ABBA--Waterloo (1974)

     It seems as if every 10 years or so a new generation discovers ABBA. They were one of the best selling groups in the world in the 70's, although revisionist historians would suggest they were much bigger in the states than they really were (They only had four top 10 hits here, one of those climbing to the top). The first wave of nostalgia towards the group occurred shortly after their last album in the early 80's. The latest one, which corresponded with the stage production and movie "Mamma Mia", continues the trend that has allowed the group steady sales although they have not released anything new and has made it clear that reunions were not an option.

     Three of the four members of the group, Benny Andersson, Bjorn Ulvaeus, and Agnetha Faltskog, were stars in their native country of Sweden during the late 60's. Anni-Frid Lyngstad was up and coming as well, but not as well known as the others. As Benny and Bjorn began to work together as a songwriting team, both men showed great interest in producing. They both had a desire to make a sound that was reminiscent of Phil Spector. Although the music would steer away from that as time went on, their first massive world-wide hit shows this deep influence.

     "Waterloo" reached #6 here in the states and would be their biggest hit stateside until "Dancing Queen" reached the top over two and a half years later.

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Herbie Hancock--Chameleon (1974)

     In high school, many of my friends were in Jazz Band. I was never good enough to get in on my own, but used to go with them to festivals and contests, which if nothing else, broadened my palate of music. Through that, I have come, if not to love, than to certainly have a knowledge of, and appreciation of 70's era jazz. Chick Corea, Keith Jarrett, and Herbie Hancock were some of my favorites to this day. The only one of those three who attempted a broader pop audience was Hancock.
     Herbie was born in Chicago in 1940 and by his early 20's was beginning to catch the attention of some of the jazz greats, in particular trumpeter Miles Davis, who invited the young pianist to join what was to be known as the Second Great Quartet. Before leaving the band and forming his own in 1968, he began to branch out on the Fender-Rhodes Piano, and some early electric keyboards, which would point the way to the 70's.
    That decade would be one of non-stop growth as he began a life long love of keyboards and all gadgets electronic. He also began a turn towards trends away from straight jazz. Funk, pop, and later in that decade, disco, would all find themselves incorporated within his mix. This turn to a broader based jazz sound would also find himself hitting the charts on several occasions. The one most remembered would be, "Rockit" in 1983 due to it's cutting edge (at the time) video which found itself on regular rotation on MTV. Actually however, his most popular song was from 1974.
     "Chameleon" was off of the album, "Head Hunters", which has become one of the great jazz albums of the 70s. The album version was over fifteen minutes long, but of course was shortened greatly for top 40 consumption. This shorter version came very close to the top 40 (#42), and broadened Hancock's fan base. Having released his last album in 2010 at the age of 67, he doesn't seem ready to slow down at all. Below are a shorter version and also the album cut.

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Genesis--The Lamb Lies Down on Broadway (1974)

     The story of Genesis is truly one of two different bands, which made if difficult to choose which one of those incarnations to write about. So to be fair, I am writing about the Peter Gabriel era group today, and the Phil Collins era group tomorrow.
     The story begins in 1967 with schoolmates Peter Gabriel and Tony Banks. The other members drawn from bands which came from other schools included Mike Rutherford, Anthony Phillips, and Chris Stewart. Their original intention was to become a songwriting cooperative, however in 1968,  songwriter Jonathan King, who was an alum of the same school as Gabriel and Banks, heard the band at a gig at the school and was impressed enough by what he heard to help get them signed to a recording contract. The resulting album, "From Genesis to Revelation" in 1969 didn't sell well (didn't sound much like what we know as Genesis either), but King continued to encourage the band to go off on their own rather than write for others.
     During the recording of that first album, drummer Stewart was replaced by John Silver. Silver was replaced before the recording of the second album by John Mayhew. The subsequent album, "Trespass" still showed a band in development, but on hearing it again now, showed the template for what was to become the classic 70's era Genesis sound.
     After that release Phillips chose to leave the band due to ill health. Mayhew was also released and replaced with Phil Collins. The guitarist spot was filled first by Mick Barnard then Steve Hackett in the fall of 1970. Thus began a streak of top albums by the five men. "Nursery Cryme" (1971), "Foxtrot" (1972), "Selling England by the Pound" (1973), and "The Lamb Lies Down on Broadway" (1974).
     "Lamb" in particular was a massive two album set describing the spiritual story of Rael, a Puerto Rican youth living in New York City. The stage production in concert was as sprawling as the album, but it was a huge success for the band critically and in terms of sales. However, Gabriel was showing continues dissatisfaction with the band. He was not only feeling pigeonholed musically, but also felt the band members showed disinterest and callousness towards the difficult birth of his daughter and the need to be home with her and his wife. This led to him announcing that he was to leave after the "Broadway" tour. The band members were aware of this prior to the tour.
     Despite this, the tour was a massive success, and Gabriel and the band he helped create went their separate ways. This could spell disaster for many groups, but this was one instance where leaving not only was very successful for the man leaving for the solo career, but shot Genesis off into a totally different direction which no one could have predicted.

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Gloria Gaynor--Never Can Say Goodbye (1974)

     In music, there are examples of an artist who become so associated with one song that it literally overshadows everything else they do. Thus is the case with Gloria Gaynor. As we'll see with this song, she was a successful recording artist long before that song identified her forever with a specific time and place.
     The album of the same name was one of the first major disco recordings with it's title track being part of a 19 minute suite designed specifically for the dance floor.  In fact, at the beginning of 1975, Billboard began it's dance music top 40 and, "Never Can Say Goodbye" became the first number 1 on that list. The song itself was written by Clifton Davis and first recorded by The Jackson 5 in 1971.
   Gaynor broke out on the top 40 charts at number 9 and began a lifelong relationship with dance music. She only had one more hit on the pop charts (of course, 'I Will Survive', which was her only number one), but has had five number one's on the dance charts, with the latest being in 2002. As opposed to many disco artists of the day, she embraced her role as disco diva, and never stopped touring and recording. You can find out more about her here: http://www.gloriagaynor.com/

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The First Class--Beach Baby (1974)

   Only the mish mash of styles that defined the top 40 charts during the early/middle 70's could have given us one of the best summertime hits about the beach from London. Not only that, but they evoked the sound of the Beach Boys and Brian Wilson better than Wilson himself could at the time.
      The First Class was a studio group which consisted of songwriter/producer John Carter, studio singer Tony Burrows, and Chas Mills, primarily to promote the music of Carter and his songwriter wife, Jill Shakespeare.
     We have had done a blog on Burrows before and this would be the last of an incredible run as a lead singer in a band. "Beach Baby" itself was written and recorded in the summer of 1974. After it's release in subsequent success in the US, there was a clamoring for a tour. None of the participants were interested in this, so a band was put together which consisted of, Del John (lead singer), Spencer James (guitar), Robin Shaw (bass), Clive Barrett (keys), and Eddie Richards (drums). If you actually own the copy of their one and only album, you will see this group with the trio who actually recorded it.
     The version here on the blog is the album version of the song which is longer, but much superior to the single.

     

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Carl Douglas--Kung Fu Fighting (1974)

     In the history of popular music, there are many examples of songs that make you scratch your head, laugh out loud, or both. Even better when said music can make you move. The 70's for some reason was full of stuff like this....and so we come to the story of Carl Douglas.
     He spent his youth in his native Jamaica and California, then moving to England to study sound engineering. While there, he formed the group Big Stampede and even issued a couple of singles. From the mid-60's to early 70's he spent time with several groups in England and Spain, but it was a meeting with Indian-born producer Biddu which would lead to his biggest hit.
     Biddu worked with Carl on a movie soundtrack in 1972, and it was that experience that led the producer to call for help with vocals a couple of years later. The song, "I Want To Give You My Everything" was the supposed "A" side. He needed a song for the flip side, so Biddu wrote music to some lyrics that Douglas had written about the martial arts craze happening in the US at the time. The song was recorded in 10 minutes.  
     The supposed "A" side was forgotten immediately as the song was a meeting of a great tune with "expert timing". It reached number 1 in the states in late 1974. The follow-up, "Dance the Kung Fu" made the top 50, and top 20 in Britain, but he was not seen in the US again. Douglas settled in Germany and owns a production company. 

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Bo Donaldson and the Heywoods--Billy, Don't Be A Hero (1974)

    Listening to the bubblegum pop of "Billy, Don't Be A Hero", one would think that Bo Donaldson & the Heywoods would have been a studio group. One just put together to record the song without any intention of touring. That could not have been further from the truth....
     The Heywoods were formed in 1965 by keyboard player, Robert "Bo" Donaldson in Cincinnati.  The name came from one of the members at the time,  Corky Pickering. The group spent the second half of the decade opening for several big names of the day; The Rascals, Paul Revere & the Raiders, and Herman's Hermits.
     It was while opening for The Osmonds things began to break for them. After signing with Family Productions, the released their first single in 1972. "Special Someone" didn't make a dent on the charts, it did garner the attention of ABC Records. This led to the release of, "Billy, Don't Be A Hero".
     The song, written by Mitch Murray and Peter Callander,  had been a hit by the group Paper Lace in the UK and was being prepared for release in the US. However ABC got Donaldson's version out first....so for a time there were two versions of the song out. Donaldson's version reached number 1 here, it made no impact in the UK.
     The follow up single, "Who Do You Think You Are" also did well on the charts. After breaking up in the 80's, the group reformed in 1996 and still tours. You can find them here: http://www.bodonaldson.net/

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Sunday Morning Vault: Cliff DeYoung--My Sweet Lady (1974)

    Cliff DeYoung began his career as a musician with the group Clear Light, who opened for several of the major stars of the day, but who's own light would be out by 1968. DeYoung then tried out and won a part on the Broadway version of "Hair" then later the Tony award winning, "Sticks and Bones"
     After four years on the east coast, he went back to the west side to star in the movie "Sunshine". The movie was a real tear-jerker as it told the story of a mother who discovers she has cancer and recorded her last days for her family. The music in the show was written by John Denver (who had recorded it on his 1971 album, "Poems, Prayers, and Promises") but the single was the recording that DeYoung sang in the movie. Denver was to release his own single version in 1977.
     Cliff continues to act, having been in almost 100 movies and tv shows. The clip below has part of the audio from the movie with Christina Raines and Cliff DeYoung.

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William DeVaughn--Be Thankful For What You Got (1974)

     It's always been a fantasy of anyone who has ever picked up a mic to go into the studio, make a record, and almost immediately have a hit. The truth of course is that things like that rarely happen. For William DeVaughn however, it became a reality.
     DaVaughn had a job for the government as a drafting tech. when he spent $900 of his own money to record a song at Omega Sound in Philadelphia. The song, which he wrote, was very reminiscent of Curtis Mayfield and his old group, The Impressions. The band included several members of the MFSB band, and it caught the attention of the vice president of the studio, who began shopping it around to various record companies.
      Signed to Roxbury, the song reached #4 on the charts in the summer of 1974 which led to the recording of an album. DeVaughn, who was a devout Jehovah's Witness found that his devotion to his faith was greater than his love for music, and he lost interest after awhile, and left the industry almost as quickly as he entered it. He has since recorded a couple more albums, one in 1980, and just recently in 2004.

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Kiki Dee--I've Got The Music in Me (1974)

     Kiki Dee (born Pauline Matthews), is best known for her duet with Elton John in 1976. "Don't Go Breaking My Heart" was a massive number 1 hit on both sides of the Atlantic. However she only hit the charts one more time in the when she paired again with John with the Cole Porter classic, "True Love" in 1993. I suppose it's fitting that way, since her biggest successes occurred when linked with Elton.
     Dee had been one of the top backup/session singers from the mid-60 through the early 70's. She had recorded several singles on Fontana Records, with none of them hitting the charts. For a brief time, she had a contract in the US with Motown, making her the first white woman from Britain to do so. It wasn't until being signed by Elton in 1973 to his new Rocket Records that she began to achieve some chart action.
     She hit the top 20 in America with, "I've Got the Music In Me", which perhaps rocks harder than anything else in her catalog. It reached number 12 here in the states in 1974 and was by far her biggest hit before her collaboration with Elton.  She has a powerhouse voice, and is shown off here to full effect. In fact, like many a top session vocalist, Dee is also very versatile, which that inability to find a niche genre might have hurt her in the long run.
     She continues to tour and record today.

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Billy "Crash" Craddock--Rub It In (1974)

     Billy Craddock got his start in the 50's as a rockabilly singer. He was signed to Columbia records and was positioned to be their "Elvis". It never quite turned out that way as the biggest hit he could muster was, "Don't Destroy Me" which eked in at number 94 on the charts. Craddock was however a major teen idol in Australia during that time.
     The sixties brought on a long dry spell as he drifted from one label to the next. Mercury, King, and Chart all tried to be the one to make him a star. By the late 60's however, he was without a label, and for the most part was out of music as well as he was back in his native North Carolina working in a cigarette factory and hanging drywall. After doing that for a bit, he went back to music, not going in more of a country format.
     This led him to a contract with Cartwheel records and his first country hit, a cover of Dawn's, "Knock Three Times". A move to ABC Records in 1973 gave another jolt to his career as he scored a host of hits, including three number 1's. One of them being, "Rub It In".
     The song, written and sung in 1971 by Layng Martine, and produced by Ray Stevens for his Barnaby label made it to the pop charts that year. Craddock reached number 1 on the country charts and number 16 on the pop charts. He never had that big of a hit again on the Hot 100, but continued making hits in country for the rest of the decade. You can check out his latest recordings and much more at his website: http://billycrashcraddock.com/

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Bad Company---Can't Get Enough (1974)

     You don't hear the word, "supergroup" thrown about much anymore, but at one time it was thought to be a hope that if you bring guys from successful groups and put them together that it will automatically produce great music (or even less likely good chemistry...i.e. see Blind Faith). Most put together like that don't last for long for lack of a spark. Which just goes to show that what makes up a  good group is more than just good musicians. There are a few exceptions to the rule, and Bad Company is one of those.

     Lead singer Paul Rodgers and drummer Simon Kirke had just left the band Free, and along with Mott the Hoople guitarist Mick Ralphs and King Crimson bassist Boz Burrell recorded their debut album in 1974. Rodgers gritty vocals and Ralphs blues based licks solidified their sound quickly and it rapidly moved up the charts. "Can't Get Enough" was the groups most popular single, but the album itself, along with it's follow up, "Straight Shooter" could be seen as classic albums of the 70's 

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George McCrae--Rock Your Baby (1974)

     There is much debate on what the first disco song is. At least for me, it's kind of like Rock and Roll, where there is really no "first" song, just a gradual development of the style. However, there are some songs that we can point to as huge steps in the popularity of the genre, and this is one of them.

     George McCrae had been singing for years in his native Florida, the last few he had been working with his wife, Gwen. Nothing much had been going on and by the mid-70's was planning to go to college to study law enforcement when he had an opportunity to record a song with a then untested songwriting duo, Harry Wayne Casey and Richard Finch.

     The song became a massive hit, not only reaching #1 in the US and Britain, but became a worldwide dance phenomenon. In fact, it is one of only a handful of songs to have sold over 10 million copies. McCrae had chart success until about 1977, but continues to release material and tour. Casey and Finch went on to form KC and the Sunshine Band and became one of the leading bands of the disco era.

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Bachman-Turner Overdrive--Takin Care of Business (1974)

     The group Brave Belt had morphed into Bachman-Turner Overdrive by 1973, and their first album release was a promising debut, having reached #70 on the US album charts. Late that year, they went back to the studio to record what was to become their breakthrough with a top 10 showing and two hit singles, "Let It Ride", and "Takin' Care of Business".

      The song had it genesis back when Randy Bachman was still playing with the Guess Who. It was written for a recording technician who was working with the group. Originally called, "White Collar Worker" (the recording guys in the studio were required to wear white shirts), it was shelved because lead singer Burton Cummings thought the guitar riff sounded too much like The Beatles "Paperback Writer". It wasn't until BTO was touring that he heard (on the radio) the term, "Takin' Care of Business". Bachman changed the lyrics and the guitar riff a bit and the new song was born.

         An interesting note about the piano part in the song. As the band was listening to a playback of the song a guy who was bringing a pizza to the studio for the Steve Miller Band stuck his head inside the room saying that that song could really use a boogie woogie piano sound. Bachman thought it was just a pizza delivery guy. It was actually Norman Durkee who was not only the musical director for Bette Midler and Barry Manilow, but was an accomplished studio piano player himself. After talking it over with the guys they chased Durkee down in the studio and he wrote the chords of the song on the pizza box....and later that day went and nailed the keys on the first take....

     

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The Three Degrees--When Will I See You Again (1974)

     The Three Degrees began in 1963 out of Philadelphia, and was discovered (and managed) by Richard Barrett. The original lineup was Fayette Pinkney, Shirley Porter, and Linda Turner, although Pinkney was the only one who was still around at the time of this recording (she left soon afterward however and was replaced by Helen Scott).

      Kenny Gamble and Leon Huff wrote this song, and Shelia Ferguson recalled that when Kenny first played it for her she was unimpressed. "....I threw a tantrum. I screamed and yelled and said I would never sing it. I thought it was ridiculously insulting to be given such a simple song and that it took no talent to sing it. We did do it and several million copies later, I realized that he knew more than me." There time on the charts was done by the late 70's, but continued recording regularly into the mid-80's and still tours today (with a different set of woman).

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Redbone--Come and Get Your Love (1974)

     The group Redbone was led by two brothers, Patrick and Lolly Vasquez (their stage name was Vegas). They're known as being one of the first (if only) groups to hit the charts who had all Native American members. This is true, although the brothers were actually of mixed heritage (which was the reason for the name change), it was also the basis of the name "Redbone", which is a Cajun term for someone of mixed race. The group is also seen as a one hit wonder (thanks oldies radio), but they actually had another top 40 hit in 1972 with, "The Witch Queen of New Orleans".

     As opposed to many groups who have one great song in them, Redbone developed an intriguing blend of  tribal, Cajun, R&B, Latin, and rock which although not quite as commercial, was an interesting sound that influenced many bands in LA at the time, and certainly makes their albums worth seeking out. There is no doubt however, the themes of a lot of the music, not to mention their onstage look was deeply influenced by their Native American heritage. Lolly Vasquez was also an innovator himself on the guitar as he was the first to play his instrument through a Leslie cabinet (usually meant for an organ), and produced a unique sound....

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Paper Lace--The Night Chicago Died (1974)

     Paper Lace began in 1967 in Nottingham, England as the group Music Box, then in 1969 changed it when Phil Wright joined as drummer and lead singer. They spent the next 5 years paying their dues on the pub circuit with the occasional television appearance. In 1974 the group had an chance to be on the show "Opportunity Knocks" and did so well that songwriters Mitch Murry and Peter Callender approached them with the song, "Billy Don't Be A Hero". The song went to number 1 on the British charts in the spring of 1974, but failed here as Bo Donaldson & The Heywoods beat them to the punch and released their version stateside first.. Another Murry/Callender song, "The Night Chicago Died" however, didn't have that issue and reached #1 here with 3 million copies sold.

      As with much of the best of bubblegum pop, it was very well crafted, and an album with "Billy" and "Chicago" proved that the band could extend the sound for a whole album. (It was released as "Paper Lace" in the states, "Paper Lace and Other Bits of Material" in the UK).  If you get a chance to hear it, you might be surprised at the quality of the music. However, the band never had another hit in the US or in Britain and by the end of the decade had gone their separate ways.

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Linda Ronstadt--You're No Good (1974)

     Linda Ronstadt turns 65 today....

     She had a top 30 song in 1970 with 'Long, Long Time', and a country hit in 74' with, 'Silver Threads and Golden Needles'. However the woman with the gorgeous voice couldn't make a connection. on vinyl. She had a cult following due to her previous four albums partially because of her voice, partially because of her killer good looks (and as a young teenager...I did extensive research on this subject). No one doubted her talents, but finding a way to harness it was another thing altogether. She seemed a bit unfocused at first, but with each release became more assured of herself and her ability to choose material that was right for her.

     The key to unlocking everything turned out to be Peter Asher. She had chosen him to be the producer of her fourth album ('Don't Cry Now') on the advice of James Taylor's sister Kate. His biggest contribution was to let Ronstadt take charge of the studio, and to provide stellar arraignments to back her interpretative skills. There was improvement in not only her song selection, but in the arrangements of voice to band.  The next album, "Heart Like a Wheel", was very close to perfect for Linda, for the times, and (in my opinion) the best she has ever done. It began her huge success in America which gave her the financial and creative freedom to follow her muse wherever it took her....and for those who have followed her over the years, you know it has taken her to MANY places. Asher, by the way remained her producer up to the late 80's.

      "You're No Good" was written by Clint Ballard Jr. and was first a hit for Betty Everett in 1963 reaching #51. In 64', the Swinging Blue Jeans had a hit with it in the UK actually reaching the bottom of the charts here in the US as well. But it was Linda's take on the song, and Andrew Gold's prowess on virtually all of the instrumentation that took it to number 1 and the first of 11 to reach the top 20. ...Happy Birthday Linda.

   

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Gordon Lightfoot--Sundown (1974)

     Love and/or sex are two subjects that have been the main source of songwriters from the beginnings of time. Longing for it, looking for it, what to do if you get it,...any variation of the subject has been explored. Our song for the day deals with love, but perhaps a more seamier side....

     Cathy Smith had spent much of the 60's in a relationship with Levon Helm (from the Band), and most of the 60's were spent traveling with The Hawks then later The Band. In the early 70's she began a relationship with Gordon Lightfoot, who was married at the time. The marriage crumbled, and he was racked with jealousy throughout their time together. The song 'Sundown' was written with Smith in mind. After a few years she went back to Helm, but is most infamously known as the woman who injected John Belushi with his lethal injection of cocaine and heroin.....

     Lightfoot had been on the top 10 before with, "If You Could Read My Mind" in 1970. But starting with, "Sundown" and ending with "Wreck of the Edmund Fitzgerald" he had a four song, two year run on the top 40. At the age of 72, he continues to write and to perform albeit at a slower rate. He had not recorded since 2004.

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The Raspberries--Overnight Sensation (1974)

     It happens to the majority of artists. The time in one's career when it is obvious that it's time to go into another direction. For some it's leaving the music business totally and go into another vocation. For others, it's giving up a musical dream that you had. For The Raspberries and Eric Carman the frustration had to be compounded by the fact that the public and critics didn't "get" them. The Who/Beatles/Beach Boys sound was immediately catchy, but many labeled them "bubblegum rock", which was as far from the case as one could get. Even listening to just the singles, one could hear a band who knew how to rock. They took their influences and formed them into a band that could not only garner airplay, but has influenced a couple of generations of rockers. However, at the time they were wanting to be taken seriously by the rock press, but were marketed to the teenaged girls. The creative tensions that arose between Carman and Dave Smalley led to the latter leaving the band before their fourth album, "Starting Over"

     In what could be seen as a list ditch effort, Scott McCarl, and Michael McBride were enlisted to replace Smalley and drummer Jim Bonfanti. "Starting Over" included this song and was a great album, but never dented the top 100 album charts. Overnight Sensation was a song that brought the hopes and dreams of every artist who straps on a guitar, or sits behind a drum kit into four minutes of rock and roll bliss.  All of the things that make The Raspberries one of the defining influences are here...crunchy guitars, harmonies, and great vocals. Carman soon left for a successful solo career, but time has shown that the influence of The Raspberries has been wide and deep. Along with Big Star, they are seen as one of the fathers of power pop music and have influenced hundreds of artists (especially in the power pop sub genre).
    
     All four original members came together for a tour in 2005 and a CD/DVD of the event at the Sunset Strip was recorded and released in 2007. The band sounded great, and frankly from a production standpoint actually sounded better than the originals. A satisfying album for those fans who wanted to take a trip back...

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