My Top Singles Turning 50

A final look at 1971, one of the most exciting years in music

As 2021 is drawing to a close, I decided to revisit 1971 one more time. With releases, such as Who’s Next (The Who), Tapestry (Carole King), Led Zeppelin IV (Led Zeppelin), Sticky Fingers (The Rolling Stones) and Meddle (Pink Floyd), it truly was an extraordinary year in music. And let’s not forget At Fillmore East by The Allman Brothers Band, perhaps the ultimate southern and blues-rock record, and certainly a strong contender for best live album ever.

I wrote about the above and other records in a three-part series back in April, which you can read here, here and here. What I didn’t do at the time was to look at singles that came out in 1971. I’ve put my favorites in a playlist at the end of this post. Following I’m highlighting 10 of them, focusing on songs I didn’t cover in the aforementioned three-part series.

Marvin Gaye/What’s Going On

I’d like to start this review with What’s Going On by Marvin Gaye, released in January 1970. Co-written by him, Al Cleveland and Four Tops co-founding member Renaldo “Obie” Benson, this classic soul gem was inspired by an incident of police brutality Benson had witnessed in May 1969 while The Four Tops were visiting Berkely, Calif. The tune became Gaye’s first big U.S. hit in the ’70s, climbing to no. 2 on the Billboard Hot 100 and topping the Best Selling Soul Singles chart.

Deep Purple/Strange Kind of Woman

In February 1970, Deep Purple released Strange Kind of Woman as a non-album single. The follow-on to Black Night was credited to all members of the band: Ian Gillan, Ritchie Blackmore, Jon Lord, Roger Glover and Ian Paice, their most compelling lineup, in my view. The song reached no. 8 in the UK and Germany, but didn’t chart in the U.S. The track was also included in the U.S. and Canadian editions of Deep Purple’s fifth studio album Fireball from July 1971 in lieu of Demon’s Eye on the UK edition.

Jethro Tull/Hymn 43

Hymn 43 is a great rock song by Jethro Tull. Penned by Ian Anderson, it appeared in late June 1971 as the second single off Aqualung, the group’s fourth studio album that had come out in March of the same year. Hymn 43 followed lead single Locomotive Breath. Incredibly, it only charted in Canada and the U.S., reaching an underwhelming no. 86 and no. 91, respectively.

T. Rex/Get It On

In July 1970, glam rockers T. Rex released one of their signature tunes, Get It On. In the U.S., it was re-titled Bang a Gong (Get It On), since there was a song with the same title by American jazz-rock band Chase. Get It On, written by T. Rex frontman Marc Bolan, was the lead single from the British band’s sophomore album Electric Warrior that appeared in September that year. Get It On became the band’s second no. 1 in the UK and their only U.S. top 10 hit (no. 10) on the Billboard Hot 100.

Santana/Everybody’s Everything

In September 1970, Santana released their third studio album Santana III and lead single Everybody’s Everything. The tune was co-written by Carlos Santana, Milton Brown and Tyrone Moss. The classic Santana rock song became the band’s last top 20 hit (no. 12) in the U.S. until the pop-oriented Winning from 1981.

Sly and the Family Stone/Family Affair

Family Affair is a track off Sly and the Family Stone’s fifth studio album There’s a Riot Goin’ On that came out in November 1971. Released the same month, the psychedelic funk tune was the first single from that album. It became the group’s third and final no. 1 hit in the U.S., topping both the mainstream Billboard Hot 100 and Hot Soul Singles chart.

Badfinger/Day After Day

Day After Day, first released in the U.S. in November 1971 followed by the UK in January 1972, became the biggest hit for British power pop-rock band Badfinger. Written by Pete Ham, the tune, off their third studio album Straight Up from December 1971, climbed to no. 4 in the U.S. on the Billboard Hot 100 and reached no. 10 in the UK. In Canada, it went all the way to no. 2. This gem was produced by George Harrison who also played slide guitar along with Ham.

Elton John/Levon

Levon is one of Elton John’s beautiful early songs that first appeared on his fourth studio album Madman Across the Water from early November 1970. Composed by John with lyrics by Bernie Taupin, the ballad also became the record’s first single in late November. Producer Gus Dudgeon has said Taupin’s lyrics were inspired by Levon Helm, co-founder, drummer and singer of The Band, a favorite group of John and Taupin at the time. Levon reached no. 24 on the Billboard Hot 100 and climbed to no. 6 in Canada.

The Beach Boys/Surf’s Up

Various music connoisseurs have told me their favorite album by The Beach Boys is Surf’s Up from late August 1971. I can’t say it’s been love at first sight for me, but this record is definitely growing on me. The Beach Boys released the title track as a single in late November that year. Co-written by Brian Wilson and Van Dyke Parks, Surf’s Up originally was supposed to be a track for Smile, an unfinished album that was scrapped in 1967. Brian and Carl Wilson completed the tune. By the time Surf’s Up was released as a single, the last major hit by The Beach Boys Good Vibrations was five years in the past. While the single didn’t chart, the album reached no. 29 on the Billboard 200, their highest-charting record in the U.S. since Wild Honey from 1967.

The Kinks/20th Century Man

The last song I’d like to call out is 20th Century Man by The Kinks. Penned by Ray Davies, the tune in December 1970 became the sole single off the group’s 10th studio album Muswell Hillbillies. The record had appeared in late November that year. 20th Century Man stalled at no. 106 in the UK and reached no. 89 in Australia. It didn’t chart in the U.S. The album didn’t fare much better, though it received positive reviews and remains a favorite among fans.

Check out the playlist below for additional 1971 singles I dig.

Sources: Wikipedia; YouTube

Three Ladies Who Did It Twice

Tina Turner and Carole King have now joined Stevie Nicks as only female music artists inducted twice into Rock and Roll Hall of Fame

On Saturday night, Tina Turner and Carole King were officially inducted for the second time into the Rock and Roll Hall of Fame. Prior to them, only one other female music artist had accomplished that feat: Stevie Nicks.

I fully realize many music fans are highly critical of the Rock Hall, some to the point where they no longer care, as do certain artists based on what they’ve said. Debates about the secretive selection process and who’s in the Rock Hall and who’s not are certain to continue.

Instead of rehashing controversy, I’d like to celebrate these three amazing women, Stevie Nicks, Tina Turner and Carole King, and their great music. All three are among my longtime favorite artists and very deserving inductees, IMHO.

Stevie Nicks

Nicks was first inducted as a member of Fleetwood Mac in 1998, together with former and current band members Peter Green, Mick Fleetwood, Lindsey Buckingham, John McVie, Jeremy Spencer, Danny Kirwan and Christine McVie.

From Rock Hall website: After forming as a British blues band in the late ’60s, Fleetwood Mac evolved into one of the most influential rock groups of the ’70s. Not only did they write some of the decade’s most indelible songs—and release one of the best-selling albums of all time, 1977’s Rumours—but the troupe created a distinctive “California sound” that endures today as a sonic touchstone for countless bands.

Here’s one of my favorite tunes written by Nicks for Fleetwood Mac from the band’s second eponymous album that appeared in July 1975: Landslide. I really dig her singing and Buckingham’s acoustic guitar playing.

Nicks’ induction as a solo performer happened in 2019. From Rock Hall website: Stevie Nicks’ life and career have always had a touch of magical enchantment. Tonight represents a crowning validation of her spellbinding gifts as a rock & roll icon, as she becomes the first woman to be twice inducted into the Rock & Roll Hall of Fame – with Fleetwood Mac in 1998, and now as a solo artist.

Following is Stand Back, a tune from Nicks’ sophomore solo album The Wild Heart, which appeared in June 1983. Also released as a single, the song became one of her highest-charting, climbing to no. 5 in the U.S. on the Billboard Hot 100, peaking at no. 10 in Canada, and reaching the top 40 in various other countries, including The Netherlands, Germany and Australia. It’s definitely a child of its time!

Tina Turner

Tina Turner was first inducted into the Rock Hall in 1991 as part of Ike & Tina Turner. From Rock Hall website: A charismatic bandleader and an unbridled whirlwind of sexual energy formed one of the most formidable live acts in history. Ike and Tina Turner were such a presence onstage that even their own albums don’t do them justice. The explosive duo made such enduring hits as “River Deep–Mountain High,” “Proud Mary” and “Nutbush City Limits.” Ike Turner was a talented songwriter and guitarist. Unfortunately, his physical and psychological abuse of Tina Turner will forever diminish him. Here’s the amazing Nutbush City Limits, which actually was written by Tina Turner – I always mistakenly had thought Ike had penned it! The tune was the title track of Ike & Tina Turner’s studio album from November 1973 and became a signature song.

From Rock Hall press release announcing 2021 inductees: …Tina Turner is known as the Queen of Rock & Roll, a title she earned not just once but twice. The first time, she rose to fame in the 1960s as part of the duo Ike and Tina Turner, belting out soulful rock songs in a non-stop stage show where she danced the audience into a frenzy. But all of that is backstory to the most successful and triumphant rebirth in the history of rock…

The most important album of Turner’s solo career is Private Dancer from May 1984, which not only turned her into a viable solo artist but an international superstar. Here’s the title track, written by Mark Knopfler. While it’s obviously a radical departure from the R&B sound of Ike & Tina Turner, I still love that tune!

Carole King

Carole King’s initial induction into the Rock Hall occurred in 1990, together with her ex-husband and former lyricist Jerry Goffin. From Rock Hall website: Gerry Goffin and Carole King wrote much of the soundtrack of the Sixties. Chances are, you have danced around to a hit single by the dynamic songwriting duo. Goffin wrote the lyrics and King wrote the music for such hits as “Will You Love Me Tomorrow,” “One Fine Day” and “Don’t Bring Me Down.”

After their breakthrough Will You Love Me Tomorrow, which The Shirelles took to no. 1 on the Billboard Hot 100 in January 1961, Goffin-King became a hit machine. There are so many tunes I could have picked here. I decided to go with Chains, first recorded by American girl group The Cookies in 1962, climbing to no. 6 on Billboard’s R&B Singles chart and reaching a respectable no. 17 on the mainstream Hot 100. The tune was also covered by The Beatles and appeared on their UK debut album Please Please Me.

This brings me to Carole King’s second induction as a solo artist. From Rock Hall website: After writing the soundtrack of the 1960s, Carole King wove a tapestry of  emotion and  introspection as a singer-songwriter in the 1970s.  Her solo work was a clarion call to generations of female artists and  millions of  fans  –  giving  them voice and confidence.  King has too many accolades to list – six Grammys,  the  2013  Library of Congress Gershwin Prize,  a  2015 Kennedy Center Honor,  and beyond.

As somebody who has loved Carole King’s music since his childhood days, I’m very happy she also finally got the Rock Hall’s well-deserved recognition as a solo artist. It was also great to read that she was able to attend Saturday’s induction ceremony – unlike Tina Turner who is turning 82 on November 26 and sadly not in good health. You can watch King’s performance of You’ve Got a Friend here, featuring Danny Kortchmar (guitar) and Leland Sklar (bass), among others – probably King’s last major public performance, since she has said she’s no longer touring.

Similar to Goffin-King, there were so many songs I could have picked from King’s solo career, including pretty much any track from Tapestry. Instead, I decided to highlight Hard Rock Cafe, a song from her eighth album Simple Things that appeared in July 1977. I’ve always liked this happy song, which also was released as a single and charted in the top 30 in the U.S., Canada, Australia and various European countries, including Austria, Belgium and Switzerland.

Sources: Wikipedia; Rock Hall website; YouTube

Rock the Farm Triumphantly Returns to Jersey Shore

Ten-hour open air festival for great cause features top-notch music tribute acts

After taking a break last year due to this seemingly never-ending pandemic, Rock the Farm 2021 had felt a long time coming – especially the weeks leading up to it! Yesterday (September 25), the wait was finally over. The annual event in Seaside Heights, N.J., organized by the CFC Loud n Clear Foundation, combines music performed by outstanding tribute bands with raising funds and awareness for programs that support individuals and families struggling with addiction. CFC’s efforts aim to fill the gap after clinical treatment, a period when staying sober and remaining on track can be particularly challenging. You can read more about this nonprofit organization and their important work here.

Rock the Farm 2021 marked the seventh time the festival took place. As in years past, the line-up of tribute acts was impressive: One Fine Tapestry (Carole King), Coo Coo Cachoo (Simon & Garfunkel), Walk This Way (Aerosmith), Decade (Neil Young), The Traveling Milburys (The Traveling Wilburys), Guns 4 Roses (Guns N’ Roses), TUSK (Fleetwood Mac) and Tramps Like Us (Bruce Springsteen).

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Just imagine for a moment these would have been the real acts. Apart from being non-affordable for most music fans, obviously, it wouldn’t have been possible to have all these artists appear at the same festival. Creating a unique music experience is a key idea behind Rock the Farm! And it’s definitely part of what makes it so much fun to attend!

Following are some highlights from the 10-hour music marathon that took place on two stages next to each other. I’m going in chronological order, featuring one clip per tribute act that are all from New Jersey except when noted otherwise.

One Fine Tapestry/I Feel the Earth Move

As in years past, One Fine Tapestry, a tribute to Carole King, kicked off Rock the Farm. At the core of this act are Gerard Barros and Diane Barros, a versatile husband and wife duo performing a variety of different tribute shows. Yesterday, they were backed by a full band. Here’s I Feel the Earth Move, a tune from King’s Tapestry album that appeared in February 1971 – one of the many gems celebrating their 50th anniversary this year!

Coo Coo Cachoo/Mrs. Robinson

Coo Coo Cachoo are Thomas Johnston and Ed Jankiewicz, who have been performing Simon & Garfunkel songs since they met in high school close to 50 years ago – that’s just remarkable! Here’s their set opener Mrs. Robinson. Written by Paul Simon, the tune was included on Simon & Garfunkel’s fourth studio album Bookends from April 1968. It also became the record’s lead single and, of course, was part of the soundtrack for the romantic comedy drama The Graduate released in December 1967.

Walk This Way/Love in an Elevator

Walk This Way are a Dallas, Texas-based tribute to Aerosmith, featuring Ian Latimer as Steven Tyler (vocals), David Semans as Joe Perry (guitar, backing vocals), Chris Bender as Tom Hamilton (bass), Martin Turney as Joey Kramer (drums), Eamonn Gallagher as Brad Whitford (guitar) and Chris Loehrlein as Russ Irwin (keyboards). They opened their set with Love in an Elevator, a track co-written by Perry and Tyler, and included on Aerosmith’s 10th studio album Pump that appeared in September 1989. It also became the record’s second single.

Decade/Almost Cut My Hair

Decade are a band around Neil Young tribute artist John Hathaway (guitar, vocals), who has performed with different line-ups over the years. Yesterday’s backing band included Gordon Bunker Strout (guitar, backing vocals), Joseph Napolitano (pedal steel guitar), Billy Siegel (keyboards), John Perry (bass), Bob Giunco (drums) and Pam McCoy (backing vocals). In addition to Young songs, they also throw in a few tunes by Crosby, Stills, Nash & Young, such as this great rendition of Almost Cut My Hair featuring Pam McCoy on lead vocals. Penned by David Crosby, the song is from the Déjà Vu album, the first CSN record with Neil Young, released in March 1970.

The Traveling Milburys/Telephone Line

Traveling Wilburys tribute act The Traveling Milburys feature Nelson Milbury as George Harrison, Lefty Milbury as Roy Orbison, Charlie T. Milbury as Tom Petty, Otis Milbury as Jeff Lynne and Lucky Milbury as Bob Dylan. Also part of this Canadian band are Rick Hyatt (keyboards), Mike Berardelli (bass) and Danny Sandwell (drums). Apart from Wilburys songs, the group plays many tunes from the individual artists that made up the Wilburys. Here’s Telephone Line, a track written by Lynne from ELO’s sixth studio album A New World Record that came out in September 1976.

Guns 4 Roses/Sweet Child o’ Mine

Guns 4 Roses, another Dallas-based band, are a tribute to Guns N’ Roses. Their members are Laz as Axl Rose (lead vocals), Eamonn as Slash (guitar), Chris as Duff McKagan (bass), David as Dizzy Reed (keyboards), Martin as Steven Adler (drums) and Chris as Izzy Stradlin (guitar). Here’s Sweet Child o’ Mine from Guns N’ Roses’ debut album Appetite for Destruction released in July 1987. The tune, which also became the record’s third single, was credited to the entire band. These guys were truly rockin’ the farm!

TUSK/You Make Loving Fun

TUSK are a tribute band focused on the pop rock period of Fleetwood Mac. The group includes Kathy Phillips as Stevie Nicks (vocals), Kim Williams as  Christine McVie (keyboards, vocals), Scott McDonald as Lindsey Buckingham (guitar, vocals), Randy Artiglere as John McVie (bass) and Tom Nelson as Mick Fleetwood (drums). Their harmony singing is just incredible! Here’s You Make Loving Fun written by Christine McVie and from the Rumours album that appeared in February 1977. It also became the record’s fourth and final single.

Tramps Like Us/Tenth Avenue Freeze-Out

Closing out Rock the Farm 2021 was music by The Boss performed by longtime Bruce Springsteen tribute Tramps Like Us – great way to end a 10-hour music marathon! Formed in 1990, the band features front man Mark Salore as Bruce Springsteen (vocals, guitar), together with Jon Malatino (acoustic guitar, percussion, backing vocals), Ken Hope (piano, organ, keyboards, backing vocals), Tom LaRocca (saxophone, keyboards, guitar, backing vocals), Scott Bennert (bass, backing vocals) and Marty Matelli (drums, percussion). Here’s Tenth Avenue Freeze-Out, one of my favorite tunes from Born to Run, Springsteen’s third studio album from August 1975.

This was my fourth Rock the Farm in a row. While except for The Traveling Milburys I had seen all other tribute acts at previous Rock the Farm and/or other concerts, this event truly has been a gift that keeps on giving. Admittedly, my decision to attend this year did not come as easily as in the past, given COVID-19. After all, I had stayed away from most music events over the summer. Rock the Farm was the one I simply didn’t want to miss!

Sources: Wikipedia; CFC Loud n Clear Foundation website; One Fine Tapestry website; Coo Coo Cachoo Facebook page; Walk This Way website; Decade Facebook page; Traveling Milburys website; Guns 4 Roses website; TUSK website; Tramps Like Us website; YouTube

Who’s Next Turns 50

Exactly 50 years ago today, on August 14, 1971, The Who released their fifth studio album Who’s Next. The English rock band is one of my all-time favorite groups, and if I would have to pick one album, it would be this gem. As such, I felt it was appropriate to dedicate a post to the record’s 50th anniversary. Who’s Next without a doubt is among my top 5 releases of 1971, an incredible year in music, along with The Rolling Stones’ Sticky Fingers, Led Zeppelin IV, Carole King’s Tapestry and Pink Floyd’s Meddle.

After the tremendous success of Tommy, Pete Townshend conceived Lifehouse, which was to become another rock opera, yet on a much more ambitious scale. The project was supposed to involve a live-recorded concept album that would provide the music for a film. The live footage would be captured in a series of concerts at the Young Vic theatre, a performing arts venue in London. During these gigs, the audience would be asked to interact with the band to create material for the film.

But after a few concerts at the Young Vic, Townshend grew disillusioned when he realized the audience was only interested in listening to The Who, not interact with the band to create material for the film. Together with other complexities of the project and a bad falling-out between Townshend and manager Kit Lambert, Lifehouse became mission impossible and was abandoned. The doomed project led to major stress within the band and a nervous breakdown of Townshend, with Roger Daltrey reportedly saying at the time The Who were never closer to breaking up.

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Ironically, the Lifehouse disaster led to Who’s Next, one of the best if not the greatest album The Who ever made. A key figure in this context was recording engineer Glyn Johns. Not only did he convince the group to make it a single as opposed to a double LP, but he was also given license to assemble whichever songs he thought would be best in any order. Who’s Next ended up with eight tracks from Lifehouse and one additional tune. The focus was on recording great music, not to force-fit different tunes into an overarching concept. Despite his remarkable role, Johns only received credit as an associate producer (apart from recording and mixing). Let’s take a closer look at the album.

Opening side one is the majestic Baba O’Riley, one of the aforementioned eight songs from the Lifehouse project. Like all except one of the other tracks, the tune was written by Pete Townshend. Songfacts notes the “Baba” in the title refers to Meher Baba, Townshend’s spiritual guru. “Riley” comes from experimental, minimalist composer Terry Riley, one of Townshend’s influences who inspired many of the keyboard riffs and sound effects on the album. Referencing the liner notes, Songfacts also points out the tune reflects Townshend’s vision of what would happen if Baba’s spirit was fed into a computer and transformed into music. “The result would be Baba in the style of Terry Riley, or “Baba O’Riley.”” Here’s a neat lyric video.

Bargain, the second track on side one, is another homage to Baba, according to Songfacts. Townshend believed in his message of enlightenment. “Bargain” refers to losing all material goods for spiritual enlightenment. The song also featured a then just introduced ARP 2500 synthesizer, “the same synth used to call the extraterrestrials in the 1977 movie Close Encounters Of The Third Kind.” Now, there’s some trivia you always wanted to know!

My Wife, written by John Entwistle, is the album’s only song that wasn’t composed by Townshend. Morever, it is the one track that didn’t come from the Lifehouse project. Entwistle who sang lead vocals also included the tune on his third solo album Rigor Mortis Sets In that first appeared in the UK in May 1973.

On to side two. Here’s Going Mobile, the album’s only song featuring Townshend as the sole vocalist. From Songfacts: This is about taking a vacation by riding around in a car with no particular destination. It was something Pete Townshend liked to do...For the solo, Townshend ran his guitar through a device called an Envelope Follower. It was a type of synthesizer distortion that made it sound like he was playing under water.

Next up: Behind Blue Eyes. The lyrics were inspired by an encounter Townshend had with a female groupie after a gig in Denver in June 1970. While he was tempted, he ended up returning to his room by himself. Once there, be began writing a prayer that started with the words “When my fist clenches, crack it open,” which became part of the song’s lyrics. At least so the story goes. Here’s another lyric video.

The last track I’d like to call out is Won’t Get Fooled Again, the album’s epic 8:30-minute closer. From Songfacts: Pete Townshend wrote this song about a revolution. In the first verse, there is an uprising. In the middle, they overthrow those in power, but in the end, the new regime becomes just like the old one (“Meet the new boss, same as the old boss”). Townshend felt revolution was pointless because whoever takes over is destined to become corrupt. I’m also including a link to a clip of The Who’s live performance of the tune at Shepperton Studios in 1978, filmed for the 1979 rockumentary The Kids Are Alright. What has to be one of the greatest moments in rock history sadly also turned out to be the last public performance by Keith Moon prior to his death on September 7, 1978 at the age of 32.

Who’s Next is widely considered to be the best album by The Who. It topped the UK Official Albums Chart, reached no. 2 in France and The Netherlands, and climbed to no. 4 on the Billboard 200 in the U.S. As of February 1993, the album reached 3X Multi-Platinum Certification in the U.S., meaning it has sold more than three million units. It is Platinum-certified in the UK as well.

Who’s Next also received broad acclaim from critics. Even Robert Christgau had something positive to say, calling it “the best hard rock album in years.” Who’s Next was ranked at no. 28 in Rolling Stones’ list of 500 Greatest Albums of All Time in both the 2003 and 2012 editions. In the latest revision from September 2020, it came in at no. 77.

Sources: Wikipedia; Songfacts; YouTube

Clips & Pix: Carole King/It’s Too Late

On Sunday, I went to a small outdoor concert, my first live music event in more than one and a half years, featuring a Carole King tribute act. On my way back home, I listened to Tapestry: Live in Hyde Park, a live and video album from September 2017, capturing King’s performance at London’s Hyde Park on July 3, 2016. The above clip of It’s Too Late is from that gig.

Admittedly, this isn’t the first time I’ve posted about It’s Too Late and the Tapestry album, on which that tune first appeared. If you’re a more frequent visitor of the blog, you know how much I dig Carole King. If I could pick only one singer-songwriter, it would probably be her.

So why do yet another post? To start, I think it’s a great tune that certainly can be highlighted more than once. More importantly, I feel this is a particularly nice rendition of one of my favorite Carole King songs.

Obviously, Carole’s voice has changed, but I think it’s aged beautifully. I love the overall soulfulness of this version, to which the great backing vocalists undoubtedly contribute. I also like Carole’s piano work and the guitar solos by who I believe is Danny Kortchmar, one of the original studio musicians from the Tapestry recording sessions.

Last but not least, the clip acknowledges how much I love live music and how much I’ve missed it during this dreadful pandemic. Sunday was a small start to what hopefully will be more concerts over the summer months and beyond.

Sources: Wikipedia; YouTube

What I’ve Been Listening To: America/ History: America’s Greatest Hits (Re-Post)

America’s vocal harmonies and smooth folk rock sound make for one of the best ’70s greatest hits compilations

On Monday, I found myself listening to America. I realize the trio has been dismissed by some critics as a Crosby, Stills & Nash knockoff. If anything, frankly, I would consider sounding like one of the best harmony-singing bands of all time as a compliment. But that may just be me. In any case, I’ve loved America’s music for many years and always enjoy revisiting it.

My listening experience made me want to post about the album that started my America journey as a nine- or 10-year-old back in Germany: History: America’s Greatest Hits. Then, I nebulously recalled a previous musing about their first compilation from November 1975. Checking my blog revealed a post from September 2018. Yes, I sometimes have to search my own stuff to remember what I previously wrote! 🙂

When it comes to old posts, sometimes, I wish I had written them differently. My views may have evolved. I also guess there’s a certain learning curve here. In this case, I was happy to see that I continue to fully stand behind each word I wrote almost three years ago. Therefore, I decided to do something I rarely do: Re-publish a previous post.

– Re-Post –

I was nine or 10 years old when I listened to History: America’s Greatest Hits for the first time. The album grabbed me right from the beginning. It was one of the vinyl records my older sister had, which among others also included Carole King’s TapestryCrosby, Stills, Nash & Young’s Déjà Vu; and Simon & Garfunkel’s Greatest Hits – all albums I dig to this day.

Recently, I rediscovered History. To me, it’s one of the best greatest hits compilations I know, which were released in the ’70s. Others that come to my mind are Neil Young’s DecadeEagles’ Their Greatest Hits (1971-1975), Santana’s Greatest HitsSteely Dan’s Greatest Hits and the aforementioned Simon & Garfunkel album. There are probably some others I’m forgetting – in any case, it’s not meant to be a complete list.

I recall reading somewhere that America were dismissed by some as a Crosby, Stills, Nash & Young knock-off. While I generally don’t think highly of music critics in the first place, I feel this notion is silly. Yes, America’s three-part harmony vocals are reminiscent of CSN/CSNY, but this doesn’t make them a copycat or somehow bad artists! On the contrary, if anything, the vocal similarity to CSN/CSNY is a huge accomplishment – after all, there aren’t many bands that can harmonize like CSN/CSNY did! On to History.

America
America (from left): Gerry Beckley, Dan Peek & Dewey Bunnell

Released in November 1975, History encompasses America’s 11 most successful singles at the time, plus an edited take of Sandman from their December 1971 eponymous debut. In addition to that album, History includes material from four additional studio records: Homecoming (November 1972), Hat Trick (October 1973), Holiday (June 1974) and Hearts (March 1975).

History opens with one of my favorite America tunes: A Horse With No Name from their debut album. It was written by Dewey Bunnell, who formed America with Dan Peek and Gerry Beckley in London in 1970. The three had met there in the mid-’60s as high school students whose fathers were stationed on a nearby U.S. Air Force base.

A Horse With No Name became America’s most successful single topping the Billboard Hot 100. It also stirred some controversy due to the similarity of Bunnell’s voice to Neil Young, and what some viewed as mediocre lyrics. Coincidentally, the song knocked Young’s Heart Of Gold off the Billboard Hot 100 top spot. I really don’t care whether it sounds like Young, who by the way is one of my favorite artists. With its two chords and killer harmony vocals, this tune simply gives me goosebumps each time I hear it.

Ventura Highway, another Bunnell composition, is from the Homecoming album. When I listen to this song and close my eyes, I can literally picture myself in an open convertible driving on the Pacific Coast Highway 1 from L.A. up north to San Francisco. I actually did that trip in 1980 as a 14-year-old, together with my parents. Even though we had a lame station wagon as a rental, not some hot convertible, it was an unforgettable experience! Ventura Highway became a top 10 Billboard single for America, reaching no. 8 and no. 3 on the Hot 100 and Easy Listening charts, respectively.

Another beautiful tune is Lonely People, which was credited to Dan Peek and his wife Catherine Peek. The song was written a few weeks after their marriage. An obituary in TMR that appeared in the wake of Peek’s death in July 2011 at the age of 60 quotes him: “I wrote it probably within a month of getting married to my long-lost love Catherine…I always felt like a melancholy, lonely person. And now I felt like I’d won.” America  initially recorded Lonely People for their fourth studio album Holiday. It topped the Billboard Easy Listening chart and peaked at no. 5 on the Hot 100.

One of my favorite songs on History written by Gerry Beckley is Sister Golden Hair. Recorded for America’s fifth studio album Hearts, the tune also became the band’s second no. 1 on the Billboard Hot 100. The lyrics were inspired by Jackson Browne. In this context, John Corbett’s America Revisited quotes Beckley: “Jackson Browne has a knack, an ability to put words to music, that is much more like the L.A. approach to just genuine observation as opposed to simplifying it down to its bare essentials… and it was that style of his which led to a song of mine, “Sister Golden Hair,” which is probably the more L.A. of my lyrics.” I guess this means in addition to CSN/CSNY, America also stole from Browne – unbelievable!

The last song I’d like to call out is the final track on the History compilation:  Woman Tonight. It’s another tune from the Hearts album and was written by Peek. Released as the third single, it charted within the top 50 in the U.S.

History was produced by none other than George Martin, who had started working with America on their fourth studio album Holiday. Martin also remixed the first seven tracks on History, which he had not produced originally. The compilation became a huge success in the U.S., giving America a no. 3 on the Billboard 200. In October 1986, the Recording Industry Association of America certified the album 4X Multi-Platinum.

Since History, America have released 12 additional studio albums, 10 live records and numerous other compilations. Now in their 51st year [updated from original post – CMM], America continue to perform, featuring co-founders Beckley and Bunnell. Peek left the band in May 1977, long before his death, after he had renewed his Christian faith.

– End of Re-Post –

Apparently, America will be touring the U.S. starting in late summer. According to their current schedule listed on their website, things are set to kick off in North Bethesda, Md. on August 13. Some of the other gigs include Hyannis, Mass. (Aug 27); Mulvane, Kan. (Sep 11); Lawrence, Kan. (Sep 25); Reno, Nev. (Oct 2), Mankato, Minn (Oct 22); and San Antonio (Nov 14). The last currently listed show is Sarasota, Fla. (Nov 21). I saw America once in the late ’90s on Long Island, N.Y., and they sounded fantastic.

Sources: Wikipedia; TMR; John Corbett: “America Revisited”, AccessBackstage.com, May 29, 2004; RIAA Gold & Platinum certifications; America website; YouTube

My Top 5 Studio Albums Turning 50

The other day while driving in my car, I caught a cool program on SiriusXM, Classic Vinyl (Ch. 26) titled the “Top 50 Albums Turning 50.” Hosted by former Doors guitarist and drummer Robby Krieger and John Densmore, respectively, it was a countdown of records that came out in 1971, as voted by listeners. Once again, this reminded me what an outstanding period the early ’70s were for music, and I’m not only talking about classic rock. The radio show also triggered the idea for this post. While I don’t want to call this a series, I have a funny feeling I’ll do more about 1971, now that I’ve been bitten by the bug.

The amount of great albums released in 1971 is mind-boggling, especially from today’s perspective. It’s a true gold mine! Some artists and bands like Johnny Cash, Carole King, Faces and Yes released even more than one record. Following are my top five albums turning 50 this year. I’m not great at ranking, so I’m listing my picks in no particular order. Live records and debuts are excluded, since I’m contemplating separate posts for these categories. I guess it’s another way to admit that if you love early ’70s music, summing up 1971 with just five albums is mission impossible!

The Who/Who’s Next

As my favorite album by The Who, including Who’s Next in this short list was a no-brainer. The fifth studio album by the British rockers appeared on August 14, 1971. It came out of Lifehouse, another rock opera Pete Townshend had conceived as a follow-up to Tommy. Eight of the nine songs from Who’s Next had initially been written for Lifehouse. Additional tracks from the abandoned project were subsequently released as singles and appeared on other Who and Townshend (solo) records. Except for My Wife, which was penned by John Entwistle, Townhend wrote all tracks. I pretty much could have highlighted any song from the album. Here’s Bargain, which according to Songfacts is an homage to Indian spiritual master Meher Baba. Townshend believed in his message of enlightenment, which also influenced songs like Baba O’Riley and See Me, Feel Me. “Bargain” refers to losing all material goods for spiritual enlightenment.

Carole King/Tapestry

Folks who follow the blog or know me otherwise won’t be shocked by this pick. When it comes to the singer-songwriter category, Carole King will always remain one of my all-time favorite artists. Tapestry, released on February 10, 1971, is her Mount Rushmore in my book. A couple of months ago, leading up to the 50th anniversary date, I devoted a 10-part series to the album (“Ten Days of Tapestry”, see final part here, which includes links to all previous installments). Therefore, I’m keeping it brief here. Tapestry’s great opener I Feel the Earth Move was solely written by King, like most other tracks on the album.

Led Zeppelin/Led Zeppelin IV

Led Zeppelin IV and Stairway to Heaven marked the start of my Led Zeppelin journey. While they were an acquired taste, Led Zeppelin have become one of my favorite rock bands. To me, their fourth studio album, which came out on November 8, 1971, remains one of the most exciting ’70s rock albums, though I’ve also come to really dig their other records. Instead of the obvious tune Stairway, which I would select if I could only choose one classic rock song, let’s do Rock and Roll. It’s the record’s only tune credited to all four members of the band. In addition to Robert Plant, Jimmy Page, John Paul Jones and John Bonham, Rock and Roll features Rolling Stones co-founder Ian Stewart on keyboards.

The Rolling Stones/Sticky Fingers

Speaking of the Stones, Sticky Fingers is another must-include on my top five short list of the greatest albums released in 1971. You can read more about my favorite Stones album in this recent post I published a few days ahead of the April 23 50th anniversary date. Here I’d like to highlight a track I did not call out in that post: Sway, which also became the b-side of the album’s second single Wild Horses, released on June 12, 1971. The slower blues track features some sweet slide guitar action by Mick Taylor. Another factoid worthwhile noting is the song marked Mick Jagger’s first electric guitar performance on a Stones album. Oh, and there were some notable backing vocalists: Pete Townshend, Ronnie Lane (of Small Faces and Faces) and Billy Nichols, an American guitarist and songwriter who first came to prominence during the ’60s for his work with Motown.

Pink Floyd/Meddle

With so many great albums that were released in 1971, it’s tricky to keep this list to five, but that’s what I set out to do, at least for now. Meddle was the sixth studio album by Pink Floyd, which appeared on October 31, 1971. It foreshadowed the band’s mid ’70s masterpieces The Dark Side of the Moon and Wish You Were Here, especially on the 23-minute-plus track Echoes. While I was tempted to feature this epic track, I think it’s safe to assume very few readers would listen. Instead, let’s go with the opener One of These Days. The characteristic pumping bass line was double-tracked, played by bassist Roger Waters and guitarist David Gilmour. The instrumental is credited to all members of the band, which in addition to Waters and Gilmour included Richard Wright (organ, piano) and Nick Mason (drums, percussion). The only spoken line in the song, the cheerful and digitally warped “One of these days I’m gonna cut you up into little pieces,” was spoken by Mason.

Sources: Wikipedia; Songfacts; YouTube

Ten Days of Tapestry

A legendary album turns 50 – part IX

We’re almost there. Tomorrow is the 10th anniversary of Carole King’s Tapestry, her iconic album from 1971, which I’ve been celebrating with this series over the past eight days. Up to now, I’ve explored all of side A, i.e., I Feel the Earth Move, So Far Away, It’s Too Late, Home Again, Beautiful and Way Over Yonder, and the first three tracks on side B: You’ve Got a Friend, Where You Lead and Will You Love Me Tomorrow. Next up: Smackwater Jack.

Smackwater Jack is Tapestry’s second tune Carole co-wrote with Gerry Goffin. Unlike Will You Love Me Tomorrow, Smackwater Jack wasn’t released until Tapestry. It’s a great mid-tempo bluesy rocker. Rolling Stone’s Jon Landau called it an “uptempo shuffle.” In particular, I dig the piano work including Ralph Schuckett’s electric piano, and Danny Kortchmar’s electric guitar. Also, as a retired bassist, I have to call out Charles Larkey’s great bassline.

In addition to its music, Smackwater Jack stands out lyrically. It sounds less personal and less emotional than the other tunes on Tapestry. This doesn’t make it any worse; in fact, I think it’s a great outlaw story told in a very cinematic fashion you could picture in a Western movie.

Check out this excerpt from the lyrics: …The account of the capture/Wasn’t in the papers/But you know, they hanged ol’ Smack right then/Instead of later/You know, the people were quite pleased/’Cause the outlaw had been seized/And on the whole, it was a very good year/For the undertaker…

Smackwater Jack also appeared separately as Tapestry’s second single, paired with So Far Away. Like the album’s first single It’s Too Late/I Feel the Earth Move, Billboard treated it as a double A. It peaked at no. 14 on the Hot 100.

Interestingly, Quincy Jones covered Smackwater Jack as the title track of his studio album that also appeared in 1971. I had not been aware of this. I can’t say I like it as much as Carole’s original version. Still, I think Jones deserves credit for making the tune his own by giving it a funky soul vibe – check it out!

Sources: YouTube; YouTube

Ten Days of Tapestry

A legendary album turns 50 – part VIII

Part VIII of my 10-day celebration of Carole King’s Tapestry is bringing us close to the album’s 50th anniversary day, which is this Wednesday, February 10. The previous parts have featured all of side A – I Feel the Earth Move, So Far Away, It’s Too Late, Home Again, Beautiful and Way Over Yonder – and the first two tracks of side B, You’ve Got a Friend and Where You Lead. Next up is the third track on the B side, and it’s a true standout: Will You Love Me Tomorrow.

Also sometimes known as Will You Still Love Me Tomorrow, this beautiful ballad is one of two tracks on Tapestry, co-written in 1960 by Carole and her then-husband and lyricist Gerry Goffin. It was first recorded and released by American girl group The Shirelles that same year. The song became their first no. 1 single in the U.S. on the Billboard Hot 100. It also climbed to no. 4 in the U.K., giving them their biggest hit there. Will You Love Me Tomorrow became the breakthrough hit for Goffin-King.

On the Tapestry version, James Taylor not only provided acoustic guitar but also backing vocals. Oh, and there was another prominent backing vocalist: Joni Mitchell. The vocals of the three artists beautifully blend, making the tune one of the outstanding gems on Tapestry.

According to Songfacts, apparently because of its perceived sexual lyrics, Will You Love Me Tomorrow met with some resistance from radio stations, but not enough to stop it from becoming a huge hit – absolutely laughable, especially from today’s perspective!

Songfacts also notes Shirley Alston, the lead vocalist of The Shirelles, initially dismissed the song as “too Country and Western”. But producer Luther Dixon reassured her the group could adapt the tune to their style. He also asked Carole and Gerry to add strings and speed up the tempo. They did and the rest is history.

Tapestry producer Lou Adler, who also owned King’s record company, explained, as quoted by Songfacts: “The only thing we reached back for, which was calculated in a way, which of the old Goffin and King songs that was hit should we put on this album? And, that’s how we came up with ‘Will You Still Love Me Tomorrow.’ I thought that song fit what the other songs were saying in Tapestry. A very personal lyric.” Interestingly, Carole’s version of Will You Love Me Tomorrow was not released as a single.

Sources: Wikipedia; Songfacts; YouTube