The Guess Who--American Woman (1970)

     The Guess Who's roots go all the way back to 1958 with the formation of Al and the Silvertones with Chad Allan at the helm. A few years later the name developed into Chad Allen and the Reflections by 1962. By this time Randy Bachman was with the group on guitar. Because of the success of a US group called the Reflections, they were forced to change once again to Chad Allen and the Expressions. During this time, they had released a few singles, but had not really made much of a name for themselves.
      This changed in 1965 with the release of "Shakin' All Over", which not only caught on in Canada, but which almost cracked the top 20 in the US. In a ploy to have listeners mistake them for a British Invasion group, the record company (Quality) printed "Guess Who?" on the 45's. No one knows if this had any influence on it's popularity, but before you knew it, DJ's and radio listeners knew the band as "Guess Who". The band's hand again was forced, and the name changed for the last time.
     Late that year, the keyboard player left and was replaced by Burton Cummings, who also shared vocals with Chad Allan. This only lasted a few months before Allen left the band and Cummings became lead singer. The next several years were spent writing and touring. They had a gig on a Canadian TV show called, "Let's Go" where they were the house band. The network wanted them to play covers that were as close to the originals, but also encouraged them to work on their own material as well. This allowed them to get a paycheck, but also to work on songs that would eventually produce fruit by the end of the decade with the album, "Wheatfield Soul" in 1969.
     A classic album, "Wheatfield Soul" and it's follow up, "Canned Wheat" produced four top 40 singles in the US. The peak of the popularity however, was with the number one single, "American Woman" from 1970. In an interview, Cummings explains the genesis of the song:

     "  …it was jammed onstage one night in Mississauga, Ontario, we were playing at a club called the Broom & Stone which was actually a curling rink and doing two shows that night. I guess we hadn’t gotten that big yet. Between the two shows, I was outside bartering with this kid, he had some old Gene Vincent records that I wanted to get for my collection and tried to strike-up a deal with this guy. The next thing I know, it’s time to start the second show and the other three guys have gone back onstage and I hear them start this riff … (Burton began mimicking the opening riff to “American Woman.”) I said to this guy … Oh my God; I’m supposed to be onstage man, I’ve got to run, I’ll see you later about these Gene Vincent records.”
“I run inside and run up onto the stage and just grab a microphone and started singing whatever came into my head; it was all stream of consciousness at the moment stuff … all that stuff about war machines and ghetto scenes, colored lights can hypnotize …it was all just spur- of- the- moment. And nobody would have ever heard it again but there happened to be a kid bootlegging the show that night. This was way back in the 60’s and he had a cassette machine, and those machines were a relatively new invention at that time. But this was 1968, forty-five years ago. We noticed this onstage as the night went on and he still kept recording. So we motioned to our road manager… go get that tape-go get that tape! He got the cassette tape and we listened to it later and heard this jam about American Woman stay away from me. So we actually kind of learned it from that tape, otherwise nobody would have ever heard it again. So talk about a Cinderella story. And that was a monstrous hit record for us; it was number one on Billboard for three weeks. So it was all an accident, I guess the music Gods were smiling on us. The music Gods probably sent that kid with the cassette machine.”
“When RCA heard “American Woman,” the guy that was head of A&R was listening and he threw up his newspaper in the air and said, “That’s a number one record!”" (courtesy of examiner.com, July 23, 2013...link to full interview here:  http://ww(w.examiner.com/article/burton-cummings-the-guess-who-legend-reveals-true-origin-of-american-woman)

    Bachman left the group because of some physical issues. He was to surface later with his own group, Bachman-Turner Overdrive. Am not sure how this effected the writing (him and Cummings co-wrote many of their hits), but they never had the same success after American Woman. This isn't to say they didn't have success as three more top 20 songs would attest ("Hand Me Down World", "Share the Land", "Clap for the Wolfman") , but as the decade of the 70's went on they became fewer and fewer until the group disbanded in 1975.

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Norman Greenbaum--Spirit In The Sky (1970)

     As the 60's hippie movement began to sour for many, the need to find something substantive on one's life led many back to more carnal pursuits (such as becoming yuppies in the 80's and attempting to make a pile of money), others continued to seek more spiritual things. This blossomed into what was known as the "Jesus Movement" on the west coast of the United States, many men and women became, "Jesus Freaks" and attempted to change the world through spiritual means.
     This manifested itself artistically into what was first known as "Jesus Music" and later morphed into what we now know as Contemporary Christian. In the world of pop and rock, other artists became more comfortable in using Christian imagery. Some were sincere in their reflections, others were just using it as another tool in the toolbag of lyrical creativity. Between a press which was pretty ignorant about all things spiritual, and a generation of Christian teens who praying for some merging between the church and the rock music they loved, any use of the word, "Jesus" or any inkling of Christianity brought a great deal of debate and discussion.
     For some reason, "Spirit In The Sky" was thought to be a Christian, and the use of the imagery WAS apparent, but Norman Greenbaum, who was and continues to be Jewish, pointed more towards his inspiration being television westerns...well that and a spiritual that he saw Porter Wagoner and 
Dolly Parton sing on TV. You can read more on him here: http://www.spiritinthesky.com/index.html

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Frijid Pink--House of the Rising Sun (1970)

     I had been interested in rock music and it's history all my life, but it's been in the last several years since starting the blog and radio show that I've dug under the surface to find endless tributaries that feed into modern rock and pop. One of those feeders come from the city of Detroit where the music scene went much deeper (and arguably more influential) than anything that came out of Motown. The Bob Seger System, The Amboy Dukes, Alice Cooper, MC5, The Stooges, and Grand Funk Railroad laid the foundations for what was to become 70's era rock and in the case of Iggy and the boys, American punk as well.
     One group that doesn't get near the recognition as these I've mentioned is Frijid Pink.The group never rose to 70's prominence like Cooper, Seger and Ted Nugent did, nor did it become influential like The Stooges. They were just a hard rock blues outfit that were stars in their hometown except for this cover of The Animals' hit from 1964.
     The band got it's start in 1967 as a couple members from The Detroit Vibrations combined with other musicians and after touring through the Southeast Michigan for a couple of years signed with Parrot Records. Their first two singles, "Tell Me Why" and Drivin' Blues" (both great songs by the way) went nowhere, but the fuzzed drenched version of "House of the Rising Sun" reached the top ten.
      Subsequent singles didn't do as well, and as lineup changed effected the band, they sank back into obscurity. For those who really like this single, it would do you well to check out their first three albums.

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Free--All Right Now (1970)

     The group Free came together in April of 1968, with all four band members being under the age of 20. Bass player Andy Frasier was only 15, guitarist Paul Kossoff 17, and lead singer Paul Rodgers and drummer Simon Kirke coming in at 18. Despite this, all four members had experience in other bands. After six months, the group produced it's first album, "Tons of Sobs" which actually saw some action in the US charts, but none in the UK.
     Their third release however, "Fire and Water" was an excellent album, containing, "All Right Now", but a solid recording besides. It looked as though the band was primed for word wide success. It was not to be however as the group broke up in 1971 after a a follow up album that wasn't nearly as good, and a grueling tour. There was a period of time after following other projects, the original group again reformed and recorded another album, but Frasier left the band for good, and Kossoff was very inconsistent because of his ongoing struggle with heroin addiction.
     Kossoff would later form the group "Back Street Crawler" until his death from a drug induced heart attack. Frasier would be in several bands with limited success. Rodgers and Kirke would later form Bad Company who would dominate US radio in the late 70s.

  

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King Floyd--Groove Me (1970)

     King Floyd III was born in New Orleans in 1945. He started singing in the Bourbon Street area before entering the army. After that he went to California where he hooked up with former AFO producer Harold Battiste and recorded an album featuring songs written by Dr. John. The album failed to chart, and Floyd moved back to Louisiana.
     By 1969, he was working for the post office with most ideas of making in the industry fading. It was there however that Wardell Quezergue, an R&B arranger convinced him to record for a small label out of Jackson, Mississippi called Malaco Records. Floyd went there and recorded "What Our Love Needs" (A-side) and "Groove Me" on the flip. Interestingly enough Jean Knight was also at that session and recorded what was to be another big hit for the small label, "Mr. Big Stuff".
     The A side went nowhere but the New Orleans DJ's began to flip it over and play "Groove Me". It soon became national and rewarded King with a #6 hit. He recorded a couple more albums, and although fine records, never was able to achieve the magic again. He passed in 2006 at the age of 61.

 

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The Five Stairsteps--Ooh Child (1970)

     Several years before The Jackson Five took the soul/pop world by storm, another family of siblings were making an impact on the charts. Five of the nine Burke children out of Chicago (Alohe Jean, Clarence Jr., James, Dennis, and Keni) were discovered after winning a talent contest at the Regal Theater. They were offered several recording contracts, but a close family friend was Fred Cash of The Impressions who introduced them to Curtis Mayfield who signed them to his Windy City label.
     Beginning in 1966 they had a streak of songs which would do well on the r&b top 20, but never was able to make a dent on the top 40. In fact for all of the songs they placed on the charts, "Ooh Child" was not only the only song to make it to the Top 10, but it was the only song that made it to the Top 40 (pop charts).After disbanding in the mid-70's, Clarence Jr. and Keni continued in writing, producing, and studio work.

    

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Joe South (1940--2012)

     Joe South, who passed away on September 5th had not been heard from very much since his heyday in the late 60's/early 70's. His style of songwriting and guitar playing which was filled with a  distinctly southern feel which still holds up very well today.
      Born Joseph Alfred Souter in Atlanta Georgia, he started songwriting during the late 50's, penning the novelty song, "The Purple People Eater Meets the Witch Doctor" in 1958, and a couple of songs for Gene Vincent. His first big hit as a songwriter was in 1962 when a local group, The Tams hit #12 with, "Untie Me".
     He spent much of the mid-60's as a top rate studio guitarist with the National Recording Company which also included producer/keyboardist Ray Stevens and guitarist Jerry Reed. South's guitar work could be heard on the electric version of Simon & Garfunkel's, "Sound of Silence" Bob Dylan's, "Blonde on Blonde" album, and the amazing guitar work the propelled Aretha Franklin's, "Chain of Fools".
     His next big hit as a songwriter was in 1965's, "Down in the Boondocks" by Billy Joe Royal in 1965. His list of hits for others include:

    "Hush" (Deep Purple 1968)
   "Yo-Yo" (The Osmonds 1971)
    "Birds of a Feather (The Raiders 1971)
    "(You Never Promised Me a) Rose Garden (Lynn Anderson 1971)
    "Don't It Make You Want to Go Home" (Brook Benton 1972)

     He is best remembered for the song, "Games People Play" which was his biggest hit and garnered him two Grammys (he also received a Grammy for, "Rose Garden"). His other top 20 hit was, "Walk a Mile in My Shoes" which Elvis made a staple in his live performances.
     In 1971, his brother and the drummer in his band, Tommy, committed suicide. This threw Joe into a depression which, along with a drug problem, drove him into a self imposed exile in Hawaii for years until he cleaned up his life. His reclusiveness assured that any kind of "comeback" was not in the cards. He eventually moved back to Buford Georgia.

   

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Sunday Morning Vault: Delaney & Bonnie--Only You Know and I Know (1970)

     Delaney and Bonnie were not around a long time, but they made quite a splash as the predominant white soul duo of not only the late 60's/early 70's, but of all time.
      Delaney Bramlett was born in Mississippi and moved to California to try to make it as a guitar player. His break came as a member of the house band, "The Shindogs" for the ABC music series, "Shindig" from 1964-66. It's was through this band that he met and befriended Leon Russell, who would figured in his career.
     Bonnie O'Farrell was born in Alton Illinois and migrated to LA where she met Delaney at a bowling alley where The Shindogs were playing. Within a week they were married and decided to record together. They became the first white artists signed to Stax records to a one album contract.
     That album, "Home" and it's follow up "Accept No Substitute" on Elektra, didn't make much of a splash on the charts, but the talent of the duo spread among the major artists around the world who clamored to work with them. George Harrison, who learned to play slide guitar from Bramlett in turn introduced him to Eric Clapton who invited the couple to open for his group, Blind Faith in 1969.
    Clapton, who was still searching for the group setting that he could feel comfortable with, felt so much at home with the couple, the he would come on stage with them and play during the opening set. Eric would later say that Delaney taught him everything he knew about singing. That might be overstating a bit, but there is no doubt that his music took on a more soulful turn after his association with the Bramlett's.
     They went on tour as Delaney, Bonnie and Friends in 1970 which contained Eric Clapton and a rotating group of friends who love the couple and the music that they were making. George Harrison, Bobby Whitlock, Dave Mason (who wrote, 'Only You Know and I Know'), Leon Russell, Duane & Gregg Allman, Rita Coolidge, and King Curtis all would be found jamming on any given night.
     The tour was documented on the album, "On Tour with Eric Clapton" which did what none of the studio albums could, to capture at least in part the magic of Delaney & Bonnie.

   
     

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Tyrone Davis--Turn Back The Hands Of Time (1970)

    Tyrone Davis was able to handle gritty R&B, pop, and disco, but his smooth baritone was made for smooth soul. His voice, which lent itself to tender vulnerability, along with his good looks, made him a favorite with the ladies for for almost two decades.
     Davis was from Mississippi, but made his way to Chicago to seek his fame. He signed with producer Carl Davis' fledgling record label, Dakar. His first single was a "B" side hit, "Can I Change My Mind" which went to #5 on the pop and #1 on the R&B charts.
     "Turn Back the Hands Of Time" was co-written by Jack Daniels and Bonnie Thompson who wrote his first hit as well. With background vocals by Barbara Acklin, Eugene Record, and Robert Lester, Davis rode the song to #3 on the pop charts, which was his highest position on the Hot 100.
     Tyrone continued to chart throughout the 70's, although he did much better on the R&B list having hits all the way through the mid-80's. He continued to record and tour up till a stroke affected him in 2004. He passed away less than a year later at the age of 66.

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Joe Cocker--The Letter (1970)

     Joe Cocker brings a good example of what I think is a problem with oldies radio today. The two songs that you hear mostly from him is "Up Where We Belong" (1982), and "You Are So Beautiful" (1975). Both songs have their charms I suppose, but they also are the definition of "lite rock", and miss the songs that truly defined him as one of rock's distinctive voices.
     Cocker had been singing in bands from 1961 to 1968, when going solo, he covered, "With a Little Help From My Friends", which easily became one of the best Beatle covers ever. His debut album, along with a landmark gig at Woodstock pushed him to the forefront of rock's elite.
     Early in 1970, Cocker was going on a promotional tour, and gathering a group of 30 to surround him, took "The Mad Dog and Englishmen" tour on the road. Described as "one big party", the group traveled to 48 cities and over a two day set in March at the Fillmore East in New York recorded an album that would be released in August. "The Letter" would be on that album.
     The song itself had been a bit hit for The Box Tops in August 1967 (the story of that recording is one that deserves it's own blog). In this group's hands however, it became a rip roaring gospel/blues shouter propelled by the piano of Leon Russell and a devastating rhythm section. The song broke Cocker through to a much wider audience and became his first top 10 hit.
     He would have greater success, and songs with much wider appeal. But for me, this is not only his best single, but one of the best singles of all time.

   

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Brook Benton--Rainy Night in Georgia (1970)

     Brook Benton was earning a good living as a songwriter and producer in the mid-50's for artists such as Clyde McPhatter, and Nat King Cole. He was also beginning to record some himself with so-so results until 1959, when his, "It's Just a Matter of Time" reached #3 on the charts. This continues a four year period where he records a LOT of singles, and 15 of them made the top 20.
     The British invasion years were not kind to him, but he made a major comeback on the charts in 1970 after a move to Atlantic Records with, "Rainy Night in Georgia"

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Alive n' Kickin'--Tighter, Tighter (1970)

    There are some stories that inspire me more than others, and the story of Alive n' Kickin' is one of those. The band formed in 1968 and was soon signed to Roulette Records which was known mostly for Tommy James. James had written a song for them, "Crystal Blue Persuasion", but liked it so well that he kept it for himself and instead wrote, "Tighter, Tighter". It was released in the spring of 1970 and reached #7 on the charts. A second song, "Just Let It Come" was on the top 100, then the group faded from view and finally disbanded in 1971. 

     A few years later, with the band members out of the music business, they realized that doing what they loved no matter if they were "popular" again was preferable to working outside of the craft. So in 1976, they reunited as a wedding and party band. They have been going strong ever since garnering a reputation of being one of the best bands in the northeast. For me, anyone who can enjoy what they do...on their terms...is inspiring.  

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The Carpenters--We've Only Just Begun (1970)

      The suits at Crocker National Bank of California wanted something different. The desire was to plan an advertising campaign that was appealing to young couples, but at the same time, desired to steer clear of traditional jingles.  The bank enlisted the songwriting team of Roger Nichols and Paul Williams to write a song that conveyed the feelings of a newly married couple. The plan was to play the song over the film footage, a concept that was fairly new to advertising.

     Late one night, Richard Carpenter was watching TV when the ad came on the air, he immediately recognized Williams voice and the next day called to inquire about it's availability. There were only two verses and no bridge at the time, but the songwriters, who had never had more than a couple of minor hits, didn't want to pass up the chance to work with one of the hottest duos in music at that time, so Williams admits that he flat out lied to Carpenter and told him it was finished. This began a series of feverish, late night sessions to complete the song as they stalled for time until it was complete.

     The song was an immediate hit with it going to #2 on the charts, and helped The Carpenters to win two Grammy's in 1971. It also propelled the career of Paul Williams as he wrote two more top 10 songs for the Carpenters (Rainy Days and Mondays, Won't Last A Day Without You), Three Dog Night (Just an Old Fashioned Love Song), Barbara Streisand (Evergreen) and others.

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Santana--Black Magic Woman (1970)

     Carlos Santana turns 64 today...

     Carlos Santana's break into music occurred in a very 60's styled manner. One Sunday afternoon at the Filmore West, Bill Graham was having to put together an impromptu band, since Paul Butterfield was too drunk to show. He was looking for a guitarist when someone suggested that Carlos could do it. He did the gig and it went well enough that he soon started the Santana Blues Band with fellow street musicians David Brown, and Greg Rolie.

     The song, "Black Magic Woman" was written by Peter Green, then of Fleetwood Mac in 1968 and appeared on their album, "English Rose" (in the US),  and "The Pious Bird of Good Omen" (in the UK). Santana's version was linked with a song by Hungarian guitarist Gabor Szabo called "Gypsy Queen". The radio version of the song cuts out most of Szabo's song, but the album version which clocks in at over 5 minutes not only includes it, but really defines the song as distinctly Santana's.

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Nitty Gritty Dirt Band--Mr. Bojangles (1970)

      Today Jeff Hanna, one of the founding member of the Nitty Gritty Dirt Band turns 62. 

     The Nitty Gritty Dirt Band had been together since 1966, with some success (their original incarnation included Jackson Browne), but were spinning their wheels by 69'.  A trip to Aspen Colorado to reform after several lineup changes and a new producer helped them gain focus. This resulted in the album, "Uncle Charles and His Dog Teddy" which contained the single, "Mr. Bojangles" and became their breakthrough.

     "Mr. Bojangles" was written in 1968 by country singer Jerry Jeff Walker. It had been thought to have been written about entertainer Bill "Bojangles" Robinson, but Walker has denied this to be the truth. In his autobiography, Walker was in jail for a brief period in 1965 for public intoxication in Louisiana. During that time he met a homeless man who called himself Mr. Bojangles to keep his real identity from the police. The men in the jail cell talked about all manner of things, but the mood turned heavy when he began talking about his dog. Someone in the cell asked to lighten the mood and so the man obliged with a tap dance.

     The song was the only top 10 single for the group, however, they were seen as very influential in bringing an earlier generation of country singers to a new audience through their album, "Will The Circle Be Unbroken" in 1972. In recent years, Hanna, along with Marcus Hummon and Bobby Boyd won a Grammy in 2005 for writing, "Bless the Broken Road" which had been written in 1994, but redone by country group Rascal Flatts. The Nitty Gritty Dirt Band released an album of new material with 2009's "Speed Of Life"

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Free--All Right Now (1970)

     The group Free was made up of four VERY young musicians. At the time of their first gig together in 1968, Bass player Andy Fraser was 15 (and already been a member of John Mayall & the Bluebreakers!!), lead guitar player Paul Kossoff was 17 and singer Paul Rodgers and drummer Simon Kirke were 18. In today's Disney tainted world of pop music, that might not seem like a big thing, but these guys were playing heavy blues music in pubs and clubs around England. Kossoff was already gaining a reputation as a fine guitar player and Paul Rodgers even at that time was labeled as "the voice".
      They garnered a strong following in Britain with a pair of straight ahead blues albums. Their 1970 release, "Fire and Water", was in a more straightforward rock direction and it paid dividends with, "All Right Now" reaching No. 1 in the UK and No. 4 in the US. In late 1970, "Stealer" cracked the top 50, but that was to be all that was heard from the group in the stateside pop charts.
       Increasing tensions between Rodgers and Fraser plus the extra burden of Kossoff's increasing drug use caused the band to break up in 1973, with Rodgers and Kirke to form Bad Company, Fraser formed the group Sharks, and Kossoff started Back Street Crawler. Kossoff died of drug related heart failure in 1976, Fraser recorded and wrote up until about 5 years ago when ill health has curtailed much of his activity. Of course, Rodgers has had a prolific career fronting several different bands and is now touring with Queen. The clip here is a rare black and white from Australia....enjoy.

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Vicki Anderson--Message From the Soul Sisters (1970)

     Vicki Anderson was the lead female singer in James Brown's revue from 1965-68 and then again from 1969-72. Brown had labeled her the best female vocalist he ever worked with. She had a string of records out during that time including a couple of duet's with Brown. Although it never charted, her best known work as a solo artist was, "Message From the Soul Sisters". in 1970. She was married Bobby Byrd (who was an original member of Brown's band) up to his death in 2007 and their daughter Carleen Anderson has had some success in Great Britain.

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Sunday Morning Vault: Ashton, Gardner & Dyke: Resurrection Shuffle (1970)

The vault opens up to find a ditty with a tasty horn section. Tony Ashton (keys), Roy Dyke (drums), Kim Gardner (bass) came together in 1968. Ashton was an uncredited contributor to George Harrison's debut album, "All Things Must Past". However Harrison and Eric Clapton repaid by helping with their second album which "Resurrection Shuffle" was a part. They had no success with follow up recordings and split up in 1973. All three went on to have successful careers as session players.

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Simon & Garfunkel: Bridge Over Troubled Water (1970)

In the history of rock and pop, there are watershed moments that one can look back on and say, "this was important". That also happened in year long blocks as well...stretches of time that a series of events occurred that shaped history. 1970 was one of those years, where between break-ups and death, the face of music
changed forever. It was not a surprise that Paul Simon and Art Garfunkel were having problems and were going in totally different directions artistically. They had split once already when the song "Sounds of Silence" had been remastered and shot up the charts. This time it was evident that the end was near. Am not sure if these things were on his mind as Simon wrote these words, but nevertheless, "Bridge Over Troubled Water" became one of the biggest sellers of the decade and has become one greatest songs of the Rock/Pop era. Interestingly enough, Paul and Art both have commented that thought the vocals suited Simon's voice much better. For my money....I'm glad it turned out the way it did....

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The Jackson 5: I Want You Back (1970)

41 years ago today, the Jackson 5 reached No. 1 with, "I Want You Back" the first of four songs to reach that height. Originally intended for Gladys Knight and the Pips, this song exploded on the charts and gave boost to a two year string of top 10 songs. And oh by the way introduced us to little Michael....

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