1970s

Don McLean | If We Try

“Somehow, enough people have kept Don McLean going through the years in a niche all his own,” (MrMedia) “He has never had a press agent and rarely does interview anymore because, rather dangerously it seems, ‘you get what I think.’ Pete Seeger … hailed him as one of the most talented singer/songwriters he had ever met: ‘He has a clear, intense gaze, a clear voice, and a clear head.’ And angst, lots and lots of pent-up angst for some reason.

‘To be remembered at all, to me, is a wonderful honor,’ McLean says. “But to have ‘And I Love You So,’ ‘Vincent,’ ‘Castles,’ ‘American Pie,’ and a version of ‘Crying’ that stands up to Roy Orbison’s – to have a handful of songs like that, to be remembered by any one of them, I would be very proud of that. I think that those songs are damned near perfect in a lot of ways,’ he says of his own output, ‘even in terms of the records that were made … You shouldn’t get the songs confused with the records. It’s like getting a screenplay confused with the film. You might start out with a great screenplay, but you choose the wrong actors, the wrong director and you come up with a bad film (from) a good story.”

Known primarily for his iconic tunes “American Pie” and “Vincent,” McLean has released two dozen albums. His 1972 folk-pop track “If We Try” begins in A major, shifts gradually to G major for the chorus (0:31 – 0:58).

Kings Return | After the Love Has Gone

“Grammy-nominated a cappella group Kings Return, made up of vocalists Vaughn Faison, Gabe Kunda, JE McKissic and Jamall Williams … (focus on) a mix of genres, including gospel, jazz and pop, and feature songs from their new album, Rove,” (Dartmouth.edu). “The group is well-known for videos posted online of their rehearsals in the stairwell of a Dallas church. ‘[The group] just happened to go in [the stairwell to rehearse],’ Faison said. ‘It sounds nice. It wasn’t anything that was preplanned. We tried going up and down [the stairs], but it doesn’t sound the same. It’s a three-floor stairwell; we’ve gone to the bottom floor and it doesn’t ring the same, especially when we’re singing ballad-y or classical. [The stairwell] allows everything to ring out really nicely.’

… Given that Kings Return found their start as undergraduate students themselves, one of the group’s main goals is to inspire students. ‘We’ve been inspired by so many that came before us,’ Williams said. ‘It’s cool to use all of the training that we gathered over the years and come together to be an inspiration. The future is in [students’] hands, so we want to make sure we’re doing our part to put forward positive energy.’ The group believes education is essential to art, and hope that by making themselves visible, kids might be inspired to never stop learning. ‘They won’t give up learning music if they see someone who looks like them or grew up like them reading off of sheet music,’ McKissic said. ‘We love giving back to students; music education was a big part of how this group formed.'”

The quartet’s cover of Earth, Wind + Fire’s legendary R&B power ballad hit, “After the Love is Gone” (1979), written by David Foster, Jay Graydon, and Bill Champlin, is marked throughout by harmonic and rhythmic precision that would be impressive even if the tune stuck to one key. But in addition to EWF’s complex original, Kings Return’s version features a striking intro and outro that are fully new and original to their arrangement. After the tension-filled, close-voiced intro, the verse begins in F major with a bass voice feature. At 0:59, the tri-tone shift to B major leads us into the multi-key chorus at 1:08. At 2:50, the stairstep climb up to a bouquet of keys, landing momentarily in B major on “found.” The pattern of EWF’s composition continues until 3:22, when the groove falls away and the arrangement suddenly veers away from the original.

Paul Davis | Sweet Life

“His name is somehow synonymous with yacht rock, but don’t let this misnomer fool you,” (VintageRock). “The late, great Paul Davis should really be considered a disciple of the legendary Harry Nilsson. Like Nilsson, Davis was an earnest singer-songwriter at his core who, despite disinterest in performing live, spun his original songs into musical gold both as a solo performer and as a hitman for other contemporaries … with a wonderfully silky tenor voice that seemed wholly incongruous to his Meridian, Mississippi roots and style.

‘He talked real slow and real southern,’ says longtime friend and producer Ed Seay. ‘You would hear that but then you’d hear his music and his great voice, and you’d say, Wait a second — is that the same guy?‘ ‘Cool Night’ … would peak at #11 on the Billboard Hot 100 in January 1982. On the adult contemporary chart, it missed the top spot by one notch.” But regardless of the huge staying power of the iconic mid-tempo 1981 hit “Cool Night,” Davis (who passed away in 2008) was no one-hit wonder. He is also fondly remembered for the almost evergreen one-who-got-away ballad,”I Go Crazy” (1977). But “’65 Love Affair (1982) and “Sweet Life” (1978) also made noticeable splashes on the charts.

“Sweet Life” features a short intro and a verse in C major, a pre-chorus that just about screams “transition” (0:50 – 1:00) and a chorus that shifts down to Bb major despite a rising melody (1:01 – 1:25). Compound chords that punch well above the level of typical pop fare lead us back to the next verse with a return to C major.. The pattern continues until the last chorus/outro (starting at 2:38), lifted into C major by yet more compound chords.

Rita Coolidge | (Your Love Has Lifted Me) Higher and Higher

“Rita Coolidge, the iconic American singer-songwriter with a career spanning over five decades, remains an influential figure in the music industry,” (MusicologyBlog). “With her Southern roots tracing back to Lafayette, Tennessee, Coolidge’s enchanting voice and soulful ballads have captivated audiences worldwide. Among her extensive discography, which includes over 25 albums and numerous collaborations, one of her most powerful and enduring performances is the 1977 hit single, ‘(Your Love Has Lifted Me) Higher and Higher.’

Originally recorded by Jackie Wilson in 1967, Coolidge’s rendition of this timeless classic went on to be a massive success, peaking at #2 on the Billboard Hot 100 chart, and earning her widespread recognition for her dynamic vocal range and captivating stage presence. The song’s uplifting message of love transcending life’s challenges resonated deeply with listeners, helping to solidify Coolidge’s status as a powerful force in the world of pop and rock music.”

Wilson’s original makes an impression that has lasted decades, but while it features a captivating groove and a faster tempo, it lacks a key change. It’s such a classic that we’re posting it below! Coolidge’s version shifts up a half step at 2:05 and again at 3:10.

William Bell | Tryin’ to Love Two

“William Bell was born in Memphis in 1939, and began singing as a child in church,” (ArtsATL). “By the time he was 14, he was performing in clubs and soon joined the blues band helmed by Phineas Newborn Sr. that included future jazz and R&B legends Phineas Newborn Jr. (piano) and saxophonists Charles Lloyd and Hank Crawford … Bell was one of the first artists signed to the Memphis label Stax Records and his debut single, ‘You Don’t Miss Your Water’ in 1961, became a soul classic. He never reached the heights of other Stax artists — namely Otis Redding, Sam and Dave, and The Staple Singers — but he was one of the label’s foundational figures as a vocalist and songwriter and guiding light.

Bell co-wrote ‘Born Under a Bad Sign,’ the signature tune of blues guitarist Albert King and one of the greatest blues songs in history. There is irony in the lines, ‘I can’t read, didn’t learn how to write’ because King could neither read nor write. In the studio for the recording, Bell stood behind King as he sang the vocals and whispered each lyric to him. ‘He just nailed it,’ says Bell. ‘And it came to life when he put his guitar on it. I was going, Wow! It became Albert’s song instead of mine.’ Bell’s songs have also been recorded by Linda Ronstadt, Cream, Jimi Hendrix, Warren Haynes, Bruce Springsteen and The Byrds. And his music has been sampled in recent years by Ludacris, Jaheim and Kanye West.

Bell moved to Atlanta in 1969 and continued to record, including the #1 R&B single ‘Tryin’ To Love Two’ in 1976.” The tune unexpectedly shifts up a half-step toward the end of a phrase, rather than between sections of the tune, at 1:51.

Bo Cooper (Ron Dante) | Don’t Call It Love

Ron Dante, a native of NYC’s Staten Island, isn’t quite a household name — but you’ve almost certainly heard his work at some point. “Ron Dante has had a long and distinguished career in the music industry as a singer, songwriter, and producer,” (Medium.com). “In 1969, his vocals helped catapult The Archies’ hit, ‘Sugar, Sugar,’ to the top of the charts where it became the #1 single of the year. In addition to writing songs for a variety of artists, Dante came to prominence as a record producer, most notably with Barry Manilow.”

Along the way, Dante sang the “You Deserve a Break Today” McDonald’s jingle; provided backup vocals for Barry Manilow’s first hit, “Mandy” (and other Manilow tunes); worked with John Denver, Cher, Dionne Warwick, and Ray Charles; and more recently toured with The Turtles, filling in for an ailing Howard Kaylan.

Using the assumed name Bo Cooper, Dante released “Don’t Call It Love” in 1975. Very little information is available about this track, but it could have been a hit! Mixing elements of pop and R&B, Dante’s bubblegum “Archies” vocal timbre is barely detectable on this track. Built in a slightly up-tuned Ab major initially, the tune shifts to A major at 2:42.

Many thanks to our longtime Brazilian contributor Julianna A. for sending in this find!

The Blackbyrds | Walking In Rhythm

“In the early ’70s, the legendary jazz trumpeter Donald Byrd was teaching at Howard University in Washington,” (Popdose). “In 1974 he decided to assemble a group made up of top student players from the university’s music program. With Byrd as their inspiration, and a deal with Fantasy Records, the Blackbyrds would record and tour for nearly ten years, finding a good deal of success along the way. Although the group would record eight albums for Fantasy, there is no doubt that the high point of their career was the release of the single “Walking In Rhythm” in 1975. The song, written by guitarist Barney Perry … was produced by Donald Byrd, who gave it a smooth, jazz-inflected sound with plenty of soul in the mix.

“Walking In Rhythm” was recorded at The Sound Factory in Los Angeles in September, 1974; by March of the following year, it was on the charts. There it would eventually make it all the way to #6 on the Billboard Hot 100, selling a million copies, and winning a gold disc award. The record was also nominated for a Grammy that year, and the track was on the band’s second album, Flying Start, which was released in 1975. There would be other hits in the years to come. Most of them would climb the R&B chart, but a few crossed over to the Pop chart as well. The most successful Blackbyrds singles included “Flyin’ High” (1975), “Happy Music” (1976), and “Rock Creek Park” (1976). The latter song, which appeared on the City Life album, has been sampled numerous times by hip-hop artists like De La Soul, NWA, Eric B. & Rakim, and Grandmaster Flash & the Furious Five.”

The tune’s structure is a bit unusual, starting with its short chorus in Bb major. The group must have really loved that chorus, because it’s repeated until 1:15, when the first verse (in G minor) begins; at 1:50, the verse ends with a false upward half-step key change but falls back into the G minor at 1:53. An instrumental chorus hits at 1:54. This section arguably includes one of the best flute features in all of 1970s pop or R&B — an era which featured plenty of flutists who sound like they first picked up the instrument a few weeks prior. 2:28 brings another vocal verse, which ends at 3:02 with a half-step shift upward to B major — but this time the key change sticks.

Olivia Newton-John | A Little More Love

“In a recording career that spanned over five decades, Olivia Newton-John, the singer, actress, environmentalist, and animal rights activist, won four Grammy Awards, had five #1 hit singles, and several platinum-selling singles and albums.” After her initial singles in the mid-70s, Newton-John’s 1978 star turn in Grease also produced three Top 5 hits: “You’re the One That I Want” (with John Travolta), “Hopelessly Devoted to You,” and “Summer Nights.” Newton-John followed Grease with Xanadu, “whose soundtrack went double platinum. With Totally Hot, released in November 1978, Newton-John had … a top-ten album and a #4 hit, ‘A Little More Love.’

‘A Little More Love’ is a song recorded and released as a single in October 1978 … (it) became a worldwide top-ten hit single in 1979,” (JohnPWalshBlog). “Both the new album and single were another wildly successful collaboration for Olivia Newton-John and John Farrar, her record producer and songwriter in the 1970s and 1980s.” The track ranked #17 in 1979’s year-end singles rankings.

The tune starts in G minor, cycles through some uneven harmonic ground during its pre-chorus (heard for the first time at 0:32), and arrives at its chorus in Ab major. At 1:20, the return of the verse brings a drop back into G minor. The pattern continues from there. Two years before the advent of MTV and a million miles away from any chill New Wave energy, the band mugs shamelessly for the camera. Newton-John seems to happily be in on the joke, too — or perhaps she was simply happy to leave both her early country/pop ballad tracks and her famous 1950s movie persona in the rear view.

Mama Cass | Different (from “PufNStuff”)

“Cass Elliot didn’t just sing on a kids’ show,” (Kendall LeJeune). “She turned a children’s puppet fantasy into pure camp gospel. The way she sings ‘Different’ as a spell, equal parts lullaby and incantation. That’s presence. That’s control … she transforms a TV cameo into a cultural artifact. Witch hat, velvet cape, full vocal power. She knew the audience would remember. And we do.”

“‘Different’ is the sixth song in the soundtrack of the movie Pufnstuf (1970) and is the first of two songs which are sung the antagonists of the movie,” (Fandom.com). “During the Witch’s Council, after the Boss Witch’s assistant starts the record player, Witch Hazel sings about how she discovered from a very young age that she was different from other people and how she used her difference to her advantage before meeting the other witches. During the course of the song, Hazel is joined by the other witches in refrains of certain words in the verses and for three quarters of the song’s chorus. After the song is finished, while the other witches applaud Hazel, Witchiepoo acts unamused, since Hazel is also up for Witch of the Year.”

The track begins in F major, shifting to G major for a second verse at 0:23. The chorus, starting at 0:38, leads up to a melodically surprising ending. 0:58 brings a G major interlude which connects us to another verse which reverts back to F major (1:01). The pattern continues from there.

Below is a video with high audio quality, but also check out the second posted video of the actual footage from Pufnstuf. For a synopsis and review of the film, check out the 366 Weird Movies site — it was too dense with detailed descriptions to choose an excerpt!

Many thanks to Maureen BZ for calling our attention to this one-of-a-kind track.

And no, your eyes aren’t playing tricks on you: this footage does include a Nazi rat character who happens to hang out with witches:

Tavito | Tua Ramalhete

“One of the members of Som Imaginário, a band organized to back Milton Nascimento in the ’70s and which also accompanied Gal Costa and other artists, Tavito had his song ‘Hey Man’ (with Zé Rodrix) successfully recorded by the group on its first LP. In 1973 he became a music producer,” (AllMusic). “In 1979 he recorded his first solo album, Tavito, followed by two others recorded before 1982. His biggest hit was ‘Casa no Campo’ (with Zé Rodrix), recorded by Elis Regina in 1971, and ‘Rua Ramalhete’ (with Ney Azambuja)” in 1979.

In the central Brazilian city of Belo Horizonte is a street called Rua Ramalhete (Bouquet Street). The area is well known for its romantic setting, where couples often stroll in the evenings. Tavito lived nearby; a plaque recognizing his work has been placed on a wall overlooking the street.

Online information about Tavito is sparse, but the same can’t be said for his arrangements! After “Tua Ramalhete” starts in E minor, 0:37 brings a pre-chorus leading to a chorus at 0:56 in C# major and a harmonically meandering interlude. At 1:36, E minor returns for another verse. The pattern continues from there. Many thanks to our frequent contributor, Julianna A. from Brazil, for submitting this beautiful tune!