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 -