Some people really don't get it. How many times have you seen the ABB referred to as "southern rock?" Heck, rock and roll itself is southern music; all the notable roots sprang from, or were nurtured in, the southern U.S. If anything, brothers Duane and Gregg and their musical brothers were a blues band who played other things as well. This is the band's first charted single, and is often overlooked. It shouldn't be, as this is a fine performance of an infectious tune with gospel overtones.

"The Shape I'm In," The Band
January, 1971 - #121

Despite selling millions of albums, The Band never had much success with singles. Their best results on the singles chart were with "Up On Cripple Creek" (#25) in 1969 and their 1972 live recording of Marvin Gaye's "Don't Do It," which reached #34. Many of their songs, such as "The Weight" and "The Night They Drove Old Dixie Down," often fared better, chartwise, in the hands of other artists. This energetic number, sung by the late Rick Danko, only got to the "Bubbled Under" section of the trades, and never reached the Hot 100.

"Help Me Make It Through The Night," Sammi Smith
January, 1971 - #8

Kris Kristofferson was on a roll in 1970-71, as Ray Price's country/pop crossover version of Kris' "For The Good Times" was followed by this great version of another of his tunes. A country #1 for three weeks as well, it's just a great song that transcended musical boundaries. Another notable version was that of Gladys Knight, released a year later. There were several songs that originated in the country field in the early 70s that, as was the case in the late 50s and throughout the 60s, achieved pop chart success strictly because they were great records. Nowadays, Nashville seems to have this "go pop" mentality that you have to sacrifice integrity within country music to have greater sales. Records such as this one, "For The Good Times," the Jerry Reed hits of the era and numerous others, prove that country artists don't have to sell out to sell more.

"Country Road," James Taylor
February, 1971 - #37

Taylor had hit first Top 10 hit with "Fire And Rain" in the fall of '70, although two fine followups, "Carolina In My Mind" (which actually "Bubbled Under" the first time around, in the spring of '69), which only made it to #67, and this tune, another one of his best, that didn't come within a scare of the Top 10. Some of James' best songs are those that deal with the individual on a personal journey of some sort, and not just in the sense of physical travel. "Carolina," "Country Road" and 1975's "Mexico" are among the best example of that.

"Free"
February, 1971 - #20
"Lowdown"
May, 1971 - #35

Two fine songs from Chicago III that deserved better chart fates than they got. "Free" is a revved-up jazz-rock monster with great intensity, while "Lowdown" has more of a easy-loping tempo. After these two tunes didn't fare quite so well, it seems that Columbia Records retreated and released four songs from the band's first album for the next two singles. Chart-wise, the strategy seemed to work, as "Beginnings" backed with "Colour My World" (a favorite at high school dances and the like; gawd, did I hear some awful versions of this) reached #7, and a re-release of "Questions 67 And 68," backed with a cover of the Spencer Davis Group's "I'm A Man," charted separately, and reached #24 and #49, respectively.

"Keep The Customer Satisfied," Gary Puckett
February, 1971 - #71

Following the demise of the Union Gap, Puckett charted twice as a solo act. This nice cover of the Simon & Garfunkel tune (from S&G's Bridge Over Troubled Water album) was the last of those. As most of the Union Gap singles were ballads, this uptempo tune was a nice change of pace, but didn't come close to matching the chart performance of the singles Puckett had with the Gap.

"Eighteen," Alice Cooper
February, 1971 - #21

From the days of still trying to figure out what the deal was with this band and singer known as Alice Cooper (in those days, the name was applied to both). The original Cooper band, despite all the onstage theatrics, could rock, and there was also some fine songwriting on those early albums. Many of the tunes were "anthems," in a sense, and "Eighteen" was the first of many such tunes to follow ("School's Out," "Elected" and "Department Of Youth" being other examples). One must remember that this was still before 18-year-olds were given the right to vote in U.S. elections, so that age was still a bit of a crossroads, and the song's lyrics ("I'm in the middle without any plans, I'm a boy and I'm a man") reflected that dichotomy quite well. Still, just to prove that you didn't get your due at 18, the song peaked at #21.

"Stay Awhile," The Bells
March, 1971 - #7

A Top 10 hit that has largely been forgotten by radio, this ballad was the second, and most successful, of three chart entries for the Canadian band. The song was sung by Cliff Edwards and Jacki Ralph, the latter's cooing voice was almost a whisper, which adds to the tune's charm.

"Lucky Man," Emerson, Lake & Palmer
March, 1971 - #48
December, 1972 - #51

Another very well known song that didn't make it in a big way as a single. The British trio, whose rock was heavily doused with classical overtones, sold millions of albums over its 1969-79 lifespan, but only grazed the U.S. Top 40 once, when "From The Beginning" squirted through to reach #39 in the fall of '72.

"Adrienne," Tommy James
March, 1971 - #93

Tommy James charted 13 times as a solo act following the breakup of the Shondells; this was the third of those entries. Surprisingly, Tommy managed to crack the Top 10 as a solo only once, with the followup to "Adrienne," the eternally cool "Draggin' The Line," which was first released as the B-side of 1970's "Church Street Soul Revival." "Adrienne" has a nice chugging beat and electric sitar sounds, but only survived for three weeks on the chart.

"Snowblind Friend"
March, 1971 - #60
"Ride With Me"
July, 1971 - #52

Two great Steppenwolf singles that should be better remembered than they are. The former came from the late Hoyt Axton, whose "The Pusher" was one of the greatest anti-drug songs and a longtime Steppenwolf concert staple. While "The Pusher" seems to have been written in great anger (and, from what I understand, it was), "Snowblind Friend" takes a different approach, examining the sad life of a drug user who "bought a one-way ticket on an airline made of snow."
"Ride With Me" is a great piece of weirdness from Mars Bonfire, guitarist of the pre-Wolf band Sparrow, and the man who gave the world "Born To Be Wild." With lines like "Mama's home philosophy makes everyone a freak but me" and "can I have my vision back, I'll live outside your city walls," this is one of those "you figure it out" songs (ha), but still, it rocks. Also of note is the B-side of this one, a true piece of looniness called "For Madmen Only," perfect for any Halloween party or Vincent Price film festival.

"Get It On," Chase
May, 1971 - #24

One of the hardest-rockin' singles you'll ever find from the "jazz rock" idiom, it's absolutely amazing to me that this one didn't spend several weeks in the Top 10. Trumpeter Bill Chase knew jazz well, having spent his salad says working with such luminaries as Woody Herman and Stan Kenton. This record kicks from the get-go, with a fantastic horn arrangement (four trumpets!), great Hammond B-3 and guitar work, and it literally jumped out of your car radio. Curiously, the band never came close to equalling this initial success, and Bill Chase and three other bandmembers were killed in a summer, 1974 plane crash.

"Never Ending Song Of Love"
May, 1971 - #13
"Only You Know And I Know"
September, 1971 - #20

Despite Bonnie Bramlett's great soulful voice, and husband Delaney's R&B guitar work, this duo is often remembered not for their music but for their sidemen. And, when such sidemen include the likes of Dave Mason, George Harrison, Leon Russell, Duane Allman, Bobby Whitlock, Carl Radle and Eric Clapton, that's somewhat understandable. And the two songs listed above are the duo's highest chart successes. The former is acoustic and almost jug band in its approach, a bit loopy, but still a great singalong, while the latter goes more for a smooth R&B groove. Delaney and Bonnie dissolved their musical partnership, and marriage, a year after these two songs charted. Their daughter Bekka, who has worked with Mick Fleetwood's Zoo, Fleetwood Mac and in a partnership with Billy Burnette, as well as her solo work, continues the family tradition well, as she has plenty of fine vocal chops herself.

"Here Comes That Rainy Day Feeling Again," The Fortunes
May, 1971 - #15

This five-piece British band had its first, and highest-charting, success stateside with "You've Got Your Troubles," which hit #7 back in the summer of '65. This one very easily could have done just as well, with a smooth arrangement and vocal work which recalls the Four Seasons.

"Rings," Cymarron
June, 1971 - #17

Easy to handle country-flavored record, complete with pedal steel guitar, from the Memphis band that had only one chart followup. Another one of the nice feel-good tunes from the era.

"Love The One You're With," the Isley Brothers
June, 1971 - #18

Leave it to the Isleys to put a great groove on this Stephen Stills hit from late the preceeding year. A combination of acoustic guitar and lots of percussion help lay the foundation for this one. This was the first of several covers of rock hits for the Isleys (it was followed by War's "Spill The Wine," Dylan's "Lay Lady Lay" and, later, Seals and Crofts' "Summer Breeze"), but it's my personal favorite of the batch.

"Mother Freedom," Bread
July, 1971 - #37

Bread was a band known for its wonderful ballad tunes, such as "Make It With You," "It Don't Matter To Me," "If," "Baby I'm-A Want You" and so on. All of those were great tunes, and all were Top 10 hits. This was an attempt to switch gears and get uptempo. It's hardly rock at its most scintillating, but there's a certain edge to this that I liked.

"Won't Get Fooled Again"
July, 1971 - #15
"Behind Blue Eyes"
November, 1971 - #34

Although now known for its use in Nissan TV ads and as the theme from CSI: Miami, "Won't Get Fooled Again," along with the Live At Leeds album, displays the Who at its amp-melting best. "Behind Blue Eyes" starts as an acoustic, folkish piece before kicking in the afterburners, and is another of the band's finest performances.

"All My Trials," Ray Stevens
August, 1971 - #70

Ray took a break from his outrageous novelty songs in the early 70s, and this was one of the better results. The melody for this tune stems from a traditional West Indian lullaby, while the lyrics go back to the Civil War era, if not earlier. The harmonies of this, overdubbed by Ray, are absolutely amazing. Shortly after this release, singer-songwriter Mickey Newbury combined a portion of this tune with "Battle Hymn Of The Republic" and "Dixie" to create the "American Trilogy," which he released as a single in late '71 and was frequently performed by Elvis in dramatic fashion.

"I'd Love To Change The World," Ten Years After
September, 1971 - #40

Many remember Ten Years After primarily for the band's incendiary performance at Woodstock, but the British unit led by guitarist Alvin Lee actually had a few chart records, too. This one, which combined acoustic sensibility with electric rock urgency, was the highest-charting of those efforts.

"Yo-Yo," The Osmonds
September, 1971 - #3

Why the Osmond clan has been treated like the plague by radio programmers in recent years astounds me. This is one of the most talented family acts in the history of show business, and the fact that the members of this family have chosen to conduct themselves with class and dignity and in accordance with their faith is something that should be respected, rather than derided, as has often been the case.
Okay, I'm off the soapbox now, but I have never been ashamed to admit that I was an Osmonds fan. This tune, a Joe South composition, was a bit of a transitional record between the soul-pop of the group's earlier hits ("One Bad Apple," "Double Lovin'") and the more rock-oriented hits of '72-'73 ("Hold Her Tight," "Crazy Horses"). Merrill Osmond has a fine R&B-edged voice, and such efforts as the ones mentioned above are ample evidence of that.

"Charity Ball," Fanny
September, 1971 - #40

Before Vixen, before the Bangles, before the Go-Gos - even before the co-ed success of Fleetwood Mac and Heart - before any of 'em, there was Fanny, the first all-female band to reach the U.S. Top 40. The band was formed by sisters June (bass) and Jean (guitar) Millington as Wild Honey, circa 1968, in California. By 1970 the lineup also included Nicky Barclay (who had been a backup singer on Joe Cocker's "Mad Dogs & Englishmen" tour) on keyboards and Alice DeBuhr on drums, and the band was signed by Reprise Records. Legend has it that either producer Richard Perry or George Harrison suggested the name change to Fanny. In the U.S., the word "fanny" is a slang term for the posterior region of the human anatomy. In the U.K., however, the word seems to be connected with a certain region of the female anatomy, used for sex as well as other purposes. Whomever suggested this name change to the band was certainly aware of this, although the bandmembers themselves probably weren't. At any rate, the band's first album (a rough mix of which, released in Canada, is now a prized collector's item) attracted some attention, although much of the media focus was simply on the fact that this was a band of all women (which the Go-Gos, Bangles, etc., have ALL had to deal with). And, Fanny took more than its share of brickbats from concert audiences as well, when it began touring nationally opening for headliners.
By the time of the second album, also titled Charity Ball, there were at least a few critics who began to notice that these gals could play. The band's early albums were great; a mixture of original ballads and rockers, along with some well-chosen covers (such as "Hey Bulldog," "Badge" and a rip-snortin' version of Marvin Gaye's "Ain't That Peculiar" that attracted some radio airplay). At least some fans, particularly in the U.K., realized this as well, and the band's tours there were well-accepted. A wonderful 1973 single, "All Mine," from the Todd Rundgren-produced album Mother's Pride, was another great effort that didn't get its due (the single didn't even chart).
By 1974, the band was falling apart at the seams. Jean Millington quit, replaced by Patti Quatro (sister of Suzi), while DeBuhr also departed and was replaced by Brie Brandt-Howard. The band moved to Casablanca Records, shifted its musical focus toward a more plodding hard-rock direction, and all was lost.
Fanny's legacy of fine musicianship and songwriting has been largely overlooked over the past three decades, and wrongly so. At least there is Fanny Live, a document of an early-70s performance for a radio broadcast, and a late 2002 limited-edition boxed set from Rhino Records, to serve as evidence of how good this band really was. And it's about time. These days, the sisters Millington are still at it, with a band called the Slammin' Babes. June is also married to Earl Slick, a noted session guitarist.

"Never My Love," The 5th Dimension
September, 1971 - #12

By the early 1970s, the 5th had shifted its focus from the "California Soul" (to use one of the group's song titles) of its early efforts to a more pop/MOR approach, with hits such as the 1970 #2 hit "One Less Bell To Answer." The singles during this era were mostly Marilyn McCoo lead vocals, with the rest of the group supplying the backup. This live recording of the Addrisi Brothers' best-known composition (and a great hit for the Association in '67) was, for all practical purposes, Marilyn solo. And it's a great showcase for her as well.

"One Fine Morning," Lighthouse
September, 1971 - #24

This band drifted down to the U.S. charts from north of the border five times in the early 70s, although it was a major success in its native Canada. Often linked in the "jazz-rock" idiom and compared to Blood, Sweat & Tears, this record, the band's first chart single stateside, does have a bit of a BS&T feel (with a strong lead vocal from the late Bob McBride). It would also be the highest-charting of those singles, although others, such as "Sunny Days" and "Pretty Lady," were fun to listen to as well.

"Rub It In," Layng Martine Jr.
October, 1971 - #65

Martine is best known today for composing the last chart single of Elvis' lifetime ("Way Down"), and several of Ray Stevens' novelty hits over the past 30 years. The Connecticut native actually recorded a few of his tunes, including this one, which eventually became a country hit for Billy "Crash" Craddock in '73. The best version, to my ears, was the one done by "Dave Clark & Friends," which was actually former Dave Clark Five bandmates Clark and Mike Smith. That single was released in early '72, although I could not track down an exact release date. The song has been allocated by Madison Avenue, and is now called "Plug It In," in ads for an air freshener.

"Hello Buddy," Tremeloes
October, 1971 - N/C in U.S. (#32 in U.K.)

The Trems couldn't buy a hit after their classics of the mid-late 60s ("Here Comes My Baby," "Silence Is Golden," etc.). Part of this was the band's own fault; in a classic PR blunder, the bandmembers made some remarks circa 1970 about all its early material being "rubbish," and so on. Such remarks did not sit well with the radio people who had played, and fans who had bought, said "rubbish."
Chart-wise, this was pretty much the band's swansong in the U.K., although it missed completely in the U.S. As usual, the band's harmonies are displayed in fine fashion, and the chord progression is not unlike Ringo's hit "It Don't Come Easy," albeit in a more down home arrangement, complete with pedal steel and banjo.

"Absolutely Right," Five Man Electrical Band
October, 1971 - #26

Best remembered for the hit "Signs" in the spring of '71, the band followed that single with this energetic acoustic-electric mix, although it didn't fare as well chartwise. And, like Lighthouse, it was another Canadian band that charted five times in the U.S., although it never again reached the Top 40 after "Absolutely Right."

"Banks Of The Ohio," Olivia Newton-John
October, 1971 - #94

Olivia's first U.S. chart single, after her association with the group Toomorrow, was a nicely-done cover of Bob Dylan's "If Not For You," that peaked at #25. This tune, which dates at least back to the mid-30s (the country band the Blue Sky Boys did it then), and is much older than that, was a great acoustic piece, featuring outstanding backup bass vocals also featured on Olivia's hits "Let Me Be There" and "If You Love Me, Let Me Know." However, the topic of a woman pleading for her life at the hands of a murderous lover just might have been considered a bit of a downer, and may have contributed to this single's lack of success. The morbid aspects aside, however, this is a fine record.

"Respect Yourself," The Staple Singers
October, 1971 - #12

If ya wants to get movin' and groovin', just crank up the Staple Singers. If you are feeling a little down, just crank up the Staple Singers. The late Roebuck "Pop" Staples and his offspring, most notably daughter Mavis, with her expressive, breathy vocals, cranked out some great 45s in the early 70s, and all were positive, upbeat songs that reflected the family's gospel background. These songs had a message, evidenced by the titles - "Respect Yourself," "Be What You Are," "Touch A Hand, Make A Friend" - and sound just as great today as they ever did. A stellar group of Muscle Shoals musicians (Barry Beckett, Roger Hood, David Hawkins, Johnny Johnson) didn't hurt things, either.

"Everybody's Everything," Santana
October, 1971 - #12

Carlos and friends went for an all-out rockin' soul approach with this one, in addition to mixing in the Latin percussion. Easily one of the band's most energetic performances on record.

"Tell Mama," Savoy Brown
November, 1971 - #83

Savoy Brown never made quite as much of an impression on U.S. audiences as other British blues-based bands of the era (such as Foghat, from which three original members were Savoy alumni), but Kim Simmonds and friends could lay down some good grooves. This was one of only three U.S. chart singles the band had.

"Stones," Neil Diamond
November, 1971 - #14

After those chugging three-chord monsters of the 60s ("Cherry, Cherry," "Thank The Lord For The Night Time," etc.), Diamond went for a more "sensitive singer-songwriter" approach for awhile, with mixed results. By '71 he was back to just doing music that he could put feeling into, and, in my opinion, his albums Stones in '71 and Moods a year later were his best since his days with Bang Records and those early hits.

"White Lies, Blue Eyes," Bullet
November, 1971 - #28

The first of two U.S. chart entries from this act, formed by former Atomic Rooster members John Cann and Paul Hammond. A nice, straightforward pop tune with an easy hook that was well-played.

"Drowning In A Sea Of Love," Joe Simon
November, 1971 - #11

A Louisiana-born, gospel-turned-soul singer, Simon had his first solo success in the mid-60s, and his 1969 hit "The Chokin' Kind" hit the R&B #1 spot and just missed the pop Top 10. "Drowning" was a dramatic tune with a great groove, and also just missed the Top 10. A great record.

"Hallelujah," Sweathog
November, 1971 - #33

A true one-hit wonder, and one that should be included in any list of the best one-hit wonders of the era. It's a highly energetic rocker with gospel overtones, and a tune guaranteed to make you feel good.

"Lookin' For A Love," the J. Geils Band
December, 1971 - #39

Speaking of "gospel overtones," this single, the first chart effort from that stage-frying Boston band, had its roots in gospel. The tune was written by the Womack brothers, and recorded with the Valentinos, who were themselves former gospel singers. The Geils band could never quite display their onstage energy in the studio; you need to pick up the 1972 classic album Live - Full House to get a taste of that.

"Keep Playin' That Rock 'N' Roll," Edgar Winter's White Trash
December, 1971 - #70

Before the Edgar Winter Group and "Frankenstein," there was this white-hot batch of roadhouse warriors, featuring Winter on vocals, sax and keyboards and ragin' Cajun Jerry LaCroix on vocals and sax. The band only made two albums initially, a studio album and a great live collection, Roadwork, released the following year. Both combine rock power with R&B grooves and gospel energy. This song is more than a bit autobiographical for Edgar, as it covers his own (and brother Johnny's) early career.