Todd Rundgren - Something/Anything? (1972)

Japanese import

Multi-LP sets usually have me immediately considering what tracks I would include in a single album edit (see Out Of The Blue, for example). The temptation to do such an edit with this set was strong until I finally came to the conclusion that what we've got here is a brilliant single album surrounded by an very interesting second album. In other words, I'd like to simply forget about the tracks in which Rundgren wants everyone to know he's the best musician/smartest person in the room, but there's something inherently fascinating about those tracks. When it's good (which is most of the time, to be honest), it's '70s soft rock and power pop at its finest with lots of 7^th chords and vocal harmonies that would make Brian Wilson proud.

Rundgren played every instrument and did all the vocals on the first 3 sides of the original LPs. At his best, that sort of control produces remarkably economical pop: melodic and immediately accessible without being simplistic. The album is less successful when Rundgren’s fascination with the recording studio begins to compete with the songs themselves. Some of the experiments are genuinely inventive while others seem included primarily because he could include them. For what was side 4, Rundgren kinda sorta throws together another album side with various bands recorded at various studios and calls it "Baby Needs a New Pair of Snakeskin Boots (A Pop Operetta)." Certainly ambitious but Rundgren certainly possesses the talent to pull it off. If I were editing it for listening pleasure, I'd probably go to the trouble of making a single LP edit. But since I'm hopelessly trying to assess Rundgren's artistic vision as a whole, I guess I'll keep the double album, even track 7, Intro.

Press of the time:

• Robert Christgau (A-): "this has the feel of a pop masterpiece"
• Rolling Stone: "Rundgren may produce the masterpiece he has in him, but Something/Anything? most decidedly is not."
• CashBox: "Something very musical and hitbound."
• Record World: "an outstanding achievement"
• Billboard: "The most important thing about this album is that he seems to have had a great time recording it and it is enormous fun to listen to."

On Rolling Stone's list of the 500 Greatest Albums of All Time, Something/Anything? was ranked at #173 on the 2003 & 2012 lists, dropping to #396 in the 2020 edition. It was also included in the 2005 book 1001 Albums You Must Hear Before You Die, where it was called "Rundgren's most compelling work" and "an album that stands as Rundgren's zenith both commercially and critically."

Album chart peaks:

• US Billboard 200: #29
• CashBox: #37

Tracks: They certainly picked some of the strongest tracks for single release: Hello It's Me (#5 pop, #17 AC), I Saw The Light (#16 pop), and Couldn't I Just Tell You (#93 pop). Track 3, the Motown homage titled Wolfman Jack, was later released in 1974 and bubbled under the Hot 100 at 105. The whole thing starts off with softrocktastic songs on what was side 1 (tracks 1-6 here) that Rundgren correctly dubbed "A Bouquet of Ear-catching Melodies." Side 2 (tracks 7-13) contain much of the production gimmicks mentioned above, but even the novelty songs, The Night The Carousel Burned Down and Song Of The Viking have hooks galore. And with Side 3 (tracks 1-5 on the second disc) Rundgren helps define the sound of the power pop genre. Aside from Hello It's Me, side 4 isn't my favorite, but even then something will catch my ear from time to time.

Personal Memory Associated with this CD: Riding around in an early '70s Ford Country Squire station wagon and hearing Hello It's Me on the car's AM radio.

Previously revisited for the blog:
The Very Best Of Todd Rundgren (1997)
The Ever Popular Tortured Artist Effect (1982)
Healing (1981)

Various Artists - Soul Hits of the '70s: Didn't It Blow Your Mind, Vol. 16 (1995)

Volume 16 of a 20 volume Rhino series. I had no plans to collect all 20 CDs, but they keep appearing in used bins and I simply can't help myself so we'll have to wait and see where this leads. From what I can ascertain, the later volumes released in 1995 are getting harder to find which normally translates to higher price tags, so I'm lucky I happened across this one in 2024 even though it came with a $19.99 price tag (I'm not saying that's what I paid, simply stating what the price sticker read).

Tracks, with Billboard chart peaks:

1. Patches - Clarence Carter (1970, #4 pop, #2 R&B)
   I dig the building pre-chorus, but not so much the spoken word verse. And it's such a depressing song. Nevertheless, it won the 1971 Grammy Award for Best Rhythm & Blues Song.
2. Betcha By Golly, Wow - The Stylistics (1972, #3 pop, #2 R&B, #7 AC)
   From the mind of Thom Bell comes this classic, oft covered tune. So dadgum smooth it could glide on sandpaper.
3. You're Still A Young Man - Tower Of Power (1972, #29 pop, #24 R&B)
   Love this waltz with its screaming trumpets and doo-wop vocals. I don't care much for the abbreviated single edit included on the compilation.
4. Misdemeanor - Foster Sylvers (1973, #22 pop, #7 R&B)
   11 year old Foster does his best Michael Jackson imitation and sounds almost exactly like him. Unfortunately, the backing group isn't up to the standards of the Funk Brothers or The Corporation. That's Foster in the CD's cover photo. A couple of years later, he'd contract a bad case of boogie fever.
5. Nobody Wants You When You're Down And Out - Bobby Womack (1973, #29 pop, #2 R&B)
   In which a Rock and Roll Hall of Famer takes an old blues tune, completely deconstructs it, and makes it his own.
6. Cheaper To Keep Her - Johnnie Taylor (1973, #15 pop, #2 R&B)
   Part bluesy jazz tune, part Stax groove, all good.
7. Put Your Hands Together - The O'Jays (1974, #10 pop, #2 R&B)
   Another cut on this compilation performed by members of The Rock and Roll Hall of Fame. Written and produced by the legendary Gamble & Huff team, containing the same formula - both musically and lyrically - as the group's 1972 hit Love Train. What a joyful chorus!
8. Trying To Hold On To My Woman - Lamont Dozier (1974, #15 pop, #4 R&B)
   Also a member of the Rock Hall. This song is a pleading slow burn and was Dozier's biggest hit as a solo artist.
9. Sexy Mama - The Moments (1974, #17 pop, #3 R&B)
   Take a smooth groove, add some strings plus a little pillow talk and you've got a sexy stew goin'.
10. Touch A Hand, Make A Friend - The Staple Singers (1974, #23 pop, #3 R&B, #27 AC)
    The Staple Singers (Rock Hall 1999) recorded tunes that were so basic they immediately hooked you, lyrics so positive they immediately uplifted you, and arrangements so perfect they always gave you something new. This track is no exception. 
11. Skin Tight - Ohio Players (1974, #13 pop, #2 R&B)
    A sweet chunk of polished funk from the boys from Dayton. Between the bass line, the horn licks, and the immediately identifiable "well, well, well" from Sugarfoot, I can't decide which I like more.
12. Sha-La-La (Make Me Happy) - Al Green (1974, #7 pop, #2 R&B, #28 disco)
    They literally saved the best for last. What a legend. Of course the Rev. Green is in many Halls of Fame, including Rock, Grammy, Gospel Music, Songwriters, Memphis Music, etc. And here's a picture from the time I saw him in concert in Austin, April 2012.

Previously revisited for the blog:

Volume 2	Volume 13
Volume 5	Volume 14
Volume 6	Volume 15
Volume 12	Volume 18

Grover Washington, Jr. - A Secret Place (1976)/All The King's Horses (1972)

The saxophonist's sixth and second albums, originally issued on the Kudu label, combined in 1986 by Motown Records for this two-for-one reissue. Both albums were recorded at the legendary Van Gelder Studios and produced by Creed Taylor, best known for his work on his own CTI record label. Washington appears on soprano, alto, and tenor saxophones, often overdubbing duets with himself.

This is where I would normally complain about the fact that Motown didn't pair consecutive album releases or, at the very least, sequence them chronologically. However, these two work well together and in this order. Go figure.

---

A SECRET PLACE (1976)
4 tracks, 34 minutes

According to the advertisement below, before the terms "contemporary jazz" and "smooth jazz" were coined, the genre was known as "crossover jazz." No matter the nomenclature, I dig the stuff and this album shows that crossover jazz can lean more to the jazz side of things. These four tracks, each clocking in at over 8 minutes, have laid back R&B grooves to be sure, but there's a good deal of room on each track for the soloists to stretch out. There's plenty of familiar names in the playing credits, including Dave Grusin, Eric Gale, and Ralph MacDonald. 

Reviews/ratings:

• CashBox: "a surprisingly laid back effort"
• Downbeat (★★): "flirts with boredom the way some recordings flirt with inspiration"
• The Rolling Stone Jazz & Blues Album Guide (1999): ★★
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: #31
• Billboard R&B: #7
• Billboard Jazz: #1
• CashBox: #48
• CashBox Jazz: #1
• Radio & Records Jazz Radio National Airplay: #1

Tracks: Two originals by Washington, a popish tune from drummer Harvey Mason, and a fantastic cover of Herbie Hancock's Dolphin Dance. My only complaint is the 34 minute running time is far too short.

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ALL THE KING'S HORSES (1972)
8 tracks, 38 minutes

While still smooth, this album of pop tunes and updated standards has tracks averaging about 4 minutes each and the arrangements vary from combo to big band to full orchestra. Guests on these cuts include Bob James, Richard Tee, Billy Cobham, Bernard Purdie, and Ron Carter.

Reviews/ratings:

• CashBox: "a perfect compromise between jazz and pop"
• Record World: "Music that you can get heavily into, or just turn on in the background."
• Billboard: "will be one of the biggest albums of the year"
• The Rolling Stone Jazz & Blues Album Guide (1999): ★★
• The Virgin Encyclopedia of Jazz (1999): ★★

Album chart peaks:

• US Billboard 200: #111
• Billboard R&B: #20
• Billboard Jazz: #1
• CashBox: #99
• Record World Jazz: #1

Tracks: At this point, Washington wasn't yet recording his own material. but he picked some good tunes to cover, including one of the great pop songs of the 1970's, Where Is The Love:

1. No Tears, In The End (Ralph MacDonald, William Salter): a tune later appearing on the 1973 Roberta Flack album Killing Me Softly.
2. All The King's Horses (Aretha Franklin): a hit for Aretha Franklin in 1972 (#26 pop, #7 R&B).
3. Where Is The Love (MacDonald, Salter): a hit for Roberta Flack & Donny Hathaway in 1972 (#5 pop, #1 R&B, #1 AC).
4. Body And Soul (Edward Heyman, Robert Sour, Frank Eyton, John Green): a jazz standard from 1930.
5. Lean On Me (Bill Withers): a hit for Withers in 1972 (#1 pop, #1 R&B, #4 AC)
6. Lover Man (Jimmy Davis, Jimmy Sherman, Roger Ramirez)/Interlude #2 (Bob James): a jazz standard from 1941 plus a extended original soloing section in the middle
7. Love Song 1700 (Henry Purcell): adapted and arranged by Bob James.

The only skippable track is Love Song 1700, which doesn't quite work despite good intentions. [insert your own baroque/broke pun here]

Personal Memory Associated with this CD: In late 2000 or early 2001 someone I know well* was downloading some tunes from a popular file sharing site that rhymes with "mapster" and Washington's version of Where Is The Love was one of the first tunes allegedly downloaded.

*someone of my general age, height, weight, and eye color.
This statement has been approved by this blog's amateur legal team, a group with over 25 years of legal experience (i.e., watching episodes of Law & Order).

Previously revisited for the blog:

Prime Cuts 1987-1999 (1999)	The Best Is Yet To Come (1982)
Soulful Strut (1996)	Come Morning (1981)
All My Tomorrows (1994)	Winelight (1980)
Time Out of Mind (1989)	Skylarkin' (1980)
Anthology (1985)	Mister Magic (1975)
Inside Moves (1984)/Paradise (1979)

Neu! (1972)

Note: the CD I listened to was the 2001 remaster, imported from the EU. Here's a proper summary that appeared in The Guardian at the time of re-release: Neu! That's what I call music

Neu! was a krautrock group formed in Düsseldorf in 1971 by guitarist Michael Rother and drummer Klaus Dinger, both of whom had previously been members of Kraftwerk. The two bands share what came to be recognized as the characteristic minimalist, repetitive krautrock sound: driving rhythms, layered textures, and electronic effects. I really like the fact that the guitar plays a big role instead of being exclusively keyboards. What we've got here are instrumental, lengthy, compositions that are part rock, part electronic, and part avant-garde. Influential on future post-punk/ambient/electronic musicians: I've seen comparisons ranging from Can to Joy Division to Tangerine Dream to Neil Young, if that helps you any. My reaction every time I spin this disc: "I can't believe this came out in '72! Unreal!"

I was brought to this album over 40 years after its release after I went down a Conny Plank rabbithole one afternoon when I was bored with my job down at the cubicle farm. I became fascinated with the origins of the now-familiar motorik beat, which very possibly had its first appearance ever on the album's lead track, Hallogallo.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: Hallogallo is definitely the star here, but also good are Negativland and the slower Weissensee. The vocals on the album closer, Lieber Honig, render it unlistenable. To be fair, I think that's the point.

Personal Memory Associated with this CD: See above.

Various Artists - A Year In Your Life: 1972 Vol. 1 (2001)

I saved a number of discs from the trash heap this past weekend and I'll spin a few I rescued from this series this week. It's a budget-priced nostalgia sampler, complete with 1972 trivia questions in the liner notes and a general recap of the year:

According to a now-defunct website, the A Year In Your Life series

provides a nostalgic trip down memory lane for Baby Boomers, Hippies and Generation X alike. An extensive 75 volume (and growing!) collection of music spanning the very best Rock, Pop and R&B hits from the 50s, 60s, 70s and 80s, the series is a year by year and decade by decade anthology of the music that was the soundtrack to your life.

Currently, Discogs only lists 21 CDs so I'm unsure how many volumes were ever released; I have three.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: 10 tracks, 36 minutes. A very mixed bag.

Artist	Song	Hot 100
Looking Glass	Brandy (You're A Fine Girl)	1
Nilsson	Without You	1
Albert Hammond	It Never Rains In Southern California	5
The Hollies	Long Cool Woman (In A Black Dress)	2
Climax	Precious And Few	3
Three Dog Night	Black & White	1
Argent	Hold Your Head Up	5
The Raspberries	Go All The Way	5
Redbone	Witch Queen Of New Orleans	21
Mac Davis	Baby Don't Get Hooked On Me	1

Personal Memory Associated with this CD: None

Previously revisited for the blog:

A Year In Your Life: 60s Vol. 1 (2001)

A Year In Your Life: 1970 Vol. 1 (2001)

Tony Bennett's All-Time Greatest Hits (1972)

Note: the CD I listened to was the 1997 remastered reissue.

As one would expect. Powerful vocals supported by fantastic arrangements by the likes of Percy Faith, Ray Conniff, and Johnny Mandel; sometimes accompanied by Count Basie or The London Philharmonic. Lots of popular show tunes/movie themes (marked below with an asterisk) and easy listening ballads to croon. No liner notes to speak of, but at least the tunes are presented in chronological order.

Peak on the US Billboard Top 200 chart: #175

Tracks with chart positions. It's all good, but my top tracks marked with a ✔.

Song	Year	Hot 100
Because Of You	1951	1
Rags To Riches	1953	1	✔
Stranger In Paradise*	1953	2
Sing You Sinners*	1967	-
Just In Time*	1956	46	✔
The Boulevard Of Broken Dreams	1956	-
Love Look Away*	1958	-
Firefly	1958	-	✔
Put On A Happy Face*	1960	-	✔
I Left My Heart In San Francisco	1962	19	✔
I Wanna Be Around	1962	14
This Is All I Ask	1963	70
Who Can I Turn To (When Nobody Needs Me)*	1964	33
The Shadow Of Your Smile*	1965	-
Smile*	1965	-
A Time For Love*	1966	-
For Once In My Life	1967	91
Something	1969	-
(Where Do I Begin) Love Story*	1971	-
Maybe This Time*	1972	-

Despite the album title, most of Bennett's Top 40 hits are absent: Can You Find It In Your Heart (#16, 1956), From The Candy Store On The Corner To The Chapel On The Hill (#11, 1956), Happiness Street (#38, 1956), The Autumn Waltz (#18, 1956), In The Middle Of An Island (#9, 1957), Ca C'est L'amour (#22, 1957), Young And Warm And Wonderful (#22, 1957), The Good Life (#18, 1963), and If I Ruled The World (#34, 1965).

Personal Memory Associated with this CD: None

Previously revisited for the blog:

Duets: An American Classic (2006)
Snowfall: The Christmas Album (1994)

Steely Dan - Can't Buy A Thrill (1972)

Debut studio album from Steely Dan, released while they were still in their full band rock phase, before narrowing down to a duo for more sophisticated fare. I prefer the latter, but that doesn't mean I don't like this stuff, too. I wasn't listening to this album when it was released (I was 6 years old and the parents probably would have frowned on an album cover that featured sex workers), but I can't remember a time when Do It Again and Reelin' In The Years weren't on the radio. And after all these years, I'm still not tired of either tune.

Like most Steely Dan releases, this album was out of time/ahead of its time and makes it on strong songwriting, impeccable musical technique, and signature Gary Katz production. It even sounds good when they don't seem to know what they're doing (Fire In The Hole). Kudos all around. This thing will put me in a '70s flashback daze faster than a trip to Putt-Putt.

Your humble blogger at the Odessa (TX) Putt-Putt
May 30, 1974.

Update: In its 2020 list of The 500 Greatest Albums of All Time, Rolling Stone ranked Can't Buy A Thrill at #168.

Press of the time:

• Robert Christgau (A): "How about that--a good album with two hit singles attached." 
• CashBox: "Their future: about as bright as that of any of the year's new groups as this one is both musically refreshing and blatantly original."
• Billboard: "shows good hit possibilities for a group that should be around for some time"
• Rolling Stone: "distinguished by three top-level cuts and scattered moments of inspiration"
• Record World: "could turn out to be one of the most important records of the year."

Album chart peaks:

• US Billboard 200: #17
• CashBox: #11

Tracks: In addition to the two aforementioned Top 40 singles, I also dig the FM staple Dirty Work, and Midnite Cruiser. The relatively weakest track is Change Of The Guard, but there's really nothing here to skip because they're all in the same groove. 10 songs, 41 minutes - perfect length.

Personal Memory Associated with this CD: None, but I'm reminded what a great year 1972 was for pop/rock music: this album, No. 1 Record, Superfly, Something/Anything?, Talking Book, Pink Moon, Roxy Music, Ziggy Stardust, Let's Stay Together, Exile On Main St. to name a few.

There's not any CD liner notes to speak of, but I did get a kick out of this MCA ad on the back of the booklet because the whole art design screams 1980s, when I'm guessing this CD was issued:

Previously revisited for the blog:
Everything Must Go (2003)
Two Against Nature (2000)
Alive In America (1995)
A Decade of Steely Dan (1985)
Gaucho (1980)
Aja (1977)
Katy Lied (1975)
Pretzel Logic (1974)

Nick Drake - Pink Moon (1972)

One of my favorite nighttime CDs, this is a difficult album to write about because it is so enigmatic. It is folk music, but it is pop and possibly the first New Age album. It is depressing, but beautiful. The songs are simple, but they're very complex. Some songs are too brief, but they're overflowing with emotion. I won't even try to write anymore. I'll shut up and listen because I hear something wonderfully new every time I listen.

And now I'm going to post this gibberish, put on my headphones, and listen to the whole thing again.

Update: In its 2020 list of The 500 Greatest Albums of All Time, Rolling Stone ranked Pink Moon at #203.

Peak on the US Billboard Top 200 chart:  Did not chart

Tracks:  This 29 minute album must absolutely, positively be experienced from start to finish with no skipping or shuffling. I wouldn't have it any other way. Tonight's favorites are the title cut, Things Behind The Sun, Parasite, and From the Morning.

Personal Memory Associated with this CD:  None, because when I listen to this album, I'm alone and I try to give this work the attention it deserves.

Previously revisited for the blog:
Bryter Layter (1970)
Five Leaves Left (1969)

Big Star - #1 Record/Radio City (1972/1974)

Big Star was a short-lived power pop group that hailed from Memphis in the early '70s. They never had any great chart success and, quite frankly, I had never heard of the group until the 1990's. That's when I noticed that many groups to which I listened were listing Big Star as an influence. Then it was one of those situations where, once you know a name, you become aware of its appearance everywhere. So I picked up this two-fer CD to see what the fuss was all about. Admittedly, I didn't get it at first, but upon repeated listenings I finally began to hear what everybody was talking about. The group didn't receive proper marketing support, leading to one of the biggest "what if" questions in rock n roll history.

#1 Record was the band's debut album and the songwriting duties were handled by Alex Chilton and Chris Bell and there's a definite complimentary difference between the two. I'd compare the two to Lennon & McCartney, but that's been done to death. Bell's songs rock harder than those of Chilton, but both were good songwriters and harmonizers. I listen to it and think, "Ah, so that's were R.E.M. lifted that." As Allmusic states: "The problem with coming in late on an artwork lauded as 'influential' is that you've probably encountered the work it influenced first, so its truly innovative qualities are lost." Ah, well. It's not like I could have appreciated this music when I was 5 years old. So the alternative scene of the eighties pinched much of their sound from groups like Big Star, just as Big Star pinched much of their sound from the British Invasion of the sixties - so what?

Bell left the group after #1 Record, so Chilton is the clear leader of the Radio City album. The most obvious differences are Bell's vocal harmonies, but I also notice that this album doesn't sound as good as #1 Record, so I have to conclude that Bell was very involved in the production/engineering of that first record.

I understand there's a recent documentary on the band. I'll need to check that out.

Update: In its 2020 list of The 500 Greatest Albums of All Time, Rolling Stone ranked #1 Record at #474 and Radio City at #359.

Peak on the US Billboard Top 200 chart: Neither album charted

Tracks:
#1 Record: The review from the September 9, 1972 issue of Billboard magazine puts it best:

To that, I'll add that I think the hidden gem on #1 Record is The India Song.

Radio City: Overall, this is a weaker album, but there are a few choice cuts: O My Soul, Back Of A Car, and September Gurls.

Personal Memory Associated with this CD: None

Various Artists - Super Hits of the '70s: Have a Nice Day, Vol. 20 (1993)

Disc 20 of 25. With the exception of the Mac Davis tune which was released in 1972, songs on this compilation peaked on the charts in 1975-77. Of the twelve tracks here, only about half are good, but the good ones are some of my '70s favorites.

Tracks:

• Baby Don't Get Hooked On Me - Mac Davis (#1 in September 1972)
  As a child, I mistakenly grouped Davis in with C&W singers and therefore didn't give him a chance. Elvis liked Davis' writing; I could easily hear Elvis recording this one in Muscle Shoals.
• The Last Game Of The Season (A Blind Man In The Bleachers) - David Geddes (#18 in December 1975)
  I'd never heard this before and now I'm a blubbering mess. As a father who has been to hundreds of his sons' ballgames, I don't think I'll ever voluntarily listen to this one again because it gets to me.
• Get Closer - Seals & Crofts (#6 in July 1976)
  A soft rock classic. Everything works with this one: the vocal harmonies, the background strings, and the guest vocals of soul singer Carolyn Willis.
• Devil Woman - Cliff Richard (#6 in September 1976)
  At the time of its release, I had no idea what Richard was singing about, but I knew a great hook when I heard it. I would sing along loudly, trying my best to figure out the lyrics: "She's just a devil woman! with evil ottomans!" The cowbell in the chorus is fantastic.
• Judy Mae - Boomer Castleman (#33 in June 1975)
  I don't remember this one, probably because its a forgettable, disturbing crime narrative disguised as a song that might have charted better if it had been released 5 years earlier. Pass.
• Disco Duck (Part I) - Rick Dees & His Cast Of Idiots (#1 in October 1976)
  Dees gets credit for having a disco hit that shamelessly pokes fun at disco. This is the kind of novelty song that would seemingly only appeal to 10 year kids (which I was when this song was released). It's 100% cheese and I love every bite. Quack.
• Angel In Your Arms - Hot (#6 in July 1977)
  A two-timin' C&W song done up R&B style and somehow it works. ;The verse has a smooth, soulful feel (belying the lyrics) while the chorus has more of a country-crossover feel (belying the tasty disco guitar part on top). Reading that description, I shouldn't like it, but I do.
• Living Next Door To Alice - Smokie (#25 in February 1977)
  Another story song, another pass. I think the stalker/creeper lyrics were intended to be romantic, but to me, they come across as disturbing.
• Do You Wanna Make Love - Peter McCann (#5 in August 1977)
  I remember this country-tinged tune being all over the radio in West Texas as a kid. Much to my mother's dismay, I would sing along loudly with the song on the radio. No worries, Mom, I didn't have any idea what I was singing about. While that's a fun memory, I really don't care much for this song these days.
• After The Lovin' - Engelbert Humperdinck (#8 in January 1977)
  I always liked this one (then again, I was always a smooth, romantic ladykiller). ;Much like the previous track, I would sing along with this lush ballad while having no idea what I was singing. I'm sure the sound of me singing along with the female back-up singers was particularly disturbing for moms.
• Ariel - Dean Friedman (#26 in June 1977)
  For a derivative knock-off of the Four Seasons, this isn't bad, but it's no Uptown Girl.
• Smoke From A Distant Fire - The Sanford/Townsend Band (#9 in September 1977)
  A great way to end this disc. Hall & Oates meets The Doobie Brothers. The liner notes characterize this song as "a crackling mix of blue-eyed soul and high-energy pop/rock." What they said.

Personal Memory Associated with this CD: see above

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 21	Volume 22	Volume 24
Volume 25

Chase - Ennea/Pure Music (1972/1974)

Chase was an early '70s trumpet-based band that fit right in with other jazz-rock outfits of the time (Chicago, Blood Sweat & Tears, etc.). Led by trumpeter/composer Bill Chase, the group's first album had a top 40 hit (Get It On, 1971, #22) and, as sometimes happens, the debut album was the biggest and best of the group's discography. This two-fer CD includes two of the band's subsequent albums that were recorded before the unfortunate demise of Bill Chase and three other band members in a 1974 plane crash. The playing is high, tight, and enjoyable while giving me a full-on bell bottom flashback. The material isn't consistently strong, but the songs that are good are excellent. Chops for days.

Other than Bill Chase, the personnel on these two albums are completely different lineups. As a result, they sound slightly different, but that's due more to the writing than the playing. Overall, I prefer the Pure Music album to the Ennea album.

Peak on the US Billboard Top 200 chart: Ennea #71, Pure Music #155

Tracks: Of the Ennea tracks, I'm a fan of So Many People, I Can Feel It. I'm not a fan of the Greek Mythology prog-rock suite that made up side two of the LP (tracks 7 - 12 on this disc). Of the Pure Music half, my top picks are Run Back To Mama, Love Is On The Way, and Close Up Tight, but, with the exception of Twinkles, the whole album is high energy, in your face intensity. There's some "electric trumpet" on the Pure Music album, which is a fun, if dated, sound.

Personal Memory Associated with this CD: I learned of Chase in college when I played an arrangement of Run Back To Mama (which was a blast to perform). I'm not much of a trumpet player anymore, but it's still fun to hear top-notch players screaming in the upper register of the instrument and this disc suits that purpose quite nicely.

Various Artists - Super Hits of the '70s: Have a Nice Day, Vol. 10 (1990)

Disc 10 of 25.  This volume of the series contains singles that peaked on the charts in December 1972 - November 1973 and contains an usually high number of top ten hits (including two chart toppers) when compared to other volumes. Even so, this is one of the weaker discs in the series - not even Stealers Wheel and Stories could rescue it.

Tracks:

• It Never Rains In Southern California - Albert Hammond (#5 in December 1972)
  This country rock ditty doesn't do much for me. The long, drawn out lyrics don't seem to match the pace of the rhythm section.
• Oh, Babe, What Would You Say? - Hurricane Smith (#3 in February 1973)
  A flashback to vaudeville from the Beatles' former engineer (come to think of it, this sounds a little like a Carol Channing singing Ringo Starr tune, doesn't it?). I have no recollection of it from 1973, but it's enjoyable now.
• Last Song - Edward Bear (#3 in March 1973)
  I can't put it any better than this sentence I found in the liner notes: "Heartfelt but kinda mopey and dopey, Last Song plays like the junior-high version of Since I Fell For You."
• Dead Skunk - Loudon Wainwright III (#16 in March 1973)
  My childhood friend Troy had the 45 single of this novelty tune so I know all the words even though I find it a little hard to listen to these days. Still, I'll have a hard time getting the chorus out of my head today.
• The Cover Of Rolling Stone - Dr. Hook & The Medicine Show (#6 in March 1973)
  Shel Silverstein's satirical lyrics about rock 'n' roll excesses are the star of this song. About the same time this song peaked, Rolling Stone thanked the group for the free publicity by putting them on the cover.
  
  
  
• The Night The Lights Went Out In Georgia - Vicki Lawrence (#1 in April 1973)
  This murder mystery song is ok, but I'm reminded of the crush I had on Vicki Lawrence when she was on the Carol Burnett Show. I like the modulation from minor to major for the chorus.
• Stuck In The Middle With You - Stealers Wheel (#6 in May 1973)
  A fantastic blues pop song; I've always liked Gerry Rafferty's voice. The cowbell break at the end of the bridge is brilliant in its simplicity. And, if you're like me, these days you can't separate this song from the movie Reservoir Dogs.
• Drift Away - Dobie Gray (#5 in May 1973)
  I know I should support Gray since he's a fellow Texan, but I've never liked this country soul song ("country soul" - I'm not so sure those two words should ever go together). Guaranteed to make me change the radio station.
• Wildflower - Skylark (#9 in May 1973)
  A Canadian version of Philly soul - and it woulda worked if they had just left out the guitar solo. Take that out and the song is a blue-eyed soul classic.
• Brother Louie - Stories (#1 in August 1973)
  A fantastic cover of a Hot Chocolate tune, this is one of my favorite '70s songs. In 1973, I didn't know anything about the lyrics (I'm sure I was totally unfamiliar with the concept of interracial romance back then), but that didn't keep me from singing this loudly, especially that catchy chorus.
• Jimmy Loves Mary-Anne - Looking Glass (#33 in October 1973)
  This follow-up to 1972's Brandy (You're A Fine Girl) sounds much the same, but that's not necessarily a bad thing. I like the syncopated rhythm section groove, particularly in the verse. Overall, I prefer Josie Cotton's cover version.
• Heartbeat - It's a Lovebeat - The DeFranco Family featuring Tony DeFranco (#3 in November 1973)
  If I didn't know better, I'd swear this was Donny Osmond and his brothers. Harmless bubblegum pop, but nothing I'd seek out.

Personal Memory Associated with this CD: when I was in high school in the early '80s, the church I attended got a new youth pastor. She tried so hard to fit in with us that she was willing to try anything, including pulling out an acoustic guitar and singing the few songs she knew. Unfortunately, one of those songs was Dead Skunk. Of course, I was the only one under twenty that knew that song and I weakly sang along, but nobody was interested in hearing a 10 year old novelty song. Needless to say, Dead Skunk was closely followed by chirping crickets.

Previously revisited for the blog:

Volume 1	Volume 2	Volume 3	Volume 5
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 24	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. 8 (1990)

Disc 8 of 25. This disc contains singles that peaked on the charts in the spring and summer of 1972, but other than time of release, these tunes have little in common with each other; I love the variety. I was only familiar with about half of these tracks before buying this CD, but it's got a few keepers.

Tracks:

• Run Run Run - Jo Jo Gunne (#27 in May 1972)
  I don't remember this one, but it's a good boogie shuffle with a nice guitar solo and a memorable melody with very few lyrics, 3 couplets at most.
• Hot Rod Lincoln - Commander Cody & His Lost Planet Airmen (#9 in June 1972)
  A fun rockabilly story cover. It's another I don't remember, but I'll add to the archives.
• We've Got To Get It On Again - The Addrisi Brothers (#25 in March 1972)
  This one's kind of bland. Either I've never heard it before or it is literally not memorable.
• Sylvia's Mother - Dr. Hook & The Medicine Show (#5 in June 1972)
  I'm normally a fan of Dr. Hook and a fan of writer Shel Silverstein, but this isn't my bag. Heartbreaking.
• Nice To Be With You - Gallery (#4 in June 1972)
  The group was smart enough to start this country pop song with the song's catchy chorus instead of a verse.
• How Do You Do? - Mouth & MacNeal (#8 in July 1972)
  This sophomoric ditty could be the worse track on the compilation. The verse and chorus don't sound like they belong together at all. Is that a Sousaphone splatting out the bass line?
• In A Broken Dream - Python Lee Jackson (#56 in July 1972)
  With vocals by Rod Stewart. A blatant rip-off of While My Guitar Gently Weeps, it's not a bad song, but the guitar tone grates to the point that I want to hit the skip button.
• Day By Day - Godspell (#13 in July 1972)
  As a preacher's kid, I've sung this song more times than I care to remember. However, it's a great song and I still can't resist. Yeah, I sang along with it just now and if I had a tambourine handy, I'd be playing that, too.
• Alone Again (Naturally) - Gilbert O'Sullivan (#1 in July 1972)
  This compilation series doesn't feature many chart-toppers, but I'm glad they included this one. McCartney-eque soft rock, right in my wheelhouse. A feel-good song about suicide - try wrapping your head around that dichotomy. Fortunately, I didn't pick up on the cynical lyrics when I was 6 years old.
• Hold Your Head Up - Argent (#5 in August 1972)
  As a young lad, I didn't like hard rock, but I made an exception for this song. Still popular on classic rock stations, even its inclusion in recent Scottrade ads hasn't ruined it for me.
• The Candy Man - Sammy Davis, Jr. (#1 in June 1972)
  This song makes me incredibly happy. That is all.
• Motorcycle Mama - Sailcat (#12 in August 1972)
  I can't decide if this is a novelty song or not. Either way, not my thing.

Personal Memory Associated with this CD: None. Hard to believe I've never been in a production of Godspell.

Previously revisited for the blog:

Volume 1	Volume 2	Volume 3	Volume 6
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. 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

Various Artists - Super Hits of the '70s: Have a Nice Day, Vol. 9 (1990)

Volume 9 (of 25) and we're only in 1972. More specifically, in this volume we get singles that peaked on the charts between August 1972 and May 1973. Before hearing this disc, I was only familiar with 4 of the 12 tunes.

Tracks:

• Brandy (You're A Fine Girl) - Looking Glass: Peaked at #1 in August 1972.
  Poor Brandy. The love of her life picked the sea over her love. That's gotta hurt. A remarkably catchy, peppy song for such a sad sentiment. Useless Fanilow trivia: Barry Manilow's 1974 hit Mandy was originally titled Brandy but Manilow changed it following the success of this Looking Glass single, so as not to get the two songs confused.
• Beautiful Sunday - Daniel Boone: Peaked at #15 in September 1972.
  Sounds like the Partridge Family meet Stealers Wheel. I can't believe it made it to #15.
• Rock And Roll Part 2 - Gary Glitter: Peaked at #7 in September 1972.
  If you've been to a sporting event in the last 2 decades, you've heard this song although many teams won't play it since Glitter was convicting of being a perv back in 1999. Now I can't hear it without thinking of this Starbucks commercial. I'm not a fan of Starbucks coffee, but I'd love to have my own cheering section and a mascot that would do the worm.
• Speak To The Sky - Rick Springfield. Peaked at #14 in October 1972.
  THAT Rick Springfield. With a banjo and tuba, no less. Sort of a cross between Spirit In The Sky and I'd Like To Teach The World To Sing. I can't really describe it, but I don't much care for it.
• Popcorn - Hot Butter. Peaked at #9 in October 1972.
  This one I remember. It's almost hypnotic in its simplicity which must have caught my attention as a 6 year old. A "before its time" synth-disco tune, it now sounds like early video game music. While it's a trip down memory lane, I won't be taking that trip again anytime soon.
• I'd Love You To Want Me - Lobo. Peaked at #2 in November 1972.
  I loves me some '70s soft rock, but this one? Not so much. Still, you should watch the video just to see his hair.
• I Believe In Music - Gallery. Peaked at #22 in November 1972.
  A cover of a Mac Davis tune. I remember Mac's version, but not this one. According to the liner notes, Davis objected to Gallery's changing his pop-spiritual line "God loves it when you sing" to the deliberately ambiguous "Tell me what you see."
• American City Suite - Cashman & West: Peaked at #27 in November 1972.
  A strange cross between Jimmy Webb and The Lovin' Spoonful. At 7:42, it was definitely a lengthy, although daring conceptual single. The ending ballad is actual quite nice.
• Thunder And Lightning - Chi Coltrane: Peaked at #17 in November 1972.
  Never heard it before, but its one of the better tunes on the disc. A piano-driven rock tune for Coltrane, who turned out to be a one-hit wonder in spite of her powerful voice.
• Something's Wrong With Me - Austin Roberts: Peaked at #12 in December 1972.
  You're asking for trouble with that title, but this isn't a bad soft rock ballad in the style of Bread. You can also hear some strong similarities in the chorus with Barry Manilow's I Write The Songs. If this had happened now instead of in the '70s, there would have been a plagiarism lawsuit.
• Clair - Gilbert O'Sullivan: Peaked at #2 in December 1972.
  In which Gilbert O'Sullivan does his best Paul McCartney imitation. He's only marginally successful.
• Frankenstein - The Edgar Winter Group: Peaked at #1 in May 1973.
  This song always freaked me out with its wild synths, heavy groove, drum solos, and horror novel title. And where the hell were the lyrics?!? Add to that the fact that Edgar Winter was the first albino I had ever seen, and that whole thing messed with my young mind. I kinda dig the song now, especially the horn section that sounds like it was lifted from the Average White Band.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
Volume 1
Volume 18
Volume 19
Volume 21