1970s

Tavares | Don’t Take Away the Music

When asked to name the Soul Music supergroups of the ’70s and early ’80s, folks tend to gravitate to familiar names such as Earth, Wind and Fire, the Spinners, the Commodores and the Isley Brothers,” (Soul Tracks). “However, five brothers from New Bedford, Massachusetts – Ralph, Tiny, Chubby, Butch, and Pooch Tavares – created some of the most consistently high quality soul music of that period.”

Tavares’ hits (a cover of Hall+Oates’ “She’s Gone,” “It Only Takes a Minute,” “Heaven Must Be Missing an Angel,” and “Don’t Take Away the Music” are all likely more familiar to listeners than the name of the group that recorded them. But a cover of the Bee Gees’ “More Than A Woman” was included on the Saturday Night Fever soundtrack, “giving the group its greatest exposure ever (as well as its only Grammy award) but bringing with it a label that Tavares would spend years trying to shake – that of ‘Disco Group.’ … In a decade that highlighted so many groups, from the last Detroit days of Motown to the arrival of hot sounds in Philadelphia and Los Angeles, the Tavares brothers proved themselves to be incredibly versatile, effectively covering all of those sounds … Their wonderful harmonies and consistently strong selection of material made every one of their albums a keeper.”

The Cape Verdean-American group released “Don’t Take Away the Music” in 1976. The brothers’ vocal blend takes center stage throughout the tune. The track’s 6:12 run time was unusually long, even during a period of influence of disco sensibilities over pop music; the leisurely length of the track results in a mid-point half-step key change rather than an outro at 3:04.

Neil Sedaka | The Hungry Years

“From ‘Happy Birthday, Sweet Sixteen’ to ‘Breaking Up is Hard to Do,’ Neil Sedaka drew on a seemingly endless well of onomatopoeic hooks to enliven his early rock-and-roll records, leaving no Tra-la-la or do-be-doo untouched.” (The Second Disc). “The Juilliard-trained musician and native of Brooklyn, New York was one of the relatively rare few rockers of his generation equally adept at both performing and songwriting. As active members of Don Kirshner’s Aldon Music stable (alongside Carole King and Gerry Goffin as well as Barry Mann and Cynthia Weil!), Sedaka and his frequent lyricist Howard Greenfield turned out one tune after another for a great number of famous artists including Connie Francis, Bobby Darin, and Little Anthony and the Imperials.”

“During his lifetime, Sedaka, who died Feb. 27 in Los Angeles at age 86, translated his craft into beloved Billboard chart hits, including three #1s among nine top 10s as a recording artist on the Billboard Hot 100,” (Billboard). “He totaled 30 entries on the chart overall as a singer, from 1958 to 1980, 26 of which he co-wrote, the bulk with writing partner Howard Greenfield (who passed in 1986). Sedaka co-penned all of his top 10s.”

In addition to writing “Love Will Keep Us Together” (released by Sedaka but later made famous by Captain + Tenille), “Bad Blood” (featuring Elton John), “Laughter in the Rain,” and other hits from his earlier years, Sedaka continued to release albums of his own while writing for other artists.

The Sedaka/Greenfield ballad “The Hungry Years,” a track from the 1975 album of the same title, was released on Elton John’s Rocket Records. Beginning in A major, the track shifts to C major for its second verse and the following chorus (0:35). At 1:58, there’s a return of A major for the next verse. The pattern continues from there. Though something of an also-ran upon its release, the track subsequently became one of most requested tunes at Sedaka’s shows. Sedaka’s distinctive, expressive tenor leads us through a nostalgia-saturated love story. While the arrangement is sweetened by strings, Sedaka’s piano remains central — easily conjuring up his early career in the Brill Building. RIP to a master singer/songwriter — who gave meaning to that term long before its heyday in the 1970s!

The Miracles | Love Machine

The United States turned 200 years old in 1976, and as the bicentennial celebrations ramped up that spring and summer, the music scene was in the middle of a seismic shift,” (Parade). “February 1976 captured American pop music at a crossroads—disco was exploding onto the mainstream charts, soft rock still had a firm grip on radio and the remnants of early ’70s soul were making their last stand before the decade’s second half changed everything. Fifty years later, the songs that climbed the Billboard Hot 100 in February 1976 tell the story of that cultural moment. Some became enduring classics that still get airplay today. Others were brilliant flashes that defined the era before fading into oldies rotation.

Smokey Robinson had left The Miracles five years earlier, but the group proved they didn’t need their legendary founder to craft hits. ‘Love Machine’ became one of their biggest successes, reaching #5 and introducing a more funk-influenced sound than their Motown classics from the ’60s. The song’s mechanized, almost robotic concept of romance felt perfectly timed for the disco era. Lead singer Billy Griffin stepped confidently into Robinson’s formidable shoes, delivering a performance that helped the track become one of 1976’s most memorable dance hits.”

The tune’s form starts with a chorus in a slightly uptuned D minor, followed by a verse in the same key. 0:34 brings a pre-chorus which touches on D major, but leads back to the chorus in the original key (0:47). But it’s the wordless sing-along break (first heard from 1:00 – 1:14) that really leans into D major; the pattern continues from there. Yes, the sections really are that short — this tune moves fast!

Donny Hathaway | Love, Love, Love

“Donny Hathaway was blessed with an effortless musical genius. When the neo-soul movement got underway in the 90s, it became every singer’s default position to pay the utmost respects to him,” (BBC). “If you’ve never heard him, you are in for something of a revelation. Imagine Stevie Wonder and his sweetest and most spiritual – only more so. Unfortunately, he didn’t live to see the tributes. A schizophrenic who suffered severe bouts of depression, Hathaway was to commit suicide at just 33 in 1979. A multi-instrumentalist, he lived and breathed music. He was a gospel singer at the age of three, and was composing music in his head at six. As a student he would lead classes and play Bach and Beethoven.

By the time of his fourth and final studio record, Extension of a Man, in 1973 he’d already recorded a blaxploitation soundtrack, 1972’s Come Back Charleston Blue, and a best-selling collaboration with Roberta Flack. Produced by Arif Mardin and Jerry Wexler, Extension is a rich exploration of the human psyche, borrowing from film scores and classical as much as soul music, exploring form and convention … ‘Love, Love, Love’ is his answer to Marvin Gaye’s ‘What’s Going On.’ … Mere words cannot contain the grandeur and ambition of Extension of a Man.“

After a harmonically angular intro, the verse of “Love, Love, Love” falls into an uncomplicated Bb major. At 1:06-1:26, the chorus shifts to Db major. After a brief interlude featuring wordless vocals, 1:46 brings the next verse. Although the focus here is personal instead of societal, it would indeed be impossible to miss the influence of Gaye’s 1971 masterpiece “What’s Going On” in terms of the track’s tempo and feel.

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!