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 -
Saturday, March 15, 2014
Friday, March 14, 2014
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 -
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 -
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 -
Thursday, March 13, 2014
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 -
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 -
Wednesday, March 12, 2014
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 -
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 -
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 -
Tuesday, March 11, 2014
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 -
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 -
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