Overnight Sensation - The 70s
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1970-71
"Oh Well," Fleetwood Mac
The best-known song from the band often known then as "Peter Green's Fleetwood Mac." Green (an excellent blues guitarist), Mick Fleetwood (drums) and John McVie (bass) were all alumni of John Mayall's Bluesbreakers, and formed the Mac in 1967, along with guitarist Jeremy Spencer. This hard-rockin' tune was on the late 1969 album Then Play On, Green's last with the band (except for the '71 release Fleetwood Mac In Chicago, recorded in early '69). Spencer departed after the followup, Kiln House, which was the first for Christine McVie (nee Perfect), formerly in another British blues outfit, Chicken Shack.
"Superstar," Murray Head With The Trinidad Singers
This one is a story in persistance. Head, a British singer and actor, was involved in the seminal "gospel rock" album Jesus Christ Superstar, from which this tune was taken. It was also one of the more successful experiments with rock theater, an arena which was paved by Hair in 1968, although the idea of setting the story of the Savior in a rock setting drew some controversy.
"Just Seventeen," February, 1970 - #82
Paul Revere & the Raiders began the new decade with an abbreviated name (billed only as "The Raiders" on these tunes), but the music continued in a more pop-oriented vein begun in the late 60s, as Mark Lindsay assumed a greater role in the band as producer and chief songwriter. "Just Seventeen," the story of an encounter with a jailbait groupie, is one of the exceptions, a Hammond-drenched rocker. After the huge success of John D. Laudermilk's "Indian Reservation (The Lament Of The Cherokee Reservation Indian)," which gave the band its first #1 in early 1971 (aided largely by Revere, who loaded the saddlebags of his motorcycle full of copies of the single and took a cross-country ride, visiting numerous radio stations to promote it), the band followed it with a piece of Joe South country pie, "Birds Of A Feather." It didn't fare as well, chart-wise, but it was a nicely done single, full of Freddy Weller's country guitar work.
"Celebrate," February, 1970 - #15
Three excellent efforts from Three Dog Night that each fell a few steps short of the Top 10. "Celebrate" was a great hand-clapping party record and a frequent show-closer for the band in those days. The single featured the Chicago horn section. "Out In The Country" was a beautifully done treatment of a Paul Williams song, with a wonderful Hammond B-3 solo by Jimmy Greenspoon, framed by Michael Allsup's "volume swell" guitar work. "One Man Band," the first single from the late '70 album Naturally (prior to that megahit about the bullfrog), featured Allsup and Greenspoon each driving Leslie speaker cabinets so closely matched that one can hardly tell which is the organ and which is the guitar. The vocals on all three, of course, are typical Three Dog Night excellence.
"July 12, 1939" - Charlie Rich
Charlie's first pop chart appearance in almost five years (since the funky "Mohair Sam") was a southern-fried soap opera in the "Ode To Billie Joe" vein, but with a smoldering, bluesy arrangement. Rich would go on to greater country/pop crossover success beginning in '73 with "Behind Closed Doors."
"Mississippi Queen," Mountain
AOR favorite from the New York band's debut album, Mountain Climbing!, released in early '70. A good showing at Woodstock the previous summer helped fuel the band's reputation as a hard-driving unit, and this song - the band's best-known tune - did nothing to damage that image. Guitarist Leslie West is still at it these days, although bassist Felix Pappalardi, sadly, was fatally shot in early 1983 in New York City at age 44.
"Come Running," April, 1970 - #39
Two great Van Morrison songs that display the Irish-born singer's R&B roots. The former was from the early 1970 album Moondance, the jazzy title tune of which was, oddly, not released as a single until 1977! "Domino" was a revved-up, horn-augmented rocker from the album His Band And The Street Choir, released near the end of the year. Both albums are classic Van the Man in all his glory.
"Lay A Little Lovin' On Me," Robin McNamara
This feel-good effort came from McNamara, an original cast member of Hair, so I'm told, with other cast members supplying the backup vocals. After one charted followup, McNamara vanished, until he returned in the late 80s in a touring version of Hair, by then considered a quaint nostalgia piece.
"Mississippi," John Phillips
Of the Mamas & The Papas, Cass Elliot and Papa John Phillips were the two probably most often tagged for solo success. Cass, of course, had that wonderful voice and a vivacious personality, while John, as principal songwriter and the man whose vision really made the M&P what they were, had the tunes and the insight. It never really worked for either one of them, oddly enough.
"Go Back," Crabby Appleton
Another true "one-hit wonder," this West Coast band never got close to the charts again. This straight-ahead rocker seemed to indicate that the band had potential, despite a truly goofy name that might lead some to believe it was adapted from the then-new Ocean Spray "cranapple" fruit drink (the name actually stemmed from a 1950s cartoon character). The band definitely had talent, although it split up shortly after recording its second album.
"Sugar Sugar," May, 1970 - #25
Wilson Pickett had begun recording with some great Muscle Shoals, Alabama, musicians in the late 60s (his great, gritty version of "Hey Jude," with Duane Allman on guitar, was among the highlights). He continued to interpret pop hits into the 70s, with a reggae-tinged version of the Archies' megahit "Sugar Sugar" that took the song away from its "bubblegum" origins. Perhaps his most pop-oriented arrangement was "Don't Let The Green Grass Fool You," which just missed the Top 10 in early '71. A smooth (but not too slick) horn-augmented arrangement, and the Wicked One's driving vocals (with his patented scream held to a minimum) helped pace this one along quite nicely.
"Into The Mystic," May, 1970 - #51
Johnny Rivers is a guy who always knows a good tune, whether it's his or someone else's. His 60s chart career was a mix of great remakes, from "Memphis" and "Maybelline" to "Baby, I Need Your Lovin'" and "The Tracks Of My Tears," with a great original (such as the #1 "Poor Side Of Town") tossed into the mix.
"Sunshine," The Archies
The last gasp, chart-wise, for Ron Dante and the make-believe cartoon band, but a nice one, that, thanks to a polyrhythmic arrangement, gives this a bit more muscle than the usual Archies release.
"Big Yellow Taxi," Joni Mitchell
Why this single, one of Joni's alltime best-known songs, wasn't a hit is anyone's guess. A live version of the tune, released near the end of '74, fared better, reaching #24.
"Hand Me Down World"
There were probably those who questioned how well the Guess Who would favor after the departure of guitarist Randy Bachman (following the #1 hit "American Woman"). With two new guitarists (Kurt Winter and Greg Leskiw) bringing new influences into the band, however, the subsequent Share The Land album proved to be one of the band's finest.
"Tell It All, Brother"
A worthy effort from Kenny Rogers & The First Edition, which, like "Share The Land" listed above, asked for more human compassion. The last verse, which asked "did you ever walk before a crippled man, pretending you were lame/What made you think what feebled him to God, would make him call your name?" was a standout.
"Hi-De-Ho"
Two of Blood, Sweat & Tears' finest singles. "Hi-De-Ho," written by Gerry Goffin and Carole King, was given a nice, brassy gospel feel, and even mentioned a meeting with Mr. D. himself. A year later, the band fired up plenty of rock muscle on "Go Down Gamblin'," with some rough-edged vocals from David Clayton-Thomas.
"Funk #49"
Probably the two best-known of many great songs in the James Gang's catalog. This great Cleveland-based power trio didn't really last all that long in its earlier incarnation, but Jim Fox (drums), Dale Peters (who replaced Tom Kriss in 1970) and guitarist/keyboarist Joe Walsh, praised by no less an authority as Pete Townshend, made some awfully good noise in a couple of years' time. Walsh left in '71, and Domenic Troiano (guitar) and Roy Kenner (vocals) stepped onboard to lead the Gang in a new direction.
"Closer To Home"
Anyone who thinks that a three-piece can't be a powerful band never saw the James Gang or Grand Funk Railroad in the early 70s. The Funksters could put out plenty of noise (one of the loudest I ever heard) while still putting across a good message.
"Border Song"
This was Elton John's chart debut in the U.S., after profiting from Three Dog Night's covers of his "Lady Samantha" and "Your Song," the latter of which would be his followup to this tune and his real breakthrough to the U.S. audience.
"I've Lost You"/"The Next Step Is Love"
Elvis Presley followed his Top 10 hit "The Wonder Of You" with these two singles, and all four songs were featured in the concert documentary film That's The Way It Is. "You Don't Have To Say You Love Me" is the best-known of the four, a 1966 hit for Dusty Springfield, while "Patch It Up" was cowritten by country-star-to-be Eddie Rabbitt (who also wrote the King's Top 10 hit "Kentucky Rain"). It should also be noted that Billboard stopped charting A and B sides separately around the end of '69, hence only one peak position listed for each single.
"For The Good Times," Ray Price
One of the many "countrypolitan" hits of the era, and easily one of the best. This is an amazingly beautiful record, a soft Kris Kristofferson song of the ending of a love affair, sung with compassion and surrounded by a lush (but not sappy) string arrangement. It's a long way from Price's days as the "Cherokee Cowboy," and his great honky-tonk country hits of the 50s (such as the original classic version of "Crazy Arms" or Bill Anderson's song "City Lights"), but still, a wonderful record.
"Come On And Say It"
The Grass Roots had gone, and would continue to go, through personnel changes since the original group splintered in '68, but there were still some fine singles to emerge. "Temptation Eyes" and "Two Divided By Love" were bookends for the band's Top 10 hit "Sooner Or Later," but they're just as much fun to listen to.
"Groove Me," King Floyd
King Floyd was a New Orleans R&B singer who began his recording career in '65, although the charts eluded him until this tune, recorded for Chimneyville/Malaco, a record label based in Jackson, Mississippi. The song also topped the R&B charts for a month, and has been covered in recent years, including the 2002 soundtrack for Austin Powers In Goldmember.
"Let's Work Together"
Canned Heat put plenty of stomp into this tune, which had been a hit for Wilbert Harrison a year earlier. It would be the final hurrah, however, for Al "Blind Owl" Wilson (guitar, harmonica and vocals), who died of a drug overdose a month before this single reached the charts.
"After Midnight"
Eric Clapton's first major hit as a solo act has been overlooked somewhat, in lieu of his major successes of the late 70s and beyond, but this funky take on J.J. Cale's tune is still great fun.
"We Gotta Get You A Woman," Runt
Todd Rundgren's first chart success following the demise of Nazz, an easy-going tune with a nice hook. Todd would, of course, have his greatest chart success in '73 with a remake of the Nazz tune, "Hello It's Me."
"Most Of All"
Three fine B.J. Thomas efforts that can easily rank among his best. He followed his Top 10 single "I Just Can't Help Believing" with the fine ballad, "Most Of All," a tune about a guy who realizes that what he loves "most of all" is the gal he left behind, although "foolish dreams and trains got in my way."
"Maggie"
Brothers Pat (vocals, bass) and Lolly (vocals, guitar) Vegas (nee Vasquez, Mexican-American)had toured with Jimmy "Just A Dream" Clanton and spent a good bit of the 60s working in surf-style bands in and around Fresno, California. The brothers also did session work and achieved some success with their song "Niki Hokey" (recorded by Bobbie Gentry and P.J. Proby, and later in fine form by Burton Cummings). By the end of the 60s they decided to draw on their Native American heritage (the Yaqui tribe, so I'm told, which was from Mexico)and form Redbone, initially with Tony Bellamy (guitar, descended from a Navajo chief) and Peter De Poe (drums, of Cheyenne ancestry). The bandmembers even dressed in full regalia on stage, with headdresses and war paint.
"Born To Wander"
If you wanna talk about an early-70s good-time band, Rare Earth will fit that bill nicely. Formed from the remnants of the Sunliners, a Michigan band that played a lot of college gigs in the Detroit/Lansing area, the band was signed to Motown in '69. Early hits were rockin' covers of previous Motown hits, such as "Get Ready" and "(I Know) I'm Losing You" (both done by the Temptations in '66). "Born To Wander" and the '71 Top 10 hit "I Just Want To Celebrate" continued in a rock-meets-soul vein, while the Orwellian "Hey Big Brother" displayed a bit more rock muscle.
"Sweet Mary," Wadsworth Mansion
Another one of those true "one-hit wonders," the Mansion never got close to the charts after this one. I couldn't track down much information about this four-piece band either, as it seems that they vanished without a trace.
"Amazing Grace," Judy Collins
When you consider the trend toward "gospel rock" that was happening at the time, it doesn't seem that far a stretch to think of this classic hymn being recorded by a pop artist. But, to consider an a capella rendition of anything hitting the Top 20, that's another story. Judy's version was recorded at St. Paul's Chapel on the campus of Columbia University, and is a beautiful rendition.
January, 1970 - #55
January, 1970 - #74
January, 1971 - #60
April, 1971 - #14
As you can see, it took three tries before the song finally charted in a major way in the U.S, spending a total of 31 weeks on the chart. I think it's a great record, a full-blown rock orchestra treatment that gains momentum and energy as it progresses.
"Birds Of A Feather," September, 1971 - #23
"Out In The Country," August, 1970 - #15
"One Man Band," November, 1970 - #19
March, 1970 - #85
April, 1970 - #21
"Domino," November, 1970 - #9
May, 1970 - #11
May, 1970 - #32
Cass did manage to chart seven times from 1968-70, and was a popular guest on TV variety programs. John, however, charted only once, with this rollicking, country-flavored toe tapper that never got past the Top 30 on the national charts. The Mamas & Papas were forced to record another album, to settle a lawsuit against them by ABC/Dunhill Records. The album they made, People Like Us, was pretty dismal. There are those who have theorized that if the group had instead recorded John's album, it may well have brought them back with all their energies intact (the thought of hearing the four of them sing these songs does seem to be a great opportunity lost). For reasons known only to him, John decided to title this album The Wolfking Of L.A., which didn't do much to help sales.
By mid-'74, Cass was gone, the victim of a heart attack (although there is also that choking story), while John was in the midst of sliding down the drug ladder into misery. He would, eventually, recover, although his career never really did. He returned to the spotlight with a newly reformed Mamas & Papas in the 80s, with original Papa Denny Doherty (later replaced by Scott McKenzie), John's daughter Mackenzie (best known for her TV work as an actress), and Elaine "Spanky" McFarlane. He also cowrote the Beach Boys' #1 smash "Kokomo," although new M&P recordings never materialized. The three suriving members of the M&P - John, Denny and Michelle Phillips (John's ex-wife) reunited for the last time for their induction into the Rock & Roll Hall of Fame, before Papa John passed away.
May, 1970 - #36
"Don't Let The Green Grass Fool You," January, 1971 - #14
"Fire and Rain," September, 1970 - #94
"Sea Cruise," May, 1971 - #84
He continued into the 70s along the same lines, with his 1970 album Slim Slo Slider, and a fine, chugging arrangement of Van Morrison's "Into The Mystic." Rivers was also exploring the growing "gospel rock" trend of the era, and infused James Taylor's "Fire And Rain" with an energetic, gospel-tinged fervor. In fact, Rivers' single of the tune is probably what convinced Warners to release James' version as a 45.
By '71, Rivers was back to the roots, with a fine version of Frankie Ford's "Sea Cruise," complete with honking saxes. He would refine this mix of new-styled arrangements of oldies and new tunes on his '72 album, L.A. Reggae, which fostered the Top 10 remake of Huey "Piano" Smith's "Rockin' Pneumonia - Boogie Woogie Flu."
July, 1970 - #57
July, 1970 - #67
July, 1970 - #17
"Share The Land"
October, 1970 - #10
"Hang On To Your Life"
January, 1971 - #43
"Rain Dance"
August, 1971 - #19
"Hand Me Down World" was a great rocker, full of Burton Cummings' angry "don't give it to me, I'm not gonna take it" vocals, while "Share The Land" was a great ballad that cried for more human understanding. It was back to the angry gear for "Hang On To Your Life," which warned the listener that "you can sell your soul, but don't you sell it too cheap." The cryptic ending, featuring a passage from Psalms, was omitted from the single release.
In the summer of '71 came "Rain Dance," from So Long Bannatyne, with its immortal closing lines from each verse, "and I'm still sittin' with my next door neighbor sayin', 'Where'd you get the gun, John?'"
July, 1970 - #17
I remember years ago Kenny telling the story that the first time the band performed this song onstage was at a college in Ohio, and the audience was on its feet by the second verse. Turns out that the college was Kent State, and this was shortly after four students there were killed in a confrontation with National Guard troops. Now that had to be a moment.
August, 1970 - #14
"Go Down Gamblin'"
July, 1971 - #32
August, 1970 - #59
"Walk Away"
May, 1971 - #51
August, 1970 - #30
"Feelin' Alright"
May, 1971 - #54
"Closer To Home" was a heavily-edited version of "I'm Your Captain" (as it was called on the album), a tale of a seafaring journey gone wrong, while "Feelin' Alright" was yet another version of Dave Mason's tune that got recorded by lots of people (including Joe Cocker, Three Dog Night and Rare Earth, among others).
August, 1970 - #92
August, 1970 - #32
"You Don't Have To Say You Love Me"/"Patch It Up"
October, 1970 - #11
August, 1970 - #11
September, 1970 - #61
"Temptation Eyes"
December, 1970 - #15
"Two Divided By Love"
October, 1971 - #16
October, 1970 - #6
October, 1970 - #26
October, 1970 - #18
November, 1970 - #20
November, 1970 - #38
"No Love At All"
February, 1971 - #16
"Mighty Clouds Of Joy"
July, 1971 - #34
"No Love At All," a stirring song of brotherhood in a similiar vein to "In The Ghetto," was next (it was also covered by country singer Lynn Anderson), while "Mighty Clouds Of Joy" is a great gospel-flavored song.
December, 1970 - #80
July, 1971 - #45
"The Witch Queen Of New Orleans"
November, 1971 - #21
The first single, "Maggie," is practially unintelligible in any language, but boy is it fonky! As you can see, even with two swings at the chart, it wasn't a huge hit. The band corrected that the next time around with "Witch Queen," a swampy tale of a cajun sorceress that reached the Top 10 in the U.K. before becoming a hit stateside. The band's greatest success came in early '74 with the #5 hit "Come And Get Your Love," which kinda sounds like Marvin Gaye with a godawful head cold. Great song, though.
Sadly, they were unable to repeat this success and split up in the mid-70s. A reunion band began touring in the early 1990s with three of the early members, Pat, Lolly and Tony, until Lolly was sidelined by a stroke.
December, 1970 - #17
"Hey Big Brother"
November, 1971 - #19
December, 1970 - #7
December, 1970 - #15