1970s – Page 12

Seals and Crofts | Dust On My Saddle

Seals and Crofts, the 70s duo synonymous with the soft rock genre, were best known for lushly arranged, wide-ranging musical journeys which somehow also hit the pop charts. But the group also had some country and bluegrass playing in its collective history, demonstrated by the uptempo track “Dust On My Saddle.” The tune shifts throughout between A major on the chorus and F# major on the verses — with unmissable chromatic transitions in the bass.

Stereo Review provided an overview of the track’s hit 1973 album, Diamond Girl: “Radio listening can create the impression that Seals and Crofts have a narrow, restricted style, the core of it being a kind of low-keyed preachiness couched in high-noted harmonies. In fact, their work is eclectic, or extraordinarily varied, and this album is especially so …

You’re almost certain to like some of it, almost certain not to like all of it, but likely to admire, in any case, the way Seals and Crofts manage to sound like Seals and Crofts through all these changes. Myself, I like the guitar-mandolin arrangements, the lyricism, and the taste — and I grow a little weary of being talked down to, which seems necessarily a part of the religious instruction and/or moralizing they periodically lay upon us. I also find this particular album so carefully produced that it is almost sterile in some places. It seems, however, that there are several levels on which I can listen to it, paying varying degrees of attention — and I find some sort of reward at any plateau. Can’t explain that. But people who are more heavily into Eastern Thought than I am are continually doing things that affect me in ways I can’t explain.”

Pretenders | Mystery Achievement

“Like (the Clash album) London Calling, Pretenders came out in the U.K. in 1979 and here in the U.S. in 1980,” (Medialoper). “So while it’s technically a 1979 album, all of its impact — however you define that slippery term — came in 1980. Therefore, like London Calling, I really think of it as the first of the great albums of the 1980s, not the last of the great albums of the 1970s.

Which made sense: while both albums couldn’t have existed without punk rock, both albums were also signposts towards what was going to happen after punk rock, as punk rock became just one more bit of musical history upon which to draw upon when creating a sound … Kicking off with a simple, unstoppable double-time backbeat by Martin Chambers and a Pete Farndon bassline that was its own instant hook, ‘Mystery Achievement’ was hooky, dancey and fun as all hell … “

After this musical perpetual motion machine revs up in C# minor, driven by its iconic bass line, 1:22 brings an unconventional modulation to D major for the chorus. At 1:50, the key reverts to C# minor for the next verse, alternating back and forth through the rest of the tune.

George Jones + Tammy Wynette | We’re Gonna Hold On

“George Jones and Tammy Wynette are two of the most legendary names in country music,” (WideOpenCountry). “From them came classic songs such as ‘He Stopped Loving Her Today,’ ‘Stand By Your Man’ and ‘Golden Ring.’ The two country singers also had a complex and tumultuous relationship and marriage. However, the two singers, once called ‘Mr. and Mrs. Country Music,’ were able to patch things up prior to Wynette’s death in 1998. Jones and Wynette’s story is revisited in the Showtime series George & Tammy.”

“Jones and Wynette were a country music super couple when they released ‘We’re Gonna Hold On’ in 1973,” (Billboard). “The seemingly autobiographical tune became the duo’s first #1 on Hot Country Songs together.”

The mid-tempo tune starts in Bb major with Wynette on the melody and Jones harmonizing; Jones then modulates up to Eb major for a solo verse 0:57; at 1:23, the duo shift back to Bb. At 1:50, a half-step upward modulation goes into effect through the end of the tune.

Aretha Franklin | Border Song

“Border Song” was written by Elton John, appearing on his 1970 eponymous album. Aretha Franklin offered a gospel-tinged version, stretching the melody to new places.

“The song was one of the first Elton John singles released in March 1970. It featured John’s vocals, his strong piano performance, plus a generous gospel-style chorus,” (PopHistoryDig). “However, the song did not chart in the UK. In North America a few months later, it did better. In Canada, it peaked at No. 34, and thereby became Elton John’s first chart appearance in any country. In the U.S., meanwhile, during October 1970, the song broke into the Billboard Hot 100 at No. 92, and No. 69 on the Cash Box chart. But good news on the song was soon to come from another quarter.

… Aretha Franklin decided in 1970 that she wanted to do a cover version of ‘Border Song.’ Aretha was 28 at the time, at the peak of her rising stardom, and involved with civil rights … Although Elton John by then had his American performance debut at the Troubadour club in Los Angeles in late August 1970, the news that Aretha Franklin would be doing a cover of ‘Border Song’ was a big affirmation for both him and Bernie Taupin … knowing what Aretha Franklin’s performance of their song would mean for their newly launched careers.”

The modulation appears at 2:12.

Yusuf / Cat Stevens | Land of Free Love + Goodbye

One of the most prominent singer/songwriters of the 1970s, UK native Cat Stevens (now known as Yusuf) had many hits in the first half of that decade, releasing more than one album a year during a brief period. Just as his popularity started to wane a bit, Stevens released Numbers” … subtitled A Pythagorean Theory Tale … based on a fictional planet in a far-off galaxy named Polygor,” (from the liner notes).

“Numbers (1975) sits in a peculiar position in Cat’s back catalogue – the last real attempt at making something ‘new’ and different’ in his ‘first’ career, the last album started from scratch before his conversion to Islam and, most interestingly of all, the only real half-concept/story album in his back catalogue,” (AlansAlbumArchives). “Even when concept albums were all the range at Cat’s peak (1970-73) Cat never made an album like this one, based on one rounded theme (his songs almost always share the same theme but are separate discussions of each topic and sub-topic – he never again takes us on a half-hour journey somewhere like this again).”

After an intro in F# major, the verse tumbles into D major (0:16). At 2:25, an instrumental outro turns around a few times before landing us in B major.

Kool + the Gang | Ladies Night

“Over nearly six decades, Kool & the Gang have released 25 albums and toured worldwide, playing Live Aid in 1985 and Glastonbury in 2011,” (New York Times). “Their 12 Top 10 singles are funk, disco, and pop classics, underpinning movies including Pulp Fiction and Legally Blonde: ‘Jungle Boogie,’ ‘Ladies Night,’ ‘Hollywood Swinging,’ the undeniable 1980 party anthem ‘Celebration.’ They are foundational for hip-hop and have been sampled over 1,800 times, according to the website WhoSampled, including memorable turns on Eric B. & Rakim’s ‘Don’t Sweat the Technique’ and Nas’s ‘N.Y. State of Mind.’ (Questlove played a three-hour-plus set of songs featuring the group’s samples during a 2020 livestream.)”

Released on a 1979 album of the same name, “Ladies Night” includes “a small detail at the end (of the track which) turned out to be crucial — Meekaaeel Muhammad, a member of the group’s songwriting team, fleshed out the chorus with a countermelodic ‘Come on, let’s go celebrate.’ It pointed to the band’s next hit: ‘Celebration.'” The earlier hit reached the top 10 in Finland, Switzerland, and the UK, top 20 in a dozen more countries, and rose as high as #8 in the US.

Built in C# minor overall, the track shifts to a more explicitly disco-centric A minor section at 1:28, then a C minor section featuring the previously referenced counter melody at 1:44, then returning to the original key for the next verse at 2:05. Later, there are restatements of the A minor (3:48) and C minor sections (4:05), with the final C minor section morphing into an extended outro lasting more than two minutes. Both the A minor and C minor sections are constructed entirely of a repeating i-ii-v progression.

The Isley Brothers | The Highways of My Life

“Rudolph Isley, who held dual roles in the influential vocal group the Isley Brothers as a mellifluous harmony singer and co-writer of many of their greatest hits, died on Wednesday at his home in Chicago,” (New York Times). “He was 84. Mr. Isley spent much of his three decades with the Isley Brothers harmonizing with his brother O’Kelly in support of Ronald Isley’s lead vocals … He and his brothers wrote a number of pivotal hits, beginning with ‘Shout,’ the group’s 1959 breakthrough, which applied the dynamic of gospel music’s call-and-response to a pop context. They also wrote the enduring political anthem ‘Fight the Power,’ a Top Five Billboard hit, as well as the Top 10 pop hits ‘It’s Your Thing’ and ‘That Lady.'”

“The Highways of My Life” is the closing track of the Isley Brothers’ 1974 3+3 album, “the gateway to the Isley Brothers’ golden, shimmering 70s period,” (BBC). “This was the point where, after radicalizing since forming their T-Neck label, the original trio of Rudolph, Ronald and O’Kelly Isley augmented their sound with their younger brothers Ernie Isley, Marvin and Rudolph’s brother-in-law, Chris Jasper. They then enjoyed their third life (after their early doo-wop and subsequent Motown career) becoming an all-conquering rock-soul ensemble that produced a remarkable run of hits … Here was a band that could appeal in equal measure to rock fans and soul aficionados. The record mixed originals and covers, light and shade … (an) album which showcases them at the peak of their powers … brilliance writ large.”

After an intro that runs through 0:55 and touches on several keys (most prominently E major) and a first two verses in Ab minor, the chorus of “The Highways of My Life” (in Ab major) finally arrives at 2:09. Multiple interlocking vocal parts carry the chorus, further setting its sound apart from the simpler texture of the verse. At 2:37, we’re back into Ab minor for the next (and final) verse; 3:20 brings another chorus, which eventually does double-duty as a fading outro.

Bo Donaldson + the Heywoods | Who Do You Think You Are

“One could argue that Bo Donaldson and The Heywoods were not a not a one hit wonder band because of the song “Who Do You Think You Are,” (ClassicRockHistory.com). “The song became the band’s second top 20 hit of their career, thereby kicking them out of the one-hit wonder category. (The track) reached all the way up to number 15 on the Billboard Hot 100 in 1974. Its chart success was fueled by their previous hit “Billy Don’t Be A Hero.” The song was written by Des Dyer and Clive Scott. It was originally recorded by the group Candlewick Green in 1973.”

On balance, “WDYTYA” generated a much more positive reaction for the Cincinnati-based band than “Billy Don’t Be a Hero” did. Rolling Stone reports in its 2011 Readers’ Poll “10 Worst Songs of the 1970s” that “U.K. pop group Paper Lace wrote ‘Billy Don’t Be A Hero’ at the tail end of the Vietnam War, but it’s actually about the American Civil War. But much like M*A*S*H was about the Korean War but really about Vietnam, people will forever associate ‘Billy Don’t Be A Hero’ with Vietnam. They’ll also associate it with insipid 1970s drivel. Paper Lace were planning on releasing the song in America, but Bo Donaldson and the Heywoods beat them to it.” Was the tune’s fife-and-drum intro also a tip of the hat towards the growing US Bicentennial history trend? Anyone’s guess.

In any case, it’s not hard to consider Donaldson’s second hit as a bit of a step up from the band’s first hit — and quite a bit easier on the ears. Starting in G Dorian, the tune shifts to C# major at 1:01. Led by a sitar-centric hook, it’s back to the original key for the next verse at 1:23.

The Ventures | Theme from “Hawaii 5-0”

Regular contributor JB writes: “This track really ticks all the boxes: A one-hit wonder surf rock band in psychedelic costumes, playing a track with a ladder of ascending mods. All in all, an important historical/cultural artifact. They really should have included this one in the Voyager space probe — it tells alien intelligences all they need to know about life on earth in the ’70s … ” The Ventures’ website proclaims the band “the best selling instrumental rock band in music history.”

The band’s nominal regular rock instrumentation had plenty of orchestral help, including the opening bars’ signature syncopated tympani hits, brass poking out of just about every corner, and a piccolo flourish on the piccardy third D major ending. Starting in C minor, we climb up by half steps, starting at 0:36.

The theme as heard at both the opening and closing of Hawaii 5-0 is somehow even more bombastic. IMDB summarizes the show’s premise: “The investigations of Hawaii Five-0, an elite branch of the Hawaii State Police answerable only to the governor and headed by stalwart Steve McGarrett.” Scoring four Emmy wins out of 23 nominations, the show ran 12 seasons (1968 – 1980). The theme also won TV Land Awards for “TV Theme Song You Want for Your Ringtone” in both 2007 and 2008, and was nominated in 2003 for “Drama Theme Song You Can’t Get Out of Your Head.”

Wattsline | Never Stop Lovin’ Me

A quintet comprised of four men and one woman, The Wattsline was a backing vocal group conceived, auditioned, directed, and championed by legendary producer Quincy Jones. The members had previous experience from all over the music industry, from performer to studio vocalist to arranger to music director/pianist. Jones planned that the group would stay in residence at A+M Records and be available to work on various projects over time.

Documentation on the group is extremely scarce, but it was apparently named for Watts, a Los Angeles neighborhood known for its high percentage of African American residents. A 1976 article in Record World magazine (below) provides the best detail, showing Quincy Jones just hitting his stride as a producer. Apologies for the lack of article excerpts, but it’s only available via image format!

Given its style, 1973’s “Never Stop Loving Me” could easily have been a hit for the Supremes. After a start in Db major, the tune shifts up to D major at 1:46.