I've previous considered 1966 or 1967 to be the finest years in terms of #1 hits. Well, I think 1970 might trump both of those years. With two notable exceptions, every song I reviewed was good in some regard. Some were buried gems, while others are among the finest songs ever recorded.
The biggest disadvantage with following what topped the pop charts is the fact that progressive rock, early metal, and most hard rock songs, are absent. All three of these genres flourished during 1970. The divide between AM and FM radio was in full force, and there was unfortunately no way that a seventeen minute epic or an "Iron Man" would top the pop charts.
Out of the 23 songs that topped the charts, there can only be one "Best" and "Worst". The latter category was easy for me to determine, while the former was the most difficult decision I've made so far. So, without any further adieu -
Best #1 Hit Song Of 1970 - "Bridge Over Troubled Water" by Simon & Garfunkel.
The aforementioned difficult decision was picking "Bridge" over "Let It Be", the latter of which I've often considered my all time favorite song. "Let It Be" is one of the finest pieces of music ever recorded.
The many honorable mentions: "Thank You (Fallentinme)", "American Woman", "The Long And Winding Road", "Tears Of A Clown" and "My Sweet Lord", are timeless classics that all could have easily taken the top spot for 1970.
What made me pick "Bridge Over Troubled Water" was when I compared it against "Let It Be". As much as I love the latter, I found the former to be an even more moving piece of music, with a stronger production, and more universal lyrics. I can't just pick favorites, I have to go with what is in reality, the marginally better song.
Worst #1 Hit Song Of 1970 - "Everything Is Beautiful" by Ray Stevens.
This was absolutely no contest. Only this song and "I Think I Love You" could be considered true duds of the year in my eye. Both songs contain sappy lyrics, mundane melodies, and have not stood the test of time.
However, "Everything Is Beautiful" stands miles above the Partrige Family's song in terms of awfulness because it comes across as way too preachy and serious. Normally this wouldn't be an issue if it weren't for the fact that Ray Stevens real-life views are hypocritical to what he sang about in the song. I'd rather hear a harmless bubblegum pop hit by a fictional family band than a schmaltzy serious country pop hit by a phony.
I'll be taking a few days off from reviews, so the entire month of March will be devoted to 1971. Glam Rock, singer-songwriter pop, and progressive rock define this year. Funk and soul music took over the classic 1960's Motown sound and the seeds were sown for what would eventually turn into disco. In terms of what topped the pop charts, will this be the strongest year yet? Or will it be a couple of steps backwards? Find out, next time, when we enter 1971!
First Up For 1971 - "Knock Three Times" by Dawn.
Until Next Time, I'm Dr. Rock and we'll see what ch-ch-ch-ch-changes await us in '71 -
Thursday, February 27, 2014
Songs 250 and 251 - "My Sweet Lord" and "Isn't It A Pity" - George Harrison
Recorded - June-October 1970 (Both songs)
Released - November 27, 1970 (US), November 30, 1970 (UK)
#1 for weeks of December 26, 1970 and January 2, 9 and 16, 1971.
We end 1970 with a one two punch by the dark horse himself, George Harrison. After the breakup of The Beatles, the quartet all released at least one solo album in 1970. Ringo released an album of trad pop standards as well as a country standards albums, neither of which are worth getting excited about. Paul released McCartney, a mixed bag of strong tracks and filler, with him playing all the instruments. On a stronger note, John released the highly personal John Lennon, Plastic Ono Band later in the year.
But what of the so called "Quiet Beatle?" His two contributions to Abbey Road are the strongest songs on the album, and George had been stockpiling albums worth of material for years. Now that he didn't have to worry about competing with Lennon or McCartney for album space, George went all out and recorded a groundbreaking triple album, All Things Must Pass.
In my opinion, All Things Must Pass is the strongest solo album by a Beatle. The first eighteen songs range from upbeat to mellow, from slightly humorous to heavily spiritual. All of these songs feature a massive wall of sound production that gives the album an epic feel. The five "Jam" songs included as the third record of the album, may turn off some listeners. Yet, when you have Derek And The Dominoes jamming with George Harrison, there is certainly magic to be had.
Speaking of magic, the two songs chosen to be a double A-sided single, "My Sweet Lord" and "Isn't It A Pity" show just how much George had grown as a songwriter. Choosing which two songs to put out as a single must have been a nightmare, but I'd consider the two selected to be among his finest. First up is "My Sweet Lord".
My very first time hearing this song was on November 30th, 2001, the day after George's passing. Even though it was heard on a cheep car stereo, the experience and emotion was enough to bring me close to tears. "My Sweet Lord" was originally written in December of 1969, and given to Billy Preston, who recorded the first version of the song shortly after.
The exact group of musicians who played on Harrison's version of "My Sweet Lord" are disputed. George is credited for playing guitar, including the iconic slide part, as well as doing all of the lead/backing vocals. Eric Clapton, Badfinger, Billy Preston, Gary Wright, and Jim Gordon are among the other musicians who possibly performed on the piece.
The lyrics of "My Sweet Lord" manage to be spiritual, yet universal in tone. George includes the Hare Krishna mantra as well as "Hallelujah", which acts as a way for people of all faiths to celebrate their lord. The remaining lyrics are simple, as if to encourage all to sing along.
Musically, "My Sweet Lord" strikes all the right chords. George's vocal performance on this song is also among his best, and it only gets better as the song goes on. The song goes from a simple acoustic number to a massive soundscape, with swelling strings and booming drums. When the song changes key and the drums kick in, it's hard not to feel a bit uplifted.
Now, I'd be called out if I didn't address the elephant in the room. "My Sweet Lord" was the subject of an infamous court case due to its similarity to The Chiffons' "He's So Fine". The melodies undeniably share some similarity, and the structure of certain sections share common motifs.
Yet, I'll play devil's advocate by stating that there are hundreds of songs that share similar motifs or melodies. Plus, even if they melody is similar, I'm far more moved by a universally spiritual anthem than a simple girl group love song. No matter what the verdict was, I'd say in this case ignorance is bliss.
"Isn't It A Pity" was written as far back as 1966. John and Paul rejected it numerous times, most famously during the January 1969 "Get Back" sessions. Now that George was on his own, he finally was able to record the song as he intended. The basic instrument track of the song was done on June 2, 1970. Although since Phil Spector was the producer, this rhythm track was built up piece by piece, over several months into the gargantuan seven minute + opus we know today.
Much of the same musicians who appeared on "My Sweet Lord" appear on "Isn't It A Pity". The only differences are there is no Clapton and in place of Jim Keltner, there is none other than Ringo Starr on drums. While "My Sweet Lord" is very acoustic guitar heavy, "Isn't It A Pity" has piano as the dominant instrument.
As is the case with most of the All Things Must Pass songs, "Isn't It A Pity" starts off as an unassuming song with minimal instruments, and launches into outer space by the end. Much like "Hey Jude", "Isn't It A Pity" features a repeating sing-a-long chorus by the end. Yet due to the wall of sound production, "Isn't It A Pity" sounds even more epic.
The lyrics are certainly open for interpretation. Some may mistake the song's lyrical tone for being about the breakup of The Beatles. This is of course not all true as the song again dates back quite a few years. Instead, I view the song as one of George's many social commentaries. While John tended to write about his own life and Paul often wrote in the third person, George looked at the world as a whole, and depicted both the good and the bad sides of life in this world.
Although George never made another album as epic as All Things Must Pass, he still wrote many classic compositions throughout the rest of his life. His organization of the 1971 Concert For Bangladesh helped popularize the idea of rock music helping those in need. He also managed to secure two more US chart toppers throughout his lifetime, so our story will continue when we get to 1973.
Final Verdict - 1970 never ceases to amaze me. Just the fact that such epic songs were considered the cream of the crop shows how much the pop music lovers appreciated true artistry. Both "My Sweet Lord" and "Isn't It A Pity" are captivating opuses, with music tracks that are easy to get lost in. If you haven't yet, go out and buy yourself a copy of All Things Must Pass. It is an album that belongs on the top shelf of your record collection.
Coming Up Next - 1970 Reflection.
Until Next Time, I'm Dr. Rock. Isn't it a pity, isn't it a shame, that such a strong year-musically, must come to an end -
Released - November 27, 1970 (US), November 30, 1970 (UK)
#1 for weeks of December 26, 1970 and January 2, 9 and 16, 1971.
We end 1970 with a one two punch by the dark horse himself, George Harrison. After the breakup of The Beatles, the quartet all released at least one solo album in 1970. Ringo released an album of trad pop standards as well as a country standards albums, neither of which are worth getting excited about. Paul released McCartney, a mixed bag of strong tracks and filler, with him playing all the instruments. On a stronger note, John released the highly personal John Lennon, Plastic Ono Band later in the year.
But what of the so called "Quiet Beatle?" His two contributions to Abbey Road are the strongest songs on the album, and George had been stockpiling albums worth of material for years. Now that he didn't have to worry about competing with Lennon or McCartney for album space, George went all out and recorded a groundbreaking triple album, All Things Must Pass.
In my opinion, All Things Must Pass is the strongest solo album by a Beatle. The first eighteen songs range from upbeat to mellow, from slightly humorous to heavily spiritual. All of these songs feature a massive wall of sound production that gives the album an epic feel. The five "Jam" songs included as the third record of the album, may turn off some listeners. Yet, when you have Derek And The Dominoes jamming with George Harrison, there is certainly magic to be had.
Speaking of magic, the two songs chosen to be a double A-sided single, "My Sweet Lord" and "Isn't It A Pity" show just how much George had grown as a songwriter. Choosing which two songs to put out as a single must have been a nightmare, but I'd consider the two selected to be among his finest. First up is "My Sweet Lord".
My very first time hearing this song was on November 30th, 2001, the day after George's passing. Even though it was heard on a cheep car stereo, the experience and emotion was enough to bring me close to tears. "My Sweet Lord" was originally written in December of 1969, and given to Billy Preston, who recorded the first version of the song shortly after.
The exact group of musicians who played on Harrison's version of "My Sweet Lord" are disputed. George is credited for playing guitar, including the iconic slide part, as well as doing all of the lead/backing vocals. Eric Clapton, Badfinger, Billy Preston, Gary Wright, and Jim Gordon are among the other musicians who possibly performed on the piece.
The lyrics of "My Sweet Lord" manage to be spiritual, yet universal in tone. George includes the Hare Krishna mantra as well as "Hallelujah", which acts as a way for people of all faiths to celebrate their lord. The remaining lyrics are simple, as if to encourage all to sing along.
Musically, "My Sweet Lord" strikes all the right chords. George's vocal performance on this song is also among his best, and it only gets better as the song goes on. The song goes from a simple acoustic number to a massive soundscape, with swelling strings and booming drums. When the song changes key and the drums kick in, it's hard not to feel a bit uplifted.
Now, I'd be called out if I didn't address the elephant in the room. "My Sweet Lord" was the subject of an infamous court case due to its similarity to The Chiffons' "He's So Fine". The melodies undeniably share some similarity, and the structure of certain sections share common motifs.
Yet, I'll play devil's advocate by stating that there are hundreds of songs that share similar motifs or melodies. Plus, even if they melody is similar, I'm far more moved by a universally spiritual anthem than a simple girl group love song. No matter what the verdict was, I'd say in this case ignorance is bliss.
"Isn't It A Pity" was written as far back as 1966. John and Paul rejected it numerous times, most famously during the January 1969 "Get Back" sessions. Now that George was on his own, he finally was able to record the song as he intended. The basic instrument track of the song was done on June 2, 1970. Although since Phil Spector was the producer, this rhythm track was built up piece by piece, over several months into the gargantuan seven minute + opus we know today.
Much of the same musicians who appeared on "My Sweet Lord" appear on "Isn't It A Pity". The only differences are there is no Clapton and in place of Jim Keltner, there is none other than Ringo Starr on drums. While "My Sweet Lord" is very acoustic guitar heavy, "Isn't It A Pity" has piano as the dominant instrument.
As is the case with most of the All Things Must Pass songs, "Isn't It A Pity" starts off as an unassuming song with minimal instruments, and launches into outer space by the end. Much like "Hey Jude", "Isn't It A Pity" features a repeating sing-a-long chorus by the end. Yet due to the wall of sound production, "Isn't It A Pity" sounds even more epic.
The lyrics are certainly open for interpretation. Some may mistake the song's lyrical tone for being about the breakup of The Beatles. This is of course not all true as the song again dates back quite a few years. Instead, I view the song as one of George's many social commentaries. While John tended to write about his own life and Paul often wrote in the third person, George looked at the world as a whole, and depicted both the good and the bad sides of life in this world.
Although George never made another album as epic as All Things Must Pass, he still wrote many classic compositions throughout the rest of his life. His organization of the 1971 Concert For Bangladesh helped popularize the idea of rock music helping those in need. He also managed to secure two more US chart toppers throughout his lifetime, so our story will continue when we get to 1973.
Final Verdict - 1970 never ceases to amaze me. Just the fact that such epic songs were considered the cream of the crop shows how much the pop music lovers appreciated true artistry. Both "My Sweet Lord" and "Isn't It A Pity" are captivating opuses, with music tracks that are easy to get lost in. If you haven't yet, go out and buy yourself a copy of All Things Must Pass. It is an album that belongs on the top shelf of your record collection.
Coming Up Next - 1970 Reflection.
Until Next Time, I'm Dr. Rock. Isn't it a pity, isn't it a shame, that such a strong year-musically, must come to an end -
Wednesday, February 26, 2014
Song #249 - "The Tears Of A Clown" - Smokey Robinson & The Miracles
Recorded - September 22, 1966 (instruments), early 1967 (vocals) + February 1970 (new drums).
Originally Released - August 1967
Remixed/re-released - July 17, 1970 (UK), September 24, 1970 (US)
#1 for weeks of December 12 and 19, 1970.
Few Motown artists have had such a strong legacy as Smokey Robinson. An accomplished singer, who wrote his own material for others, his compositions have a timeless legacy to them. Songs like "The Tracks Of My Tears" are still cherished and worth playing even fifty years later.
Although Smokey Robinson And The Miracles never had any #1 hits during the 1960's, Smokey gave the Temptations their first #1 with his own composition, "My Girl". The Miracles had a few #1's on the R&B charts and several top five pop hits such as "Shop Around" and "I Second That Emotion". So why, out of the blue in 1970, did the group score a #1 with a three year old song? Well, gather round kids, cause it's story time...
"Tears Of A Clown" has its genesis in a Stevie Wonder/Hank Cosby backing track, recorded in 1966 and left unfinished. During Motown records' Christmas party of '66, Stevie gave Smokey the instrumental track to finish up. Smokey wrote the lyrics for the song after being inspired by the instrumental's circus-like motifs. The completed song was released in the summer of '67 as an album track from Make It Happen.
As the years past, the song was mostly forgotten. In 1970, Smokey was yearning for a break from The Miracles, and Motown wanted to put out something to keep the public interested in the group's music. So "Tears Of A Clown" was selected, brought out of the mothballs, given a new drum track, re-mixed, and eventually released as a single in Britain.
When the song reached #1 overseas, it was swiftly given an American release, where it became the only #1 from Smokey's tenure with The Miracles. But how is the song itself? Did it deserve to reach the top? Is it among Smokey's best? Is it a good song in general? The short answer to those questions is, yes, yes, and ooh yes!
First of all, there's the exciting music track. It's not at all hard to see why Stevie Wonder refused to let this go unfinished. The carnival atmosphere is quite prominent throughout, with lots of whimsical instruments creating a cheerfully upbeat melody. Plus, how many hit singles feature the bassoon?!
Then we have the lyrics, which go along with the music like peanut butter and jelly. As a wonderful bit of lyrical dissonance, the lyrics are gloomy and heartbreaking. Of course, this gloominess is masked by the happy music track. This combination of opposites works wonderfully in my opinion.
Then we have The Miracles' backing vocals. During the song's choruses, the harmonies are absolutely killer. The vocal talent of The Miracles can't be stated enough. Finally, Smokey's pitch perfect lead vocals act as the icing on the cake. This song is practically tailor-made for his signature high tenor voice.
Two years after "Tears Of A Clown" brightened up the Christmas '70 season, Smokey bid farewell to The Miracles and began a successful solo career. While he never scored a #1 on the pop charts, he put out several equally timeless singles such as "Crusin'" and "Being With You". As for the Miracles, they managed one final #1 on their own in 1976. However, this time things were much different musically and vocally. More on that when we reach '76...
Final Verdict - "Tears Of A Clown" is one of the few occurrences on this chart where a solitary #1 hit happens to be one of the artists' best songs. The music, lyrics, and vocals go together wonderfully, and the song itself is a timeless thrilling classic. It's a well-deserved #1 that I can play again, and again.
Last Up For 1970 - "My Sweet Lord" and "Isn't It A Pity" by George Harrison.
Until Next Time, I'm Dr. Rock and I'm "sadder than sad" that 1970 is almost over -
Originally Released - August 1967
Remixed/re-released - July 17, 1970 (UK), September 24, 1970 (US)
#1 for weeks of December 12 and 19, 1970.
Few Motown artists have had such a strong legacy as Smokey Robinson. An accomplished singer, who wrote his own material for others, his compositions have a timeless legacy to them. Songs like "The Tracks Of My Tears" are still cherished and worth playing even fifty years later.
Although Smokey Robinson And The Miracles never had any #1 hits during the 1960's, Smokey gave the Temptations their first #1 with his own composition, "My Girl". The Miracles had a few #1's on the R&B charts and several top five pop hits such as "Shop Around" and "I Second That Emotion". So why, out of the blue in 1970, did the group score a #1 with a three year old song? Well, gather round kids, cause it's story time...
"Tears Of A Clown" has its genesis in a Stevie Wonder/Hank Cosby backing track, recorded in 1966 and left unfinished. During Motown records' Christmas party of '66, Stevie gave Smokey the instrumental track to finish up. Smokey wrote the lyrics for the song after being inspired by the instrumental's circus-like motifs. The completed song was released in the summer of '67 as an album track from Make It Happen.
As the years past, the song was mostly forgotten. In 1970, Smokey was yearning for a break from The Miracles, and Motown wanted to put out something to keep the public interested in the group's music. So "Tears Of A Clown" was selected, brought out of the mothballs, given a new drum track, re-mixed, and eventually released as a single in Britain.
When the song reached #1 overseas, it was swiftly given an American release, where it became the only #1 from Smokey's tenure with The Miracles. But how is the song itself? Did it deserve to reach the top? Is it among Smokey's best? Is it a good song in general? The short answer to those questions is, yes, yes, and ooh yes!
First of all, there's the exciting music track. It's not at all hard to see why Stevie Wonder refused to let this go unfinished. The carnival atmosphere is quite prominent throughout, with lots of whimsical instruments creating a cheerfully upbeat melody. Plus, how many hit singles feature the bassoon?!
Then we have the lyrics, which go along with the music like peanut butter and jelly. As a wonderful bit of lyrical dissonance, the lyrics are gloomy and heartbreaking. Of course, this gloominess is masked by the happy music track. This combination of opposites works wonderfully in my opinion.
Then we have The Miracles' backing vocals. During the song's choruses, the harmonies are absolutely killer. The vocal talent of The Miracles can't be stated enough. Finally, Smokey's pitch perfect lead vocals act as the icing on the cake. This song is practically tailor-made for his signature high tenor voice.
Two years after "Tears Of A Clown" brightened up the Christmas '70 season, Smokey bid farewell to The Miracles and began a successful solo career. While he never scored a #1 on the pop charts, he put out several equally timeless singles such as "Crusin'" and "Being With You". As for the Miracles, they managed one final #1 on their own in 1976. However, this time things were much different musically and vocally. More on that when we reach '76...
Final Verdict - "Tears Of A Clown" is one of the few occurrences on this chart where a solitary #1 hit happens to be one of the artists' best songs. The music, lyrics, and vocals go together wonderfully, and the song itself is a timeless thrilling classic. It's a well-deserved #1 that I can play again, and again.
Last Up For 1970 - "My Sweet Lord" and "Isn't It A Pity" by George Harrison.
Until Next Time, I'm Dr. Rock and I'm "sadder than sad" that 1970 is almost over -
Song #248 - "I Think I Love You" - The Partridge Family
Recorded - May 11, 1970
Released - August 1970
#1 for weeks of November 21 and 28 & December 5, 1970.
"What is this garbage you're watching on TV? Back in my day, we had good shows, not this nonsense!". Sound familiar? Just about every generation starting with kids from the 1980's, or so, deals with this comment from their parents. Generation gaps have become so pronounced that something enjoyed by one generation might be scoffed at by a later one. So to anyone born in the 1980's-90's, if you ever want to retort back to your parents, remind them that they gave The Partridge Family a number one hit in 1970.
The Partridge Family were inspired by real-life family band, The Cowsills. The latter's music ranges from pure bubblegum to surprisingly good. Just like how The Monkees was launched to capitalize on 1964-era Beatlemania, The Partridge Family were launched to make dough on the happy-go-lucky family aspect that The Cowsills portrayed on the surface. If you thought The Cowsills were too sweet, The Partridge Family are going to loan you extra cups of sugar.
Much of the earliest Partridge Family songs pre-date the show's debut in September of 1970. As expected, all of the music and even much of the backing vocals were done by session musicians/singers. I give David Cassidy credit for standing up for himself and asking to legitimately sing his own lead vocals. Thus, "I Think I Love You" could almost be looked at as a David Cassidy solo number.
I say almost because cast member, and respected actress Shirley Jones also sings on "I Think I Love You". Yet, I'd be hard pressed to figure out which of the countless session-singers is her. There are a number of these singers on the recording, and they don't exactly give the most electrifying performance. As for David Cassidy, his performance is not bad, it even has some rock-grit. Although I feel his voice is better suited for a different genre than kiddie-pop.
At least I can say the song's music track is interesting. There's quite an assortment of instruments such as harpsichord and bouzouki-style guitar parts. Too bad the lyrics are so pedestrian and sugary. Still, this was a song aimed at a family market, and especially pre-teens of the early '70's. So someone who's around fifty years old and reading this blog might think the exact opposite of how I feel.
Final Verdict - If you grew up watching The Partridge Family, perhaps you hold this song in a sentimental regard. However, from a total outsider's perspective, "I Think I Love You" isn't even remotely among the best of 1970. It features cloyingly sweet lyrics, below-average backing vocals, and the song was almost entirely a studio-creation ala The Archies. There were other, far superior songs from 1970 that should have topped the charts during these three weeks instead.
Coming Up Next - "The Tears Of A Clown" by Smokey Robinson & The Miracles.
Until Next Time, I'm Dr. Rock and a whole lot of smaltz-pop is what the '70's will be bringin'...and I'm not happy -
Released - August 1970
#1 for weeks of November 21 and 28 & December 5, 1970.
"What is this garbage you're watching on TV? Back in my day, we had good shows, not this nonsense!". Sound familiar? Just about every generation starting with kids from the 1980's, or so, deals with this comment from their parents. Generation gaps have become so pronounced that something enjoyed by one generation might be scoffed at by a later one. So to anyone born in the 1980's-90's, if you ever want to retort back to your parents, remind them that they gave The Partridge Family a number one hit in 1970.
The Partridge Family were inspired by real-life family band, The Cowsills. The latter's music ranges from pure bubblegum to surprisingly good. Just like how The Monkees was launched to capitalize on 1964-era Beatlemania, The Partridge Family were launched to make dough on the happy-go-lucky family aspect that The Cowsills portrayed on the surface. If you thought The Cowsills were too sweet, The Partridge Family are going to loan you extra cups of sugar.
Much of the earliest Partridge Family songs pre-date the show's debut in September of 1970. As expected, all of the music and even much of the backing vocals were done by session musicians/singers. I give David Cassidy credit for standing up for himself and asking to legitimately sing his own lead vocals. Thus, "I Think I Love You" could almost be looked at as a David Cassidy solo number.
I say almost because cast member, and respected actress Shirley Jones also sings on "I Think I Love You". Yet, I'd be hard pressed to figure out which of the countless session-singers is her. There are a number of these singers on the recording, and they don't exactly give the most electrifying performance. As for David Cassidy, his performance is not bad, it even has some rock-grit. Although I feel his voice is better suited for a different genre than kiddie-pop.
At least I can say the song's music track is interesting. There's quite an assortment of instruments such as harpsichord and bouzouki-style guitar parts. Too bad the lyrics are so pedestrian and sugary. Still, this was a song aimed at a family market, and especially pre-teens of the early '70's. So someone who's around fifty years old and reading this blog might think the exact opposite of how I feel.
Final Verdict - If you grew up watching The Partridge Family, perhaps you hold this song in a sentimental regard. However, from a total outsider's perspective, "I Think I Love You" isn't even remotely among the best of 1970. It features cloyingly sweet lyrics, below-average backing vocals, and the song was almost entirely a studio-creation ala The Archies. There were other, far superior songs from 1970 that should have topped the charts during these three weeks instead.
Coming Up Next - "The Tears Of A Clown" by Smokey Robinson & The Miracles.
Until Next Time, I'm Dr. Rock and a whole lot of smaltz-pop is what the '70's will be bringin'...and I'm not happy -
Tuesday, February 25, 2014
Song #247 - "I'll Be There" - The Jackson Five
Recorded - June 1970
Released - August 28, 1970
#1 for weeks of October 17, 24 and 31 & November 7 and 14, 1970.
The fourth and last Jackson Five #1 is not only their most successful hit, but the most successful single, period, from Motown Records. It's funny, as I'm a self-confessed rocker, yet I've had a tendency to favor the ballads of bands known for uptempo material. "I'll Be There" certainly is among the finest songs The Jackson Five produced.
"I'll Be There" sounds radically different than the Jackson Five's previous hits. The song opens with a baroque-sounding harpsichord and the music remains restrained throughout the entire performance. Melody-wise, I've found the song to be a bit reminiscent of The Everly Brothers' "Let It Be Me". This is probably just a coincidence, but the similarities are certainly there.
Michael takes much of the lead vocal duties, and gives what I'd consider to be the finest pre-pubescent vocal performance of his career. Brother Jermaine Jackson appears on lead during the song's bridge and provides a nice deeper-voiced contrast between Michael's higher voice. The song's final chorus, where the Jackson Five sing "I'll Be There" in rich harmony is my favorite part of the song. It's hard not to want to sing along during this finale.
After the success of "I'll Be There", The Jacksons continued producing the same mix of uptempo and mellow poppier soul numbers that had secured them four #1's. But by 1972, the brothers, and especially Michael sought a more mature and less bubblegum direction. Ultimately, it would be Michael that would benefit from this change the most, and how!
Final Verdict - "I'll Be There" was a risky single choice that paid off handsomely in the long run. Five weeks at the top is quite an accomplishment, especially when your lead singer is barely 12 years old. The song features a pleasant, though not groundbreaking, music arrangement, as well as great vocals. Compared to other slower songs from the time period, "I'll Be There" has a timeless quality to it. Thus, the song will still be relevant for many years to come.
Coming Up Next - "I Think I Love You" by The Partridge Family.
Until Next Time, I'm Dr. Rock, and whenever you need someone to review an album or song, just call my name and i'll be there -
Released - August 28, 1970
#1 for weeks of October 17, 24 and 31 & November 7 and 14, 1970.
The fourth and last Jackson Five #1 is not only their most successful hit, but the most successful single, period, from Motown Records. It's funny, as I'm a self-confessed rocker, yet I've had a tendency to favor the ballads of bands known for uptempo material. "I'll Be There" certainly is among the finest songs The Jackson Five produced.
"I'll Be There" sounds radically different than the Jackson Five's previous hits. The song opens with a baroque-sounding harpsichord and the music remains restrained throughout the entire performance. Melody-wise, I've found the song to be a bit reminiscent of The Everly Brothers' "Let It Be Me". This is probably just a coincidence, but the similarities are certainly there.
Michael takes much of the lead vocal duties, and gives what I'd consider to be the finest pre-pubescent vocal performance of his career. Brother Jermaine Jackson appears on lead during the song's bridge and provides a nice deeper-voiced contrast between Michael's higher voice. The song's final chorus, where the Jackson Five sing "I'll Be There" in rich harmony is my favorite part of the song. It's hard not to want to sing along during this finale.
After the success of "I'll Be There", The Jacksons continued producing the same mix of uptempo and mellow poppier soul numbers that had secured them four #1's. But by 1972, the brothers, and especially Michael sought a more mature and less bubblegum direction. Ultimately, it would be Michael that would benefit from this change the most, and how!
Final Verdict - "I'll Be There" was a risky single choice that paid off handsomely in the long run. Five weeks at the top is quite an accomplishment, especially when your lead singer is barely 12 years old. The song features a pleasant, though not groundbreaking, music arrangement, as well as great vocals. Compared to other slower songs from the time period, "I'll Be There" has a timeless quality to it. Thus, the song will still be relevant for many years to come.
Coming Up Next - "I Think I Love You" by The Partridge Family.
Until Next Time, I'm Dr. Rock, and whenever you need someone to review an album or song, just call my name and i'll be there -
Monday, February 24, 2014
Song #246 - "Cracklin' Rosie" - Neil Diamond
Recorded - spring or summer 1970
Released - July 30, 1970
#1 for week of October 10, 1970.
Neil Diamond finally makes his long overdue appearance on top of the billboard singles charts. Much of his legacy is from the songs he wrote and/or sung in the 1960's. "Solitary Man", "I'm A Believer", "Girl, You'll Be A Woman Soon" and of course "Sweet Caroline". The latter song is especially cherished, even among his non-fans. So, in keeping with Billboard's habit of surprises, we have one of his slightly lesser-known hits become his first #1, "Cracklin' Rosie".
Just like his earlier hits, "Crackin' Rosie" features numerous changes in vocal dynamics, prominent brass, and acoustic guitar-a-plenty. There is also some Latin percussion, which adds an ethnic element to the tune. These drums were also used quite liberally on "Cracklin' Rosie's" parent album, Tap Root Manuscript.
Oh, and in case you're like me and were wondering just what the heck the phrase "Cracklin' Rosie" means, it refers to a type of wine. When you listen back to the song with this meaning in mind, the lyrics are actually quite profound.
Speaking of profound, Cracklin' Rosie's chorus is what makes the song a winner in my eyes. Neil builds his vocals from a low Johnny Cash-esque croon to powerful and bright. It reminds me heavily of the pre-choruses of "Sweet Caroline". The only minor negative marks I can give the song are the wordless vocals Neil sings as the song fades out. It gives the song a brief yet uncomfortable bubblegum pop feel and is a bit of an anti-climax.
I can't profess to being too knowledgeable about Neil's discography post 1970. Despite these shortcomings of mine, Neil did top the charts twice more during the decade so I'll have to brush up on my history when the time comes. I still find his 1966-1970 period to be his creative peak. After all, "Sweet Caroline" is untouchable. If you don't believe me, then just ask any Red Sox fan you happen to see.
Final Verdict - While "Cracklin' Rosie" may not be the most well-remembered song Neil wrote, the song still has several redeeming qualities. There is a fantastic and dynamic chorus, and an equally great vocal performance contained within. Even if Neil isn't your cup of tea, I'd highly recommend giving this song a spin.
Coming Up Next - "I'll Be There" by The Jackson Five.
Until Next Time, I'm Dr. Rock and my blog keeps running onnnnnnnnn -
Released - July 30, 1970
#1 for week of October 10, 1970.
Neil Diamond finally makes his long overdue appearance on top of the billboard singles charts. Much of his legacy is from the songs he wrote and/or sung in the 1960's. "Solitary Man", "I'm A Believer", "Girl, You'll Be A Woman Soon" and of course "Sweet Caroline". The latter song is especially cherished, even among his non-fans. So, in keeping with Billboard's habit of surprises, we have one of his slightly lesser-known hits become his first #1, "Cracklin' Rosie".
Just like his earlier hits, "Crackin' Rosie" features numerous changes in vocal dynamics, prominent brass, and acoustic guitar-a-plenty. There is also some Latin percussion, which adds an ethnic element to the tune. These drums were also used quite liberally on "Cracklin' Rosie's" parent album, Tap Root Manuscript.
Oh, and in case you're like me and were wondering just what the heck the phrase "Cracklin' Rosie" means, it refers to a type of wine. When you listen back to the song with this meaning in mind, the lyrics are actually quite profound.
Speaking of profound, Cracklin' Rosie's chorus is what makes the song a winner in my eyes. Neil builds his vocals from a low Johnny Cash-esque croon to powerful and bright. It reminds me heavily of the pre-choruses of "Sweet Caroline". The only minor negative marks I can give the song are the wordless vocals Neil sings as the song fades out. It gives the song a brief yet uncomfortable bubblegum pop feel and is a bit of an anti-climax.
I can't profess to being too knowledgeable about Neil's discography post 1970. Despite these shortcomings of mine, Neil did top the charts twice more during the decade so I'll have to brush up on my history when the time comes. I still find his 1966-1970 period to be his creative peak. After all, "Sweet Caroline" is untouchable. If you don't believe me, then just ask any Red Sox fan you happen to see.
Final Verdict - While "Cracklin' Rosie" may not be the most well-remembered song Neil wrote, the song still has several redeeming qualities. There is a fantastic and dynamic chorus, and an equally great vocal performance contained within. Even if Neil isn't your cup of tea, I'd highly recommend giving this song a spin.
Coming Up Next - "I'll Be There" by The Jackson Five.
Until Next Time, I'm Dr. Rock and my blog keeps running onnnnnnnnn -
Song #245 - "Ain't No Mountain High Enough" - "Diana Ross"
Recorded - March 13, 14 and 18, 1970
Released - June 19, 1970
#1 for weeks of September 19 and 26 & October 3, 1970.
Here's a song that just about everyone will be familiar with, although most likely via Marvin Gaye and Tammi Terrell's original 1967 version. "Ain't No Mountain High Enough", composed by the Nick Ashford/Valerie Simpson songwriting team, remains one of the most famous Motown songs. The vocal matchup of Marvin and Tammi is nothing short of magical, and thanks to the song's use later in the film, Remember The Titans, kids and teenagers of all decades know the song.
Now, you may be asking yourself why I'm talking about Marvin Gaye and Tammi Terrell when the version that topped the charts was by Diana Ross. Well, as some of you may know, Tammi Terrell was diagnosed with a malignant brain tumor in late 1967. She spent the next two and a half years balancing between producing more music, and being in a state of ill health. Sadly, she never managed to recover, and succumbed to this cancer on March 16, 1970.
Knowing this back story, when you listen back to Diana Ross' version of "Ain't No Mountain High Enough", it comes across as a mournful tribute to Tammi. Whether this was intentional or not, this rendition certainly has a somber feeling to it. The instrumentation features a very prominent string section as well as Latin percussion during the choruses.
While the song starts off quite understated and melancholic, it gradually builds into a brass-heavy gospel-tinged powerhouse. The key change towards the song's end adds a further uplifting feel to the music. I actually feel energized after the song's over due to this increase in upbeat mood and instrumentation.
One aspect of Diana Ross' version that divides listeners is her choice to speak many of the verse lines as opposed to singing them. I used to not particularly care for these spoken lyrics either. However, when I realized that this version of the song was recorded around the time of Tammi's passing, I took Diana's spoken word as a sign of respect for her fallen friend.
The success of Diana's "Ain't No Mountain" ensured that she could continue a successful career even after leaving The Supremes. By following both group's chart histories during the 1970's, it's clear that most of The Supremes' audience chose to follow Diana instead of the trio. We'll pick up on Diana's next chart topper when we get to 1972...
Final Verdict - While Diana Ross' version of "Ain't No Mountain" can't hold a candle to the Gaye/Terrell original, it is nonetheless a spirited rendition of the tune. The song builds into quite a stellar musical symphony by the end, and as long as you stick around for the full six minutes, I'm sure you'll be entertained as well.
Coming Up Next - "Cracklin' Rosie" by Neil Diamond.
Until Next Time, I'm Dr. Rock and there ain't no mountain high enough, to keep me from loving Motown tunes -
Released - June 19, 1970
#1 for weeks of September 19 and 26 & October 3, 1970.
Here's a song that just about everyone will be familiar with, although most likely via Marvin Gaye and Tammi Terrell's original 1967 version. "Ain't No Mountain High Enough", composed by the Nick Ashford/Valerie Simpson songwriting team, remains one of the most famous Motown songs. The vocal matchup of Marvin and Tammi is nothing short of magical, and thanks to the song's use later in the film, Remember The Titans, kids and teenagers of all decades know the song.
Now, you may be asking yourself why I'm talking about Marvin Gaye and Tammi Terrell when the version that topped the charts was by Diana Ross. Well, as some of you may know, Tammi Terrell was diagnosed with a malignant brain tumor in late 1967. She spent the next two and a half years balancing between producing more music, and being in a state of ill health. Sadly, she never managed to recover, and succumbed to this cancer on March 16, 1970.
Knowing this back story, when you listen back to Diana Ross' version of "Ain't No Mountain High Enough", it comes across as a mournful tribute to Tammi. Whether this was intentional or not, this rendition certainly has a somber feeling to it. The instrumentation features a very prominent string section as well as Latin percussion during the choruses.
While the song starts off quite understated and melancholic, it gradually builds into a brass-heavy gospel-tinged powerhouse. The key change towards the song's end adds a further uplifting feel to the music. I actually feel energized after the song's over due to this increase in upbeat mood and instrumentation.
One aspect of Diana Ross' version that divides listeners is her choice to speak many of the verse lines as opposed to singing them. I used to not particularly care for these spoken lyrics either. However, when I realized that this version of the song was recorded around the time of Tammi's passing, I took Diana's spoken word as a sign of respect for her fallen friend.
The success of Diana's "Ain't No Mountain" ensured that she could continue a successful career even after leaving The Supremes. By following both group's chart histories during the 1970's, it's clear that most of The Supremes' audience chose to follow Diana instead of the trio. We'll pick up on Diana's next chart topper when we get to 1972...
Final Verdict - While Diana Ross' version of "Ain't No Mountain" can't hold a candle to the Gaye/Terrell original, it is nonetheless a spirited rendition of the tune. The song builds into quite a stellar musical symphony by the end, and as long as you stick around for the full six minutes, I'm sure you'll be entertained as well.
Coming Up Next - "Cracklin' Rosie" by Neil Diamond.
Until Next Time, I'm Dr. Rock and there ain't no mountain high enough, to keep me from loving Motown tunes -
Sunday, February 23, 2014
Song #244 - "War" - Edwin Starr
Recorded - April-May 6, 1970
Released - June 10, 1970
#1 for weeks of August 29 & September 5 and 12, 1970.
It's amazing how in a mere four years, popular opinion can change so radically. In 1966, the patriotic and mildly militaristic "Ballad Of The Green Berets" topped the charts. Now, in the summer of 1970, Edwin Star's uncompromisingly anti-war song, "War", was what the public wanted to hear.
Although Edwin Star had been releasing material as early as the late 1950's, it wasn't until early 1969 that he started achieving sizable hits. The first of these was "25 Miles", which reached a respectable #6 on the pop charts. In 1970, The Temptations had released their Psychedelic Shack album. One of the album's tracks was the Norman Whitfield/Barrett Strong-composed "War".
The Temp's version of the song is far more underscored than the version we are all familiar with. In fact, this was done on purpose as both the group and Norman Whitfield were worried about a possible negative reaction. Edwin Starr, on the other hand, decided to go full throttle with his own version. As a result, the record is mean, funky, and packs quite a punch.
Musically, "War" is a massive production. The song opens with ominous marching drums, which immediately set the mood of the lyrics. There is also a beefy brass section, Moog synthesizer, and call and response backing vocals. Overall, it's quite an entertaining melody, and it is instantly recognizable to many.
Edwin must have been Motown's sleeping giant as his vocal performance in "War" is red hot. It rivals some of his contemporaries and it blows the Temptations' version of the song out of the water. For such topical lyrics, you'd need someone who can deliver real emotion to the performance and Edwin certainly delivers. Despite him not being the song's composer, or even the first to record it, Edwin made "War" his own.
"War" was released at quite an appropriate time. The Kent State Shootings took place a mere two days prior to the vocal overdubbing session for the song. Also, with the Vietnam War as prominent as ever, this song managed to click with much of America. Edwin would never again top the charts, and most people only remember him by this song. Which is a shame, as his voice was a force to be reckoned with.
Final Verdict - "War" remains one of the most iconic songs of the era. Its message, though still controversial to some, still deserves to be heard loud and clear. Besides the song's message, it contains a fantastic vocal performance by Edwin and a gripping and entertaining music track. I'd certainly recommend giving it a listen.
Coming Up Next - "Ain't No Mountain High Enough" by Diana Ross.
Until Next Time, I'm Dr. Rock and the only good "War" is of the "Low Rider" and "Why Can't Be Friends" variety -
Released - June 10, 1970
#1 for weeks of August 29 & September 5 and 12, 1970.
It's amazing how in a mere four years, popular opinion can change so radically. In 1966, the patriotic and mildly militaristic "Ballad Of The Green Berets" topped the charts. Now, in the summer of 1970, Edwin Star's uncompromisingly anti-war song, "War", was what the public wanted to hear.
Although Edwin Star had been releasing material as early as the late 1950's, it wasn't until early 1969 that he started achieving sizable hits. The first of these was "25 Miles", which reached a respectable #6 on the pop charts. In 1970, The Temptations had released their Psychedelic Shack album. One of the album's tracks was the Norman Whitfield/Barrett Strong-composed "War".
The Temp's version of the song is far more underscored than the version we are all familiar with. In fact, this was done on purpose as both the group and Norman Whitfield were worried about a possible negative reaction. Edwin Starr, on the other hand, decided to go full throttle with his own version. As a result, the record is mean, funky, and packs quite a punch.
Musically, "War" is a massive production. The song opens with ominous marching drums, which immediately set the mood of the lyrics. There is also a beefy brass section, Moog synthesizer, and call and response backing vocals. Overall, it's quite an entertaining melody, and it is instantly recognizable to many.
Edwin must have been Motown's sleeping giant as his vocal performance in "War" is red hot. It rivals some of his contemporaries and it blows the Temptations' version of the song out of the water. For such topical lyrics, you'd need someone who can deliver real emotion to the performance and Edwin certainly delivers. Despite him not being the song's composer, or even the first to record it, Edwin made "War" his own.
"War" was released at quite an appropriate time. The Kent State Shootings took place a mere two days prior to the vocal overdubbing session for the song. Also, with the Vietnam War as prominent as ever, this song managed to click with much of America. Edwin would never again top the charts, and most people only remember him by this song. Which is a shame, as his voice was a force to be reckoned with.
Final Verdict - "War" remains one of the most iconic songs of the era. Its message, though still controversial to some, still deserves to be heard loud and clear. Besides the song's message, it contains a fantastic vocal performance by Edwin and a gripping and entertaining music track. I'd certainly recommend giving it a listen.
Coming Up Next - "Ain't No Mountain High Enough" by Diana Ross.
Until Next Time, I'm Dr. Rock and the only good "War" is of the "Low Rider" and "Why Can't Be Friends" variety -
Song #243 - "Make It With You" - Bread
Recorded - winter or spring, 1970
Released - May 1970
#1 for week of August 22, 1970.
Here we have an act that, unlike The Carpenters, will be quite unfamiliar to those who didn't grow up in the era. I'll be honest that even I wasn't aware of this song's existence until I began 1970 on my blog. So either this is a song best left forgotten, or a song that at yeast deserves attention. In case you didn't catch my terrible pun, Bread is the musical group on the agenda.
David Gates, the eventual lead singer of Bread, had previous written several singles for other singers during the 1960's. He also produced an early Captain Beefheart single! In 1969, David joined forces with Jimmy Griffin, Robb Royer, and Mike Botts and thus, Bread was formed.
Bread are almost always labeled as "Soft-Rock", and while soft-pop is characterized by pianos and strings, soft-rock features laid-back rock instrumentation. However, the group certainly could rock out when they wanted to and weren't limited to softer music. Just give "Let Your Love Go" or "Fancy Dancer" a listen and see for yourself.
In 1970, Bread got this genre rolling with the David Gates written, produced, and sung "Make It With You". True to the genre, the song features a blend of electric and acoustic guitars, bass, and drums. There is also a restrained string section, that may actually be keyboard-played, as opposed to a real orchestra.
Overall, I'm a bit pleasantly surprised by "Make It With You". The electric guitar lines keep the song entertaining as opposed to sleepy. I also like the electric guitar tones used, and I feel they add a very summery sound to the song. Bread were certainly aiming for a more mellow sound with "Make It With You", especially with the lyrics and David's vocal performance. However, as was the case with my previous Carpenter's review, his vocal performance is quite good.
"Make It With You" would be Bread's only #1 hit. They would continue to release material throughout much of the 1970's, before going their separate ways. By this point in time, numerous other soft-rock bands came along to emulate Bread's original style. However, most of these imitators aimed more for the "Soft" side as opposed to "Rock" side of soft-rock. Guess sometimes, the originator is still the best.
Final Verdict - Not bad, not bad at all. I'd certainly say "Make It With You" is a unjustly forgotten. It's not one of the most lavish or technically advanced songs of the year, but I found it quite pleasing to the ear. It's a much softer song and it stands in sharp contrast to a year that also brought us "Iron Man" and "Immigrant Song. Yet, I feel the song has enough of a footing in the door of rock to earn enjoyment by fans of guitar-based music.
Coming Up Next - "War" by Edwin Starr.
Until Next Time, I'm Dr. Rock, and I kneed more dough -
Released - May 1970
#1 for week of August 22, 1970.
Here we have an act that, unlike The Carpenters, will be quite unfamiliar to those who didn't grow up in the era. I'll be honest that even I wasn't aware of this song's existence until I began 1970 on my blog. So either this is a song best left forgotten, or a song that at yeast deserves attention. In case you didn't catch my terrible pun, Bread is the musical group on the agenda.
David Gates, the eventual lead singer of Bread, had previous written several singles for other singers during the 1960's. He also produced an early Captain Beefheart single! In 1969, David joined forces with Jimmy Griffin, Robb Royer, and Mike Botts and thus, Bread was formed.
Bread are almost always labeled as "Soft-Rock", and while soft-pop is characterized by pianos and strings, soft-rock features laid-back rock instrumentation. However, the group certainly could rock out when they wanted to and weren't limited to softer music. Just give "Let Your Love Go" or "Fancy Dancer" a listen and see for yourself.
In 1970, Bread got this genre rolling with the David Gates written, produced, and sung "Make It With You". True to the genre, the song features a blend of electric and acoustic guitars, bass, and drums. There is also a restrained string section, that may actually be keyboard-played, as opposed to a real orchestra.
Overall, I'm a bit pleasantly surprised by "Make It With You". The electric guitar lines keep the song entertaining as opposed to sleepy. I also like the electric guitar tones used, and I feel they add a very summery sound to the song. Bread were certainly aiming for a more mellow sound with "Make It With You", especially with the lyrics and David's vocal performance. However, as was the case with my previous Carpenter's review, his vocal performance is quite good.
"Make It With You" would be Bread's only #1 hit. They would continue to release material throughout much of the 1970's, before going their separate ways. By this point in time, numerous other soft-rock bands came along to emulate Bread's original style. However, most of these imitators aimed more for the "Soft" side as opposed to "Rock" side of soft-rock. Guess sometimes, the originator is still the best.
Final Verdict - Not bad, not bad at all. I'd certainly say "Make It With You" is a unjustly forgotten. It's not one of the most lavish or technically advanced songs of the year, but I found it quite pleasing to the ear. It's a much softer song and it stands in sharp contrast to a year that also brought us "Iron Man" and "Immigrant Song. Yet, I feel the song has enough of a footing in the door of rock to earn enjoyment by fans of guitar-based music.
Coming Up Next - "War" by Edwin Starr.
Until Next Time, I'm Dr. Rock, and I kneed more dough -
Saturday, February 22, 2014
Song #242 - "(They Long To Be) Close To You" - The Carpenters
Recorded - circa March and/or April, 1970
Released - May 15, 1970
#1 for weeks of July 25 & August 1, 8 and 15, 1970.
From about 1966 until early 1970, the soft-pop genre often went hand in hand with the counterculture, producing a bottomless catalog of trippy yet mellow songs. In 1970, as psychedelia all but drifted away from pop music, the piano took over as the predominant instrument in softer music, and colorful flower power lyrics were replaced by straightforward love lyrics.
As already demonstrated numerous times on this blog, the soft pop genre has been a double edged sword. There have been occasions when a soft-pop song cranks up the sugar and lethargy levels to eleven. Then, there are times when the song, though it may be mellow, has substance and justified gentleness. For an example of the latter, we turn to The Carpenters.
The brother/sister duo of Richard and Karen Carpenter shouldn't be unfamiliar to anyone who grew up during the 1970's. Even the children of the baby boomers should be familiar with the duo's tunes, due to their use in various forms of media. The Carpenters released their first album, which flopped, in 1969. In February 1970, The Carpenters organized a benefit performance for Burt Bacharach, and selected a medley of his tunes to play. One of these was the Bacharach/David composition, "(They Long To Be) Close To You", which the duo would shortly record on their own.
It may be easy to claim The Carpenters as a corporately produced squeaky-clean duo. However, Karen Carpenter was actually an accomplished drummer, and she played on much of the duo's early work. The duo were also perfectionists, and would re-record songs with different lineups of musicians to get just the right sound.
While I wouldn't exactly call myself a Carpenter's fan, I can certainly acknowledge that Karen's vocal performance in "Close To You" is nothing short of perfect. The introductory lines sound as if she is singing live right next to you, or...close to you, if you will. Overall, she gives the song a very lush sound.
Any complaints? Well, I personally would have loved a version of this song with just piano and her voice, as I feel the remaining instruments and backing vocals add a bit too much of an adult-contemporary feel to the song. Maybe I'm just a sucker for stripped down piano pop, but either way, I feel this would have made the song even better. Still, these are but mere personal nitpicks.
"Close To You" would be the first in a long line of hits for The Carpenters. The duo had a total of fifteen #1 hits on the Adult Contemporary charts. They would score two more #1's on the standard pop charts as well. So naturally, we will pick up the story of The Carpenters when we get to 1973.
Final Verdict - "Close To You" manages to incorporate all of the good elements of soft-pop: A great vocal performance, a laid-back music track, and a lush and relaxing feel overall. I may not normally listen to this type of music, but I certainly agree with most critics that it is a classic of the genre.
Coming Up Next - "Make It With You" by Bread.
Until Next Time, I'm Dr. Rock and I've only just begun...to review 1970's #1 hits -
Released - May 15, 1970
#1 for weeks of July 25 & August 1, 8 and 15, 1970.
From about 1966 until early 1970, the soft-pop genre often went hand in hand with the counterculture, producing a bottomless catalog of trippy yet mellow songs. In 1970, as psychedelia all but drifted away from pop music, the piano took over as the predominant instrument in softer music, and colorful flower power lyrics were replaced by straightforward love lyrics.
As already demonstrated numerous times on this blog, the soft pop genre has been a double edged sword. There have been occasions when a soft-pop song cranks up the sugar and lethargy levels to eleven. Then, there are times when the song, though it may be mellow, has substance and justified gentleness. For an example of the latter, we turn to The Carpenters.
The brother/sister duo of Richard and Karen Carpenter shouldn't be unfamiliar to anyone who grew up during the 1970's. Even the children of the baby boomers should be familiar with the duo's tunes, due to their use in various forms of media. The Carpenters released their first album, which flopped, in 1969. In February 1970, The Carpenters organized a benefit performance for Burt Bacharach, and selected a medley of his tunes to play. One of these was the Bacharach/David composition, "(They Long To Be) Close To You", which the duo would shortly record on their own.
It may be easy to claim The Carpenters as a corporately produced squeaky-clean duo. However, Karen Carpenter was actually an accomplished drummer, and she played on much of the duo's early work. The duo were also perfectionists, and would re-record songs with different lineups of musicians to get just the right sound.
While I wouldn't exactly call myself a Carpenter's fan, I can certainly acknowledge that Karen's vocal performance in "Close To You" is nothing short of perfect. The introductory lines sound as if she is singing live right next to you, or...close to you, if you will. Overall, she gives the song a very lush sound.
Any complaints? Well, I personally would have loved a version of this song with just piano and her voice, as I feel the remaining instruments and backing vocals add a bit too much of an adult-contemporary feel to the song. Maybe I'm just a sucker for stripped down piano pop, but either way, I feel this would have made the song even better. Still, these are but mere personal nitpicks.
"Close To You" would be the first in a long line of hits for The Carpenters. The duo had a total of fifteen #1 hits on the Adult Contemporary charts. They would score two more #1's on the standard pop charts as well. So naturally, we will pick up the story of The Carpenters when we get to 1973.
Final Verdict - "Close To You" manages to incorporate all of the good elements of soft-pop: A great vocal performance, a laid-back music track, and a lush and relaxing feel overall. I may not normally listen to this type of music, but I certainly agree with most critics that it is a classic of the genre.
Coming Up Next - "Make It With You" by Bread.
Until Next Time, I'm Dr. Rock and I've only just begun...to review 1970's #1 hits -
Song #241 - "Mama Told Me Not To Come" - Three Dog Night
Recorded - late 1969 and/or early 1970
Released - March 31, 1970
#1 for weeks of July 11 and 18, 1970.
I can still remember my first time hearing "Joy To The World". Those awesomely bizarre opening lines, "Jeremiah was a bullfrog", are so memorable, they've almost become an alternate title for the song. As the years went on, I discovered more of Three Dog Night's material. It was when I heard the haunting "One" that I became truly impressed with the group's versatility. The stellar vocal blend of Danny Hutton, Chuck Negron, and Cory Wells is irreplaceable.
Three Dog Night are an interesting group, as the majority of their material is covers. "One" is a Harry Nielson song, "Eli's Comin'" is by Laura Nyro" and their first #1 hit, "Mama Told Me Not To Come" was written by Randy Newman. However, don't let this lack of originality deter you from the band's catalog. Every song they have covered has been done perfect justice.
"Mama Told Me Not To Come" had already been covered as far back as 1967 by Eric Burton of The Animals. In 1969, Randy Newman recorded his own version for his 1970 album 12 Songs. Around this time period, Three Dog Night recorded their third album, It Ain't Easy. It is this album that their interpretation of "Mama Told Me Not To Come" originates from.
Three Dog Night's version of "Mama Told Me Not To Come" manages to successfully blend rock and roll with soul music. The soul aspect is heavily enforced by Cory Wells' vocal performance. His vocal style is similar to that of The Rascals, although Cory adds a touch of humor to his vocal tone as well.
As for the rock, the most noteworthy aspect is the repeating electric piano, played by band member Jimmy Greenspoon. It comes across as mildly psychedelic. However, the remainder of the performance dispels any trippiness for pure hard rock guitar sounds. Since the lyrics warn against a party fueled by mind and mood altering substances, this predominant hard rock approach is quite appropriate.
There would be three more times that Three Dog Night would top the pop charts. Their second big hit, "Joy To The World" was recorded a few months after "Mama Told Me Not To Come" sat at the top of the 'Board'. I'll continue the Three Dog Night story when we get to 1971...
Final Verdict - Three Dog Night's version of "Mama Told Me Not To Come" has enough originality to ensure that the group may as well have called the song their own. With a strong rock backdrop and with a soulful vocal performance, the song remains quite an enjoyable and accessible listen.
Coming Up Next - "(They Long To Be) Close To You" by The Carpenters.
Until Next Time - I'm Dr. Rock and Mama told you to come, to my blog -
Released - March 31, 1970
#1 for weeks of July 11 and 18, 1970.
I can still remember my first time hearing "Joy To The World". Those awesomely bizarre opening lines, "Jeremiah was a bullfrog", are so memorable, they've almost become an alternate title for the song. As the years went on, I discovered more of Three Dog Night's material. It was when I heard the haunting "One" that I became truly impressed with the group's versatility. The stellar vocal blend of Danny Hutton, Chuck Negron, and Cory Wells is irreplaceable.
Three Dog Night are an interesting group, as the majority of their material is covers. "One" is a Harry Nielson song, "Eli's Comin'" is by Laura Nyro" and their first #1 hit, "Mama Told Me Not To Come" was written by Randy Newman. However, don't let this lack of originality deter you from the band's catalog. Every song they have covered has been done perfect justice.
"Mama Told Me Not To Come" had already been covered as far back as 1967 by Eric Burton of The Animals. In 1969, Randy Newman recorded his own version for his 1970 album 12 Songs. Around this time period, Three Dog Night recorded their third album, It Ain't Easy. It is this album that their interpretation of "Mama Told Me Not To Come" originates from.
Three Dog Night's version of "Mama Told Me Not To Come" manages to successfully blend rock and roll with soul music. The soul aspect is heavily enforced by Cory Wells' vocal performance. His vocal style is similar to that of The Rascals, although Cory adds a touch of humor to his vocal tone as well.
As for the rock, the most noteworthy aspect is the repeating electric piano, played by band member Jimmy Greenspoon. It comes across as mildly psychedelic. However, the remainder of the performance dispels any trippiness for pure hard rock guitar sounds. Since the lyrics warn against a party fueled by mind and mood altering substances, this predominant hard rock approach is quite appropriate.
There would be three more times that Three Dog Night would top the pop charts. Their second big hit, "Joy To The World" was recorded a few months after "Mama Told Me Not To Come" sat at the top of the 'Board'. I'll continue the Three Dog Night story when we get to 1971...
Final Verdict - Three Dog Night's version of "Mama Told Me Not To Come" has enough originality to ensure that the group may as well have called the song their own. With a strong rock backdrop and with a soulful vocal performance, the song remains quite an enjoyable and accessible listen.
Coming Up Next - "(They Long To Be) Close To You" by The Carpenters.
Until Next Time - I'm Dr. Rock and Mama told you to come, to my blog -
Friday, February 21, 2014
Song #240 - "The Love You Save" - The Jackson Five
Recorded - March 1970
Released - May 8, 1970
#1 for weeks of June 27 and July 4, 1970.
In an echo of the massive chart success of The Supremes during 1964, The Jackson Five managed to repeat the former's success throughout 1970. In less than six months, the quintet scored a whopping three #1 singles. The third of these, "The Love You Save", continues the themes of "I Want You Back" and "ABC": Love, heartbreak, and optimism, all set to a catchy and upbeat melody.
Speaking of The Supremes, it's hard not to draw parallels between the success of the former and The Jackson Five. Both were strictly vocal groups, and always relied on Motown-based songwriters for their hits. As a result, there is a level of consistency between The Jackson Five's best known songs. If you love "I Want You Back", you'll certainly enjoy their third consecutive #1 hit, "The Love You Save".
I actually consider "The Love You Save" to be a step forward in terms of the overall sound of the Jackson Five. The song is significantly faster and has a set-groove which has elements of funk music. There are also some nice staccato guitars and a very tight drum part, which propel the song's groove along.
Vocally, Michael Jackson is still the star of the show. However, the other four Jackson Five members provide a strong backing, and occasional Jermaine Jackson adds a contrasting and more mature sounding lead vocal. I'd even go as far as to say the bass vocalizations during the first pre-verse of the song hearken back to the days of Doo-wop.
If I had to nitpick, I'd say that "The Love You Save" lacks a strong hook. The melody and vocals are superb, but the song overall isn't as memorable as its previous two predecessors. Sometimes, maturation doesn't cross over into longevity. Out of the four consecutive Jackson Five singles which reached #1, I'd probably rank this one as the least successful. (You'll hear my thoughts about the final hit soon!)
Final Verdict - "The Love You Save" showcases a more mature sound from The Jackson Five. Still, the song not having the same lasting quality as "I Want You Back" or "ABC", and I don't consider it among the strongest of 1970. Regardless, "The Love You Save" is an enjoyable listen.
Coming Up Next - "Mama Told Me Not To Come" by Three Dog Night.
Until Next Time, I'm Dr. Rock, and may the blog you bookmark be my own!
Released - May 8, 1970
#1 for weeks of June 27 and July 4, 1970.
In an echo of the massive chart success of The Supremes during 1964, The Jackson Five managed to repeat the former's success throughout 1970. In less than six months, the quintet scored a whopping three #1 singles. The third of these, "The Love You Save", continues the themes of "I Want You Back" and "ABC": Love, heartbreak, and optimism, all set to a catchy and upbeat melody.
Speaking of The Supremes, it's hard not to draw parallels between the success of the former and The Jackson Five. Both were strictly vocal groups, and always relied on Motown-based songwriters for their hits. As a result, there is a level of consistency between The Jackson Five's best known songs. If you love "I Want You Back", you'll certainly enjoy their third consecutive #1 hit, "The Love You Save".
I actually consider "The Love You Save" to be a step forward in terms of the overall sound of the Jackson Five. The song is significantly faster and has a set-groove which has elements of funk music. There are also some nice staccato guitars and a very tight drum part, which propel the song's groove along.
Vocally, Michael Jackson is still the star of the show. However, the other four Jackson Five members provide a strong backing, and occasional Jermaine Jackson adds a contrasting and more mature sounding lead vocal. I'd even go as far as to say the bass vocalizations during the first pre-verse of the song hearken back to the days of Doo-wop.
If I had to nitpick, I'd say that "The Love You Save" lacks a strong hook. The melody and vocals are superb, but the song overall isn't as memorable as its previous two predecessors. Sometimes, maturation doesn't cross over into longevity. Out of the four consecutive Jackson Five singles which reached #1, I'd probably rank this one as the least successful. (You'll hear my thoughts about the final hit soon!)
Final Verdict - "The Love You Save" showcases a more mature sound from The Jackson Five. Still, the song not having the same lasting quality as "I Want You Back" or "ABC", and I don't consider it among the strongest of 1970. Regardless, "The Love You Save" is an enjoyable listen.
Coming Up Next - "Mama Told Me Not To Come" by Three Dog Night.
Until Next Time, I'm Dr. Rock, and may the blog you bookmark be my own!
Song #239 - "The Long And Winding Road" - The Beatles.
Recorded - January 26, 1969 and April 1, 1970
Released - May 8, 1970 (UK and US)
#1 for weeks of June 13 and 20, 1970.
We've come to the end of the road, the very last #1 single by The Beatles. On April 10, 1970, Paul McCartney made it public his desire to leave the group. The news stations and papers were quick to report the breakup of the most influential band of the 1960's. Released almost a month after the breakup, the Let It Be album showcased the recordings done during the January 1969 "Get Back" sessions. Exactly how the album finally got released is quite controversial.
In March of 1970, after four failed attempts to get the "Get Back" album released, Phil Spector was given the tapes from the sessions. The album was re-mixed and re-edited quite drastically. Often times he would select different performances of a song than the ones that had been included on the "Get Back" track sequences. This remixing all came to a head on April 1st, 1970 when Spector added a lavish orchestral and choir part to three songs, one of those being Paul McCartney's "The Long And Winding Road".
The only Beatle present for these orchestral sessions was Ringo. Phil Spector was also already showing signs of his growing instability, to the point where several musicians walked out. Shortly after this tension-filled session, Paul found out that Spector had embellished his song behind his back. To say that Paul was furious would be a major understatement. The orchestral overdubs to "The Long And Winding Road" were one of the last straws for Paul, and it was actually a catalyst for Paul dissolving the group.
Yet, despite the hostile reaction from McCartney, I've never had a problem with the orchestra in the song. To me, and most Beatles fans, this is the first way they heard the song. We are familiar with its vast orchestral sound, and I've always considered it a fitting finale for the group. Besides, the idea of using strings on a Beatles recording originated on "Yesterday", which was Paul's baby.
On the other hand, by adding all of these extra sounds to "The Long And Winding Road", it goes against the original idea of the Get Back/Let It Be project: "Live in the studio, with no additional instruments added later". Also, this particular performance of "The Long And Winding Road" contains some rather weak bass playing by John. If you listen to the Anthology 3 version of the song, with the orchestra stripped out, these bass errors become more clear. This apparently was one of the reasons Phil Spector chose to add so much onto the track, to bury the mistakes.
Of course, all of this could have been prevented if Phil had taken a deeper plunge into the session archives. On January 31, 1969, The Beatles recorded several more versions of "The Long And Winding Road". One of these is featured in the Let It Be film. It has a much tighter bass-line by John and George's guitar is more audible. When the surviving Beatles remixed and re-sequenced the Let It Be album in 2003 to create Let It Be...Naked, they chose this later version of the song instead. Had Phil Spector chosen this stronger performance of the song, and not added orchestra and choir to the recording, perhaps Paul might have been less quick to part ways with the band.
"The Long And Winding Road" may not have been the last song The Beatles recorded, (That honor goes to George Harrison's "I Me Mine", from January 1970), but I always consider it to be the swan song of the group. The transformation from their early days of "Love Me Do" to "The Long And Winding Road", it's still amazing to me. The Beatles remain my favorite band because they took the roads less traveled in popular music, always trying to break new ground, and seldom looking back. Their entire recorded output is indeed a long and winding road that's well-worth traveling.
Final Verdict - I happen to like both the classic orchestrated version of "The Long And Winding Road" and the alternative take released on the Let It Be...Naked album. Both showcase the song for what it really is: A superb timeless McCartney piano ballad, which has remained in his setlists to this very day. A bittersweet end to The Beatles reign on the Billboard charts, but a deserved hit nonetheless.
Coming Up Next - "The Love You Save" - The Jackson Five.
Until Next Time, I'm Dr. Rock, and I've got a long and winding road of #1 singles ahead of me -
Released - May 8, 1970 (UK and US)
#1 for weeks of June 13 and 20, 1970.
We've come to the end of the road, the very last #1 single by The Beatles. On April 10, 1970, Paul McCartney made it public his desire to leave the group. The news stations and papers were quick to report the breakup of the most influential band of the 1960's. Released almost a month after the breakup, the Let It Be album showcased the recordings done during the January 1969 "Get Back" sessions. Exactly how the album finally got released is quite controversial.
In March of 1970, after four failed attempts to get the "Get Back" album released, Phil Spector was given the tapes from the sessions. The album was re-mixed and re-edited quite drastically. Often times he would select different performances of a song than the ones that had been included on the "Get Back" track sequences. This remixing all came to a head on April 1st, 1970 when Spector added a lavish orchestral and choir part to three songs, one of those being Paul McCartney's "The Long And Winding Road".
The only Beatle present for these orchestral sessions was Ringo. Phil Spector was also already showing signs of his growing instability, to the point where several musicians walked out. Shortly after this tension-filled session, Paul found out that Spector had embellished his song behind his back. To say that Paul was furious would be a major understatement. The orchestral overdubs to "The Long And Winding Road" were one of the last straws for Paul, and it was actually a catalyst for Paul dissolving the group.
Yet, despite the hostile reaction from McCartney, I've never had a problem with the orchestra in the song. To me, and most Beatles fans, this is the first way they heard the song. We are familiar with its vast orchestral sound, and I've always considered it a fitting finale for the group. Besides, the idea of using strings on a Beatles recording originated on "Yesterday", which was Paul's baby.
On the other hand, by adding all of these extra sounds to "The Long And Winding Road", it goes against the original idea of the Get Back/Let It Be project: "Live in the studio, with no additional instruments added later". Also, this particular performance of "The Long And Winding Road" contains some rather weak bass playing by John. If you listen to the Anthology 3 version of the song, with the orchestra stripped out, these bass errors become more clear. This apparently was one of the reasons Phil Spector chose to add so much onto the track, to bury the mistakes.
Of course, all of this could have been prevented if Phil had taken a deeper plunge into the session archives. On January 31, 1969, The Beatles recorded several more versions of "The Long And Winding Road". One of these is featured in the Let It Be film. It has a much tighter bass-line by John and George's guitar is more audible. When the surviving Beatles remixed and re-sequenced the Let It Be album in 2003 to create Let It Be...Naked, they chose this later version of the song instead. Had Phil Spector chosen this stronger performance of the song, and not added orchestra and choir to the recording, perhaps Paul might have been less quick to part ways with the band.
"The Long And Winding Road" may not have been the last song The Beatles recorded, (That honor goes to George Harrison's "I Me Mine", from January 1970), but I always consider it to be the swan song of the group. The transformation from their early days of "Love Me Do" to "The Long And Winding Road", it's still amazing to me. The Beatles remain my favorite band because they took the roads less traveled in popular music, always trying to break new ground, and seldom looking back. Their entire recorded output is indeed a long and winding road that's well-worth traveling.
Final Verdict - I happen to like both the classic orchestrated version of "The Long And Winding Road" and the alternative take released on the Let It Be...Naked album. Both showcase the song for what it really is: A superb timeless McCartney piano ballad, which has remained in his setlists to this very day. A bittersweet end to The Beatles reign on the Billboard charts, but a deserved hit nonetheless.
Coming Up Next - "The Love You Save" - The Jackson Five.
Until Next Time, I'm Dr. Rock, and I've got a long and winding road of #1 singles ahead of me -
Thursday, February 20, 2014
Song #238 - "Everything Is Beautiful" - Ray Stevens
Recorded - February 1970
Released - March 1970
#1 for weeks of May 30 and June 6, 1970.
Today's lesson for Dr. Rockology 101 is "Sincerity, and whether you really mean what you sing". It is easy for many to look back on all the idealistic pro-peace, anti-war numbers of the 1960's with a cynical eye. However, some of these examples such as "Give Peace A Chance", and "People Got To Be Free", were all sung by people who truly believed and preached what they sang. So what happens when you take a country singer known for novelty records, and have him record a Utopian anthem? You get Ray Stevens' mighty awful "Everything Is Wonderful".
First of all, when you open your record with children singing "Jesus loves the little children", there's a more than likely chance that you'll alienate some listeners. Now, if this was intended as a Christian rock song, then this intro would be perfectly justified. However, this was listed as a secular pop single, and Ray Stevens has now succeeded in turned off all of the non-Christian and secular audience from truly feeling that he believes they are included in the song.
The remainder of the song is full of the usual peace and equality lyrics that have been done better justice by others. "Everything Is Beautiful" has a very schmaltzy music track, and over the top choral backing vocalists. The only good mark I can give is that at least Ray Stevens' singing voice is acceptable. But when the rest of your song is pure fluff, not even having the best vocalists in the world could make this song enjoyable.
My biggest problem with the song goes back to what I was taking about earlier - "Sincerity". It's hard to believe Ray Stevens message for treating others the same is genuine. After all, this is a guy who's hit catalog includes such hideously dated novelty songs as "Rang Tang Ding Dong, I'm The Japanese Sandman" and "Ahab The Arab". Going from borderline-racist stereotypes to claiming we shouldn't treat people of other nationalities poorly, is quite a departure, and normally I'd be inclined to believe that Ray may have reformed his ways.
But then we flash forward to the relative present, to some of Ray Stevens' more current works. To name just one out of many, there's "Come To The USA", which deals with the immigration issues over in Arizona, in a rather hypocritical tone when compared to "Everything Is Beautiful". It's now abundantly clear that all of the utopian and compassionate beliefs he sung about in "Everything Is Beautiful" were all for the money. And it worked, as people were foolish enough to send this drek to a two week stint on top of the charts.
Final Verdict - "Everything Is Beautiful" takes the cake as the worst #1 hit I have reviewed thus far. It sounds schmaltzy and overly saccharine. Lyrically, it retreads the visions of world peace that others built their whole lives around, but it is sung by somebody who doesn't share those beliefs. It is this hypocrisy that makes the song a thoroughly unenjoyable listening experience. This hit record is a resounding miss.
Coming Up Next - "The Long And Winding Road" by The Beatles.
Until Next Time, I'm Dr. Rock, and some things just aren't beautiful -
Released - March 1970
#1 for weeks of May 30 and June 6, 1970.
Today's lesson for Dr. Rockology 101 is "Sincerity, and whether you really mean what you sing". It is easy for many to look back on all the idealistic pro-peace, anti-war numbers of the 1960's with a cynical eye. However, some of these examples such as "Give Peace A Chance", and "People Got To Be Free", were all sung by people who truly believed and preached what they sang. So what happens when you take a country singer known for novelty records, and have him record a Utopian anthem? You get Ray Stevens' mighty awful "Everything Is Wonderful".
First of all, when you open your record with children singing "Jesus loves the little children", there's a more than likely chance that you'll alienate some listeners. Now, if this was intended as a Christian rock song, then this intro would be perfectly justified. However, this was listed as a secular pop single, and Ray Stevens has now succeeded in turned off all of the non-Christian and secular audience from truly feeling that he believes they are included in the song.
The remainder of the song is full of the usual peace and equality lyrics that have been done better justice by others. "Everything Is Beautiful" has a very schmaltzy music track, and over the top choral backing vocalists. The only good mark I can give is that at least Ray Stevens' singing voice is acceptable. But when the rest of your song is pure fluff, not even having the best vocalists in the world could make this song enjoyable.
My biggest problem with the song goes back to what I was taking about earlier - "Sincerity". It's hard to believe Ray Stevens message for treating others the same is genuine. After all, this is a guy who's hit catalog includes such hideously dated novelty songs as "Rang Tang Ding Dong, I'm The Japanese Sandman" and "Ahab The Arab". Going from borderline-racist stereotypes to claiming we shouldn't treat people of other nationalities poorly, is quite a departure, and normally I'd be inclined to believe that Ray may have reformed his ways.
But then we flash forward to the relative present, to some of Ray Stevens' more current works. To name just one out of many, there's "Come To The USA", which deals with the immigration issues over in Arizona, in a rather hypocritical tone when compared to "Everything Is Beautiful". It's now abundantly clear that all of the utopian and compassionate beliefs he sung about in "Everything Is Beautiful" were all for the money. And it worked, as people were foolish enough to send this drek to a two week stint on top of the charts.
Final Verdict - "Everything Is Beautiful" takes the cake as the worst #1 hit I have reviewed thus far. It sounds schmaltzy and overly saccharine. Lyrically, it retreads the visions of world peace that others built their whole lives around, but it is sung by somebody who doesn't share those beliefs. It is this hypocrisy that makes the song a thoroughly unenjoyable listening experience. This hit record is a resounding miss.
Coming Up Next - "The Long And Winding Road" by The Beatles.
Until Next Time, I'm Dr. Rock, and some things just aren't beautiful -
Wednesday, February 19, 2014
Songs 236 and 237 - "American Woman" and "No Sugar Tonight" - The Guess Who
Recorded - August 13, 1969 (American Woman)
- between August and November 16, 1969 (No Sugar Tonight)
Released - January 1970 (Canada & USA)
#1 for weeks of May 9, 16 and 24, 1970.
The Guess Who win the distinctive honor of being the first Canadians to score a #1 hit in the US. They are also arguably the first true hard rock band to appear on this blog as well. Although various members of The Guess Who had been playing together since the late 1950's, it wasn't until 1965 that the band officially formed. Much of their earliest singles and material are relatively unknown to casual rock fans. If you want a good example of their earlier and more garage-rock sound, check out their late 1966 B-side, "It's My Pride".
Most people are familiar with The Guess Who's breakout hit from 1968, "These Eyes". In the summer and autumn months of 1969, The Guess Who began recording material for what would be their most well-known album, American Woman. When both the title track as well as "No Sugar Tonight" were released as a double A-side in March of 1970, The Guess Who found themselves with their biggest chart success yet.
As can be expected with a more serious rock band like The Guess Who, both of these two songs are quite long for a single. So unfortunately, both were subsequently edited for single release. I'll be once again breaking the rules a bit by reviewing the full album versions instead. Besides, it's the same basic recording, just at the original length that the band intended.
First we have "American Woman", one of the finest early hard rock songs of all time. The track features an iconic and instantly recognizable guitar riff, and lead singer Burton Cumming's powerhouse vocals. Guitarist Randy Bachman, provides some intense guitar soloing, that borders on heavy metal at times. I'm honestly just amazed, in a good way, that such a hard rocking song reached the top of the charts. It's quite a treat I'd say!
The lyrics of American Woman have been misinterpreted over the years. Some assume that the group was anti-American. The truth of the matter is The Guess Who were in the United States during this time period, recording the album and touring. Naturally, they were more than a little bit homesick for their girls back up north. Yet, instead of simply singing "I miss my Canadian girl", the band took a much more metaphorical approach to the lyrics. Oh yeah, did I mention this song is credited to the whole band? That's right, this is a true group composition.
"No Sugar Tonight", written by Randy and Burton alone, is another powerful hard rock number. Although it is a bit more restrained and lyrical-sounding. The music features contrasting sections like a mellow classical-inspired guitar intro and a vocal harmony-filled, chorus featuring a blend of acoustic and electric guitars. The lyrics, like American Woman, are metaphorical rather than direct.
On the American Woman album, "No Sugar Tonight" is listed as "No Sugar Tonight/New Mother Nature". The single version omits the second half of the song, which is unfortunate as the two songs together act as one. "New Mother Nature" is a nice acoustic guitar and organ driven hard rock number, which features some callbacks to the "No Sugar Tonight" melody as the song fades out.
The Guess Who would never top the US charts again. Randy Bachman left the group around the time "American Woman" was on the top of the charts. He would soon form the successful 1970's group, Bachman-Turner Overdrive. Over the years and decades, The Guess Who have broken up, and reformed numerous times. Today, only bassist Jim Kale and drummer Garry Peterson remain from the original lineup.
Final Verdict - Both "American Woman" and "No Sugar Tonight" are fantastic hard rock standards which paved the way for countless rock bands of the 1970's. They are also quite a refreshing change from some of the upcoming soft pop hits I'll be reviewing. It's a bit hard for me to pick a favorite, as "American Woman" features such an iconic melody, and "No Sugar Tonight" has some nice musical contrasts going on. Which song do you like best? Let me know in the comments!
Coming Up Next - "Everything Is Beautiful" by Ray Stevens.
Until Next Time, I'm Dr. Rock and there's no sugar tonight, just pure hard rock!
- between August and November 16, 1969 (No Sugar Tonight)
Released - January 1970 (Canada & USA)
#1 for weeks of May 9, 16 and 24, 1970.
The Guess Who win the distinctive honor of being the first Canadians to score a #1 hit in the US. They are also arguably the first true hard rock band to appear on this blog as well. Although various members of The Guess Who had been playing together since the late 1950's, it wasn't until 1965 that the band officially formed. Much of their earliest singles and material are relatively unknown to casual rock fans. If you want a good example of their earlier and more garage-rock sound, check out their late 1966 B-side, "It's My Pride".
Most people are familiar with The Guess Who's breakout hit from 1968, "These Eyes". In the summer and autumn months of 1969, The Guess Who began recording material for what would be their most well-known album, American Woman. When both the title track as well as "No Sugar Tonight" were released as a double A-side in March of 1970, The Guess Who found themselves with their biggest chart success yet.
As can be expected with a more serious rock band like The Guess Who, both of these two songs are quite long for a single. So unfortunately, both were subsequently edited for single release. I'll be once again breaking the rules a bit by reviewing the full album versions instead. Besides, it's the same basic recording, just at the original length that the band intended.
First we have "American Woman", one of the finest early hard rock songs of all time. The track features an iconic and instantly recognizable guitar riff, and lead singer Burton Cumming's powerhouse vocals. Guitarist Randy Bachman, provides some intense guitar soloing, that borders on heavy metal at times. I'm honestly just amazed, in a good way, that such a hard rocking song reached the top of the charts. It's quite a treat I'd say!
The lyrics of American Woman have been misinterpreted over the years. Some assume that the group was anti-American. The truth of the matter is The Guess Who were in the United States during this time period, recording the album and touring. Naturally, they were more than a little bit homesick for their girls back up north. Yet, instead of simply singing "I miss my Canadian girl", the band took a much more metaphorical approach to the lyrics. Oh yeah, did I mention this song is credited to the whole band? That's right, this is a true group composition.
"No Sugar Tonight", written by Randy and Burton alone, is another powerful hard rock number. Although it is a bit more restrained and lyrical-sounding. The music features contrasting sections like a mellow classical-inspired guitar intro and a vocal harmony-filled, chorus featuring a blend of acoustic and electric guitars. The lyrics, like American Woman, are metaphorical rather than direct.
On the American Woman album, "No Sugar Tonight" is listed as "No Sugar Tonight/New Mother Nature". The single version omits the second half of the song, which is unfortunate as the two songs together act as one. "New Mother Nature" is a nice acoustic guitar and organ driven hard rock number, which features some callbacks to the "No Sugar Tonight" melody as the song fades out.
The Guess Who would never top the US charts again. Randy Bachman left the group around the time "American Woman" was on the top of the charts. He would soon form the successful 1970's group, Bachman-Turner Overdrive. Over the years and decades, The Guess Who have broken up, and reformed numerous times. Today, only bassist Jim Kale and drummer Garry Peterson remain from the original lineup.
Final Verdict - Both "American Woman" and "No Sugar Tonight" are fantastic hard rock standards which paved the way for countless rock bands of the 1970's. They are also quite a refreshing change from some of the upcoming soft pop hits I'll be reviewing. It's a bit hard for me to pick a favorite, as "American Woman" features such an iconic melody, and "No Sugar Tonight" has some nice musical contrasts going on. Which song do you like best? Let me know in the comments!
Coming Up Next - "Everything Is Beautiful" by Ray Stevens.
Until Next Time, I'm Dr. Rock and there's no sugar tonight, just pure hard rock!
Song #235 - "ABC" - The Jackson Five
Recorded - January 1970
Released - February 24, 1970
#1 for weeks of April 25 and May 2, 1970.
We return once again to the early career of Michael Jackson. The Jackson Five had already scored a #1 with "I Want You Back". It would be the first in a series of chart toppers for the quintet. Only a few months after their first hit topped the charts, the Jackson Five were back on top with "ABC".
Now, I should mention that for the longest time, I had gotten "I Want You Back" confused with "ABC". When you think about it, this isn't too much of a stretch as both songs sound very similar. They are in the same key, and feature a similar rhythm and chord progression. Also, while I dismissed any claims about "I Want You Back" being considered bubblegum, "ABC" is unmistakably a bubblegum record. The lyrics are of the often used "I love you, you love me" variety. Actually, those exact lyrics are used in the song in some way.
However, don't let these aforementioned flaws about the record make you assume it's a dud. After all, if you play this song out loud, and there are friends present, chances are most will be singing along. It's lyrically simple, but incredibly catchy. While Michael still takes the lead vocal duties, three out of the four remaining Jacksons gets a chance to have a brief lead vocal. This added variety, coupled with a solid music track, ensures this song to be an enjoyable listen.
Final Verdict - While I can't shake the fact that it's too much of a retread of "I Want You Back", there's still plenty to enjoy about "ABC". It has a catchy melody and as usual, a stellar pre-adulthood Michael Jackson leading the way on vocals. "ABC" may not be anywhere close to the quality of the previous two records I've reviewed, but it is nonetheless quite an enjoyable and fun pop song.
Coming Up Next - "American Woman" and "No Sugar Tonight" by The Guess Who.
Until Next Time, I'm Dr. Rock and this review is brought to you by the letters A, B, and C -
Released - February 24, 1970
#1 for weeks of April 25 and May 2, 1970.
We return once again to the early career of Michael Jackson. The Jackson Five had already scored a #1 with "I Want You Back". It would be the first in a series of chart toppers for the quintet. Only a few months after their first hit topped the charts, the Jackson Five were back on top with "ABC".
Now, I should mention that for the longest time, I had gotten "I Want You Back" confused with "ABC". When you think about it, this isn't too much of a stretch as both songs sound very similar. They are in the same key, and feature a similar rhythm and chord progression. Also, while I dismissed any claims about "I Want You Back" being considered bubblegum, "ABC" is unmistakably a bubblegum record. The lyrics are of the often used "I love you, you love me" variety. Actually, those exact lyrics are used in the song in some way.
However, don't let these aforementioned flaws about the record make you assume it's a dud. After all, if you play this song out loud, and there are friends present, chances are most will be singing along. It's lyrically simple, but incredibly catchy. While Michael still takes the lead vocal duties, three out of the four remaining Jacksons gets a chance to have a brief lead vocal. This added variety, coupled with a solid music track, ensures this song to be an enjoyable listen.
Final Verdict - While I can't shake the fact that it's too much of a retread of "I Want You Back", there's still plenty to enjoy about "ABC". It has a catchy melody and as usual, a stellar pre-adulthood Michael Jackson leading the way on vocals. "ABC" may not be anywhere close to the quality of the previous two records I've reviewed, but it is nonetheless quite an enjoyable and fun pop song.
Coming Up Next - "American Woman" and "No Sugar Tonight" by The Guess Who.
Until Next Time, I'm Dr. Rock and this review is brought to you by the letters A, B, and C -
Tuesday, February 18, 2014
Song #234 - "Let It Be" - The Beatles
Recorded - January 31, April 30, 1969 and January 4, 1970
Released - March 6, 1970 (UK), March 16, 1970 (US)
#1 for weeks of April 11 and 18, 1970.
Going from one musical masterpiece to another, we arrive at a song that I've often picked as my personal favorite of all time, "Let It Be". Paul McCartney originally wrote "Let It Be" after a dream he had involving his late mother Mary. In the dream, she comforted Paul and told him that everything was going to be alright. With the impending split of the Beatles on his mind, this dream certainly helped him get through those hardships in the long run. When the "Get Back" project commenced in January of 1969, "Let It Be" became one of the many songs to be heavily rehearsed.
While most people are familiar with the January 30, 1969 "Rooftop Concert", most casual fans aren't aware of another concert that took place on the following day. January 31st turned out to be the last day of the sessions, and The Beatles were filmed in the Apple basement studio running through some of the more lavish songs from the project. These included "Two Of Us", "The Long And Winding Road" and of course, "Let It Be". One of these "Let It Be" takes was selected for the finished album and single.
Although the "Get Back" album was originally meant to be a "Warts and all" live in the studio album, a minority of tracks received additional work over the subsequent months. In April, George Harrison recorded a brand new guitar solo. This particular solo is only heard on the single version, (Which is the one that hit #1). Any further work on the album or "Let It Be" was put on hold while The Beatles recorded Abbey Road.
Early in 1970, as the "Get Back" album still remained unreleased, the song "Let It Be" was finally completed. Some of these last minute additions included harmony vocals (Paul, George and Linda McCartney), additional percussion (Ringo), and a brass and cello part. On a sad note, this turned out to be Paul's final Beatles-related session, while the band were still together.
"Let It Be", much like "Bridge Over Troubled Water", begins with a simple piano and vocal. Yet, this time, the arrangement is quicker to come in, and more grounded in rock. "Let It Be" also heavily evokes gospel music. With a very heavenly sounding backing vocal part, as well as lyrics about "Mother Mary", it is easy to see how some might chose interpret this song in a more non-secular manner.
I've always admired Paul's vocal performance on "Let It Be". He sings the song in a very honest, and pleading tone. I especially love the way he suddenly jumps up nearly a whole octave, vocally, during the choruses. The actual piano melody that forms the basic structure of the song remains equally iconic. Countless amateur piano players have tried to learn the song themselves, yours truly included.
Yet, while "Let It Be" may be Paul's baby, George still manages to briefly steal the show with his very fluid guitar solo. However, I happen to prefer the different and more stinging solo he performs in the album version. Either way, it adds a welcome rock element to the song. Ringo's drumming, provides a steady backbeat to the song. As for John Lennon, his contributions are only backing vocals, although during early takes, he played six-string bass.
When "Let It Be" was finally released in March 1970, the "Get Back" album was finally on its way to being released. Controversially, Phil Spector, who had long been out of the public eye, was hired to remix the album. As the "Get Back" album became Let It Be, and as he prepared to completely change the sound of some of the tracks, the era of The Beatles was almost at an end. Join me, in a couple of days, as I tackle the final Beatles song to hit #1, "The Long And Winding Road".
Final Verdict - "Let It Be" remains one of the most heartfelt and resonant songs Paul McCartney ever wrote. I've often considered it my favorite Beatles song. Why? Because it features honest and inspirational lyrics and contains a solid strong melody. Paul managed to seamlessly blend piano ballads, gospel, and rock and roll into one perfect song. A well-deserved #1, and another candidate for one of the greatest songs of all time.
Coming Up Next - "ABC" by The Jackson Five.
Until Next Time, I'm Dr. Rock and when you find yourself in times of trouble, just put on a Beatles record, and all your troubles will seem so far away -
Released - March 6, 1970 (UK), March 16, 1970 (US)
#1 for weeks of April 11 and 18, 1970.
Going from one musical masterpiece to another, we arrive at a song that I've often picked as my personal favorite of all time, "Let It Be". Paul McCartney originally wrote "Let It Be" after a dream he had involving his late mother Mary. In the dream, she comforted Paul and told him that everything was going to be alright. With the impending split of the Beatles on his mind, this dream certainly helped him get through those hardships in the long run. When the "Get Back" project commenced in January of 1969, "Let It Be" became one of the many songs to be heavily rehearsed.
While most people are familiar with the January 30, 1969 "Rooftop Concert", most casual fans aren't aware of another concert that took place on the following day. January 31st turned out to be the last day of the sessions, and The Beatles were filmed in the Apple basement studio running through some of the more lavish songs from the project. These included "Two Of Us", "The Long And Winding Road" and of course, "Let It Be". One of these "Let It Be" takes was selected for the finished album and single.
Although the "Get Back" album was originally meant to be a "Warts and all" live in the studio album, a minority of tracks received additional work over the subsequent months. In April, George Harrison recorded a brand new guitar solo. This particular solo is only heard on the single version, (Which is the one that hit #1). Any further work on the album or "Let It Be" was put on hold while The Beatles recorded Abbey Road.
Early in 1970, as the "Get Back" album still remained unreleased, the song "Let It Be" was finally completed. Some of these last minute additions included harmony vocals (Paul, George and Linda McCartney), additional percussion (Ringo), and a brass and cello part. On a sad note, this turned out to be Paul's final Beatles-related session, while the band were still together.
"Let It Be", much like "Bridge Over Troubled Water", begins with a simple piano and vocal. Yet, this time, the arrangement is quicker to come in, and more grounded in rock. "Let It Be" also heavily evokes gospel music. With a very heavenly sounding backing vocal part, as well as lyrics about "Mother Mary", it is easy to see how some might chose interpret this song in a more non-secular manner.
I've always admired Paul's vocal performance on "Let It Be". He sings the song in a very honest, and pleading tone. I especially love the way he suddenly jumps up nearly a whole octave, vocally, during the choruses. The actual piano melody that forms the basic structure of the song remains equally iconic. Countless amateur piano players have tried to learn the song themselves, yours truly included.
Yet, while "Let It Be" may be Paul's baby, George still manages to briefly steal the show with his very fluid guitar solo. However, I happen to prefer the different and more stinging solo he performs in the album version. Either way, it adds a welcome rock element to the song. Ringo's drumming, provides a steady backbeat to the song. As for John Lennon, his contributions are only backing vocals, although during early takes, he played six-string bass.
When "Let It Be" was finally released in March 1970, the "Get Back" album was finally on its way to being released. Controversially, Phil Spector, who had long been out of the public eye, was hired to remix the album. As the "Get Back" album became Let It Be, and as he prepared to completely change the sound of some of the tracks, the era of The Beatles was almost at an end. Join me, in a couple of days, as I tackle the final Beatles song to hit #1, "The Long And Winding Road".
Final Verdict - "Let It Be" remains one of the most heartfelt and resonant songs Paul McCartney ever wrote. I've often considered it my favorite Beatles song. Why? Because it features honest and inspirational lyrics and contains a solid strong melody. Paul managed to seamlessly blend piano ballads, gospel, and rock and roll into one perfect song. A well-deserved #1, and another candidate for one of the greatest songs of all time.
Coming Up Next - "ABC" by The Jackson Five.
Until Next Time, I'm Dr. Rock and when you find yourself in times of trouble, just put on a Beatles record, and all your troubles will seem so far away -
Song #233 - "Bridge Over Troubled Water" - Simon & Garfunkel
Recorded - November 9, 1969, and possibly other dates.
Released - January 26, 1970
#1 for weeks of February 28 & March 7, 14, 21 and 28 & April 4, 1970.
"A perfect album, and a masterpiece". Those are just some of the words that apply to Bridge Over Troubled Water the final album by Simon & Garfunkel. From the lavishly produced "The Boxer" to the joyful "Keep The Customer Satisfied", to the melancholia of "The Only Living Boy In New York", the album is quite emotionally diverse. As perfect as the album's other ten tracks are, the highlight, and the song that soars above them all, is the title track itself.
"Bridge Over Troubled Water" was composed by Paul Simon alone during the summer of 1969. When it came time to record the song, Paul let Art Garfunkel sing lead instead. While the liner notes of the album give only one single recording date, it is more likely that the song took multiple days or even months to perfect. I mean, just listen to this song's arrangement, it is absolutely grand!
One wouldn't even begin to imagine just how much this song builds up by the first few minutes alone. For the first verse and chorus, there is only a restrained piano and an equally mellow Art on vocals. As a result, the listener's concentration is placed on the lyrics. The overall effect adds an very personal and intimate nature to the song.
By the second stanza, a watery organ line is added and the piano becomes a bit more intricate. Art's vocals in the chorus now go from gentle, to a more heavy-hearted plea. Little by little, this gentle and unassuming song is being built up. Just before the third verse starts, the strings, bass and drums start to creep their way in. Atmospherically, we are moving out of the small "Studio" and into a wide open field.
When the third and final stanza appears, the song reaches new levels of grandiosity. The combination of close heavenly harmonies on the verse, and an absolutely powerful and triumphant vocal on the choruses, makes for what is unquestionably one of the top vocal performances of all time. Add on top of this the now Cathedral-esque drum and string parts and one can't help but feel at least a little bit moved.
I've already reviewed several very emotionally powerful songs. To name a few: "Georgia On My Mind", "You've Lost That Lovin' Feelin'" and "Something". Yet if there was ever a song that could convince the listener that there was goodness in this world, that even through the tough times, there's always a silver lining. If there ever was a song that could convince someone who's reached the end of their tether that life is worth living, it's "Bridge Over Troubled Water".
Final Verdict - The swan song of Simon & Garfunkel, "Bridge Over Troubled Water" is a perfect piece of music. The song manages to transcend its status as a six week chart topper and Billboard's top song of 1970.
Coming Up Next - "Let It Be" by The Beatles.
Until Next Time, I'm Dr. Rock and Simon & Garfunkel's music is a bridge over all of life's troubles.
Released - January 26, 1970
#1 for weeks of February 28 & March 7, 14, 21 and 28 & April 4, 1970.
"A perfect album, and a masterpiece". Those are just some of the words that apply to Bridge Over Troubled Water the final album by Simon & Garfunkel. From the lavishly produced "The Boxer" to the joyful "Keep The Customer Satisfied", to the melancholia of "The Only Living Boy In New York", the album is quite emotionally diverse. As perfect as the album's other ten tracks are, the highlight, and the song that soars above them all, is the title track itself.
"Bridge Over Troubled Water" was composed by Paul Simon alone during the summer of 1969. When it came time to record the song, Paul let Art Garfunkel sing lead instead. While the liner notes of the album give only one single recording date, it is more likely that the song took multiple days or even months to perfect. I mean, just listen to this song's arrangement, it is absolutely grand!
One wouldn't even begin to imagine just how much this song builds up by the first few minutes alone. For the first verse and chorus, there is only a restrained piano and an equally mellow Art on vocals. As a result, the listener's concentration is placed on the lyrics. The overall effect adds an very personal and intimate nature to the song.
By the second stanza, a watery organ line is added and the piano becomes a bit more intricate. Art's vocals in the chorus now go from gentle, to a more heavy-hearted plea. Little by little, this gentle and unassuming song is being built up. Just before the third verse starts, the strings, bass and drums start to creep their way in. Atmospherically, we are moving out of the small "Studio" and into a wide open field.
When the third and final stanza appears, the song reaches new levels of grandiosity. The combination of close heavenly harmonies on the verse, and an absolutely powerful and triumphant vocal on the choruses, makes for what is unquestionably one of the top vocal performances of all time. Add on top of this the now Cathedral-esque drum and string parts and one can't help but feel at least a little bit moved.
I've already reviewed several very emotionally powerful songs. To name a few: "Georgia On My Mind", "You've Lost That Lovin' Feelin'" and "Something". Yet if there was ever a song that could convince the listener that there was goodness in this world, that even through the tough times, there's always a silver lining. If there ever was a song that could convince someone who's reached the end of their tether that life is worth living, it's "Bridge Over Troubled Water".
Final Verdict - The swan song of Simon & Garfunkel, "Bridge Over Troubled Water" is a perfect piece of music. The song manages to transcend its status as a six week chart topper and Billboard's top song of 1970.
Coming Up Next - "Let It Be" by The Beatles.
Until Next Time, I'm Dr. Rock and Simon & Garfunkel's music is a bridge over all of life's troubles.
Monday, February 17, 2014
Songs 231 and 232 - "Everybody Is A Star" and "Thank You" - Sly & The Family Stone
Recorded - September 1969 (Everybody...).
- October 1969 (Thank You).
Released - December 10, 1969
#1 for weeks of February 14 and 21, 1970.
Another double A-sided single, and one where the two sides couldn't be more different. We have here, a song that's the last of the classic sound of Sly & The Family Stone. The other side, points in a darker and funkier direction. After having a successful #3 hit with "Hot Fun In The Summertime" and playing the Woodstock festival in August, the "Stone" set out shortly after to work on material for a planned album.
As it turned out, only two further songs were worked on and completed for the rest of the year: The two I'm reviewing here today. The first, "Everybody Is A Star", is a downtempo smooth-jazz number. Featuring all of the group's vocalists trading leads, the listener is thus, given a diverse look at the wide range of the group's vocal styles.
Musically, I wouldn't rank this song to be among the most exciting or groundbreaking of Sly's songs. The wordless lead vocals, which appear in the song's middle and fade-out do get a bit repetitive after a while. Still, the verse melodies as well as the aforementioned vocal trades do ensure that this song is a pleasant listen.
Well, now that you've listened to "Everybody Is A Star" - (You are listening to the songs as you read the reviews, right??), go listen to the other A-side, "Thank You", or as it's better known "Thank You (Falletinme Be Mice Elf Agin)". And no, that's not a typo, just a "Sly" way of writing "For Letting Me Be Myself Again".
If "Everybody Is A Star" is the triumphant, happy, and optimistic Sly & The Family Stone, then "Thank You" is the cynical, darker, and gritty side of the group that was starting to be born during autumn of 1969. During these closing months of the 1960's, The Family Stone, and especially Sly Stewart started using harder drugs such as cocaine. Lyrically, "Thank You" is a sarcastic statement about how the record companies and society wouldn't let the band have creative freedom and be themselves.
I hope the back story behind "Thank You" didn't scare you away as musically, it absolutely COOKS! For one, we've got real slap bass finally appearing on a pop record. Plus, the interplay between the guitars and horns is just plain awesome. Forget about any previous song I have called "Funky". This is real, genuine, grade A funk. This is a genre that wouldn't reach prominence until a few years later. Meanwhile, Sly & The Family Stone were capturing everything captivating about the genre in late 1969!
The only downsides to "Thank You" is it marked the beginning of a dry period for the band, one full of rampant drug use. It wouldn't be until 1971 that the now chemically transformed Family Stone began slowly working on new material. Nobody, not even any of you newcomers to Sly Stewart's music, could have expected just how radically different the group's next single would sound. Find out, when we reach 1971!
Final Verdict - "Everybody Is A Star" may be a fine smooth jazz number, but it is "Thank You" that I enjoy the most. It's got a tight and genuinely funky music track, and it show that Sly Stewart was much more than a one trick pony. Unquestionably, a well-deserved #1 hit in my book.
Coming Up Next - "Bridge Over Troubled Water" by Simon & Garfunkel.
Until Next Time, I'm Dr. Rock and I thank you fareadin' miblog agin -
- October 1969 (Thank You).
Released - December 10, 1969
#1 for weeks of February 14 and 21, 1970.
Another double A-sided single, and one where the two sides couldn't be more different. We have here, a song that's the last of the classic sound of Sly & The Family Stone. The other side, points in a darker and funkier direction. After having a successful #3 hit with "Hot Fun In The Summertime" and playing the Woodstock festival in August, the "Stone" set out shortly after to work on material for a planned album.
As it turned out, only two further songs were worked on and completed for the rest of the year: The two I'm reviewing here today. The first, "Everybody Is A Star", is a downtempo smooth-jazz number. Featuring all of the group's vocalists trading leads, the listener is thus, given a diverse look at the wide range of the group's vocal styles.
Musically, I wouldn't rank this song to be among the most exciting or groundbreaking of Sly's songs. The wordless lead vocals, which appear in the song's middle and fade-out do get a bit repetitive after a while. Still, the verse melodies as well as the aforementioned vocal trades do ensure that this song is a pleasant listen.
Well, now that you've listened to "Everybody Is A Star" - (You are listening to the songs as you read the reviews, right??), go listen to the other A-side, "Thank You", or as it's better known "Thank You (Falletinme Be Mice Elf Agin)". And no, that's not a typo, just a "Sly" way of writing "For Letting Me Be Myself Again".
If "Everybody Is A Star" is the triumphant, happy, and optimistic Sly & The Family Stone, then "Thank You" is the cynical, darker, and gritty side of the group that was starting to be born during autumn of 1969. During these closing months of the 1960's, The Family Stone, and especially Sly Stewart started using harder drugs such as cocaine. Lyrically, "Thank You" is a sarcastic statement about how the record companies and society wouldn't let the band have creative freedom and be themselves.
I hope the back story behind "Thank You" didn't scare you away as musically, it absolutely COOKS! For one, we've got real slap bass finally appearing on a pop record. Plus, the interplay between the guitars and horns is just plain awesome. Forget about any previous song I have called "Funky". This is real, genuine, grade A funk. This is a genre that wouldn't reach prominence until a few years later. Meanwhile, Sly & The Family Stone were capturing everything captivating about the genre in late 1969!
The only downsides to "Thank You" is it marked the beginning of a dry period for the band, one full of rampant drug use. It wouldn't be until 1971 that the now chemically transformed Family Stone began slowly working on new material. Nobody, not even any of you newcomers to Sly Stewart's music, could have expected just how radically different the group's next single would sound. Find out, when we reach 1971!
Final Verdict - "Everybody Is A Star" may be a fine smooth jazz number, but it is "Thank You" that I enjoy the most. It's got a tight and genuinely funky music track, and it show that Sly Stewart was much more than a one trick pony. Unquestionably, a well-deserved #1 hit in my book.
Coming Up Next - "Bridge Over Troubled Water" by Simon & Garfunkel.
Until Next Time, I'm Dr. Rock and I thank you fareadin' miblog agin -
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