The Beach Boys - Feel Flows: The Sunflower & Surf's Up Sessions 1969–1971 (2021)

Here in sunny South Texas it's been a relatively cool summer, with high temperatures in the 90s instead of the usual 100s. And while any time is a good time to listen to the Beach Boys, their music seems especially suited to summer, so let's spin this two-fer this morning.

A 2 CD set consisting of expanded reissues of the "comeback" albums Sunflower (1970) and Surf's Up (1971); the title is taken from the Surf's Up track Feel Flows (track 6 on disc 2 here). I bought these discs back in 2023 after listening to a few of the tracks in a Beach Boys box set. Metacritic rates this reissue at 87/100 which falls within their "universal acclaim" parameters. To be honest, I was completely unfamiliar with these two albums before inheriting the aforementioned box set and I was pleasantly surprised after taking a chance on this two disc set. The original albums get playing time around here, the 34(!) bonus tracks not as much.

Peak on the US Billboard Top 200 chart: #83

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SUNFLOWER (1970)

The band's 16th studio album and their first on the Reprise label. It sold poorly, but would later gain appreciation as many fans today consider Sunflower to be among the group's finest post-Pet Sounds albums. The band functions as a band with Carl Wilson, Dennis Wilson, Bruce Johnston, Mike Love, and Al Jardine emerged from Brian Wilson's shadow as songwriters. Nevertheless, we're still treated to the Beach Boys' trademark vocal harmonies mixed with elements of soft rock, soul, and sophisticated pop.

#380 in the 2003 version of Rolling Stone's 500 Greatest Albums of All Time and #66 in the 1997 version of The Guardian's 100 Best Albums Ever.

Press of the time:

• Record World: "They stay very close to the fluid, close harmony songs they used to sing when they first started out."
• CashBox: "Brian's back, the group is happy and the album shows it."
• Billboard: "Chart hits for the tapping."
• Robert Christgau (A-): "Maybe they weren't really surfers or hot rodders, but they were really Southern Californians, and that's what their music was about. It still is, too, only now they sing about water, broken marriages, and the love of life. Still a lot of fun, too."
• Rolling Stone: "the Beach Boys have finally produced an album that can stand with Pet Sounds."

Peak on the US Billboard Top 200 chart: #151

Tracks:

Four singles were released from the album but only one charted, Add Some Music To Your Day peaked at #64 on Billboard's Hot 100. By 1970, I imagine the general public might have been suffering from overexposure to the group and was somewhat fatigued on their sound. Admittedly, I'm coming to the album decades later, but a few favorite tracks have come to stand out: Slip On Through, This Whole World, It's About Time, All I Wanna Do, and Forever.

Bonus tracks: Listed above. B-sides, alternate takes, promos, live versions, outtakes. As with most bonus tracks of this ilk, interesting to hear once or twice, but I really only want the first 12 tracks. For completists only, I'd say. Trying to be a completist is a dangerous game that is seldom winnable and I'm trying my hardest to retire from that game. Fingers crossed.

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SURF'S UP (1972)

In which Brian Wilson helped invent indie rock. More importantly, the album ends with two songs that are the most beautiful things Wilson ever wrote outside of God Only Knows. Rather than celebrating California surf culture, the album explores themes of mortality, nostalgia, environmental responsibility, and disillusionment. Plus, there's a song about feet. I prefer Surf's Up to Sunflower but I'm only comparing the two because they put them together in this set.

Press of the time:

• Rolling Stone: "This is a good album, probably as good as Sunflower, which is terrific"
• Record World: "songs that alternate between high class bubble gum and contemporary social comment. Hit."
• CashBox: "Beautiful."
• Robert Christgau (B-): "the songs on the first side are all right...but the pop impressionism of side two drags hither and yon."
• Stereo Review: "It's a great album."

Album chart peaks:

• US Billboard 200: #29
• CashBox: #25

Tracks:

In addition to 'Til I Die and Surf's Up, my preferred tracks on this album include Long Promised Road, Disney Girls (1957), and Feel Flows.

The Australian edition of Rolling Stone placed Student Demonstration Time (an altered version of Jerry Leiber and Mike Stoller's "Riot in Cell Block Number 9" with new lyrics by Mike Love) at #7 on its 2025 list of 50 Terrible Songs on Great Albums. I concur.

Bonus tracks: as above.

Personal Memory Associated with this CD: I was going through some stuff in August 2023 and the songs 'Til I Die & Surf's Up played on repeat helped me through it. Today, they continue to bring me comfort, not so much in the lyrics but the beauty of the music.

Previously revisited for the blog:
The SMiLE Sessions (1967/2011)
That's Why God Made The Radio (2012)
20 Good Vibrations: The Greatest Hits (1995)
Good Vibrations: Thirty Years Of The Beach Boys (1993)
Pet Sounds (1966)

Various Artists - Soul Hits of the '70s: Didn't It Blow Your Mind, Vol. 6 (1991)

Because one simply doesn't pass over volume 6 of this 20 volume Rhino series when it pitifully sits in the used bins, begging to be played loudly. The series is long out-of-print and many of these volumes are sometimes difficult to find and obtain. However, as more and more people foolishly cast away/sell their CD collections in favor of streaming and/or vinyl, CDs in this series are now hitting the secondary markets at somewhat reasonable prices and here we are. Singles included on this volume charted in late 1971, when your humble blogger was 5 years old. Nice mix of big hits and singles that peaked a little further down the charts. 12 tracks, 43 minutes and when it's over, I'm left wanting more.

Tracks, with my favorites indicated (✔) and Billboard chart peaks:

• Whatcha See Is Whatcha Get - The Dramatics (#9 pop, #3 R&B) ✔
• Ain't No Sunshine - Bill Withers (#3 pop, #6 R&B)
  Produced by Booker T. Jones. Previously appeared on this blog on Bill Withers' Greatest Hits & Forever Soul, Vol. 1.
• Women's Love Rights - Laura Lee (#36 pop, #11 R&B) ✔
• The Love We Had (Stays On My Mind) - The Dells (#30 pop, #8 R&B) ✔
• Thin Line Between Love & Hate - The Persuaders (#15 pop, #1 R&B)
  Previously appeared on this blog in the Atlantic Rhythm and Blues 1947-1974 box set.
• You've Got To Crawl (Before You Walk) - The 8th Day (#28 pop, #3 R&B) ✔
• I've Found Someone Of My Own - The Free Movement (#5 pop, #20 R&B) ✔
• Theme From Shaft - Isaac Hayes (#1 pop, #2 R&B) ✔
  Previously appeared on this blog on Billboard #1 Hits Of The '70s.
• A Natural Man - Lou Rawls (#17 pop, #17 R&B) ✔
• Have You Seen Her - The Chi-Lites (#3 pop, #1 R&B) ✔
• Where Did Our Love Go - Donnie Elbert (#15 pop, #6 R&B)
• Respect Yourself - The Staple Singers (#12 pop, #2 R&B) ✔
  Grammy Hall of Fame Award Winner, 2002

9 of the 12 tracks are apparently new to my shelves, but I can't believe Have You Seen Her and Respect Yourself haven't already appeared here.

Exclusive CD longbox photo courtesy of
Dirk Digglinator of the Hambonian Archives.

Personal Memory Associated with this CD:  None

Previously revisited for the blog:
Volume 5
Volume 13
Volume 14
Volume 15

Paul & Linda McCartney - Ram (1971)

While some albums come close, I've never heard an "all killer, no filler" McCartney solo/Wings album. However, at the very least, every McCartney solo album contains a few fantastic pop songs. This one fits that description, to be sure. It's not a coherent album by any means and took a drubbing from critics because of it. And even though the influences are readily apparent, this thing really gets under your skin after a few listens then continually rewards repeated spins. It's no Band On The Run or Speed Of Sound, but that's a high mark. The fact that Linda plays such a big role doesn't bother me as much as it does some people. Sure, she wasn't in the same league as Paul as a musician, but he obviously loved her so powerfully that he didn't care and I find that sort of love to be a very admirable trait in a person.

Press of the time:

• Record World: "The quality of the album will be debated around the world"
• Billboard: "A good part of the fun is McCartney's light, clever arrangements and superb rhythm changes."
• CashBox: "McCartney has written better material during his Beatle days."
• Rolling Stone: "unbearably inept"
• Stereo Review: "McCartney has some musical talent, but on this regrettable album it is clutching at straws, not knowing which way to go, and ends up going nowhere."
• Robert Christgau (C+): "most of the songs are so lightweight they float away even as Paulie layers them down with caprices."

In its 2020 list of The 500 Greatest Albums of All Time, Rolling Stone ranked Ram at #450:

In its day, Paul McCartney’s second post-Beatles album was widely disliked; John Lennon dismissed it as 'muzak,' and Ringo Starr said the lack of good songs made him 'sad.' In retrospect, it’s a modest, goofy, loose-limbed outing about domestic pleasures, full of eccentric, pastorale tunes like 'Heart of the Country' and 'Munkberry Moon Delight.' The loopy pastiche of whimsical song fragments 'Uncle Albert/Admiral Halsey' became Paul’s first post-Beatles Number One hit. 'I was in a very free mood,' he said.

Album chart peaks:

• US Billboard 200: #2
• CashBox: #2

Tracks: let's rank 'em!

1. Uncle Albert/Admiral Halsey: a #1 tune in the US, this track is a patented McCartney medley where he stitches a couple of songs together (see also: Band On The Run, Good Times Coming/Feel the Sun, and many others. Hell, see also the incomparable side two medley of Abbey Road) 
2. Too Many People: this was the b-side to the Uncle Albert single and there must have been a radio programmer in Odessa that loved the b-side because I remember hearing it on the radio as a child. An early diss track, it takes a few shots at John Lennon. 
3. Ram On/Dear Boy/Ram On (Reprise): these gotta be Paul's tribute/knockoff/homage to Brian Wilson, right?
4. Eat At Home: a silly but fun rocker as if Buddy Holly was a country picker.
5. The Back Seat Of My Car: a quality album closer, this thing starts of as typical McCartney piano ballad, moves to some orchestration (arranged by George Martin), has an upbeat section before returning to the orchestration with a little upbeat coda tacked on to the end.
6. Heart Of The Country: a folk-pop tune with a touch of Carl Perkins in which the lyrics perfectly match the music. 
7. Long Haired Lady: after a horrible start (which needlessly repeats itself mid-song), this thing eventually settles into a comfortable soft rock feel, including with an attempt to duplicate the sing-along playout of Hey Jude.
8. Smile Away: a straight-ahead rocker with a noticeable '50s influence
9. 3 Legs: a bluesy little number which completely works as a straight acoustic blues, but falls apart at the ending with an inexplicable change of feel.
10. Monkberry Moon Delight: this raw stomper doesn't do much for me, although the chorus is miles better than the verse. Goes on a bit longer than it probably should.

From my personal collection

Personal Memory Associated with this CD: None

Previously revisited for the blog:

Egypt Station (2018)	All The Best! (1987)
New (2013)	Press To Play (1986)
Memory Almost Full (2007)	Give My Regards To Broad Street (1984)
Chaos And Creation In The Backyard (2005)	Pipes of Peace (1983)
Wingspan: Hits and History (2001)	Tug of War (1982)
Wingspan Sampler (2001)	London Town (1978)
Flaming Pie (1997)	Wings at the Speed of Sound (1976)
Unplugged: The Official Bootleg (1991)	Band On The Run (1973)

Roberta Flack - Original Album Series (2012)

A repackaged reissue that includes five of Flack's first seven albums released on the Atlantic label, 1969-1977. The two albums not included in this set are Chapter Two (1970) and Roberta Flack & Donny Hathaway (1972). Despite those omissions, getting five great albums for $18.87 makes for a fantastic deal and at least one happy customer. Probably more than one, actually - these albums were at home on the R&B, pop, and jazz charts. Beautiful music from a beautiful soul.

The box set takes the listener through the evolution of Flack's sound during the decade. Headphones recommended. Also recommended, the episode of American Masters dedicated to Flack's career.

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FIRST TAKE (1969)
8 tracks, 46 minutes

A wonderful introduction to a wonderful talent. The album is a compilation of slow-burning tracks - most are about 6 minutes in length. The music is intentionally sparse and unrushed. There's space to hear all the notes. Lots of perfectly arranged ballads performed by Flack alongside names like Ron Carter on bass and John Pizzarelli on guitar.

Liner notes by Les McCann.

Press of the time:

• Record World: "a new great taking her bittersweet time"
• High Fidelity: "For lonely winter's eves"
• Billboard: "Her soft, sustained vocal style gently skirts the lyrics and hypnotizes with its creamy evenness."
• Rolling Stone: "You feel the world differently after listening to it"
• Stereo Review: "Run to your nearest record outlet and buy not one, but two, maybe three"

Album chart peaks:

• US Billboard Top 200: #1
• Billboard R&B: #1
• Billboard Jazz: #3
• CashBox: #1
• Record World Jazz: #15

In 2017, it was ranked at #148 on Pitchfork's list of the 200 Best Albums of the 1960s.

Tracks: The First Time Ever I Saw Your Face was a massive hit in 1972 once Clint Eastwood used it in his movie Play Misty For Me. That spurred the single to Grammy Awards for Record of the Year as well as Song of the Year. Billboard ranked it as the number one Hot 100 single of the year for 1972. To be honest, I didn't think much of it when I was a tot - too boring! I wanna dance! - but I started warming up to it in the '80s when I bought Volume 6 of the Atlantic Rhythm and Blues 1947-1974 set. Now I'm all in. It's the best tune on the album, followed closely by the other 7 tracks.

The single released in 1969 was the album opener, an upbeat take on Compared To What, which, oddly, is unlike any other track on the album (but I still dig!). As far as the other tracks, I'm hard-pressed to decide which is the most powerful: Angelitos Negros, I Told Jesus, Tryin' Times (that acoustic bass line!), or Ballad Of The Sad Young Men.

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QUIET FIRE (1971)
8 tracks, 42 minutes

More of the same. And that's a good thing. Mostly carefully selected covers plus one Flack original, all performed by a great supporting cast (full playing and writing credits here).

Press of the time:

• Billboard: "The title spells out the flavor and feel of this easy and yet sometimes penetrating commercial package."
• Record World: "ever-quiet, ever-exciting"
• Rolling Stone: "an exercise in lifeless sophistication and dramatic understatement carried to its unfortunate extreme: emptiness"
• Stereo Review: "Roberta Flack is a special kind of multi-talented musician, but her appeal is wide"

Album chart peaks:

• US Billboard Top 200: #18
• Billboard R&B: #4
• Billboard Jazz: #5
• CashBox: #20
• Record World Jazz: #1

Tracks: The single released from this album was a cover of Will You Love Me Tomorrow which only managed to peak at #76 pop and #38 R&B. As one might expect, the tempo is slowed considerably and is performed by only Flack on piano and Ron Carter on bass floating above the occasional string arrangement. The better pieces to my ear are the original Go Up Moses and Flack's take on Bridge Over Troubled Water.

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KILLING ME SOFTLY (1973)
8 tracks, 41 minutes

In which Roberta Flack becomes a full-fledged soft rock icon. Heck, with this release, CashBox magazine declared Flack "THE top female artist of the decade." And this album certainly helps that argument. For the most part, Flack's arrangements are slightly more uptempo and fuller than the earlier two albums in this set.

The album's title track won three 1974 Grammy Awards: Record of the Year, Song of the Year, and Best Pop Vocal Performance, Female. The album itself was nominated for the Album of the Year award, losing to Innervisions. 

Press of the time:

• CashBox: "a total masterpiece"
• Record World: "Ms. Flack's finest recording to date."
• Billboard: "delicate, introspective work."
• Rolling Stone: "It's too calculated, too restrained for my taste...but god knows it has its appeal."
• High Fidelity: "my favorite Roberta Flack so far."
• Stereo Review: "the Ella Fitzgerald of the Seventies."

Album chart peaks:

• US Billboard Top 200: #3
• Billboard R&B: #2
• CashBox: #1
• Record World Jazz: #1

Tracks: While the title cut is an undeniable classic, my favorite tunes here are the upbeat No Tears (In The End) and gospelish track, River. Leonard Cohen's Suzanne is mesmerizing with an almost sadistic, driving high-hat figure. The cover of Janis Ian's Jesse (#30 pop, #19 R&B) is quite tasteful.

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FEEL LIKE MAKIN' LOVE (1975)
9 tracks, 47 minutes

Flack starts producing her own records and things just get better and better. I'll simply say this is my favorite album included in this box set.

Press of the time:

• CashBox: "No doubt that this is top 10 material"
• Record World: "The Flack feel flows as it mellows the soul through her flawless synthesis of sounds."
• Rolling Stone: "Flack's least satisfactory album to date"
• Billboard: "this set should mark her as one of the landmark performers of the '70s"
• Stereo Review: "the combined effect of her lustrous technique and superior material is downright stunning"

Album chart peaks:

• US Billboard Top 200: #24
• Billboard R&B: #5
• Billboard Jazz: #11
• CashBox: #17

Tracks: I can't decide if the title track is my all-time Flack cut (the only other single in the running is Where Is The Love with Donny Hathaway), but needless to say, it's the best thing on this album. Also good is the lead track, Feelin' That Glow (#76 pop, #25 R&B). In fact, there's not a stinker to be found and that includes a Stevie Wonder tune which morphs into fusionish instrumental piece, I Can See The Sun In Late September.

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BLUE LIGHTS IN THE BASEMENT (1977)
10 tracks, 41 minutes

By 1977, Flack's sound had changed quite about since her 1969 debut and the style that once got her attention from the jazz crowd had developed into 3 or 4 minute pop stylings aimed at the adult contemporary folks. As someone who considers himself a member of both populations, that sort of movement is fine with me. The problem here isn't Flack or the other performers, it's a lack of quality material, which is often uninteresting or oddly arranged. I like it fine; it just doesn't hold up to its predecessor.

Press of the time:

• Stereo Review: "very disappointing"
• CashBox: "Flack is in her element here and sounds as good as ever."
• Billboard: "lacking the drama of her previous hits"
• Record World: "she has lost none of her vocal magic"
• Rolling Stone: "contains no surprises, but it's a very satisfying record."

Album chart peaks:

• US Billboard Top 200: #8
• Billboard R&B: #5
• CashBox: #11

Tracks: The lead track, Why Don't You Move In With Me, is a straight-up disco tune and a dang catchy one, at that. But then comes the hit duet with Donny Hathaway, The Closer I Get To You (#1 R&B, #2 pop, #3 AC) and I'm immediately swept back to 6th grade trying to come to terms with suddenly wanting to be around girls. That song is the best cut on this album, but I also dig This Time I'll Be Sweeter, 25th of Last December, and After You, presented as a well-sequenced three-fer in the middle of the disc.

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Personal Memory Associated with these CDs: None apart from hearing the singles on the radio during my youth.

Rodriguez - Searching For Sugar Man: Original Motion Picture Soundtrack (2012)

From the CD's back insert:

In 1970, singer-songwriter Sixto Rodriguez released his debut album to little fanfare in the U.S., and the story could have ended there. But the LP found its way South Africa's underground, where its Dylanesque anti-establishment punch sparked rebellious young Afrikaners at the dawn of the anti-Apartheid movement. Widely bootlegged and traded, the prophetic music fueled the conscience of a disenfranchised youth, despite the fact that Rodriguez's life and whereabouts were a mystery. It took nearly three decades before he was rediscovered, right at home in Detroit.

This soundtrack features the most definitive songs from Rodriguez's two albums, and reveals an artist whose lyrics are timeless, and whose message of hope confirms the resonating power of music.

Like many people, I came to the music of Rodriguez via the 2012 Academy Award–winning documentary film Searching for Sugar Man. I won't go into the whole thing in this space, but you should watch it if you haven't already. It's an amazing, bittersweet success story of suffering artist. As for the music, it is simply fantastic folk-pop protest music from the early '70s. It is of its time and it's a shame it wasn't more popular here in the U.S. upon release. I should spin this thing more often than I do.

"The recordings, off two albums and a few track sessions, prove Rodriguez to be a gifted songwriter with a penchant for lyrical flourishes influenced by Bob Dylan, and echoing Van Morrison’s jazz-rock-soul masterpiece, 'Astral Weeks.' At times, it recalls another great Latin soul singer-songwriter of the period, Jose Feliciano." - L.A. Times

No liner notes to speak of, but lyrics are included.

Peak on the US Billboard Top 200 chart: #76

Tracks: Don't skip any. I'll be honest - the songs are even better after you've seen the documentary.

1. Sugar Man
2. Crucify Your Mind
3. Cause
4. I Wonder
5. Like Janis
6. This Is Not a Song, It's an Outburst: Or, the Establishment Blues
7. Can't Get Away
8. I Think of You
9. Inner City Blues
10. Sandrevan Lullaby – Lifestyles
11. Street Boy
12. A Most Disgusting Song
13. I'll Slip Away
14. Jane S. Piddy

Tracks 1, 2, 4, 5, 6, 9 and 14 are taken from the album Cold Fact (1970)
Tracks 3, 8, 10 and 12 are from the album Coming from Reality (1971)
Tracks 7, 11 and 13 were recorded for Rodriguez' unfinished third album and were later included as bonus tracks on the Coming from Reality 2009 US re-issue

Record World, April 11, 1970, p. 18

Personal Memory Associated with this CD: Watching the doc quickly followed by purchase of the CD. I've always wanted to re-watch the film at some point and now I'm thinking that today might be that point.

Various Artists - Soul Hits of the '70s: Didn't It Blow Your Mind, Vol. 5 (1991)

Today marks the 5th anniversary of this blog, so we're celebrating by spinning volume 5 of this 20 volume Rhino series, released in the early '90s. The series is now out-of-print and these volumes used to be difficult to find and obtain. However, as more and more people foolishly cast away/sell their CD collections in favor of files/streaming, CDs in this series are now hitting the secondary markets at reasonable prices (which is a wonderful development in my world). Most songs on this disc hit the charts during the summer of 1971, when I was celebrating another 5th anniversary: my fifth birthday.

Tracks:

• Want Ads - The Honey Cone: Peaked at #1 pop, #1 R&B in June 1971.
  Classic Detroit girl-group soul. Great groove, strong vocals, and hooks that understandably took it to the top of the charts. "Wanted: young man single and free, experience in love preferred but we'll accept a young trainee." I don't meet any of their qualifications or I'd apply for an internship.
• She's Not Just Another Woman - The 8th Day: Peaked at #11 pop, #3 R&B in July 1971.
  Typical Holland–Dozier–Holland goodness. Even though they used pseudonyms, the sound gives them away.
• Cool Aid - Paul Humphrey & His Cool Aid Chemists: Peaked at #29 pop, #14 R&B in June 1971.
  This one reminds me more than a little of Joe Tex's Show Me. Nonetheless, a good groove is a good groove and with some tasty organ licks from Clarence McDonald, this instrumental hits. The liner notes call this the "feel-good hit of the summer of 1971."
• Are You My Woman? (Tell Me So) - The Chi-Lites: Peaked at #72 pop, #8 R&B in January 1971.
  These guys are crushing it and all my son can say is, "That's not Beyonce." I feel like I've failed as a parent. Still, this Temptations sound-alike works for me, regardless of a generation gap.
• Treat Her Like A Lady - Cornelius Brothers & Sister Rose: Peaked at #3 pop, #20 R&B in July 1971.
  Sounds like Knock On Wood until you get to the chorus which takes it to another level. The background vocals make this. Can't hear it now without thinking of the movie Anchorman.
• Baby Let Me Kiss You - King Floyd: Peaked at #29 pop, #5 R&B in May 1971.
  Lots of grunts and James Brown wannabe screams like you expect from Floyd, but over a New Orleans funk groove that is one of the best on this compilation.
• Funky Nassau (Part 1) - The Beginning of the End: Peaked at #15 pop, #7 R&B in July 1971.
  This one can't decide if wants to be funk. Latin, or Bahamian, but those work together here and this thing is catchy in spite of the questionable horn playing.
• Double Barrel - Dave & Ansel Collins: Peaked at #22 pop in August 1971.
  I wouldn't call this a soul hit and it seems oddly out of place on this CD, but I find myself bobbing along with the reggae beat and simple piano lick. And how can I resist the bravado of "I am the magnificent W-O-O-O"?
• Bring The Boys Home - Freda Payne: Peaked at #12 pop, #3 R&B in August 1971.
  A classy war protest song. This sounds like a Tammi Terrell or Diana Ross song, but, once again, Holland-Dozier-Holland put their distinctive production style on it. I don't know who wrote their string parts, but they had a great arranging sense. Sadly, this song is just as timely now as it was 44 years ago.
• Mr. Big Stuff - Jean Knight: Peaked at #2 pop, #1 R&B in August 1971.
  One of Stax Records' most popular and recognizable hits, and deservedly so. Rarely have two chords and an ostinato bass line sounded so good.
• Stick-Up - The Honey Cone: Peaked at #11 pop, #1 R&B in September 1971.
  In the exact same vein as the group's earlier contribution (track 1), this has a Motown sound to it. Not much to it but just when I'm about to give up on the thing, the girls hit me with a little "boom boom shucka lucka ba boom boom" and recapture my attention.
• Smiling Faces Sometimes - The Undisputed Truth: Peaked at #3 pop, #2 R&B in September 1971.
  One of those times when the music and lyrics are in one glorious, seamless agreement. In other words, if you heard an instrumental version of this, you'd know exactly what the song was about. Ominous, but oh so good.

Personal Memory Associated with this CD:  None

Previously revisited for the blog:
Volume 14
Volume 15

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First post, 2010: Paul Simon - Graceland (1986)
First anniversary, 2011 (post #378): Electric Light Orchestra - Time (1981)
Second anniversary, 2012 (post #694): Seal (1994)
Third anniversary, 2013 (post #948): Fun Boy Three - Really Saying Something: The Best of Fun Boy Three (1997)
Fourth anniversary, 2014 (post #1127): Ultravox - Quartet (1982)
Today's post is #1231.

Various Artists - Super Hits of the '70s: Have a Nice Day, Vol. 4 (1990)

Disc 4 of 25. This disc contains singles that peaked on the charts between August 1970 - September 1971. I wasn't listening to much radio back then, so I either learned of the songs later or I was introduced to them through this disc. Lots of country and folk influences on this one. This isn't one of my favorite volumes of this series, but I'm awarding bonus points for the photo of 8-track tapes on the cover. With my middle-aged eyes, I can make out tapes from Seals & Croft, Jethro Tull, Bread, and Dueling Banjos.

Tracks:

• Yellow River - Christie (#23 in November 1970)
  Not as big in the US as it was worldwide, this is easy pop, but I can take it or leave it.
• Rose Garden - Lynn Anderson (#3 in February 1971)
  A #1 country hit, it could easily have been a '60s girl group hit. One of those great songs where the meaning of the lyrics are masked by the bouncy pop accompaniment.
• For The Good Times - Ray Price (#11 in January 1971)
  Another #1 country hit, this ballad was written by Kris Kristofferson. The bland verse is saved by the strings/vibes accompaniment and a catchy chorus. I prefer the Al Green version, but that's just me.
• Help Me Make It Through The Night - Sammi Smith (#8 in March 1971)
  Yet another #1 country hit and another Kristofferson composition. I never cared much for this one, but that's probably because I never slow danced with a pretty lady while it played. To my ear, this song bears more than passing resemblance to Stand By Your Man.
• Mr. Bojangles - The Nitty Gritty Birt Band (#9 in February 1971)
  A familiar, catchy waltz that makes for a great sing-along. Written by country artist Jerry Jeff Walker. Without this accordion-laden song as a precedent, there probably wouldn't have been a Piano Man.
• Sweet Mary - Wadsworth Mansion (#7 in February 1971)
  Who put a rock song on this disc? And who is Wadsworth Mansion? Needless to say, this one was new to me. I was indifferent to the song until they get a little funky at the 1:20 mark, and that completely changed my opinion of it. I'm digging the cowbell part, but then again I dig most cowbell parts.
• One Toke Over The Line - Brewer & Shipley (#10 in April 1971)
  A hippie anthem about smoking pot, this is another one that doesn't do much for me, probably because the Brewer & Shipley attempt isn't the definitive version, this is:
  
  
  
  (2:19 in, Welk calls the song a "modern spiritual" proving how hip he was.)
• Put Your Hand In The Hand - Ocean (#2 in May 1971)
  Faithful readers of this blog know that I'm a preacher's kid. As you can probably guess, we sung this song ad nauseam at church in the '70s. It's not a bad folk song, I just can't take any more of it.
• Stay Awhile - The Bells (#7 in May 1971)
  This duet soft-rock ballad is almost too precious, so of course I like it, especially the mournful harmonica solo and the wispy, close-miked vocals of Jacki Ralph.
• Woodstock - Matthews' Southern Comfort (#23 in May 1971)
  Not a fan. Written by Joni Mitchell about the legendary 1969 rock festival, this song was a bigger hit for CSN&Y, who hit #11 the previous year (I don't care much for their version, either).
• Silver Bird - Mark Lindsay (#25 in August 1970)
  Lindsay is best known as the lead singer for Paul Revere & the Raiders. I like this song because of its over-the-top arrangement/production sounds ready made for a TV variety show (which it very well could have been).
• I Ain't Got Time Anymore - The Glass Bottle (#36 in September 1971)
  A less-than-average pop song, which seems like a fitting way to close out this CD.

Personal Memory Associated with this CD: Other than wearing bell-bottoms and singing Put Your Hand In The Hand with other church kids, nothing comes to mind. Keep on truckin'.

For more information on the brief life of the CD longbox,
go visit The Legend of the Longbox.

Previously revisited for the blog:

Volume 1	Volume 2	Volume 3	Volume 5
Volume 6	Volume 7	Volume 8	Volume 9
Volume 10	Volume 11	Volume 12	Volume 14
Volume 15	Volume 16	Volume 17	Volume 18
Volume 19	Volume 20	Volume 21	Volume 22
Volume 24	Volume 25

Joni Mitchell - Blue (1971)

Note: this CD released using HDCD encoding.

If I'm in a blue funk and want to wallow around in it for a while, this is my go-to album. An album all about relationships, I usually have one of two thoughts while listening: 1) I'm not alone; Joni is miserable, too, or 2) as bad as I feel, I'm not nearly as messed up as Joni. Either way, it makes me feel better.

Probably one of the most perfectly titled albums ever. The music is beautiful in its raw simplicity, with unusual chord progressions that work wonderfully with the lyrics and melodies. Most people my age (5 years old at time of release) are unfamiliar with this album unless introduced to it by someone else; it isn't getting any airplay on the radio. I can't remember how I came across it, I'm just glad I did. There's nothing else like it.

Even with lack of a top 40 single, this album was a critical and commercial success. Read a few of the accolades by clicking here.

Update: In its 2020 list of The 500 Greatest Albums of All Time, Rolling Stone ranked Blue at #3.

Peak on the US Billboard Top 200 chart: #15

Tracks:  In my mind, there's only one 36 minute track here.

For more information on the brief life of the CD longbox,
go visit The Legend of the Longbox.

Personal Memory Associated with this CD:  Wallowing.

Various Artists - Super Hits of the '70s: Have a Nice Day, Vol. 5 (1990)

Disc 5 of 25. Volume 5 contains singles that peaked on the charts in January - August 1971. Even though I was 4 years old when most of these hit the charts, I remember almost all of them. This disc is one of the stronger releases from the first half of this series.

Tracks:

• Chick-A-Boom (Don't Ya Jes' Love It) - Daddy Dewdrop (#9 in May 1971)
  Novelty tune written for the Filmation cartoon series Sabrina and the Groovie Goolies. A song about sex written for the Saturday morning cereal crowd? No, I don't jes' love it (too easy?).
• Me And You And A Dog Named Boo - Lobo (#5 in May 1971)
  This was a childhood favorite because of the catchy singalong chorus. As a middle aged man, I don't love it, but it wouldn't make me change the radio station.
• Here Comes The Sun - Richie Havens (#16 in May 1971)
  I dig this folky cover. It's not as good as the original, but I like the energy here.
• Superstar - Murray Head (#14 in May 1971)
  This show tune was much better than most of the stuff I was being force fed at church back in the '70s (I was a PK so I was force fed quite a bit). Today the funky bass line is popping out at me. Makes me want to watch an old episode of The Superstars on ABC, a '70s Sunday afternoon classic.
• When You're Hot, You're Hot - Jerry Reed (#9 in June 1971)
  I loved this novelty record and would go around the house singing it like I was guest starring on a TV variety show - hairbrush microphone, cheesy choreography, imagined backup singers, the whole nine yards. The novelty has worn very thin, and the lyrics aren't very PC these days, but that chorus is as catchy as ever.
• Don't Pull Your Love - Hamilton, Joe Frank & Reynolds (#4 in July 1971)
  This song previously appeared on the blog on this CD. Here's what I said about it then: "even though I generally stay away from country, this country-rock song brings back good memories of growing up in the Chihuahuan Desert."
• Indian Reservation (The Lament Of The Cherokee Reservation Indian) - Raiders (#1 in July 1971)
  Coincidentally, this song also follows Don't Pull Your Love on the same CD mentioned above. Here's what I wrote about Indian Reservation in that post: "While lyrics tell the sad story about the Trail of Tears, the music is hokey." I didn't know until today that it's a cover of a tune originally recorded in 1959.
• Here Comes That Rainy Day Feeling Again - The Fortunes (#15 in July 1971)
  A fantastic pop song with hook-filled verses and chorus over meticulously crafted orchestration and vocal harmonies. Sounds as good today as it did back in '71.
• Get It On - Chase (#22 in July 1971)
  I wasn't introduced to Chase until the mid-'80s, but I liked 'em as soon as I heard 'em. In the same vein as Blood Sweat & Tears or The Ides Of March, it's all about the trumpet, baby.
• Draggin' The Line - Tommy James (#4 in August 1971)
  This lazy, psychedelic shuffle is perfectly titled. My favorite part is the bass voice on the call-and-response of the chorus, just as it was my favorite part over 40 years ago. Imagine a 5 year old trying to sing a bass part and that's what this song sounded like around our house.
• Games - Redeye (#27 in January 1971)
  Easily the worst track on this compilation, this sounds like CSN&Y getting wasted and trying to cover CCR's Born On The Bayou (which, for all I know, they might have attempted once or twice).
• Burning Bridges - The Mike Curb Congregation (#34 in February 1971)
  Composed for the 1970 war comedy movie Kelly's Heroes by soundtrack composer Lalo Schifrin (Mission Impossible). I'll pass.

For more information on the brief life of the CD longbox,
go visit The Legend of the Longbox.

Personal Memory Associated with this CD: Other than the hairbrush thing, nothing comes to mind.

Previously revisited for the blog:

Volume 1	Volume 2	Volume 3	Volume 6
Volume 7	Volume 8	Volume 9	Volume 11
Volume 12	Volume 14	Volume 15	Volume 16
Volume 17	Volume 18	Volume 19	Volume 21
Volume 22	Volume 25

Various Artists - Super Hits of the '70s: Have a Nice Day, Vol. 7 (1990)

Disc 7 of 25. Even though we're already 7 volumes into this '70s retrospective series, we're only in the first years of the decade. Volume 7 contains singles that peaked on the charts in late '71 through early '72. This isn't the weakest volume in the series, but it's far from being the strongest.

Tracks:

• Do You Know What I Mean - Lee Michaels (#6 in October 1971)
  A fun, loping rock romp with a easily singable chorus that often comes to mind whenever I or somebody else says "do you know what I mean?".
• Hallelujah - Sweathog (#33 in December 1971)
  I don't remember this song, the group's only Top 40 single. Typical early '70s rock - I don't mind it, but I'm not going looking for it, either. If you're an aspiring bass player and you can play one note, this song might be a good choice for your first cover song. (I'm joking, of course. I count at least 3 different bass notes)
• One Tin Soldier (The Legend of Billy Jack) - Coven (#26 in November 1971)
  I've never seen the movie Billy Jack, but this song brings back bad childhood memories of church camp. It could be a decent song for peaceniks, but I just can't stomach it because of the association with the "forced socialization" of camp singalongs. Pardon me while I make an appointment with my therapist...
• Brand New Key - Melanie (#1 in December 1971)
  Previously heard on AM Gold: Radio Gems. Here's what I wrote then: "I can't stand this singer's voice. The roller skate and key is rather Freudian, no?" #1?? Seriously, America?
• Sunshine - Jonathan Edwards (#4 in January 1972)
  I recognize this one from radio - I never knew the title or artist until I picked up this CD. Another one I can take or leave [shrug].
• White Lies, Blue Eyes - Bullet (#28 in January 1972)
  A good rocker in the same vein as Blood, Sweat, & Tears. I like. Nice vocal harmonies and horn parts make up for the weak guitar solo. I might steal the song title for my memoirs.
• The Witch Queen of New Orleans - Redbone (#21 in February 1972)
  I liked the group's later hit, Come And Get Your Love, but I'll pass on this one as it sounds like a CCR knock-off with awful string parts.
• Don't Say You Don't Remember - Beverly Bremers (#15 in February 1972)
  The liner notes calls Bremers a Carpenters sound-alike. Good call. I dig this song despite its depressing lyrics.
• Joy - Apollo 100 featuring Tom Parker (#6 in February 1972)
  Sure its cheesy, but there's such a thing as good cheese, right? Based on a section of a Bach cantata, its not a bad arrangement, especially when compared to later "updatings" of classical works. I'm looking at you, Hooked On Classics. I'm a kid that grew up playing with Billy Blastoff toys, so I think Apollo 100 is a sweet band name.
• Precious and Few - Climax (#3 in February 1972)
  I love this piece even though I think it's a complete rip-off of Cherish by The Association (which I also love). Singing along now as I write these words. My favorite song on this disc.
• Softly Whispering I Love You - The English Congregation (#29 in March 1972)
  Dahell is dis?
• Son of My Father - Giorgio (#46 in April 1972)
  Producer and composer Giorgio Moroder went on to have huge success with movie soundtracks, Donna Summer, et al, and is generally regarded as a groundbreaker in electronic dance music (check out the tribute on Daft Punk's Random Access Memories). This isn't the greatest song, but you can see where he was headed, so it's interesting from a historical perspective.

Personal Memory Associated with this CD: My sister got the sheet music for the aforementioned Bach piece and played incessantly when she was practicing piano.

Previously revisited for the blog:

Volume 1	Volume 2	Volume 3	Volume 6
Volume 8	Volume 9	Volume 11	Volume 12
Volume 14	Volume 15	Volume 16	Volume 17
Volume 18	Volume 19	Volume 21	Volume 22
Volume 25

Various Artists - Super Hits of the '70s: Have a Nice Day, Vol. 3 (1990)

Disc 3 of 25. This disc contains singles that peaked on the charts between August 1970 - August 1971. This contains mostly top 10 singles from that time (a rarity for this series) and ends with a single that never charted (also a rarity for this series). More than a few one-hit wonders on this compilation, which completely falls apart during the final third of the disc. I'm familiar with a few of these songs, but I wasn't listening to much radio at the time unless my parents had it on in the station wagon.

Tracks:

• Lay Down (Candles In The Rain) - Melanie With The Edward Hawkins Singers: Peaked at #6 in July 1970.
  A strong late '60s gospel vibe written about Woodstock. Melanie's Joplinesque vocals aren't great, but they're better here than on Brand New Key.
• Tighter, Tighter - Alive & Kicking: Peaked at #7 in August 1970.
  Alive & Kicking was a one-hit wonder from Brooklyn. Written by Tommy James, it definitely has his sound to it. Not bad at all. With a definitive '70s groove, this probably would have been a hit in any of year of the '70s.
• In the Summertime - Mungo Jerry: Peaked at #3 in September 1970.
  If this isn't one of the most infectious summer singles ever, I don't know what is. This million-selling hit with the fun call-and-response vocals is so goofy you either love it or love to hate it.
• Neanderthal Man - Hotlegs:  Peaked at #22 in September 1970.
  Never underestimate the power of the communal chant, even if you can't quite make out the lyrics. Legend has it that this was just a few guys messing around with a new 4 track recorder, simply a studio experiment. An interesting listen once or twice; I don't see how it became a hit. Hotlegs would eventually evolve into 10cc.
• Green-Eyed Lady - Sugarloaf:  Peaked at #3 in October 1970.
  This song has had strong staying power over the years, mainly because it sounds like it was written for AOR FM radio, which was a rare animal in 1970. Great boogie shuffle bass line and organ work.
• Indiana Wants Me - R. Dean Taylor:  Peaked at #5 in November 1970.
  Taylor is famous largely for being pretty much the only white guy to have a solo hit on Motown. A story song of a man wanted by the Indiana State Police (sirens, gunfire, and police radio samples included, unfortunately). It has a groove that reminds me of Mac Davis' Baby, Don't Get Hooked On Me. I'll pass on this one.
• I Think I Love You - The Partridge Family: Peaked at #1 in November 1970.
  Classic baroque bubblegum pop. Very infectious. I won't name names, but this song is a favorite of more than one of my colleagues at work. I'll admit to enjoying it from time to time myself.
• Montego Bay - Bobby Bloom:  Peaked at #8 in November 1970.
  As far as reggae goes, this is pretty lame. As a pop song, however, it's fantastic bubblegum concoction full of hooks. With a lyricless chorus, it's very easy to sing along with.
• Gypsy Woman - Brian Hyland: Peaked at #3 in December 1970.
  A bland cover of a 1961 tune written by Curtis Mayfield.
• Amos Moses - Jerry Reed: Peaked at #8 in February 1971.
  Hilariously bad novelty song about an alligator-poaching Cajun. Reed is smart enough to play the song for laughs. I'll pass, but I'm surprised this isn't the theme to the TV show Swamp People.
• Julie, Do Ya Love Me - Bobby Sherman: Peaked at #5 in September 1970.
  Yawn.
• Fallin' Lady - Punch: Did not chart.
  Not only didn't this song chart (it appeared on the Bubbling Under Chart at #110 in October, 1971), it doesn't even get a mention in the liner notes. That should tell you all you need to know.

Personal Memory Associated with this CD:  None.

Previously revisited for the blog:

Volume 1	Volume 2
Volume 6	Volume 9
Volume 12	Volume 16
Volume 18	Volume 19
Volume 21	Volume 22

Various Artists - Super Hits of the '70s: Have a Nice Day, Vol. 16 (1993)

Disc 16 of 25. This disc contains singles that peaked on the charts between January 1970 - October 1972. This is a mixed bag compilation for sure, but it perfectly illustrates the diversity of the music played on Top 40 radio in the 1970s. The CD peaks early and crashes near the end.

Tracks:

• Vehicle - The Ides Of March: Peaked at #2 in May 1970
  An unabashed knock-off of Blood, Sweat & Tears, but what a fantastic knock-off. I still hear this from time to time on the radio and from high school marching bands. Today's trivia: the singer of this song, Jim Peterik, would go on to play keyboards in the 80's group Survivor.
• Ride Captain Ride - Blues Image: Peaked at #4 in July 1970
  An unabashed knock-off of Three Dog Night, but what a fantastic knock-off. As a child, I had no idea what they were singing about, but I would sing "Ride, captain, ride, upon your mystery ship" at the top of my lungs anyway.
• Midnight Cowboy - Ferrante & Teicher: Peaked at #10 in January 1970
  I wouldn't have guessed I owned any Ferrante & Teicher, but here they are. Featuring a noodling guitar over piano and harpsichord, it's a wicked earworm.
• Toast And Marmalade For Tea - Tin Tin: Peaked at #20 in May 1971
  Although I'm a fan of group member Steve Kipner, this isn't my thing. Side note: I didn't know what marmalade was in 1971. I learned of it from reading books in the Paddington Bear series.
• Overture From Tommy (A Rock Opera) - The Assembled Multitude: Peaked at #16 in August 1970
  This single actually charted higher than any song from the Who's original album. The CD's liner notes nail it: "It sounds a little like the theme from Tommy: The TV Show."
• Never Ending Song Of Love - Delaney & Bonnie & Friends: Peaked at #13 in July 1971
  I'm not a fan of the folk rock campfire sing-along. Sounds like something I'd be forced to sing at church camp: "And you'd better smile while you sing, young man! You're having fun!"
  
• I'd Love To Change The World - Ten Years After: Peaked at #40 in November 1971
  Classic early '70s psychedelic blues rock. I like it in a moody sort of way.
• The Lion Sleeps Tonight (Wimoweh) (Mbube) - Robert John: Peaked at #3 in March 1972
  A bad cover of a classic by the man who would go on to hit it big with Sad Eyes.
• I'd Like To Teach The World To Sing (In Perfect Harmony) - The New Seekers: Peaked at #7 in January 1972
  Yes, it was a Coke commercial jingle first. According to wikipedia, The Coca-Cola Company waived royalties to the song and instead donated $80,000 in payments to UNICEF. Still, I'd be OK if I never heard it again.
• Daddy Don't You Walk So Fast - Wayne Newton: Peaked at #4 in August 1972
  I don't remember this song about divorce. I saw Newton in Vegas during the summer of 1999 and don't remember if he sang this one or not. If I learned he didn't include this in his set, I wouldn't be disappointed. Just give us Danke Schoen.
• Small Beginnings - Flash: Peaked at #29 in August 1972
  Kind of cross between The Who and early Yes. I'll take a pass.
• The City Of New Orleans - Arlo Guthrie: Peaked at #18 in October 1972
  Not a great song, I don't care for it, but I will admit its got a chorus that is easy to remember and sing-along with. I can just imagine everyone getting drunk at the piano bar and belting out this one.

Personal Memory Associated with this CD: Nothing in particular other than what's mentioned above.

Previously revisited for the blog:
Volume 1
Volume 2
Volume 6
Volume 9
Volume 12
Volume 18
Volume 19
Volume 21
Volume 22