Roberta Flack & Donny Hathaway--Where Is The Love (1972)

     We see examples in music of duos who do much better together than separately. Although Roberta Flack maintained a strong career on the charts through the 70's and part of the 80's, Donny Hathaway's success always seemed to be linked to his female duet partner.
     Hathaway received an scholarship to Howard University and went there three years before quitting to pursue his professional avenues. He first worked behind the scenes as a songwriter, producer and session pianist for a number of stars such as Aretha Franklin, The Staple Singers, and Jerry Butler. He also sang in "The Mayfield Singers" who would back The Impressions. Soon, he became the house producer for Mayfield's Custom record label.
     Atco Records was interested in Hathaway as a solo performer and signed him to their label in 1969, but the first few efforts didn't go far. However, his first album in 1970, "Everything is Everything" has become somewhat of a soul classic.
     I've read in some materials on the internet that it was during their time at Howard University that Flack and Hathaway were friends and this led to them working on music together. It sounds good, but that's not true since Flack was offered a scholarship at the age of 15 (one of the youngest to ever enter the university) in 1952 and graduated at the age of 19 when Hathaway was 11.
     The real story is that Flack included one of Donny's compositions on her "First Take" album in 1969 ("Our Ages or Our Hearts"). The next album not only included "Gone Away" written by Hathaway and Curtis Mayfield, but he was the arranger on the disc as well. It was Jerry Wexler who suggested an album of duets.
     The result was the album, "Roberta Flack & Donny Hathaway" in 1971 which gave them a minor hit with the James Taylor song, "You've Got A Friend". In fact, both the duo's and Taylor's version came out on the same day, and while JT's version went to number one, it certainly gave both much needed exposure.
     This was especially true of Flack who just a short time later hit number one with, "The First Time Every I Saw Your Face",  a song from the Clint Eastwood movie, "Play Misty For Me". In the summer of 1972, Atlantic chose to take the song, "Where Is The Love" off of the duet album which became a top five hit, and won the pair a Grammy as well. The next solo outing for Roberta was, "Killing Me Softly With His Song" which became another number one hit and propelled her into superstardom.
     Hathaway however continued having problem making it big as a solo artist. His problems with mental illness also became a problem, not only in his personal life, but in his relationship with Flack. He had been diagnosed as a paranoid schizophrenic and as long has he was taking his medication he was fine. His wife later admitted that he was not always diligent in this respect and it eventually effected all of his relationships.
     Although Donny had a few top 20 hits on the R&B charts, he was never able to translate this into overall success. He did some television work, including recording the theme song to "Maude" and produced some as well, but much of the mid-70's was spent working in small clubs and having several bouts in the hospital for his emotional issues. Later in the decade he reconciled with Flack and the two went back into the studio to record what would be another huge hit, "The Closer I Get To You" in 1978. The pair were making plans to release another duet album when Hathaway was found dead in January of 1979 after falling from his 15th story apartment. There were no signs of struggle and the sliding door was neatly moved, which led investigators to rule it a suicide. He was 33. 

  
     

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Albert Hammond--It Never Rains in Southern California (1972)

     "It Never Rains in Southern California" seemed like one of the quintessential early 70's "California" songs, which in fact, it is, but author, singer Albert Hammond comes from climes much different that it's warm, sunny beaches.
     Hammond, born in London during the World War II in 1944 and quickly his family evacuated to Gibraltar where they stayed and raised their family. His first bands were located in Spain (which makes sense given the location of the tiny island), where he had a hand in the development of the rock scene in that country. He founded the UK group, "The Family Dogg" in 1966 and they scored a top 40 hit in 1969 called,  "A Way of Life".
     He became better known in the 70's as a songwriter, penning the UK hits, "Little Arrows" for Leapy Lee and "Gimmie Dat Ding" for The Pipkins in 1970. Upon moving to the United States the next year he continued writing and also recording solo. This brought his biggest hit, "It Never Rains in Southern California" in 1972. Throughout the decade, Hammond was on the charts, but never with the success of that song.
     However, there are more than a few songs that has his songwriting stamp on it that DID hit big in the coming decade. "The Air That I Breathe" by The Hollies in 1974, "When I Need You" by Leo Sayer in 1976,  and perhaps his most popular song, a co-write with Hal David, "To All The Girls I've Loved Before" by Julio Igesias and Willie Nelson in 1984.
     Hammond has also written hits for Starship ("Nothing's Gonna Stop Us Now" with Diane Warren), Diana Ross, and Tina Turner. He's also well known for his work as a songwriter in Spain, where he continues to record from his home base in Gibraltar.

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Arlo Guthrie--The City of New Orleans (1972)

     I wonder what it must be like to be the child of a musical icon? Some go into the same musical profession such as what Lisa Marie Presley or Nancy Sinatra has done, but there must be an enormous amount of pressure since the father of those two ladies were true musical superstars. For Arlo Guthrie however, it was probably even more so because his father was as much a political and social icon than he was a musical one. There isn't a person that was raised in this country over the last 50-plus years that hasn't committed to memory at least one Woody Guthrie song. "Roll on Columbia" and of course, "This Land is Your Land" is a major part of this county's musical lexicon
      For Arlo, who was born in 1947, his father's influence was mostly transmitted to him through his mother and friends as Woody, because of what was eventually diagnoses as Huntington's disease moved from New York to California when Arlo was 5 because he thought his erratic behavior would be a danger to his children. His parents would eventually divorce although when he was admitted to a hospital for the last time in 1956 (for the next 9 years), his mother Marjorie would help care for him until his death in 1967.
     Arlo grew up surrounded by some of the greatest folk artists of his time. Pete Seeger, Leadbelly, Ramblin' Jack Elliot and many others. Given that, it's not surprising that from the first time he sang on stage in 1961 at the age of 13, he was singing folk. It was a perfect time for that as well as folk music was going through a major renaissance. He worked on his craft, and when he went into the studio for the first time, it was to record the album that he is best known for, the classic, "Alice's Restaurant". The eighteen minute long title track was a song which tapped into his dad's political legacy, without seeming heavy handed (in fact it's very funny). Arlo was never much of a force on the charts however, except for, "City of New Orleans".
     Written by Steve Goodman, it is a song which Guthrie makes his own. The haunting lyrics and a production that gives a real warmth to the proceedings, propelled the song into the top 20 in the late summer of 1972. Guthrie continues to record, and tour non-stop, with his blend of folk and political songs. He has also done some acting, writing and promotes the group founded by his mother, The Committee to Combat Huntington's Disease  Much more about Arlo can be found here: http://www.arlo.net/

      
     

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Godspell--Day by Day (1972)

    The musical Godspell is based on a series of parables (or stories) in the book of Matthew and Luke from the New Testament in the Bible. It began as a Master's thesis from student John-Michael Tebelak who was a student at Carnegie Mellon University in 1970. After being presented by the members of the student body, it was done in Greenwich Village for a ten day run at La MaMa Experimental Theater Club in February 1971.
     Charles Haid, who was the associate director, and who would become very popular as an actor and director later, brought the play to the attention of producer Edgar Lansbury and  Joseph Beruh with the idea of making an off-Broadway production out of it. Stephen Schwartz was brought in to reconfigure the score. He took one original song ("By My Side" by Jay Hamburger and Peggy Gordon), took some lyrics out of the Episcopal Hymnal for some songs, the wrote the rest.
     The song, "Day by Day", took it's refrain from a prayer which is credited to Saint Richard of Chichester. and was released as a single in the early summer of 1972. It reached number thirteen in July of that year. The lead singer on the recorded version is Robin Lamont. It became a successful play in several different runs including Broadway in 1976, and a film version in 1973.

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Gallery--Nice To Be With You (1972)

     There used to be a major divide in the early 70's between those who listened to "FM" or album rock, and "AM" top 40 . It seems silly in a way, but there has always been divisions in musical taste like this. For many music fans (and unfortunately those who write about music as well), there is a territorial view of their genre, no matter what it is. Because of all of the different types of music I was exposed to as a child, there has always been a wide range of taste. To me, if it sounds good, I don't care who made it. This did mean however that most of my family didn't know that I have always had a love affair with hard rock music since about the age of 11. On the other hand, most of my peers would not be aware of my favoritism towards John Denver and Barry Manilow.
     Anyway, getting back to the subject at hand, the early 70's had a load of groups that would have a very tuneful hit which would come and then go. The Detroit based group, Gallery, not only had one, but had three top 40 hits in 1972 and 73. Singer/guitarist/songwriter Jim Gold, was the man behind the group and the song "Nice to Be With You. It has become a staple of oldies radio, not only because it's tuneful, but it's simple, pleasant sentiment crosses over generations. It's follow up, "I Believe in Music" was another hit written by Mac Davis, who, at the time was still one of the hottest songwriters of the day.
     By 1976, the touring group known as Gallery had folded, but Gold released a couple of solo albums in 76 and 78. He continues to write music today. 

    

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The Four Tops--Keeper of the Castle/Ain't No Woman Like the One I Got (1972)

     It had been a common refrain from those artists who had a proud legacy with Motown. The late 60's saw major shifts in what was a hit making machine out of Detroit. As with any musical style it is subject to the whims of the buying public, and much of the formula that churned out hit after hit had begun to break down as the Holland/Dozer/Holland songwriting team left to form their own label.
     Several groups like the Temptations and The Four Tops began to experiment with more psychedelic forms that fit with the late 60's. New songwriters such as Ashford & Simpson, Norman Whitfield, and Johnny Bristol began to emerge with a new pop/soul sound.  Artists with more clout such as Marvin Gaye and Stevie Wonder began to bring new forms of the black experience and it's expression  to the Motown label. which although popular with the public, did not impress Label president Berry Gordy who had become fixated on newer groups like The Jackson Five, Rare Earth, and a newly solo Diana Ross. With this began a slow shift from Detroit to Los Angeles which culminated in an announcement in 1972 that all operations were to move there, as was the artists. 
     The Four Tops were not interested in moving. Having felt neglected by the label for the past several years, they chose to break away from Motown and signed with ABC-Dunhill. This sparked a renaissance within the group and 1972 became one of the best years they had since their salad days in Detroit. The first hit was "Keeper of the Castle" which although neglected by oldies radio was a breath of fresh music air in 1972, with singer Levi Stubbs showing once again why his voice was a distinctive one through-out the previous decade. The second hit of the year was, "Ain't No Woman Like the One I Got" which Stubbs was joined in co-lead spots by the rest of the Tops. "Ain't No Woman" was their last top five hit. Although never having another big hit, they continued to record throughout the 70's and from the 80's until the middle of this past decade toured the country with The Temptations in a very successful partnership.

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John Fogerty/Blue Ridge Rangers--Jambalya (1972/3)

     John Fogerty ranks easily as one of great songwriters/singers of the early days of modern rock. Having said that, it seems like much of his career has been spent fighting for his own self significance. Some of the fights, like with Fantasy records were wholly justified, others, like with his brothers and band-mates left one scratching their head and wondering what the fuss was really about.
     Without going too deep into it here, John's brother Tom had already left the band, over wanting more control in the band along with the remaining members, Stu Cook and Doug Clifford. They made it clear they didn't want total control, but they desired to work more as a cooperative then "John Fogerty and his band". Instead of working with the others to craft songs, an ultimatum was for each to take a third of the album and write their own music or else the band would be dissolved.
     The result, "Marti Gras" was a disaster (at least by CCR standards) and the band broke up in early 1972. With Fogerty feuding with Fantasy and his musical family, he retired into the studio to make an album of just songs that influenced him. No one else was involved in it as John played all of the parts, and produced it as well. To continue to separate himself from his own legacy, there was no picture of him on the cover of the album, and he took the name, "Blue Ridge Rangers" instead of promoting his own name. Of course, with that distinctive vocal sound, it was not hard to know who was doing the singing. The Hank Williams Sr. classic, "Jambalya" was chosen as the first single (released in late 1972)  off the album and reached the bottom part of the top 20 early in 1973.

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Roberta Flack--The First Tiime Ever I Saw Your Face (1972)

     Roberta Flack had spent the entirety of the sixties as a music teacher in the Washington DC area.She had graduated from Howard University in late 50's as one of the youngest to ever graduate from that establishment (she was 19 at the time) and had planned to continue on to graduate studies in classical piano and voice. However, the death of her father put her in a position to help with the family finances, so she went into teaching in Farmville, North Carolina then to Washington.
     During the 60's she began to shape her career as a singer by performing in clubs on weekends in the area. At first she accompanied other singers, while she would sing on her own during intermissions, then as a performer on her own. In one of those clubs, she was heard by jazz pianist Les McCann, who arranged an audition for her with Atlantic Records. She recorded her first album, "First Take" in late 1968 and was released the next year. At first, not many heard the album, but one person who did was Clint Eastwood.
     The actor was in the process of making plans for his directorial debut on a film called, "Play Misty For Me" and was taken by one of the songs off of Flack's first album. "The First Time Ever I Saw Your Face" was written by folk singer Ewan MacColl back in 1957 and had been covered dozens of times. Flack had taken the song and slowed it down considerably for her recording, and Eastwood thought it would be a perfect fit in his new movie.
      During 1971, she had begun to make some headway on the charts, mostly on the strength of two duets with Donny Hathaway, but when the movie and the song became hits, it propelled her to stardom. The song was nominated for a Grammy and was the first of four top five hits for Roberta during the 70's.

     

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The Eagles--Take It Easy (1972)

    In the spring of 1971, singer Linda Ronstadt was preparing for a summer/fall tour and her manager, John Boylan was looking to put together a backing band. Glenn Frey was from Detroit and had moved to LA back in 69, Don Henley had come to the city from Texas the next year. Both were recruited for the band. A few months later a couple of relative veterans came into the fold. Bernie Leadon had just finished a stint with the Flying Burrito Brothers after recording a couple of albums with the group. Randy Meisner had begun doing session work on a full time basis again after spending some time with Rick Nelson's Stone Canyon Band.
     The four actually only played one gig with Ronstadt together, but quickly began to work among themselves on material written by Frey and Henley. By the end of the summer, their work with her had finished, and their work as the Eagles had begun.
     Although much of the first album was written in house, it was a friendship that Frey had with Jackson Browne that produced their first big hit. According to Browne, he had a bit of the song written and was in the studio fooling with it a bit, Frey asked about it and Jackson had replied that it wasn't ready yet. Glenn then suggested that it be completed there in the studio because he liked it. When Browne declined to do so, Frey then suggested that he help complete the song. "...after a couple of times when I declined to have him finish my song, I said, 'alright.' I finally thought, 'this is ridiculous. Go ahead and finish it. Do it.' And he finished it in spectacular fashion. And, what's more, arranged it in a way that was far superior to what I had written." (Taken from 'The Jackson Browne Fan Page')
     The result was a great song which became their first release, and first hit in the Spring in 1972 going to number 12. The debut album in which Browne was working on became a hit as well, with the debut single, "Doctor My Eyes" reaching the top ten.

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The Dramatics--In The Rain (1972)

     Sometimes I'll post a blog because of specific reasons (i.e. death, retirement, new album, etc.), and today it's all about the rain. The Dramatics first big hit was 1971's, "Watcha See is Watcha Get". But today in Nashville is cloudy, wet, and cool. A perfect early fall day from my perspective, and my mind wandered to a song that to me is a lost classic. "In the Rain" hit the charts in February of 1972 and rose to number 5 on the charts, which made it the biggest hit for the group on the Hot 100 and their only number 1 on the R&B list. 
     The Dramatics formed in 1962 out of Detroit and began recording in 1965 on the small Wingate label. Motown absorbed the label in 1967 and it was with them that the group had a local hit with, "All Because of You" which reached #43 on the R&B charts. The next year they signed with Stax/Volt and continued to hone their skills breaking through with "Watcha See.." three years later.
     The group continued to record hits throughout the decade of the 70's, finally breaking up in 1982. A reunion in 1985, and the reception from their fans convinced them to reform Part of that group remains today as they continue to tour. Their last studio album, "If You Come Back To Me" was released in 1999 although they have a live set that came out in 2002.

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The Doobie Brothers--Listen to the Music (1972)

     The beginning of the group came about as drummer John Hartman arrived in California to work with former Jefferson Airplane and Moby Grape artist Skip Spence. Things didn't work out musically between the two, but Spence introduced Hartman to singer/guitarist Tom Johnston. The duo began working together with a rotating crew of musicians under the name, "Pud" for about a year until teaming up with bassist Dave Shogren and Patrick Simmons. They changed their name to "The Doobie Brothers" and began to tour through Northern California, being especially popular with the Hell's Angels.
     They were signed to Warner Brothers and released their first album in 1971. "The Doobie Brothers" didn't make a dent on the charts, but from a listen you could see all of the elements that would come to fruition just a year later. Shogren was replaced with Tiran Porter and added a second drummer, Michael Hossack.  The addition of Porter's voice completed a three part harmony which became vital to the Doobie's sound. Pianist Bill Payne (from the group, Little Feet) contributed on the follow up recording as well.
     "Toulouse Street" added a glossier production, but not so much that it would be considered slick and that suited the sound of the band perfectly. It is a classic album of the early 70's California sound much like the Eagles, but with more jazz and r&b underpinnings. The first single, "Listen to the Music" became their first top 20 hit and would lay the foundation for the Doobie's sound for the next three years. 

     
     

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Dr. Hook--Sylvia's Mother (1972)

     Dr. Hook and the Medicine Show got it's start in 1970 as the three members of the group, The Chocolate Papers broke up, than reformed with new lead singer Dennis Locorriere. The name of the group came from one of their first gigs when a club owner said they needed a name for a poster that would promote a gig that night. Guitarist George Cummings made a sign that said, "Dr. Hook and the Medicine Show: Tonic For The Soul". The name Dr. Hook was a play on bandmate Ray Sawyer's eye patch (he had lost an eye in a 1967 car accident).
     An early enthusiast of the group was songwriter Shel Silverstein. Some of Shel's songs were chosen for the 1970 movie, "Who is Harry Kellerman and Why Is He Saying Those Terrible Things About Me" (no kidding...that was the name of the movie) Silverstein suggested that Dr. Hook would be the perfect band to perform the songs in the movie. The movie was less than stellar at the box office, but it would lead Ron Haffkine, who was musical director of the movie to become their manager.
     They were signed to CBS records in 1971 and Silverstein wrote their first single. "Sylvia's Mother". The song was autobiographical was Shel wrote about a failed relationship he had with a woman named Sylvia. He called her mother to attempt to rekindle things, but to no avail. The song reached number five in the summer of 1972, and launched Dr. Hook and the Medicine Show to stardom. They just became Dr. Hook in 1975, and had a stellar career for the rest of the 70's. By the way, although "Cover of the Rolling Stone" is their signature song, "Sylvia's Mother", and 1980's "Sexy Eyes" were better sellers.

      

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John Denver--Rocky Mountain High (1972)

     Every so often there is an opportunity to interject some of my childhood in these blogs, and this one has been sitting there for a long time. When a teenager I had a major admiration for John Denver. His voice could be a bit whiny, but his early days as a folkie and his commitment to ecological and conservation concerns was a cause that became one of mine as well.
     The "country boy" persona of the mid-70's was a bit tiring, maybe because for a 4 year stretch, the country got a bit of JD saturation. You couldn't turn on a radio, or watch a TV without hearing or seeing him. He was even a movie with George Burns!
     Although he had his first major hit with "Take Me Home, Country Roads" in 1971, it was "Rocky Mountain High" in late 1972/early 1973 that became his calling card. (Maybe because he was always more of a Denver guy, then he was a West Virginia dude...)
    Henry John Deutschendorf Jr. was born in Roswell, New Mexico but with his dad being an Air Force Lieutenant Colonel they moved quite often. The relationship between father and son were strained during those years as John even took the family car and ran away to California while still in high school.
     Several years later, he had moved to Los Angeles for good and began singing in the folk clubs. He was recruited to sing in the Mitchell Trio in 1965, then Denver, Bosie, and Johnson. During this time he wrote the song that would eventually give him the ability to start a solo career. In 1967 he recorded a demo which had a song on it called, "Babe, I Hate to Go". The manager for The Mitchell Trio forwarded the demo to Peter, Paul, and Mary who changed the name, "Leaving On a Jet Plane", which became their last top 10 hit in 1969.
    Denver's career was in fits and starts for several years having a big hit ("Country Roads", "Rocky Mountain High") then a time where other songs would languish away on the charts. By 1974, he had the twin number one hits, "Sunshine On My Shoulders", and "Annie's Song" which is where his career took off. 

      

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Mac Davis--Baby Don't Get Hooked On Me (1972)

     By 1972, Mac Davis had become a bit of a hot songwriting commodity. He had written several hit songs for other, "In the Ghetto" and "Memories"  for Elvis (he also wrote "A Little Less Conversation" which would become a hit years after the King's death), "Watching Scotty Grow" for Bobby Goldsboro and "I Believe In Music" for the group Gallery.
     He had also begun a solo career aiming for country music, but having a definite crossover feel. It wasn't until 72' however, that he hit the big time with, "Baby, Don't Get Hooked On Me". Which hit number one on the pop charts in the summer of that year. It was the beginning of a busy decade for Davis as he recorded three more top 20 hits, country hits well into the 80's. He also had several movie roles, in particular, "North Dallas Forty" with Nick Nolte.

 

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Jim Croce--You Don't Mess Around With Jim (1972)

     It was the 1st of October and I was sleeping on the couch in our living room. When ensconced within the four walls of our house, the radio was always playing and during the winter I fell into slumber with KSHE95, our local "underground" station being my lullaby.
     This morning was strange however. Being used to waking to the latest from The Strawbs, The Beatles, or King Crimson, I was hearing Jim Croce, which for this station was quite unusual. It was the song, "Operator" and even at the age of 13, knew something was amiss. Sure enough, after the song was over, the DJ announced that Croce had died the night before in a plane crash outside of Natchitoches, Louisiana.
     Croce was different than many of the singer songwriters of that era. Rather than songs of personal introspection, he liked to tell stories. Jim and his wife Ingrid met while he was attending Villanova University, and they later begin to sing and later write as a duo. They moved to New York City and began touring. They released an album in 1968, but not long after got tired of the business and NYC specifically and moved back to Philadelphia.
     The next couple of years probably did a great deal to define his later sound. He did a stint in the military, and doing various jobs, such as truck driving and working construction. During that time he met people who would shape the many songs he would write about other people. He attempted to find a life outside of music, but was always drawn back to it.
     In 1970, a college friend, producer Sal Joseph introduced Croce to classically trained guitar/pianist Maury Muehleisen. The two began working as a duo, with Croce backing Maury's songs, but as time went on the roles switched as Muehlesien began to provide the perfect sweet guitar backing to Jim's down to earth stories.
     Less than two years later, Croce was offered a contract with ABC Records and released, "You Don't Mess Around With Jim" which on the strength of the title track and "Operator" shot up to number 1 on the album charts. That title track was vintage Croce, but "Operator" which was his second hit showed the sensitive side of him as well.
     It seemed just as his career was headed into overdrive, the plane crash not only took his life, but Muehleisen's as well. His son Adrian James, now known as A.J. Croce has an accomplished career as a musician, Ingrid owns and manages Croce's Restaurant & Jazz Bar in San Diego.

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Cornelius Brothers & Sister Rose--Too Late To Turn Back Now (1972)

     A family group that doesn't receive it's just due are the Cornelius family. Brothers Carter and Eddie, sister Rose formed the original group which was signed to United Artists in 1970. As opposed to the gritty, down-home  sound of Southeast soul (they were from Florida), they had a smooth, orchestrated sound.
     This sound paid off quickly as the song, "Treat Her Like a Lady" shot up to number 3 in the spring of 1971. That song and it's follow up, "Too Late To Turn Back Now" were written by Eddie, and on the latter song, the family was joined by new member Billie Joe. "Too Late" did even better, reaching the number 2 slot in 1971.
     This success however was short lived, as after another top 30 offering, ("Don't Ever Be Lonely") and within a year they fell off the charts for the last time. The group broke up in 1976 when Carter joined a religious sect, and spent the rest of his life writing and recording music to further that cause. Eddie became a minister and preaches along with writing and singing gospel. Rose lives in Florida and continues to sing in various groups.

  

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Alice Cooper--School's Out (1972)

     For those who read this blog who are under the age of 40, it's probably humorous to read some of these stories based on what we see of an artist now. Of course, from a historical standpoint, it shows that if we show growth at all, we change over the years. In all media, there is the added perspective of how a person is portrayed now as opposed to 20, 30, 40 years ago.
     For a few years, Alice Cooper was the scourge of my parents generation. Just about every ill that had befallen on teenagers was being blamed on Cooper and his overt call to unwitting children to revolt and usurp authority. Truth was, that those children, understood "the Coop" and "School's Out" much more than parents gave them credit for.. Any kid from first to twelfth grade understood the unabashed glee of that song. And the theatrics? Cooper was a logical extension from artists like, Screamin' Jay Hawkins, Screamin' Lord Such, and Arthur Brown. The group KISS, Marilyn Manson, and Lady Gaga has kept this tradition going. Performance art as music has been a part of rock almost as long as we have had rock and roll.
     The group Alice Cooper had made the slow trek from Detroit garage band in the late 60's (who literally could clear a room) to top notch rock band. Producer Bob Ezrin had taken the rawness of "Pretties for You", and "Easy Action", and smoothed just enough of the sharp edges without effecting the raw power of the group. The subsequent albums, "Love It To Death", and "Killer" began a slow climb on the charts, and made them stars with the FM radio crowd.
     1971's, School's Out was the real breakthrough and gave the group their first top 10 single. They were one of the predominant rock bands from 1971-1975. This clip was from Britian's "Top of the Pops" from 1972.

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Commander Cody & His Lost Planet Airmen--Hot Rod Lincoln (1972)

     Commander Cody is the brainchild of George Frayne who put the group together in 1967. Hailing from Ann Arbor, Michigan, the group moved to San Francisco over the course of a couple of years. This path was similar to the group Asleep at the Wheel, (who moved from West Virginia to San Fran) and who's sound is similar. Whereas however, "the Wheel" has cultivated a more purist approach to western swing, both groups have more than a passing link to the music of Bob Wills and Earnest Tubb.
      After signing with Paramount Records, they released "Hot Rod Lincoln" in 1972. The song's life began in 1955 as an answer song to a 1951 hit called, "Hod Rod Race". The writers, Charlie Ryan and W.S. Stevenson had the song recorded several times, with the most popular version being done by Johnny Bond in 1960. Cody took elements of Bond's altered version along with the original to make their hit, which reached number 9 in early 1972.
     The group had several other hits in the early 70's, mostly with covers of late 1940's/early 1950's songs. Although they stopped charting after 1977, the group now known as The Commander Cody Band, continues to record and tour.  http://www.commandercody.com/thecover.cfm

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Chi Coltrane--Thunder and Lightning (1972)

     Just like the lack of information in her biography, Chi Coltrane has been somewhat of an enigma throughout her career. Born from a Canadian mom, and German dad, (who was a violinist) in Wisconsin, Chi (pronounced Shy) was signed to a contract on the strength of a demo of self written songs in 1971.
     "Thunder and Lightning" was the best of that demo, but the entire first album is a gem, and shows her as Laura Nyro type with top notch piano skills. The song reached the top 20 as did the debut album.
      Since then she had experienced the problems of many artists, poor management at the beginning of her career, and a follow up album that was great, but failed to make inroads in the market. (she has released 10 in total) Coupling with an aversion to self-promotion has caused this wonderful talent to never become more than a one hit wonder in the states, despite a strong cult following. She has had a great deal more success in Europe.
     She has resurfaced with a "comeback" album, you can read more about that here: http://www.chicoltrane.com/

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Black Sabbath--Iron Man (1972)

     Over the years there has been a lot of misconceptions about Black Sabbath, most of them false. They did not invent what is known as "heavy metal", but they took a form already there, and popularized it beyond anyone's imaginings. That is usually the way it goes in music, someone develops the style, and one person or group brings it to the public in a form that makes it easy to say they "invented" it.
     Nor are they an "occult" band. They would take occult themes at times and put them into the music, but they actually were aiming for the aural equivalent of a horror movie, and in fact has dealt with many social issues through that filter.  The band was named Earth early on, until they ran across a band with the same name. In looking for a new name, they came across a theater next to where they were doing a gig. The movie playing at the time was Boris Karloff's 1963 film, "Black Sabbath".
     Something that you might not know was that just before this name change, guitarist Tony Iommi had left the band to join Jethro Tull. It was a short lived affair however, as Iommi wasn't much for Ian Anderson's dictatorial style in leading a band. He rejoined his old band, and they put out their debut album in 1970. The album, "Paranoid" came later that year, which produced their only two songs on the top 100 and has been hailed since as one of the greatest heavy metal albums of all time.
     "Iron Man" has been closely associated with the comic of the same name, but has nothing to do with it, although the song has been used in the movie series. The song and the album that launched it propelled Black Sabbath into the forefront of their newly found genre. The success of the group has never really waned in the UK, and still have a rabid following stateside As of November of this year, lead singer Ozzy Osbourne has rejoined the group with the idea of recording again.

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