1971 Reflection

     1971 proved to be an interesting year. Even though no glam rock songs managed to top the charts in 1971, the genre's ideals of "Standing out above the rest" certainly held through for many of the top songs. Many of the songs reviewed truly had their own unique sound. 

     Obviously, there is more to 1971 than just pop songs. This was a phenomenal year for progressive rock, early heavy metal, jazz-rock, and jam bands, to name a few genres. Of course, I am following the AM radio charts for this blog and naturally, much of these songs were too complex for what was in reality "The casual listener's radio". 

     Out of all the songs reviewed from this year, there were quite a few strong contenders for top song, and a few notably horrid ones as well. Let's start with the true top of the pops...

Best #1 Hit Song Of 1971 - "Maggie May" by Rod Stewart. 

     This was a tough choice, a very tough one indeed. About half of the songs reviewed from this year could have been chosen as the best. Naturally, I had to narrow my choices down. The full list of songs I eventually considered is - "Me And Bobby McGee", "Just My Imagination", "It's Too Late", "I Feel The Earth Move", and "Maggie May". 

     I decided to eliminate from the list the first two of those five, as they weren't written by their respective singers. I know that may seem like a cop-out, but I truly feel that in order for a song to be considered the best of one of the most creative music years, it has to come from the singer's own pen and paper. 

     So what made me chose "Maggie May" over the two Carole King selections? It was the lyrics and the music. The lyrics of "Maggie May" tell a story, and they are based on real life experiences that Rod faced. This adds a high amount of emotional resonance to the piece, which is a must for artistic music. 

     Finally, I just find the blend of instruments in "Maggie May" to be more diverse and unique-sounding. As I'm a very indecisive man, I'm sure I'll later change my mind. Either way, you can consider the two Carole King songs to be VERY close runners up. 

Worst #1 Hit Song Of 1971 - "Go Away Little Girl" by Donny Osmond. 

     Like this was even a contest! Only "Knock Three Times" and "One Bad Apple" came across as possible candidates for the worst #1 song of the year. I don't even need to go into detail as to why "Go Away Little Girl" is the worst of the worst. It is a nearly unlistenable, sappy, and screechy cover of an already mediocre song. It is a mistake, that should never have even left the recording studio. I'd rather listen to a marathon of "Everything Is Wonderful" and "Sugar, Sugar" than listen to more than 20 seconds of "Go Away Little Girl". 

Join me next month as we take on one of music's finest years. Progressive and glam rock reached their peaks, and soul music became smoother and groovier. As for pop music...we're in for a few surprises, both good and bad. We're going to get "Close To The Edge" and face the spiders from Mars. Let's pack our bags tonight...preflight, and take a walk on the wild side... back to 1972!

First Up For 1972 - "American Pie" by Don McLean. 

Until Next Time, I'm Dr. Rock and I'll see you in '72!

Song #271 - "Brand New Key" - Melanie

Recorded - July 1971

Released - October 1971

#1 for weeks of December 25, 1971 & January 1 and 8, 1972.

     We end 1971 with a rather unusual hit record. It's a song that, until a year or so ago, I had never before heard in my life. In fact, some of my younger views might be scratching their heads just as much. Do we have a buried gem on our hands, or a song that's best left buried under rubble? Well, for the first time on this blog, I'm not quite sure. Although I'm getting ahead of myself... Let's dial back a few years, shall we?

     Melanie is the stage name for New York-based folk singer Melanie Safka. In 1967, she released her first recorded work, and she found enough success by 1969 that she got a chance to perform at Woodstock. Out of this experience, she wrote the powerful folk rock number "Lay Down (Candles In The Rain)". This song showcased her wide vocal range as well as her rather mystical songwriting skills. 

     Yet, there was another side to Melanie: That of a vintage pop singer. This is evidenced not only in her song "Look What They've Done To My Song Ma" but also her only #1 pop hit, "Brand New Key". When you compare "Lay Down" to "Brand New Key", the latter sounds worlds away from the hippie dreamscape she painted in "Lay Down". "Brand New Key" managed to alienate much of her earlier audience, while at the same time getting her recognition on the pop charts. 

     I'm really not sure what to make of "Brand New Key". The song can't really be pigeonholed into one genre. Jug band polka pop...perhaps?? The overall sound is more novelty than sincere and deep. It is as if Mungo Jerry's "In The Summertime" got transported back to the 1930's, and reinterpreted by a vaudeville band from that time period. 

     Where I'm really divided is Melanie's vocal performance. She does some rather interesting vocals on the song's chorus, sounding like a cross between talk-singing and borderline yodeling. Either this is a great vocal and I just haven't let it sink in, or it's a less-than-average song and It's just a guilty pleasure. I'll give the song credit, it continues the reoccurring trend of 1971 which is that many pop songs have their own unique sound. 

Final Verdict - I'm still not sure whether I truly like "Brand New Key" or not. No matter the verdict, I'd still rank "Lay Down" as a far superior song. "Brand New Key" has a unique sound and one of a kind vocals, but it just comes across as a bit too novelty much of the time. What's your opinion on this tune? 

Coming Up Next - 1971 Reflection. 

Until Next Time, I'm Dr. Rock and I've got a brand new key - 

Song #270 - "Family Affair" - Sly & The Family Stone

Recorded - sporadically, throughout 1971

Released - November 6, 1971

#1 for weeks of December 4, 11 and 18, 1971.

     It's been quite a while since Sly & The Family Stone made an appearance on this blog. What is unusual is that "Family Affair" is chronologically the next Family Stone single after 1969's "Thank You". So just what was going on with Sly and co during this period of inactivity from late 1969 through early 1971? To make a long story short, drugs...lots and lots of hard drugs.Starting in 1969, much of the band members became heavily addicted to cocaine and PCP. 

     By 1970, this heavy drug use had taken a hard toll on Sly. During a 1970 TV appearance, the once smiling and happy frontman had a sullen and withdrawn look and personality. There were no recordings made throughout all of 1970 and it wasn't until 1971 that Sly began work on what would prove to be a monumental album: There's A Riot Going On. Included on the album was the Stone's fourth and final #1 pop hit - "Family Affair". 

      The recording of "Family Affair", and indeed much of the "Riot" album, was highly unorthodox. It was recorded mostly by Sly alone, in his mobile home. The only other member of Sly & The Family Stone to appear on the recording is Rose, on vocals. The drums are provided by a drum machine, which was a rarity in this time period. The record also has a scratchy and distorted quality to it. This is due to Sly constantly re-recording and erasing tracks on the record as he built the song up throughout 1971.

     But how is the song overall? It's frickin' brilliant I tell ya! 

     The dark sludgy sound of the recording? It's a groundbreaking new sound that opened up doors for the soul genre during the 1970's. Due to the song's fixed drum-machine drum beat, you could almost call this song proto-disco. The organ part of the song is played by keyboard wizard Billy Preston, and this adds a jazzy element to the piece. 

     Besides the drum machine and thumping bass-line, Sly gives this record a rather unusual vocal performance. When I first heard this song, his sleepy voice was rather off-putting. Compare this song to any of the Family Stone's earlier works and it's like "Family Affair" comes from another dimension. As I've grown used to the song and the album as a whole, the vocals now come across as delightfully raw and gritty. 

     They lyrics, which bring up both the positives and negatives of family life, could perhaps be a metaphor for the tensions that were arising between Sly and his bandmates. The whole "Riot" album features similar themes, yet this more mature lyrical and musical sound didn't prevent the album from becoming such a huge hit. 

     Following the split of the "Stone" in 1983, there have been a few partial reunions of the group over the years. One infamous full reunion from the 2007 showcased Sly at his worst. His current image and border-line homeless lifestyle is disturbing to say the least. I for one hope that he gets help, before it's too late. 

Final Verdict - Putting aside the condition that Sly was and still is in, I'd rank "Family Affair" as a dark and foreboding soul masterpiece. It was a rapid change in direction that ended up paying off handsomely. Check it out for yourself as it's quite a unique sounding record. 

               Last Up For 1971 - "Brand New Key" by Melanie. 

       Until Next Time, I'm Dr. Rock and my blog is a family affair - 

Song #269 - "Theme From Shaft" - Isaac Hayes

Recorded - mid 1971

Released - July 1971 (album), September 1971 (edited single)

#1 for weeks of November 20 and 27, 1971. 

     Stax Records was known for producing many of the biggest names in soul music. One of those was soul music legend Isaac Hayes. Nowadays most kids and young adults born after 1980 know Isaac best as the voice of "Chef" from South Park. Yet, Isaac was so much more than that, as you'll soon find out...

     Isaac joined the Stax label in the early 1960's as a session musician and songwriter. Some of his songwriting credits include such Sam & Dave classics like "Hold On, I'm Commin'" and "Soul Man". Then in 1969, Hayes released his first solo album, Hot Buttered Soul and everything changed. 

     If you want a perfect example of how to cover a song, not only improving it, but actually adding emotion, then check out Hayes' reworking of Jimmy Webb's "By The Time I Get To Phoenix". This is unquestionably one of the greatest soul ballads of all time. Throughout the next three years, Isaac enjoyed an immense amount of success with his records, but it was his soundtrack album to the 1971 film Shaft that launched his already high career into the stratosphere. 

     Here we have a rare example where the soundtrack of a film has surpassed the film itself in popularity. If you watch the opening titles of the film and compare that version of "Theme From Shaft" to the album/single version, you'll find they are two different recordings, yet they sound quite similar. Although it is the edited single version that topped the charts, I'm listening to the full album version and I'd highly recommend that this be the version you check out yourself. 

     Just like "I Want To Hold Your Hand" seven years previous, "Theme From Shaft" could be considered one big hook all the way through. The song opens with drummer Willie Hall's hi-hat drum beats and guitarist Charlie Pitts gives us a funky wah-wah guitar part. Even in the single edit of the song, we have quite a bit of time devoted to building up atmosphere with new instruments being added every few seconds. You could have released just the full intro as the song and it would have been a classic instrumental tune.

     Then, we're finally introduced to the unique bass voice of Isaac Hayes. The song's lyrics may pertain to a film, but Isaac was able to make such seemingly unimportant lyrics mean something due to his highly emotive voice. Speaking of the lyrics, they are quite risque, even for 1971. I view this of course as a good thing and a perfect sign that we are progressing with the times. 

    After the early 1970's, Hayes continued to put out albums, many under his "Hot Buttered Soul" record label. Still, it is the 1969-1972 time period that gave him his biggest chart hits. Even after his death in 2008, people are still discovering some of the many Grade-A soul albums he recorded throughout his career for the first time, thus ensuring his legacy will live on.  

Final Verdict - Isaac Hayes' Shaft  soundtrack is a top contender for greatest soundtrack album of all time. The title tune itself is musically complex and captivating. Isaac's vocals are gripping and the epitome of soul. Don't overlook this tune just because it was tailor-made for a film. This is a classic, and a well-deserved chart topper. 

            Coming Up Next - "Family Affair" by Sly & The Family Stone. 

Until Next Time..."Who's that Doc as sharp as a bone, with puns so bad they make you groan?...ROCK!"

Song #268 - "Gypsys, Tramps & Thieves" - Cher

Recorded - June 9, 1971

Released - August 3, 1971

#1 for weeks of November 6 and 13, 1971. 

     It's been six years since they managed to reach #1 with "I Got You Babe", but now we return to the music career of Sonny and Cher. By 1971, the duo had fallen out of the popular conscious. With the arrival of the Sonny & Cher Comedy Hour and Cher's "Gypsys, Tramps & Thieves", a comeback was imminent. Couple this with her first of Cher's many image changes and the wheels were set in motion for the glamour-centric singer most know Cher by today. 

     Of course, "Gypsys..." wasn't written by Cher, or even Sonny Bono for that matter. The tune was composed by Bob Stone, who isn't exactly a well-known songwriter. True to the song's title, the music has a rather haunting and minor-keyed gypsy and eastern-European sound. It certainly makes the tune stand out a bit compared to other pop songs being released during the year. 

     Even though Cher isn't singing from experience, her husky alto voice combined with her flashy image are a perfect match for the song's lyrical content. Say what you will about the campiness of Sonny & Cher but she could certainly carry a tune back in the day. We're still miles away from the robotized auto-tuned vocals of "Believe". 

     Still, I imagine the reason this record managed to top the charts had more to do with image, rather than the song itself. Cher was known throughout the 1960's for dressing like a hippie as far back as 1965. Now, take a look at her live performance of "Gypsies..." from the Sonny & Cher Comedy Hour. She has a big hairstyle, heavy makeup, and a loud outfit. It's all quite a contrast from the carefree hippie days. 

Final Verdict - Whether "Gypsys, Tramps & Thieves" topped the charts because of image, or because of music, I'd still rank it as an interesting and entertaining song. It's a departure from what I'd normally listen to, but I find the instrumentation as well as Cher's vocal performance to be well-suited together. Even if the mere mention of Sonny & Cher gives you the shudders, I'd still recommend giving the song an unbiased listen. 
            
               Coming Up Next - "Theme From Shaft" by Isaac Hayes. 

      Until Next Time, I'm Dr. Rock and I'm a nomad, wanderer & swindler - 

Songs 266 & 267 - "Maggie May" and "Reason To Believe" - Rod Stewart

Recorded - January, April and May, 1971 (both songs)

Released - May 1971 (album), August 6, 1971 (single)

#1 for weeks of October 2, 9, 16, 23 and 30, 1971. 

     Now that's more like it! Enough of little Donny Osmond's shrill voice, it's time to bring out Rod Stewart's distinctive smokey voice! Rod began his music career in the 1960's, releasing his first record in 1964. Much of his early work consisted of soul-flavored covers, with the occasional original thrown in. In 1969, the mod group, The Small Faces, "faced" the resignation of their lead singer Steve Marriott. Rather than split up, Rod joined the newly re-titled "Faces" as their new singer along with future Rolling Stone, Ronnie Wood, on guitar. 

   Now, it's nothing out of the ordinary for a band member to have a solo career while they still belong to the group. However it is a bit rarer for their solo career to launch them into superstars. Well, that's exactly what happened in 1971. While Rod was still deep within his tenure in the Faces, he recorded and released his third solo album, Every Picture Tells A Story. When two of the albums' tracks were released as a double A-side in the states, Rod found himself with an unexpected five week chart topping smash. 

     First up, we have the Rod Stewart/Martin Quittenton composition, "Maggie May". The uplifting sound of mandolins acts as a blanket, which adds a layer of warmth to the entire song. Most of the guitar parts as well as the rather melodic bass guitar are played by none other than Ronnie Wood. Small Faces/Faces keyboardist Ian McLagan adds a restrained yet shimmering organ part. We're just a Ronnie Lane and Kenney Jones short of this being an authentic Faces tune. 

     Besides the music, we have Rod's unmistakable voice telling us a tale of a taboo relationship that leaves the singer in shambles. If this song wasn't based on a true story, I'd almost say it was inspired by The Graduate, but again, this isn't the case. It is this sincerity and honest raw emotion that makes the song a strong one in my eyes. 

     "Reason To Believe", the reverse side of "Maggie May", was written by folk singer Tim Hardin in 1965. Several other artists had attempted this song including The Youngbloods of "Get Together" fame. Unlike much of these earlier covers, Rod's has a much less pronounced folk sound, and more of a bluesy rock ballad feel. 

     Both "Reason" and "Maggie" feature prominent organ lines and a similar straight 4/4 beat. "Reason" differs from its flipside by including a prominent stand up string bass, piano, and violins. This later element adds a bit of a Celtic feel to the arrangement. There are also several neat touches such as an acapella middle section, which adds extra tension to the piece. Overall, good stuff. 

     Rod would have an interesting solo career, to say the least. He released some great albums, some interesting genre experiments, and some rather awful 1980's albums. Out of this body of work, several songs managed to top the US charts, thus forever canceling any possibility of Rod being a one hit wonder. 

Final Verdict - Both "Maggie May" and "Reason To Believe" feature a musically interesting backing track and convincing vocal performances. I'd rank "Maggie" as the better of the two, not just because it's a Rod original, but I feel it's the style that suits him best: Pure, honest first person storytelling. Either way, I'd certainly rank this double A-side as one of the highlights of the 1971 pop charts. 

          Coming Up Next - "Gypsys, Tramps & Thieves" by Cher. 

Until Next Time, I'm Dr. Rock and now I have a reason...to believe there are still great songs left to review - 

Song #265 - "Go Away Little Girl" - Donny Osmond

Recorded - spring or summer, 1971

Released - July 1971

#1 for weeks of September 11, 18 and 25, 1971. 

     As much as I have strived for perfection with every blog entry, there are many times I have wished to go back and be tougher on some of my early reviews. Certain songs from the divided early 1960's got off rather easy upon my first reviewing. Take Steve Laurence's "Go Away Little Girl" for instance. I didn't exactly praise the song, but I should have been more blunt: It's a terrible song, that makes you feel highly uncomfortable after just one listen. 

     So you can imagine my disappointment that not only do I have to review a second version of the song, but it's one by Donny Osmond nonetheless. Now, Donny has redeemed himself in recent years, singing the iconic "I'll Make A Man Out Of You" from Disney's Mulan. But back in the early 1970's, he was a bubblegummy teen idol, loved by teenage girls and abhorred by teenage guys. Sound familiar? Just replace Donny with any modern day teenage male pop star. 

     Still, I shouldn't judge a book by its cover. Perhaps this cover version of "Go Away Little Girl" will come across as less creepy and stalker-ish as the original. Let's find out...                             

   (...three listens later...)

   Ugg...oh my...get me some ear bleach! I think we've hit a new low here on this blog. This song came out when Donny was 14, so I was HOPING his voice had matured by then. Now, I've already heaped praise on young Michael Jackson's voice. However, Donny isn't a Michael. There are numerous times when Donny sounds like he's either straining for the high notes or just plain screaming. It is extremely grating and unpleasant on the ears.

     The music, oh god the instruments... It's all so schmaltzy and saccharine, taking all of the easy-listening pop elements and adding an overdose of kiddie pop. I feel downright embarrassed listening to this, not just for me, but for all those who were alive in 1971 and had to listen to this on the radio, or out of their little sister's record player. I don't know what else to say other than, it's downright scary that this reached the top spot for three weeks. 

Final Verdict - Donny Osmond's version of "Go Away Little Girl" blends a painfully high pitched vocal with a music track that makes the music on a children's TV show sound like Metallica by comparison. This cover version of an already awful Steve Laurence version of the song takes the cake. This is the absolute worst song I've had to review so far. The scary thing is, things are about to get even worse as we go through the years...

   Coming Up Next - "Maggie May" and "Reason To Believe" by Rod Stewart. 

Until Next Time, I'm Dr. Rock and I wish that "Go away little girl" would go away, far away - 

Song #264 - "Uncle Albert/Admiral Halsey" - Paul & Linda McCartney

Recorded - November 6, 1970 - January 1971

Released - May 17, 1971 (Album), August 2, 1971 (US-only single)

#1 for week of September 4, 1971. 

     After the Beatles split up in April of 1970, Paul McCartney entered a deep and dark depression. When you take into account the fact that he was losing his closest friends of the last decade, losing the band that had made him famous, and losing the respect of those who assumed he was solely responsible for the split, it would have been hard for Paul not to feel at least a little down. 

     While he was decamped in his Scottish farm, with Linda and their kids, Paul began writing and demoing new material. By October of 1970, he had amassed enough songs to begin work on a second solo album, and his first since leaving the Beatles. Paul and his family temporarily moved to New York to begin sessions for what would become Ram.

     If you read any of the early reviews of the Ram album, many critics went right to the jugular and criticized every little thing about the record. Even the three other Beatles were unusually harsh with their criticisms. Perhaps this was due to the lengthy court case that Paul held to legally break up The Beatles. When you read stories about the other three Beatles going as far as to throwing a brick through Paul's London home during this time period, it's easy to assume that Paul wasn't exactly well-liked by many during 1971. 

     However, go read the reviews of the recently re-released box-set version of Ram. The critics absolutely praise the album, and for good reason, it is one of the most underrated and diverse-sounding solo Beatle albums. One song from the album, "Uncle Albert/Admiral Halsey" was released as a single in the US only. With an ex-Beatle listed as the co-writer of the song, a #1 chart position was practically a given. But is this really a deserved chart topper? Let's find out...

     Although "U.A/A.H" is listed as a two part song, it is actually comprised of several song segments all blending into one. Sound familiar? It should as this is exactly what the side 2 medley of Abbey Road is. "Uncle Albert" has a mild psychedelic undertone to it, not unlike Paul's complex Sgt. Pepper productions. Finally, the use of flugelhorn and the nautical theme are a throwback to "Yellow Submarine". Thus, "U.A/A.H" is Paul's last psychedelic stand.

     One thing that is undeniable about "Uncle Albert/Admiral Halsey" is that it is quirky with a capital "Q". Much of the record has a very non-serious and often whimsical quality to it. In fact, this is what some who hate the record have used as their argument for why they dislike it. But it would be a crime to simply dismiss this record as a novelty track. No, there's much more to ol' Uncle Albert... 

      The "Uncle Albert" section of the song has a much more melancholic feel than the second half of the piece. This is enforced by several natural and unnatural sound effects. There is a thunderstorm, as well as Paul imitating a ringing telephone. An extremely deep bodied string and brass section brings the lonely feeling of the song to the surface. The vocal blend of Paul and Linda works really well, and I've always been baffled by critics who were unjustly harsh on her vocals for the album. 

     All of this somberness is blown away by the "Admiral Halsey" section. We have bright instrumentation, powerful octave guitar parts, and some flugelhorn thrown in for an extra nautical feel. There are also numerous singalong segments, from the "Heads across the water" choruses, to the saloon piano "Live a little" bridges. This isn't a simple novelty song, this is a complex suite that only a Beatle could do perfect justice. 

     Lyrically, the song is entirely up to your own interpretation, and there are several theories floating around in books and the internet. As for me, I assumed "Uncle Albert" to be a metaphor for the other three Beatles. The extremely sad sounding first half and the heavy thunderstorm? This is Paul's depression and anxiety at bitterly leaving his Beatle brothers. The "Admiral Halsey" section is him getting up reluctantly, to carry the torch and continue this trail via the "Rough Seas" of a solo career. 

     Regardless of the success or failure of "Uncle Albert/Admiral Halsey", Paul yearned to be in a true band again. So during the summer, he, Linda, Denny Laine, and Ram drummer Denny Seiwell formed Wings. How well this band holds up to the Beatles is up to your own opinion. Either way, Wings had several #1's over the 1970's that you can be sure I'll cover when they fly my way. 

Final Verdict - "Uncle Albert/Admiral Halsey" is one of Paul's more complex numbers. It is a perfect blend of heavy production and carefree whimsical singalongs. If you've never been a fan of this song, I'd highly recommend examining it like I did, with an open mind. Due to the sheer fact that this song sounds like nothing else released in 1971, I'd consider its chart topping status to be well-deserved. 

            Coming Up Next - "Go Away Little Girl" by Donny Osmond. 

         Until Next Time, I'm Dr. Rock and I'm so sorry...uncle Albert - 

Song #263 - "How Can You Mend A Broken Heart" - The Bee Gees

Recorded - January 28, 1971

Released - June 1971 (UK and US)

#1 for weeks of August 7, 14, 21 and 28, 1971. 

     "The Bee Gees", a name that strikes terror into the ears of disco haters everywhere. The minute you mention their name to a casual music fan, they instantly picture leisure suits, disco lights, and abnormally high falsetto voices. For years, I thought this exact way too. Then one day, I casually stumbled upon their 1967 single "New York Mining Disaster 1941". Lo and behold, there wasn't a single falsetto voice or disco drum beat anywhere in sight. This was classy and catchy Beatle-esque pop rock. That song was the catalyst that led to me changing my opinion about the Brothers Gibb entirely. 

     The Bee Gees started their music career in Australia when they were all still pre-teens. Their very first single release from early 1963 featured two songs entirely written by a then-sixteen year old Barry Gibb. Over the years, the Bee Gees added more of a rock element to their music, and just as they jumped on a boat back to England, they also jumped right onto the psychedelic bandwagon. Their third album, confusingly titled Bee Gees 1st, is a psychedelic/baroque masterpiece. Give it a full listen and you'll be surprised that this was the same band that went full disco just 8 years later.

     For the rest of the 1960's, The Bee Gees continued to release album after album, many of which are quite underrated. However, in 1969, Robin Gibb had a falling out with his brothers and by 1970, the Bee Gees essentially broke up. Later on in the year, the three made amends and wrote several new songs celebrating this reconciliation. One of these, "How Can You Mend A Broken Heart", was recorded for their 1971 album Trafalgar. It wound up being the brothers' first of many US #1 pop hits.

     On the surface, the lyrics of "How Can You Mend A Broken Heart" deal with a man asking a woman to help cure his heartbreak. Dig deeper and the lyrics are revealed to be about the arguments and fights that the brothers had amongst each other during the previous two years. I find I appreciate the song even more with this back story in mind. 

     Musically, we have Barry on guitar and multi-instrumentalist Maurice on guitar, bass and keyboards. As is the case with many of the Bee Gees' earlier ballads, there is a full bodied string section. Unlike several other soft-pop songs, these strings act as a natural enhancement to the song's emotionally driven vocals. 

     Yes, it was vocals that the Bee Gees are most noted for, even back in the pre-falsetto days. Barry, Robin and Maurice had quite distinctive voices, and the former two brothers sing lead vocals on the record. Maurice joins the duo on harmonies for the song's powerful choruses. Overall, the Bee Gees created quite a rich sound when singing in harmony, using their natural singing voices. 

     One year after "How Can You Mend A Broken Heart" became a US hit, the brothers moved to the U.S. permanently. They would spend the next two and a half years trying to find a new sound. Nobody, not even perhaps the brothers themselves, could have predicted what their sound would morph into starting in 1975...

Final Verdict - "How Can You Mend A Broken Heart" is a rather emotionally resonant soft pop song. It has powerful lyrics and vocals, all set to a rich music track. This song remains one of the many examples that The Bee Gees were more than just "Those disco guys". If you've never heard this song before, give it a listen yourself and prepare to be shocked. 

  Coming Up Next - "Uncle Albert/Admiral Halsey" by Paul & Linda McCartney. 

Until Next Time, I'm Dr. Rock and I'm going back to Maaa-ssachusetts, to mend a broken heart - 

Song #262 - "You've Got A Friend" - James Taylor

Recorded - January 1971

Released - March 16, 1971 (album), May 1971 (single)

#1 for week of July 31, 1971.

     Musically, 1971 brought several new genres of music to the surface of the mainstream. One of these was the singer/songwriter genre. While there already had been numerous artists who had emulated this style in years previous, there was a noticeable surge in popularity during the first half of the 1970's. Some of the most noteworthy artists of the genre included Carole King, Paul Simon, Joni Mitchell and of course, James Taylor. 

     James Taylor was certainly among the more mellow of the early 1970's singer/songwriters. As a consequence, he is often labeled as "Easy-Listening". While this isn't exactly an inaccurate statement, I don't like labeling James on the same lower rung as many of the schmaltzy soft pop singers I've already reviewed thus far.

     Taylor was born in North Carolina, and grew up widely influence by folk pioneers such as Woody Guthrie. By 1967, he had moved to London and his demos caught the attention of Paul McCartney. After being signed to The Beatles' Apple label, Taylor released his self-titled debut album which featured an early version of his classic ,"Carolina In My Mind". 

     By 1969, Taylor had moved back to the states and switched to Warner Brothers Records. In 1970, he released his seminal Sweet Baby James album which contains his timeless, "Fire And Rain". One noteworthy guest musician on this album was Carole King. James would return the favor and appear on her Tapestry album one year later. It was during these Tapestry sessions that James recorded his own version of one of Carole's originals, "You've Got A Friend". 

      The musical arrangement on "You've Got A Friend" is sparse and minimalist. Just acoustic guitars, bass, and gentle percussion. James mostly sings solo, although around the middle song he adds some harmony vocals on top of his lead. Towards the end of the song, Carole King herself adds additional harmony lines, which creates a nice vocal blend. 

      "You've Got A Friend" is quite an appropriately titled song, seeing how the version that hit #1 was literally a friend covering a friend's song. While this would be James Taylor's only #1 pop hit, he would continue to produce numerous classics over the years including a more laid-back re-recording of "Carolina In My Mind". Taylor continues to play and record a mixture of new compositions and classics to this very day. 

Final Verdict - "You've Got A Friend" is among the more mellow offerings from 1971. Nonetheless, the musical and vocal arrangements have a very "Human" quality to them. There's no pretentiousness, it's just a guy with a guitar and a small backing band. And sometimes, that's all a song needs to sound good in my eyes. 

  Coming Up Next - "How Can You Mend A Broken Heart" by the Bee Gees. 

     Until Next Time, I'm Dr. Rock and whether it be winter, spring, summer, or fall, all you've got to do is call, and I'll come runnin' - 

Song #261 - "Indian Reservation" - The Raiders

Recorded - early 1971

Released - February 12, 1971

#1 for week of July 24, 1971. 

     "Listen my children and you shall hear, of the musical career of Paul Revere. For those of you born in 1974 or later's, I am of course referring to Paul Revere and the Raiders". 

     The Raiders were an Idaho-based band led of course by piano player Paul Revere. The group put out their first records as far back as 1960, and featured one of the most revolving-door band lineups in music history. I'm not even going to try to document all the members that have been in this band as this review would take up pages and pages. For all intents and purposes, it is Paul Revere and singer Mark Lindsey that were the core of the band. 

     Although The Raiders are very much an "Oldies" group, they did score several smash hits that have aged rather well. Much of The Raiders' chart material ranges from garage rock, "Just Like Me", "Steppin' Out", "Good Thing", to entertaining but unoriginal numbers (The Rolling Stones-esque "The Great Airplane Strike"). The group never exactly went psychedelic, instead they went more of a bubblegum rock route for the last few years of the 1960's. By this point, the hits were starting to dry up, and it would seem that the band was finished. 

     In 1971, Mark Lindsey recorded a cover of John D. Loudermilk's "Indian Reservation", as an intended solo single. The song ended up being credited to just "The Raiders" as Paul Revere had no involvement in the recording. In an unexpected twist of fate, the song crept its way up to the top of the pop charts, and gave these Idahoans their first and only #1 hit. 

     Mark Lindsey based his cover off of another cover version, by English singer Don Fardon who had been a member of the British garage rock band The Sorrows. If you listen to the latter band's "Take A Heart", and compare it to "Indian Reservation", you can hear several musical similarities. 

     The instrumental backing of "Indian Reservation" is actually quite complex. "Indian Reservation" features a strong drum track, that makes liberal use of tom toms and bass drums. However, the ever present string section can be a bit over the top at times. Because of this aspect as well as the song's historical overtone, I'm not really sure what genre to classify the tune as. Historical pop perhaps? 

     I find personally that the Don Fardon version best captures the sorrows the Native Americans faced. Regardless, The Raiders do a fine interpretation of the song, even if I find their vocal performance to be a bit too showband-ish at times. 

     One major issue that prevents me from calling this a stone cold classic is the sheer lack of authenticity. The Raiders, as well as composer John Loudermilk weren't even remotely Native American. In essence, they are singing about a topic that never directly affected them. The song is thus, an outsider's perspective, on another group of people. 

     Yet, we have come a long way since "Running Bear" and "Mr. Custer". Both songs have already been covered on this blog, and both are a bit uncomfortably non P.C. in terms of the portrayal of Native Americans. By contrast, "Indian Reservation" is a more respectful telling of one of the darker moments of American history.

     "Indian Reservation" would end up being The Raiders' last hit. By 1973, none of their single releases even charted. Despite this lack of future success, Paul Revere alone remains from the original group and he and his current Raiders continue to provide their audience with more than a few "Kicks". 

Final Verdict - "Indian Reservation" is certainly a unique sounding entry to the 1971 pop charts. Still I find myself preferring The Raiders more garage-rocky hits from 1965-1966. Perhaps with a less over-the-top string and vocal arrangement, this could have been an even better song. As it stands, the song is certainly worth a listen.

             Coming Up Next - "You've Got A Friend" by James Taylor. 

Until Next Time, I'm Dr. Rock and I feel like kicks just keep getting harder to find - 

Songs 259 & 260 - "It's Too Late" and "I Feel The Earth Move" - Carole King

Recorded - January 1971 (both songs)

Released - February 10, 1971 (album), April 16, 1971 (single)

#1 for weeks of June 19 and 26 & July 3, 10 and 17, 1971. 

     Carole King has popped up a few times on this blog throughout the 1960's. "Will You Love Me Tomorrow", for example, was written with her then-husband Gerry Goffin and given to The Shirelles. Additional non-chart toppers that Carole "Gave Away" are "You Make Me Feel Like A Natural Woman", "Goin' Back" and "Up On The Roof". 

     Carole put out several singles under her own name throughout the 1960's. However, none of these songs ever managed to crack the top 20. Even Carole's first full-length album, 1970's Writer, only got as high as 84 on the albums chart. It was her second album, 1971's Tapestry that launched her from simple songwriter to superstar songstress. 

     Containing a blend of newly recorded versions of her previous hits, as well as brand new material, Tapestry remains a key album of the early 1970's singer-songwriter movement. In addition to Tapestry itself reaching #1 for 16 weeks, a double A-sided single containing tracks from the album topped the pop charts for five weeks. 

     The first half of this double A-side, "It's Too Late", features music by Carole and lyrics by Toni Stern. Simply put, the song is a perfect piano-based ballad, with hints of jazz and rock and roll. The jazz element comes from the saxophone and jazzy piano chords. The electric guitars are what give the song a rock vibe. 

     Besides the stellar instrumental track, the actual melody of the song is one of the greatest of the era. Carole really was a voice that needed to be heard and she gives "It's Too Late" a convincing and emotion-filled performance. All of the harmony vocals are performed by her as well and these are put on full display during the song's incredibly catchy chorus. 

     Then we have "I Feel The Earth Move", composed entirely by Carole. If "It's Too Late" is a cool and refreshing dip into the pool of jazzy piano pop rock, then "I Feel The Earth Move" is a hot and energetic summer night. Musically, the song is much more grounded in rock and roll, with piano still remaining the dominant instrument.  

     Carole's vocals performance in "I Feel The Earth Move" is passionate and has a sense of urgency. She delivers the song in a rather soulful manner, which is appropriate considering several prominent soul singers had hits with her material. Having this song placed as Tapestry's opening track is no doubt what helped the album sell so many copies. 

Final Verdict - Both "It's Too Late" and "I Feel The Earth Move" are equally magnificent piano and vocal workouts by one of the greatest songwriters of the 20th Century. A well-deserved double chart topper, and one of the finest pop songs of '71. 
             
            Coming Up Next - "Indian Reservation" by The Raiders. 

    Until Next Time, I'm Dr. Rock and I feel the Earth move under my feet - 

Song #258 - "Want Ads" - The Honey Cone

Recorded - early 1971

Released - March 1971

#1 for week of June 12, 1971. 

     After Motown Records' premier songwriting team of Holland-Dozier-Holland left the label in 1968, the trio formed Hot Wax Records. The label was still based out of Detroit Michigan, but was completely unaffiliated with Motown. In spite of this separation, many of the artists signed to Hot Wax had hits with some very Motown-soundalike songs. Case in point, "Want Ads" by The Honey Cone. 

     Formed in 1969 and fronted by lead singer Edna Wright, it's hard not to draw comparison's to Holland-Dozier-Holland's previous protege's, The Supremes. We have a vocal trio, who rely on outside songwriters, and who's music emulated the current R&B vocal bands of the day. While it wasn't their only single to reach a high position on the pop charts, "Want Ads" became their only #1. 

     Musically, the first sound that comes to mind upon hearing "Want Ads" is The Jackson 5. "Want Ads" is very similar to songs such as "I Want You Back" and "ABC". They are all in the same key and tempo, feature moments of the song where certain instruments drop out, and Edna Wright's vocal range is nearly identical to pre-pubescent Michael Jackson. 

     The lyrics, on the other hand, would never have been sung by The Jacksons. "Want Ads" metaphorically addresses searching for a new man in the guise of putting an ad out in the paper. If this was the 1960's, I could easily see this being a Supremes song as these themes were what Diana Ross and co usually sung about. 

     My main concern with "Want Ads" is that is offers nothing new to the table. The sound, lyrics, and overall tone have all been done before. This may not be The Honey Cone's only hit, but it's hard not to classify them as a one hit wonder nonetheless. Unless you offer something fresh, you're only hit may not be as well-remembered in later years.

Final Verdict - "Want Ads" is a rather derivative and tried and true single. With that being said, if you love the sound of The Jackson Five and The Supremes, you'll certainly dig "Want Ads". It's not original, but if you know what to expect, it's a song you'll certainly enjoy. 

 Coming Up Next - "It's Too Late" and "I Feel The Earth Move" by Carole King. 

            Until Next Time, I'm Dr. Rock and I'm a want ad reader - 

Song #257 - "Brown Sugar" - The Rolling Stones

Recorded - December 3 and 4, 1969 & April 24, 1970

Released - April 16, 1971 (UK), April 23, 1971 (US)

#1 for weeks of May 29 and June 5, 1971. 

     The Rolling Stones continued their late '60's/early '70's creative peak with their classic Sticky Fingers album. Primarily recorded over a sporadic period of 10 months, the album features such classics as "Can't You Hear Me Knocking", "Wild Horses", "Bitch", and of course the reason I'm writing this blog post in the first place: "Brown Sugar". 

     Lyrically, "Brown Sugar" was the most salacious pop song to top the pop charts yet. Just imagining this song being released in say, 1962, makes me chuckle at just how much it would have upset the apple cart of clean cut America. Underneath some of the song's more potent lyrics, "Brown Sugar" was a love song for Mick Jagger's then-girlfriend Marsha Hunt. 

     What makes "Brown Sugar" stand out, (Besides the already mentioned lyrical content), is the music. There are several standout guitar riffs present in the piece. Another highlight is the selective use of instrumentation. In addition to the standard guitar/bass/drums, there is occasional piano, saxophone, and castanets used strategically during the song. You're not hearing all of these elements at once and as a result, the song never feels dull.

     The Stones would spend most of 1971 and early 1972 recording their first double album, Exile On Main Street. While this album contains numerous classic tracks such as "Tumblin' Dice" and "Happy", sadly none of the album's songs peaked at #1. As for 1973's Goat's Head Soup, we've got to pay a visit to "Angie"...

Final Verdict - "Brown Sugar" remains a stone cold Stones classic for a reason: It's a potent mix of spicy lyrics and a sweet music track. A winning combination in my eye, and one of the most truly "Rock and roll" numbers to top the pops. 

                  Coming Up Next - "Want Ads" by The Honey Cone. 

     Until Next Time, I'm Dr. Rock and wild horses couldn't drag me away - 

Song #256 - "Joy To The World" - Three Dog Night

Recorded - summer or fall, 1970

Released - November 18, 1970 (album), February 1971 (single)

#1 for weeks of April 17 and 24 & May 1, 8, 15 and 22, 1971. 

     "Jeremiah was a bullfrog...was a good friend of mine": One of the most iconic and instantly recognizable intro lyrics of all time. Three Dog Night's "Joy To The World", written by songwriter Hoyt Axton became their second #1, and was ranked by Billboard as the top single of the year. But was the song really worth its hit status, and did it deserve six weeks at the top? Find out...right now...

     Unlike some of Three Dog Night's earlier hits such as "One" and "Mama Told Me Not To Come", "Joy To The World" features all of the members of Three Dog Night on vocals. This includes not just the trio of Hutton/Negron/Wells but also the four instrument-playing members of the group. Yes, it's easy to assume that the band Three Dog Night had seven members total. This added amount of vocalists contributes greatly to the song's singalong and anthemic quality.

     Musically, "Joy To The World" is heavily keyboard-based. Whether it be the electric organ in the intro, or the keyboard solos in the middle of the piece, this is a keyboard lover's paradise. We also have an unexpected key change near the end of the song and a few counter-melodies going on in the vocals. Overall, lots of goodies for both the casual and complex music fan. 

     Finally we have the lyrics. Three Dog Night are on record as calling this a "Silly" and "Childish" single. The lyrics are often nonsensical, not unlike "I Am The Walrus". It is not a lyrically profound song, but I wouldn't rank this in a low novelty category either. No novelty song would have such strong lead vocalists or a borderline hard rock music track. This is a rare case where "Silly and childish" is welcomed with open arms. 

Final Verdict - I personally wouldn't rank "Joy To The World" as the best pop single of 1971. However, I can't deny the enjoyment that I get out of hearing it. "Joy To The World" may not be as lyrically complex as say, something by Bob Dylan, yet it's got an outstanding vocal track and a rich music track. A highly enjoyable song that belongs in your record collection. 

               Coming Up Next - "Brown Sugar" by The Rolling Stones. 

                     Until Next Time, I'm Dr. Rock the bullfrog - 

Song #255 - "Just My Imagination (Running Away With Me)" - The Temptations

Recorded - November 24 and December 3, 1970

Released - January 14, 1971

#1 for weeks of April 3 and 10, 1971. 

     One of the celebrated trends of artistic music was to always progress forward with your sound. Even some of the more craftsman-like pop/soul labels like Motown had kept with the times and added a psychedelic sheen to their artists' hits. From 1968 until 1970, just about every Temptations song was a psychedelic soul number. 

     So what happens when songwriters Norman Whitfield and Barrett Strong wanted to be "Goin' Back to the sound they knew so well enough", back in 1964? We got "Just My Imagination", my personal favorite Temptations song, and perfect counterexample to the "Progress with your music" argument. 

     Just from the opening few bars, we are reminded musically of "My Girl". The welcome voice of Eddie Kendricks, who hadn't sung lead on a Temptations single since 1968, leads most of the song. Paul Williams sings briefly on the song's bridge and he is full of power. Musically, the song is considerably mellower in tone, and even a bit relaxing. It's soothing, without being easy-listening. 

     The swelling strings and subdued horns add a warm nostalgic element to the song, as if it's a lazy summer's day. Overall, the psychedelic soul of "I Can't Get Next To You" seem like lightyears away. "Just My Imagination" is as if you are taking a trip back to your hometown after being gone for so many years. But it was not going to last forever...

     Not long after the release of "Just My Imagination", Eddie and Paul, both who sing lead on this song, left The Temptations. Eddie had many often violent disagreements with bandleader Otis Williams, and Paul left due to numerous health reasons. This left only two founding members: Otis and bass singer Melvin Franklin in the Temptations. The group would forever change their sound and thus, "Just My Imagination" is the swan song to not only the classic Temptations sound but also classic Motown. 

Final Verdict - "Just My Imagination" strikes just the right amount of emotional resonance. It hearkens back to the classic and timeless era of Motown Records. Beautifully sung, and with a lush musical arrangement to boot. I regard the song in such a high light that it was one of the lucky 20 songs to be featured on my final radio show broadcast. Its status as a #1 pop hit is more than justified in my eyes. 

            Coming Up Next - "Joy To The World" by Three Dog Night. 

Until Next Time, I'm Dr. Rock and my imagination has long run away with me -

Song #254 - "Me And Bobby McGee" - Janis Joplin

Recorded - September 25, 1970

Released - January 11, 1971

#1 for weeks of March 20 and 27, 1971. 

     In a modern world that strives for uniform perfect pitch and Whitney Houston soundalikes, it's always more than refreshing to listen back to the delightfully raspy and soulful voice of the late great Janis Joplin. She was an immensely unique vocalist and spirit, who managed to perfectly emulate traditional blues music, but with a countercultural twist. 

     Born in Texas, and later settling down in San Francisco, Janis joined Big Brother And The Holding Company. This quintet spent two years making some of the finest blues rock tunes of the era. This includes "Down On Me", "Ball And Chain" and of course, "Piece Of My Heart". All of these songs showcase just how special Janis' voice was to the band's sound. Upon her leaving the group in late 1968, Big Brother was never the same. 

     After spending much of 1969 in the Kozmic Blues Band, Janis would start recording her first solo album, Pearl, in September of 1970. As fate would have it, she never got a chance to fully complete the album. On October 4th, Janis was found dead of an overdose at only 27 years old. Thus, Pearl was released as a partially unfinished posthumous work. Despite the circumstances, it is nonetheless a classic album. 

     One of the album's centerpieces, "Me And Bobby McGee", was a Kris Kristofferson original that had already been interpreted by several other artists. However good Kris' original version may be, I consider Janis' version to be the definitive arrangement. Her voice is just tailor-made for the song's very Western-influenced lyrics.

     Part of the success of Janis' version of "Bobby" is that she manages to successfully fuse country, blues, and rock and roll into the arrangement. The country element is in the guitars and lyrics, the blues is in her vocals, and the rock element is the driving bass, keyboard, and drum lines of the song. It is a perfect blend of styles, and is a very entertaining and virtuous listening experience.

Final Verdict - The #1 hit status of "Me And Bobby McGee" may be mostly due to Janis' posthumous fame. Nevertheless, Janis' version of the song is fantastic, and it contains something for all fans of 20th century music to appreciate. If only Janis lived to see this song top the charts. 

Coming Up Next - "Just My Imagination (Running Away With Me)" by The Temptations. 

                         Until Next Time, I'm Dr. Rocky McGee - 

Song #253 - "One Bad Apple" - The Osmonds

Recorded - October 26, 1970

Released - November 1970

#1 for weeks of February 13, 20 and 27 & March 6 and 13, 1971.

     Ok, what was it about early 1971 that saw such a rise in squeaky-clean pop hits? Alright, it's probably just a coincidence... But man, let me tell you, this next musical group makes The Partridge Family seem butch in comparison. Ladies and Gentlemen...The Osmonds. 

     Just like The Cowsills, The Jackson Five, and even the very early Bee Gees, The Osmonds were a family singing group. Now, just because these were family-oriented bands doesn't mean they were all sappy. The Cowsills fiddled around with sunshine pop, The Jacksons packed a surprisingly strong soulful whollop in their music, and the brothers Gibb wrote their own material. 

     As for The Osmonds, they can best be described as the most wholesomely innocent and non-threatening of these groups. In fact, that's an understatement, you can't find a group more overly-pure than The Osmonds. In 1970, they released the Jackson 5 soundalike song "One Bad Apple". Written by George Jackson (No relation to the Jacksons), the song was originally intended for Michael and company, but it was The Osmonds that ended up recording the song and scoring a #1 with it. 

     Well, the Jackson 5 sound is no doubt prominent in "One Bad Apple". In fact, one might even mistake this for a Jackson 5 song. However, this is where the similarities end. Little Donny Osmond was no little Michael Jackson, and his voice lacks the soulful spirit of Michael's. The overall music arrangement is far more sugary and twee than anything The Jacksons put out. 

     Overall, "One Bad Apple" comes across as a tailor-made kiddie pop hit. It epitomizes non-serious AM Radio pop music of the early 1970's. These were the target audience who brought this record in droves. I just don't get it, perhaps people wanted more Jackson 5 songs, and this watered down imitation had to suffice? 

     "One Bad Apple" is one of the most appropriate song titles ever. Unfortunately, the song sticks around in my head after listening and I can't for the life of me get it out! Waiter...I think there's a ear-worm in my apple. 

Final Verdict - "One Bad Apple" is a Jackson 5 soundalike that is devoid of the soul and power that The Jackson brothers brought to the table. I didn't dislike it as much as I thought I would, and it's not one of the worst songs of the year. However, it's not a song I'd care to hear again, and I don't consider its hit status to be justified. It's simple pop, for a simple audience.

            Coming Up Next - "Me And Bobby McGee" by Janis Joplin.

     Until Next Time, I'm Dr. Rock and I've just devoured one sour apple - 

Song #252 - "Knock Three Times" - Dawn

Recorded - summer or fall 1970

Released - November 1970

#1 for weeks of January 23 and 30 & February 6, 1971. 

     1971: The year that brought us "Stairway To Heaven", "What's Going On", "Imagine", and "I Feel The Earth Move". Not to mention some of the finest progressive, glam, and hard rock ever made. So you can imagine my disappointment that the very first song I'm reviewing for the year is by a group that is the antitheses of these innovative rock groups and singer/songwriters: Tony Orlando And Dawn. 

     Tony Orlando's career actually goes back quite a few years. In 1962, he recorded a creditable upbeat arrangement of "Beautiful Dreamer". By 1970, he was legally unable to use his name for his own records. So he created "Dawn", a studio-based group that he would record under. "Knock Three Times", written by L. Russell Brown and Irwin Levine, was the second Dawn single, and their first of two #1 hits. 

     "Knock Three Times" is also a song that was brand new to my ears. As usual, this can mean that we have a buried gem on our hands, or a well-forgotten piece of rubbish, destined for the compost heap. After seeing just how cheesy and glitzy Tony Orlando got in the mid 1970's, I didn't have high hopes...Well, after three listens, I feel this song falls somewhere in between. 

     The good: Tony Orlando gives the song a energetic and convincing vocal performance. The arrangement is mildly soulful with a heavier influence in Latin pop. The latter influence is due to the cha-cha rhythm and the ever prominent trumpets. I'll also admit that the sound effects during the chorus are rather creative.

     However, "Knock Three Times" comes across as a bit too middle of the road (MOR) for my taste. The lyrics and overall theme are squeaky clean bubblegum, aimed at a safe and family friendly market. These kind of lyrics would be fine in the early 1960's, but in the early 1970's, they sound downright reactionary. 

     Additionally, with the exception of the aforementioned sound effects and trumpet, the music track is bland and uninteresting. Why this song occupied the top of the pop charts for three whole weeks is a mystery to me. Actually, the fact that this song reached the top at all is downright mystifying. 

     After the success of "Knock Three Times", Tony Orlando assembled a real "Dawn". Compared to what the group would turn into around 1973, "Knock Three Times" sounds like pure gold. Yes, there's one final #1 by Tony Orlando And Dawn, and boy oh boy will I have words to say about this turkey when we get to '73...

Final Verdict - "Knock Three Times" features solid vocals and a chorus gimmick that adds a guilty-pleasure element to the song. However, these plus-sides can't disguise the biggest fault I have with the song: It is manufactured pop, written by outside songwriters, with overly-innocent lyrics, and performed by a then-non existent singing group. It's far from the worst I've heard, and it's not a terrible song. But it's not a classic or one I'd care to listen to again. 
                
                Coming Up Next - "One Bad Apple" by The Osmonds. 

                    Until Next Time, knock three times for Dr. Rock -