acclaimed albums, Harvest. Recorded throughout 1971 in several different studios and with many different producers, the album is an eclectic work which blends lighthearted country rock melodies ("Old Man", "Harvest"), with mammoth productions, ("A Man Needs A Maid"), as well as somber and stripped down acoustic numbers, ("The Needle And The Damage Done".
One song which lies somewhere in between all of these tropes is "Heart Of Gold". Of course, this just so happened to be a #1 pop hit. Previously, Neil had singles charting in the lower reaches of the chars, but never anything higher than #33. Perhaps it is the inclusion of James Taylor and Linda Ronstadt on backing vocals near the end of the song. Perhaps it was the fact that singer/songwriters were very popular in the early 1970's. Or perhaps it was the simple fact that "Heart Of Gold" is a fantastic song. Whatever the reason, I'm putting my bets on the latter.
Musically, "Heart Of Gold" is an acoustic guitar-heavy number. The ever-present harmonica adds a folk element while the slide guitar adds a country rock element. I'd also single out the rhythm track, which features a thumping bass drum that adds a heartbeat-like rhythm to the song. It is the sum of all these parts that give "Heart Of Gold" a haunting and rich quality. And this is all accomplished by relatively few instruments. In this instance, less is indeed more.
Besides his intricate music arrangements, Neil is also known for his one of a kind singing voice and his lyrics. For much of "Heart Of Gold", he sings alone, only being joined much later by James and Linda. This mostly one-man vocal performance helps his lyrics stand out on display: We are all searching for success in life. Yet when we refuse to compromise or change our identity, that road to "Gold" becomes rough and seemingly impossible. No matter how long it takes to achieve satisfaction, we continue to pursue these goals. That way, when we do achieve success, we feel like we truly earned it.
After the unexpected and massive success of "Heart Of Gold", Neil never managed to have such a high charting pop single. The closest would be the followup, "Old Man", which got to #31 on the US pop charts. Hey, you know what? I'm actually glad about this. Why? Because Neil Young is the polar opposite of a pop singer, and doesn't need pop hits to have success.
Neil's music isn't well-regarded because of the amount of copies sold. His near-endless amount of classic songs and albums are considered golden because he never compromised or gave up his identity. Whether he is singing quaint acoustic songs, whether he is living up to his nickname as "The Godfather of Grunge", or whether is is releasing songs and albums that contain satisfyingly direct anti-war lyrics, Neil will always go down in history as a classic artist.
Final Verdict - "Heart Of Gold" transcends its status as a pop hit by its sheer brilliance. The song is musically, lyrically, and vocally satisfying. If you haven't heard the song before, don't just go out and by it as a standalone track. Instead, go buy some of Neil's albums, and get lost in his near-endless sea of brilliant music.
Coming Up Next - "A Horse With No Name" by America.
Until Next Time, I'm Dr. Rock and I've got a heart of gold -
Saturday, April 5, 2014
Song #274 - "Without You" - Harry Nilsson
Recorded - June 1971
Released - November 1971 (album), December 1971 (single)
#1 for weeks of February 19 and 26 & March 4 and 11, 1972.
An overwhelming amount of #1 pop songs from the 1970's were either non-serious and dated novelties, or songs written by non-serious songwriters. Well, here comes a one-two punch of songs written by acclaimed songwriters. First up, we have the only #1 hit by Harry Nilsson.
Harry already made his name well-known due to his own compositions being bit hits by several big name artists such as Three Dog Night. In 1971, Harry recorded and released his classic Nilsson Schmilsson album. The most recognizable song from this album is "Coconut", a rare example of a classy and humorous novelty song that doesn't come across as hideously dated or annoying.
Another Schmilsson track, "Without You", had the surprising fortune of topping the pop charts. What's equally surprising is that not only is "Without You" a serious number, but it was not one of Harry's own compositions. It was actually written by Peter Ham and Tom Evans of the British band "Badfinger".
This highly underrated power pop band has come back under the limelight in recent years due to their song "Baby Blue" being featured in the series finale of Breaking Bad. The Badfinger version of "Without You" was released on their 1970 album No Dice. Compared to most of their upbeat work, it's a late-period Beatles-esque power ballad that is extra poignant today due to the fact that both Pete Ham and Tom Evans ended up later taking their own lives.
By comparison, the Nilsson rendition is far more piano heavy with a prominent orchestral arrangement. Harry's voice has a strong mournful quality to it which fits the song's rather somber-in-hindsight lyrics. I appreciate the vocal contrast between the quiet verses and the powerful choruses. Nilsson's version of "Without You" has a very heavy production, with a clear aim at an epic listening experience as opposed to a quiet and quaint piece of music. My only gripe is that the song lacks a strong hook, so it won't exactly get stuck in your head upon first listen.
The cynic in me wants to believe this song charted so high due to its rather commercialized early 1970's piano pop sound, which was eaten up by the AM radio market during the decade. The Badfinger Version is very grounded in rock, while Nilsson's resembles some of the Wall Of Sound music productions of the 1960's. Although I'll conceed that if you are going to add an orchestral arrangement to a song like "Without You", you need to go all out. Thus, I believe Harry succeeded in that regard.
After an active and even a collaboration with John Lennon in 1974, Harry all but disappeared from the music charts during the 1980's. Despite his passing away some 20 years ago, the songs Harry wrote have an entrancing and timeless quality to them. As "Without You" proves, he could also take someone else's composition and make it his own. Not many musicians today can make that claim.
Final Verdict - "Without You" is a brave departure from Harry's usual sound, but it's a risk that paid off. It may not be as well-known as some of his other hits, nor does it have a lasting quality to it, but I'd still consider it a buried gem that deserves a listen. I have no issue with this song charting the pop charts, nor can I determine which version (Badfinger's or Harry's) I like best. Which one is your cup of tea?
Coming Up Next - "Heart Of Gold" by Neil Young.
Until Next Time, I'm Dr. Rock and I put the lime in de coconut and drank 'em both up -
Released - November 1971 (album), December 1971 (single)
#1 for weeks of February 19 and 26 & March 4 and 11, 1972.
An overwhelming amount of #1 pop songs from the 1970's were either non-serious and dated novelties, or songs written by non-serious songwriters. Well, here comes a one-two punch of songs written by acclaimed songwriters. First up, we have the only #1 hit by Harry Nilsson.
Harry already made his name well-known due to his own compositions being bit hits by several big name artists such as Three Dog Night. In 1971, Harry recorded and released his classic Nilsson Schmilsson album. The most recognizable song from this album is "Coconut", a rare example of a classy and humorous novelty song that doesn't come across as hideously dated or annoying.
Another Schmilsson track, "Without You", had the surprising fortune of topping the pop charts. What's equally surprising is that not only is "Without You" a serious number, but it was not one of Harry's own compositions. It was actually written by Peter Ham and Tom Evans of the British band "Badfinger".
This highly underrated power pop band has come back under the limelight in recent years due to their song "Baby Blue" being featured in the series finale of Breaking Bad. The Badfinger version of "Without You" was released on their 1970 album No Dice. Compared to most of their upbeat work, it's a late-period Beatles-esque power ballad that is extra poignant today due to the fact that both Pete Ham and Tom Evans ended up later taking their own lives.
By comparison, the Nilsson rendition is far more piano heavy with a prominent orchestral arrangement. Harry's voice has a strong mournful quality to it which fits the song's rather somber-in-hindsight lyrics. I appreciate the vocal contrast between the quiet verses and the powerful choruses. Nilsson's version of "Without You" has a very heavy production, with a clear aim at an epic listening experience as opposed to a quiet and quaint piece of music. My only gripe is that the song lacks a strong hook, so it won't exactly get stuck in your head upon first listen.
The cynic in me wants to believe this song charted so high due to its rather commercialized early 1970's piano pop sound, which was eaten up by the AM radio market during the decade. The Badfinger Version is very grounded in rock, while Nilsson's resembles some of the Wall Of Sound music productions of the 1960's. Although I'll conceed that if you are going to add an orchestral arrangement to a song like "Without You", you need to go all out. Thus, I believe Harry succeeded in that regard.
After an active and even a collaboration with John Lennon in 1974, Harry all but disappeared from the music charts during the 1980's. Despite his passing away some 20 years ago, the songs Harry wrote have an entrancing and timeless quality to them. As "Without You" proves, he could also take someone else's composition and make it his own. Not many musicians today can make that claim.
Final Verdict - "Without You" is a brave departure from Harry's usual sound, but it's a risk that paid off. It may not be as well-known as some of his other hits, nor does it have a lasting quality to it, but I'd still consider it a buried gem that deserves a listen. I have no issue with this song charting the pop charts, nor can I determine which version (Badfinger's or Harry's) I like best. Which one is your cup of tea?
Coming Up Next - "Heart Of Gold" by Neil Young.
Until Next Time, I'm Dr. Rock and I put the lime in de coconut and drank 'em both up -
Thursday, April 3, 2014
Song #273 - "Let's Stay Together" - Al Green
Recorded - August 1971
Released - November 1971
#1 for week of February 12, 1972.
If Sam Cooke was the most prolific face of smooth soul music during the 1960's, then Al Green was the king of the genre during the first half of the '70's. Although Al began his musical career in the 1960's, it wouldn't be until 1971 that he began a steady rise in popularity. His first smash hit was "Tired Being Alone" from 1971. Later that year, he released "Let's Stay Together". This would prove to be his first and only #1 pop single and it has become his most well-known song.
Musically, "Let's Stay Together" has a laid back vibe, tailor-made for being played late on a tranquil night. It has a classy musical arrangement with jazzy guitars and Latin percussion. There is a brass section which, although mostly silent throughout the song, makes its presence well known by trumpeting loud and clear during the intro.
Vocally, Al gives the piece an emotionally delicate charm. Rarely does he raise his voice, instead providing a smooth and almost relaxing tone. The backing vocalists add a gospel element to the piece. Al was the co-writer of "Let's Stay Together" so lyrically, you can truly believe that everything he sings is genuine.
The success of "Let's Stay Together" marked the start of a highly prolific period, in terms of albums released. In 1974, after a life changing incident involving the suicide of his then-girlfriend, Al began a move away from music and eventually became an ordained minister and gospel singer. Today, Reverend Al Green has managed to find a balance between his faith and performing his classic secular hits.
Final Verdict - "Let's Stay Together" remains a timeless classic from one of the finest periods in smooth soul music. If we are judging 1972 in terms of non-rock songs, I'd certainly consider this track to be one of the year's strong points. Even if you are already familiar with song, It's worth another late night listen.
Coming Up Next - "Without You" by Harry Nilsson.
Until Next Time, I-I-I-I-I'm...Dr. Rock -
Released - November 1971
#1 for week of February 12, 1972.
If Sam Cooke was the most prolific face of smooth soul music during the 1960's, then Al Green was the king of the genre during the first half of the '70's. Although Al began his musical career in the 1960's, it wouldn't be until 1971 that he began a steady rise in popularity. His first smash hit was "Tired Being Alone" from 1971. Later that year, he released "Let's Stay Together". This would prove to be his first and only #1 pop single and it has become his most well-known song.
Musically, "Let's Stay Together" has a laid back vibe, tailor-made for being played late on a tranquil night. It has a classy musical arrangement with jazzy guitars and Latin percussion. There is a brass section which, although mostly silent throughout the song, makes its presence well known by trumpeting loud and clear during the intro.
Vocally, Al gives the piece an emotionally delicate charm. Rarely does he raise his voice, instead providing a smooth and almost relaxing tone. The backing vocalists add a gospel element to the piece. Al was the co-writer of "Let's Stay Together" so lyrically, you can truly believe that everything he sings is genuine.
The success of "Let's Stay Together" marked the start of a highly prolific period, in terms of albums released. In 1974, after a life changing incident involving the suicide of his then-girlfriend, Al began a move away from music and eventually became an ordained minister and gospel singer. Today, Reverend Al Green has managed to find a balance between his faith and performing his classic secular hits.
Final Verdict - "Let's Stay Together" remains a timeless classic from one of the finest periods in smooth soul music. If we are judging 1972 in terms of non-rock songs, I'd certainly consider this track to be one of the year's strong points. Even if you are already familiar with song, It's worth another late night listen.
Coming Up Next - "Without You" by Harry Nilsson.
Until Next Time, I-I-I-I-I'm...Dr. Rock -
Wednesday, April 2, 2014
Song #272 - "American Pie" - Don McLean
Recorded - May 26, 1971
Released - October 24, 1971 (album), November 1971 (single)
#1 for weeks of January 15, 22 and 29 & February 5, 1972.
A long long time ago... way back in 1971, a quaint and unsuspecting folk musician named Don McLean released an album called American Pie. The title track itself remains one of the most instantly recognizable songs of all time, and has even been voted by the Recording Industry Association of America as the fifth best song of the 20th century. That's quite a bold statement. Has the song been overplayed? Absolutely. Is is really among the greatest recorded works of a whole century? Let's find out...
"American Pie", for those who don't know, chiefly deals with the events of February 3, 1959: The day the music died. Lyrically, much of the song is highly cryptic and open for interpretation. I'll echo what many have already guessed: This song represents all the events that occurred starting from that cold February day until "American Pie" was written. Although this is merely a theory. Only Don knows the real meanings behind the song.
Continuing the trend of progressive pop singles, we have a song which was over eight minutes in length. Yet these eight minutes are never boring and you might even lose track of time until the song concludes. Part of the appeal of "American Pie", (Besides its instantly catchy chorus), is this huge contrast between the somber piano-led sections and the upbeat full band sections. It's not often you can go from feeling sad to wanting to raise a pint and sing along happily, all in one song!
Due to the constant replaying of "American Pie" over the years, it is easy to assume that Don is a one hit wonder. While he would never top the IS charts again, he did score two UK #1's over the years, one of which was "Vincent", another American Pie album track. None of Don's other albums managed the success that "Pie" brought him. Still, if "American Pie" is the song people admire you for the most, that's not a bad tag.
Even though "American Pie" is critically acclaimed, I have met quite a few people who dislike or don't care for the song. I've heard, "It's too long" or "It's been overrated". To be honest, even I consider the song to be overrated. Don't get me wrong, it's one I highly enjoy. However, there are numerous songs that I feel are stronger overall, many of which have already been reviewed on this blog.
Final Verdict - Just a wee bit overplayed, although not even the slightest bit dated. While, I wouldn't call this one of the top 10 songs, period. I will call "American Pie" one of the finest singer/songwriter songs of the century. The song takes you on a journey, and even though this journey is mostly cryptic, part of the intrigue is creating one's own interpretations of the piece.
Coming Up Next - "Let's Stay Together" by Al Green.
Until Next Time, I'm Dr. Rock and I can still remember how this music used to make me smile -
Released - October 24, 1971 (album), November 1971 (single)
#1 for weeks of January 15, 22 and 29 & February 5, 1972.
A long long time ago... way back in 1971, a quaint and unsuspecting folk musician named Don McLean released an album called American Pie. The title track itself remains one of the most instantly recognizable songs of all time, and has even been voted by the Recording Industry Association of America as the fifth best song of the 20th century. That's quite a bold statement. Has the song been overplayed? Absolutely. Is is really among the greatest recorded works of a whole century? Let's find out...
"American Pie", for those who don't know, chiefly deals with the events of February 3, 1959: The day the music died. Lyrically, much of the song is highly cryptic and open for interpretation. I'll echo what many have already guessed: This song represents all the events that occurred starting from that cold February day until "American Pie" was written. Although this is merely a theory. Only Don knows the real meanings behind the song.
Continuing the trend of progressive pop singles, we have a song which was over eight minutes in length. Yet these eight minutes are never boring and you might even lose track of time until the song concludes. Part of the appeal of "American Pie", (Besides its instantly catchy chorus), is this huge contrast between the somber piano-led sections and the upbeat full band sections. It's not often you can go from feeling sad to wanting to raise a pint and sing along happily, all in one song!
Due to the constant replaying of "American Pie" over the years, it is easy to assume that Don is a one hit wonder. While he would never top the IS charts again, he did score two UK #1's over the years, one of which was "Vincent", another American Pie album track. None of Don's other albums managed the success that "Pie" brought him. Still, if "American Pie" is the song people admire you for the most, that's not a bad tag.
Even though "American Pie" is critically acclaimed, I have met quite a few people who dislike or don't care for the song. I've heard, "It's too long" or "It's been overrated". To be honest, even I consider the song to be overrated. Don't get me wrong, it's one I highly enjoy. However, there are numerous songs that I feel are stronger overall, many of which have already been reviewed on this blog.
Final Verdict - Just a wee bit overplayed, although not even the slightest bit dated. While, I wouldn't call this one of the top 10 songs, period. I will call "American Pie" one of the finest singer/songwriter songs of the century. The song takes you on a journey, and even though this journey is mostly cryptic, part of the intrigue is creating one's own interpretations of the piece.
Coming Up Next - "Let's Stay Together" by Al Green.
Until Next Time, I'm Dr. Rock and I can still remember how this music used to make me smile -
Sunday, March 23, 2014
1971 Reflection
1971 proved to be an interesting year. Even though no glam rock songs managed to top the charts in 1971, the genre's ideals of "Standing out above the rest" certainly held through for many of the top songs. Many of the songs reviewed truly had their own unique sound.
Obviously, there is more to 1971 than just pop songs. This was a phenomenal year for progressive rock, early heavy metal, jazz-rock, and jam bands, to name a few genres. Of course, I am following the AM radio charts for this blog and naturally, much of these songs were too complex for what was in reality "The casual listener's radio".
Out of all the songs reviewed from this year, there were quite a few strong contenders for top song, and a few notably horrid ones as well. Let's start with the true top of the pops...
Best #1 Hit Song Of 1971 - "Maggie May" by Rod Stewart.
This was a tough choice, a very tough one indeed. About half of the songs reviewed from this year could have been chosen as the best. Naturally, I had to narrow my choices down. The full list of songs I eventually considered is - "Me And Bobby McGee", "Just My Imagination", "It's Too Late", "I Feel The Earth Move", and "Maggie May".
I decided to eliminate from the list the first two of those five, as they weren't written by their respective singers. I know that may seem like a cop-out, but I truly feel that in order for a song to be considered the best of one of the most creative music years, it has to come from the singer's own pen and paper.
So what made me chose "Maggie May" over the two Carole King selections? It was the lyrics and the music. The lyrics of "Maggie May" tell a story, and they are based on real life experiences that Rod faced. This adds a high amount of emotional resonance to the piece, which is a must for artistic music.
Finally, I just find the blend of instruments in "Maggie May" to be more diverse and unique-sounding. As I'm a very indecisive man, I'm sure I'll later change my mind. Either way, you can consider the two Carole King songs to be VERY close runners up.
Worst #1 Hit Song Of 1971 - "Go Away Little Girl" by Donny Osmond.
Like this was even a contest! Only "Knock Three Times" and "One Bad Apple" came across as possible candidates for the worst #1 song of the year. I don't even need to go into detail as to why "Go Away Little Girl" is the worst of the worst. It is a nearly unlistenable, sappy, and screechy cover of an already mediocre song. It is a mistake, that should never have even left the recording studio. I'd rather listen to a marathon of "Everything Is Wonderful" and "Sugar, Sugar" than listen to more than 20 seconds of "Go Away Little Girl".
Join me next month as we take on one of music's finest years. Progressive and glam rock reached their peaks, and soul music became smoother and groovier. As for pop music...we're in for a few surprises, both good and bad. We're going to get "Close To The Edge" and face the spiders from Mars. Let's pack our bags tonight...preflight, and take a walk on the wild side... back to 1972!
First Up For 1972 - "American Pie" by Don McLean.
Until Next Time, I'm Dr. Rock and I'll see you in '72!
Song #271 - "Brand New Key" - Melanie
Recorded - July 1971
Released - October 1971
#1 for weeks of December 25, 1971 & January 1 and 8, 1972.
We end 1971 with a rather unusual hit record. It's a song that, until a year or so ago, I had never before heard in my life. In fact, some of my younger views might be scratching their heads just as much. Do we have a buried gem on our hands, or a song that's best left buried under rubble? Well, for the first time on this blog, I'm not quite sure. Although I'm getting ahead of myself... Let's dial back a few years, shall we?
Melanie is the stage name for New York-based folk singer Melanie Safka. In 1967, she released her first recorded work, and she found enough success by 1969 that she got a chance to perform at Woodstock. Out of this experience, she wrote the powerful folk rock number "Lay Down (Candles In The Rain)". This song showcased her wide vocal range as well as her rather mystical songwriting skills.
Yet, there was another side to Melanie: That of a vintage pop singer. This is evidenced not only in her song "Look What They've Done To My Song Ma" but also her only #1 pop hit, "Brand New Key". When you compare "Lay Down" to "Brand New Key", the latter sounds worlds away from the hippie dreamscape she painted in "Lay Down". "Brand New Key" managed to alienate much of her earlier audience, while at the same time getting her recognition on the pop charts.
I'm really not sure what to make of "Brand New Key". The song can't really be pigeonholed into one genre. Jug band polka pop...perhaps?? The overall sound is more novelty than sincere and deep. It is as if Mungo Jerry's "In The Summertime" got transported back to the 1930's, and reinterpreted by a vaudeville band from that time period.
Where I'm really divided is Melanie's vocal performance. She does some rather interesting vocals on the song's chorus, sounding like a cross between talk-singing and borderline yodeling. Either this is a great vocal and I just haven't let it sink in, or it's a less-than-average song and It's just a guilty pleasure. I'll give the song credit, it continues the reoccurring trend of 1971 which is that many pop songs have their own unique sound.
Final Verdict - I'm still not sure whether I truly like "Brand New Key" or not. No matter the verdict, I'd still rank "Lay Down" as a far superior song. "Brand New Key" has a unique sound and one of a kind vocals, but it just comes across as a bit too novelty much of the time. What's your opinion on this tune?
Coming Up Next - 1971 Reflection.
Until Next Time, I'm Dr. Rock and I've got a brand new key -
Released - October 1971
#1 for weeks of December 25, 1971 & January 1 and 8, 1972.
We end 1971 with a rather unusual hit record. It's a song that, until a year or so ago, I had never before heard in my life. In fact, some of my younger views might be scratching their heads just as much. Do we have a buried gem on our hands, or a song that's best left buried under rubble? Well, for the first time on this blog, I'm not quite sure. Although I'm getting ahead of myself... Let's dial back a few years, shall we?
Melanie is the stage name for New York-based folk singer Melanie Safka. In 1967, she released her first recorded work, and she found enough success by 1969 that she got a chance to perform at Woodstock. Out of this experience, she wrote the powerful folk rock number "Lay Down (Candles In The Rain)". This song showcased her wide vocal range as well as her rather mystical songwriting skills.
Yet, there was another side to Melanie: That of a vintage pop singer. This is evidenced not only in her song "Look What They've Done To My Song Ma" but also her only #1 pop hit, "Brand New Key". When you compare "Lay Down" to "Brand New Key", the latter sounds worlds away from the hippie dreamscape she painted in "Lay Down". "Brand New Key" managed to alienate much of her earlier audience, while at the same time getting her recognition on the pop charts.
I'm really not sure what to make of "Brand New Key". The song can't really be pigeonholed into one genre. Jug band polka pop...perhaps?? The overall sound is more novelty than sincere and deep. It is as if Mungo Jerry's "In The Summertime" got transported back to the 1930's, and reinterpreted by a vaudeville band from that time period.
Where I'm really divided is Melanie's vocal performance. She does some rather interesting vocals on the song's chorus, sounding like a cross between talk-singing and borderline yodeling. Either this is a great vocal and I just haven't let it sink in, or it's a less-than-average song and It's just a guilty pleasure. I'll give the song credit, it continues the reoccurring trend of 1971 which is that many pop songs have their own unique sound.
Final Verdict - I'm still not sure whether I truly like "Brand New Key" or not. No matter the verdict, I'd still rank "Lay Down" as a far superior song. "Brand New Key" has a unique sound and one of a kind vocals, but it just comes across as a bit too novelty much of the time. What's your opinion on this tune?
Coming Up Next - 1971 Reflection.
Until Next Time, I'm Dr. Rock and I've got a brand new key -
Saturday, March 22, 2014
Song #270 - "Family Affair" - Sly & The Family Stone
Recorded - sporadically, throughout 1971
Released - November 6, 1971
#1 for weeks of December 4, 11 and 18, 1971.
It's been quite a while since Sly & The Family Stone made an appearance on this blog. What is unusual is that "Family Affair" is chronologically the next Family Stone single after 1969's "Thank You". So just what was going on with Sly and co during this period of inactivity from late 1969 through early 1971? To make a long story short, drugs...lots and lots of hard drugs.Starting in 1969, much of the band members became heavily addicted to cocaine and PCP.
By 1970, this heavy drug use had taken a hard toll on Sly. During a 1970 TV appearance, the once smiling and happy frontman had a sullen and withdrawn look and personality. There were no recordings made throughout all of 1970 and it wasn't until 1971 that Sly began work on what would prove to be a monumental album: There's A Riot Going On. Included on the album was the Stone's fourth and final #1 pop hit - "Family Affair".
The recording of "Family Affair", and indeed much of the "Riot" album, was highly unorthodox. It was recorded mostly by Sly alone, in his mobile home. The only other member of Sly & The Family Stone to appear on the recording is Rose, on vocals. The drums are provided by a drum machine, which was a rarity in this time period. The record also has a scratchy and distorted quality to it. This is due to Sly constantly re-recording and erasing tracks on the record as he built the song up throughout 1971.
But how is the song overall? It's frickin' brilliant I tell ya!
The dark sludgy sound of the recording? It's a groundbreaking new sound that opened up doors for the soul genre during the 1970's. Due to the song's fixed drum-machine drum beat, you could almost call this song proto-disco. The organ part of the song is played by keyboard wizard Billy Preston, and this adds a jazzy element to the piece.
Besides the drum machine and thumping bass-line, Sly gives this record a rather unusual vocal performance. When I first heard this song, his sleepy voice was rather off-putting. Compare this song to any of the Family Stone's earlier works and it's like "Family Affair" comes from another dimension. As I've grown used to the song and the album as a whole, the vocals now come across as delightfully raw and gritty.
They lyrics, which bring up both the positives and negatives of family life, could perhaps be a metaphor for the tensions that were arising between Sly and his bandmates. The whole "Riot" album features similar themes, yet this more mature lyrical and musical sound didn't prevent the album from becoming such a huge hit.
Following the split of the "Stone" in 1983, there have been a few partial reunions of the group over the years. One infamous full reunion from the 2007 showcased Sly at his worst. His current image and border-line homeless lifestyle is disturbing to say the least. I for one hope that he gets help, before it's too late.
Final Verdict - Putting aside the condition that Sly was and still is in, I'd rank "Family Affair" as a dark and foreboding soul masterpiece. It was a rapid change in direction that ended up paying off handsomely. Check it out for yourself as it's quite a unique sounding record.
Last Up For 1971 - "Brand New Key" by Melanie.
Until Next Time, I'm Dr. Rock and my blog is a family affair -
Released - November 6, 1971
#1 for weeks of December 4, 11 and 18, 1971.
It's been quite a while since Sly & The Family Stone made an appearance on this blog. What is unusual is that "Family Affair" is chronologically the next Family Stone single after 1969's "Thank You". So just what was going on with Sly and co during this period of inactivity from late 1969 through early 1971? To make a long story short, drugs...lots and lots of hard drugs.Starting in 1969, much of the band members became heavily addicted to cocaine and PCP.
By 1970, this heavy drug use had taken a hard toll on Sly. During a 1970 TV appearance, the once smiling and happy frontman had a sullen and withdrawn look and personality. There were no recordings made throughout all of 1970 and it wasn't until 1971 that Sly began work on what would prove to be a monumental album: There's A Riot Going On. Included on the album was the Stone's fourth and final #1 pop hit - "Family Affair".
The recording of "Family Affair", and indeed much of the "Riot" album, was highly unorthodox. It was recorded mostly by Sly alone, in his mobile home. The only other member of Sly & The Family Stone to appear on the recording is Rose, on vocals. The drums are provided by a drum machine, which was a rarity in this time period. The record also has a scratchy and distorted quality to it. This is due to Sly constantly re-recording and erasing tracks on the record as he built the song up throughout 1971.
But how is the song overall? It's frickin' brilliant I tell ya!
The dark sludgy sound of the recording? It's a groundbreaking new sound that opened up doors for the soul genre during the 1970's. Due to the song's fixed drum-machine drum beat, you could almost call this song proto-disco. The organ part of the song is played by keyboard wizard Billy Preston, and this adds a jazzy element to the piece.
Besides the drum machine and thumping bass-line, Sly gives this record a rather unusual vocal performance. When I first heard this song, his sleepy voice was rather off-putting. Compare this song to any of the Family Stone's earlier works and it's like "Family Affair" comes from another dimension. As I've grown used to the song and the album as a whole, the vocals now come across as delightfully raw and gritty.
They lyrics, which bring up both the positives and negatives of family life, could perhaps be a metaphor for the tensions that were arising between Sly and his bandmates. The whole "Riot" album features similar themes, yet this more mature lyrical and musical sound didn't prevent the album from becoming such a huge hit.
Following the split of the "Stone" in 1983, there have been a few partial reunions of the group over the years. One infamous full reunion from the 2007 showcased Sly at his worst. His current image and border-line homeless lifestyle is disturbing to say the least. I for one hope that he gets help, before it's too late.
Final Verdict - Putting aside the condition that Sly was and still is in, I'd rank "Family Affair" as a dark and foreboding soul masterpiece. It was a rapid change in direction that ended up paying off handsomely. Check it out for yourself as it's quite a unique sounding record.
Last Up For 1971 - "Brand New Key" by Melanie.
Until Next Time, I'm Dr. Rock and my blog is a family affair -
Song #269 - "Theme From Shaft" - Isaac Hayes
Recorded - mid 1971
Released - July 1971 (album), September 1971 (edited single)
#1 for weeks of November 20 and 27, 1971.
Stax Records was known for producing many of the biggest names in soul music. One of those was soul music legend Isaac Hayes. Nowadays most kids and young adults born after 1980 know Isaac best as the voice of "Chef" from South Park. Yet, Isaac was so much more than that, as you'll soon find out...
Isaac joined the Stax label in the early 1960's as a session musician and songwriter. Some of his songwriting credits include such Sam & Dave classics like "Hold On, I'm Commin'" and "Soul Man". Then in 1969, Hayes released his first solo album, Hot Buttered Soul and everything changed.
If you want a perfect example of how to cover a song, not only improving it, but actually adding emotion, then check out Hayes' reworking of Jimmy Webb's "By The Time I Get To Phoenix". This is unquestionably one of the greatest soul ballads of all time. Throughout the next three years, Isaac enjoyed an immense amount of success with his records, but it was his soundtrack album to the 1971 film Shaft that launched his already high career into the stratosphere.
Here we have a rare example where the soundtrack of a film has surpassed the film itself in popularity. If you watch the opening titles of the film and compare that version of "Theme From Shaft" to the album/single version, you'll find they are two different recordings, yet they sound quite similar. Although it is the edited single version that topped the charts, I'm listening to the full album version and I'd highly recommend that this be the version you check out yourself.
Just like "I Want To Hold Your Hand" seven years previous, "Theme From Shaft" could be considered one big hook all the way through. The song opens with drummer Willie Hall's hi-hat drum beats and guitarist Charlie Pitts gives us a funky wah-wah guitar part. Even in the single edit of the song, we have quite a bit of time devoted to building up atmosphere with new instruments being added every few seconds. You could have released just the full intro as the song and it would have been a classic instrumental tune.
Then, we're finally introduced to the unique bass voice of Isaac Hayes. The song's lyrics may pertain to a film, but Isaac was able to make such seemingly unimportant lyrics mean something due to his highly emotive voice. Speaking of the lyrics, they are quite risque, even for 1971. I view this of course as a good thing and a perfect sign that we are progressing with the times.
After the early 1970's, Hayes continued to put out albums, many under his "Hot Buttered Soul" record label. Still, it is the 1969-1972 time period that gave him his biggest chart hits. Even after his death in 2008, people are still discovering some of the many Grade-A soul albums he recorded throughout his career for the first time, thus ensuring his legacy will live on.
Final Verdict - Isaac Hayes' Shaft soundtrack is a top contender for greatest soundtrack album of all time. The title tune itself is musically complex and captivating. Isaac's vocals are gripping and the epitome of soul. Don't overlook this tune just because it was tailor-made for a film. This is a classic, and a well-deserved chart topper.
Coming Up Next - "Family Affair" by Sly & The Family Stone.
Until Next Time..."Who's that Doc as sharp as a bone, with puns so bad they make you groan?...ROCK!"
Released - July 1971 (album), September 1971 (edited single)
#1 for weeks of November 20 and 27, 1971.
Stax Records was known for producing many of the biggest names in soul music. One of those was soul music legend Isaac Hayes. Nowadays most kids and young adults born after 1980 know Isaac best as the voice of "Chef" from South Park. Yet, Isaac was so much more than that, as you'll soon find out...
Isaac joined the Stax label in the early 1960's as a session musician and songwriter. Some of his songwriting credits include such Sam & Dave classics like "Hold On, I'm Commin'" and "Soul Man". Then in 1969, Hayes released his first solo album, Hot Buttered Soul and everything changed.
If you want a perfect example of how to cover a song, not only improving it, but actually adding emotion, then check out Hayes' reworking of Jimmy Webb's "By The Time I Get To Phoenix". This is unquestionably one of the greatest soul ballads of all time. Throughout the next three years, Isaac enjoyed an immense amount of success with his records, but it was his soundtrack album to the 1971 film Shaft that launched his already high career into the stratosphere.
Here we have a rare example where the soundtrack of a film has surpassed the film itself in popularity. If you watch the opening titles of the film and compare that version of "Theme From Shaft" to the album/single version, you'll find they are two different recordings, yet they sound quite similar. Although it is the edited single version that topped the charts, I'm listening to the full album version and I'd highly recommend that this be the version you check out yourself.
Just like "I Want To Hold Your Hand" seven years previous, "Theme From Shaft" could be considered one big hook all the way through. The song opens with drummer Willie Hall's hi-hat drum beats and guitarist Charlie Pitts gives us a funky wah-wah guitar part. Even in the single edit of the song, we have quite a bit of time devoted to building up atmosphere with new instruments being added every few seconds. You could have released just the full intro as the song and it would have been a classic instrumental tune.
Then, we're finally introduced to the unique bass voice of Isaac Hayes. The song's lyrics may pertain to a film, but Isaac was able to make such seemingly unimportant lyrics mean something due to his highly emotive voice. Speaking of the lyrics, they are quite risque, even for 1971. I view this of course as a good thing and a perfect sign that we are progressing with the times.
After the early 1970's, Hayes continued to put out albums, many under his "Hot Buttered Soul" record label. Still, it is the 1969-1972 time period that gave him his biggest chart hits. Even after his death in 2008, people are still discovering some of the many Grade-A soul albums he recorded throughout his career for the first time, thus ensuring his legacy will live on.
Final Verdict - Isaac Hayes' Shaft soundtrack is a top contender for greatest soundtrack album of all time. The title tune itself is musically complex and captivating. Isaac's vocals are gripping and the epitome of soul. Don't overlook this tune just because it was tailor-made for a film. This is a classic, and a well-deserved chart topper.
Coming Up Next - "Family Affair" by Sly & The Family Stone.
Until Next Time..."Who's that Doc as sharp as a bone, with puns so bad they make you groan?...ROCK!"
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