Joan Armatrading - Joan Armatrading (1976)

“Joan Armatrading” by Joan Armatrading (1976)

Release Date: September 1976
Produced by Glyn Johns
Genre: Rock, Pop, Folk-Rock, Blues
Label: A&M

Chart Positions: #11 (New Zealand), #12 (UK), #52 (Australia), #67 (US)
Certifications: Gold (UK, Canada)
Awards: N/A

Singles and Chart Positions: 
“Love And Affection” #10 (UK), #16 (Ireland)
“Down To Zero” (no chart data)
 Singles Certifications: N/A
Other Charting Tracks: N/A

Best Tracks: “Love and Affection,” “Water With The Wine,” “People,” “Join The Boys,” “Like Fire,” “Tall In The Saddle”

“Joan Armatrading” by Joan Armatrading (Click Here)

Trivia: “Joan Armatrading” is Joan’s third studio album and her first to chart anywhere in the world. This is the album that put Joan on the map. The album mixes acoustic work with jazz-influenced material and displays Joan’s range of interest in music. The album was a big hit in the UK reaching #12 accompanied with a Top 10 UK hit “Love and Affection.”

"Love and Affection" 1976

In 1976, Robin Denselow wrote in The Guardian that the album "showed that we now have a black artist in Britain with the same sort of vocal range, originality (in fact even greater originality in terms of musical influences) and lyrical sensitivity" as Joni Mitchell.

Producer Glyn Johns has produced albums for many greats including Steve Miller Band, Eagles, Humble Pie, The Who, Boz Scaggs, Eric Clapton and more. He helped launch Joan Armatrading’s career when he was hired on to produce this album. He remained with her on her next three albums.

Joan signed to A&M Records is 1972 but it wasn't until after A&M gained worldwide rights to Joan's music that they decided to pour a good amount of money and effort into promoting Joan. A 3 1/2 minute film clip of the singer/guitarist performing "Love and Affection." A&M spent an unprecedented nine months promoting Armatrading's self-titled album, which included magazine ads, television spots (such as an appearance on Saturday Night Live) and promo copies of the album sent to every music critic and concert promoter throughout the world as well as a few film clips one of which shows comments from reviews. A&M spent near $300,000 promoting the album before it was even released.

Up to this point, Armatrading had shown that she had a lovely voice and an ear for interesting arrangements, but her work had been steeped in the folk idiom of the early '70s. Her third album changed all that, with producer Glyn Johns bringing in members of Gallagher & Lyle, Fairport Convention, and the Faces to punch up her folksy sound with elements of rock, country, and disco. The result is her most muscular music to date, with Armatrading adopting a swagger that showed her tales of unluckiness in love didn't have to have dire consequences ("Tall in the Saddle," "Water With the Wine"). Of course, it helped that the record featured her best material delivered in a wonderfully expressive voice that can capture the shades between song and speech like a sweeter version of Ian Anderson. "Down to Zero" (which features pedal steel guitarist B.J. Cole) and "Love and Affection" are the album's most memorable tracks, the latter breaking into the U.K.'s Top Ten (the album itself made the U.K. Top 20). But what endears this record to fans is the quality of each song; it wouldn't be fair to call anything here filler. The artsy and eclectic "Like Fire," the beautiful ballad "Save Me," and the ingratiating melodies of "Somebody Who Loves You" are just as likely to strike a chord with listeners as the better-known cuts. While Glyn Johns deserves credit for bringing Joan Armatrading's songs into a more flattering setting -- it's not coincidental that the record feels like a polished version of The Who by Numbers -- his real stroke of genius was letting the artist flower to her full potential. For many, this album remains the high point in her catalog.

Joan Armatrading 

Link to “Joan Armatrading” (Click Here)

JOAN ARMATRADING

Supertramp - Crime Of The Century (1974)

“Crime of the Century” by Supertramp (1974)

Release Date: September 1974
Produced by Ken Scott, Supertramp
Genre: Art-Rock, Progressive Rock, Symphonic Rock, Classic Rock
Label: A&M

Chart Positions: #4 (UK, Canada), #5 (Germany), #12 (New Zealand), #15 (Australia), #19 (France), #21 (Spain), #25 (Netherlands), #38 (US)
Certifications: Diamond (Canada), Platinum (France), Gold (US, UK, Germany, Switzerland)

Singles and Chart Positions: 
“Dreamer” (#10 France, #13 UK, #34 New Zealand, #47 Australia)
“Bloody Well Right” #34 New Zealand, 335 US, #49 Canada)
“School” (#27 Netherlands, #1 France)
Singles Certifications: N/A
Other Charting Tracks: N/A
Best Tracks: All tracks – Entire album excels

“Crime Of The Century” by Supertramp (Click Here)

“Crime of the Century” is the third studio album released by Supertramp. It spawned three hit singles “Dreamer,” “Bloody Well Right” and “School.” “School” was released as a single ten years after the album’s release in 1984 throughout Europe. “Crime of the Century” was Supertramp's commercial breakthrough in both the US and UK, aided by the UK hit "Dreamer" and the U.S. hit "Bloody Well Right."

Crime of the Century is a concept album that tells the story of Rudy. In "School," Rudy has lamented that the education system in England is teaching conformity above education (boy, Rudy, you should see America).

The album's dedication reads "To Sam", which is a nickname for Stanley August Miesegaes, the Dutch millionaire who supported the band financially from 1969–72.

After the failure of their first two albums and an unsuccessful tour, the band broke up, and Rick Davies and Roger Hodgson recruited new members, drummer Bob C. Benberg, woodwinds player John Helliwell, and bassist Dougie Thomson. This new line-up were sent by their record label, A&M, in particular A&R man Dave Margereson (who would become their manager for the next ten years) to a seventeenth-century farm in West Dorset in order to rehearse together and prepare the album. While recording the album, Davies and Hodgson recorded approximately 42 demo songs, from which only 8 were chosen to appear on the album. Several other tracks appeared on later albums (Crisis? What Crisis?, ...Famous Last Words...).

This new lineup recorded "Crime of the Century" with in a three and a half month period. Upon it's release the album became Supertramp's breakthrough album giving them their first hit singles and their first album to reach the Top 40 (and higher) throughout the world.

"Bloody Well Right" was Supertramp's first charting hit in the US, while it failed to chart in the UK. One theory on why the song didn't chart in their UK homeland has it that Brits were still offended by the adjective "bloody" in 1975. These days it is considered a mild expletive throughout the UK. Written by Supertramp leaders Rick Davies and Roger Hodgson, Davies sings lead on this one. The song deals with youthful confusion, class warfare, and forced conformity in the British school system (kind of like Pink Floyd's "Another Brick In The Wall (part II)"). This anti-establishment take was a theme of the album. "Bloody Well Right" is actually an answer song to the previous song on the album, "School."

“Dreamer” is about a guy with big dreams who is incapable of acting on them, so they never come true. As was custom with Supertramp, it was credited to their founding members Rick Davies and Roger Hodgson, who wrote separately but shared composer credits. "Dreamer" was written by Hodgson, who also sang lead.

The following is a review which appeared in the December 7, 1974 issue of Billboard Magazine:
Rather old mix of rock in the more traditional vein, strong electronic and horn sounds and some humorous moments from British quintet who can rock with the best or move through quiet harmonies. Best material seems to be the up-tempo things that allow the band a chance to rock, but it all works well. Not really an AM group in the "singles" sense of the word, but one that should find a quick home on any station willing to play some LP cuts. One would also imagine that this kind of band would benefit greatly from a tour. Fairly unique in material and sound, which is worth a listen to itself these days. 
Best Cuts: "Bloody Well Right," "Hide In Your Shell," "Dreamer," "Crime of the Century"

Bloody Well Right (1974)

Supertramp (1975)

Link to “Crime Of The Century” (Click Here)

SUPERTRAMP

Leon Russell - Leon Russell (1970)

“Leon Russell” by Leon Russell (1970)

Release Date: March 23, 1970
Produced by Leon Russell
Genre: Pop, Rock, Country, Folk, Blues Rock
Label: Shelter Records (US), A&M (UK), Phillips (Europe)

Chart Positions: #60 (US), #62 (Japan)
Certifications: N/A

Singles: “Roll Away With The Stone” #109 (US), “A Song For You”
Other Charting Tracks: N/A
Best Tracks: “A Song For You,” “Hummingbird,” “ Delta Lady,” “Roll Away The Stone”

“Leon Russell” by Leon Russell (Click Here)

“Leon Russell” is the debut solo album by the singer, songwriter and multi-instrumentalist Leon Russell. It followed his debut with the Midnight String Quartet and a production by Russell and Marc Benno billed as the Asylum Choir. The album was released during the “Mad Dogs and Englishmen” Tour. Many of the musicians that were part of the tour were also featured on Russell’s debut solo album and many more. The album almost reads like a who’s who of music including George Harrison, Ringo Starr, Mick Jagger, Bill Wyman, Charlie Watts, Eric Clapton, Joe Cocker, Steve Winwood and other all-stars.

Previous to this album Russell was known as a producer, arranger and backup musician for several other artists such as Beach Boys, Jan and Dean, bob Dylan, Frank Sinatra, Ike & Tina Turner, Rolling Stones, George Harrison, Doris Day, Eric Clapton, Ray Charles, Ringo Starr, Barbra Streisand, Glen Campbell, Willie Nelson, The Ventures, BB King and a host of others. By the time he released his debut album Russell was a very well known name in the industry.

Despite the polish and detail put into this album, it still retains a down home, good time, late night jam sort of feel. That was the magic of Leon Russell, he always managed to make his music feel like as if he recorded it all right there at home ins own living room. When in truth the album was recorded in various studios in London, England, Memphis, Tennessee and Los Angeles, California.

The album is filled with songs that have been covered by countless musicians such as “Hummingibrd” covered by the likes of BB King, Bob Seger, Jimmy Page as well as others. Joe Cocker covered “Give Peace A Chance.” Clint Black and Bruce Hornsby collaborated on a great cover of “Dixie Lullaby.” “Delta Lady,” which became an early signature song for Russell has been covered by Joe Cocker, Bobby Gentry, Gary Puckett, David Cassidy and several others. The album’s most widely known song is Leon Russell’s classic “A Song For You” which has reached meteoric heights as recorded by Carpenters. Ray Charles’ version of the song made it to #9 on the US Adult Contemporary charts in 1993. Amy Winehouse did an effecting rendition of “A Song For You” as did the Temptations. Russell wrote the song with a female singer in mind, specifically Bonnie Bramlett, the fact that the song become such a huge hit for Karen Carpenter in 1972 is not such a far stretch from Russell's initial imaging the song.

"Delta Lady" (1970)

“Roll Away With The Stone” received the most attention at the release of the album making it to #109 on the US Billboard singles chart. It wasn’t a hit but it did garner attention and airplay for Leon Russell. The Gospel inflected “Give Peace A Chance” (not to be confused with the John Lennon song) is heralded by critics as an album highlight. “Hummingbird” features George Harrison on guitar and Ringo Starr on drums.

Other than "Give Peace A Chance," Russell borrows another famous song title for his composition "I Put A spell On You," a song not to be confused with Screaming' Jay Hawkins' blue fest. Russell's "Spell," features the Rolling Stones' rhythm section of Charlie Watts and Bill Wyman along with Russell's own lively piano parts gives the song a funky rhythm and blues southern rock style that is irresistible. The chorus is just as hooky and catchy as Hawkins' song. The laughing and false starts at the beginning of the song make it feel real when they finally get going.

Rita Coolidge inspired both “A Song For You” and “Delta Lady”, Leon Russell wrote these songs for and about her. Coolidge was known as the “Delta Lady” because of the song.

Billboard Magazine featured a short review of the album upon it's release:
"Another newcomer exponent of contemporary blues at its best is American performer/ writer Leon Russell debuts on the Blue Thumb distributed Shelter label. Russell has written for some of today's top record stars and his own virile and gravely voice is well suited to his songs. Highlights include "A Song For You" and "Delta Lady."

Leon Russell (1970)

Amazon link to “Leon Russell”: http://www.amazon.com/exec/obidos/ASIN/B000002TYM/ref=nosim/populasongsmu-20

Carpenters - Horizon (1975)

“Horizon” by Carpenters (1975)

Release Date: June 12, 1975
Produced by Richard Carpenter
Executive Producer: Karen Carpenter
Chart Positions: #13 (US), #1 (UK, Japan), #3 (New Zealand), #4 (Canada), #5 (Norway), #21 (Australia, Netherlands), #42 (Germany)
Certifications: Platinum (US), Gold (UK, Canada, Japan)
Singles: “Please Mr. Postman” (#1 US, Australia, Canada, South Africa, #2 UK, #4 New Zealand, #5 Switzerland, #10 Germany, #11 Japan, #29 Netherlands) “Only Yesterday” (#4 US, #7 UK, #2 Canada, #5 Ireland, #10 New Zealand, #12 Japan, #43 Germany) “Solitaire” (#17 US, #32 UK, #6 New Zealand, #12 Canada, #61 Australia and #44 Japan)

“Horizon” was the Carpenters’ sixth studio album. After five consecutive albums peaking inside the US top 5, “Horizon” broke this run by reaching US # 13. The album has been certified PLATINUM by the RIAA for selling over a million copies and most likely will soon be certified DOUBLE PLATINUM. Although the album peaked outside the Top Five in the US, they were bigger than ever around the world. “Horizon” was one of their biggest worldwide sellers reaching # 1 in both Japan and England and Top Ten in several other countries. Richard Carpenter stated his goal was to produce an album in which every song could be a single.

“Horizon” by Carpenters (Click Here)

“Horizon” is the album that most Carpenters fans claim to be their favorite amongst all Carpenters releases. Released on June 6, 1975, critics hail this to be the most sophisticated Carpenters album to date. The album is a technical triumph. It was recorded at A&M Records mainly in Studio D using state-of-the-art, 24-track recording technology, 30 Dolby, and recorded at 30 inches per second to create the cleanest and clearest sound possible.

The Carpenters took the patience to spend a good amount of time and many long hours experimenting with different sounds, techniques and effects. One of the most astonishing techniques used is the multitude of separate mikings. Every single instrument and voice has its own microphone. This helped to create a broad, full sound. The drums were recorded on four separate tracks: one for the kick, one for the snare and one each for the left and right tom-toms. On the song “Only Yesterday” a tape delay is used on the saxophone. This effect accents the instrument and lifts it above the canvas, giving it an extra dimension.

Jerry Moss (the “M” in A&M Records) sent Richard Carpenter a letter congratulating him on his production of “Horizon.” This was a big deal to both Karen and Richard as Moss rarely showed much appreciation for Carpenters. During the recording of “Horizon,” Moss visited Carpenters in the studio and recognized what a thrill it was to have a voice like Karen Carpenter’s recording for A&M.

Carpenters recorded and released “Please Mr. Postman” in late 1974 (a full seven months before “Horizon” was released). For its inclusion on “Horizon,” Richard Carpenter remixed the song and to match the sound quality of the album. While recording the song some of the engineers and musicians thought Karen and Richard were “nuts” to even consider it, but the duo got the last laugh when it became a worldwide #1 smash. “Please Mr. Postman” was the album’s biggest hit single and also Carpenters’ biggest hit worldwide. It reached # 1 in the US, Australia, Canada and South Africa, as well as reaching # 2 in the UK and Canada. It also reached #4 New Zealand, #5 Switzerland, #10 Germany, #11 Japan and #29 Netherlands. The driving, rhythm-based tune features Karen on drums and a great Tony Peluso guitar solo. "Please Mr. Postman" was previously a #1 hit for Motown girl group The Marvelettes in 1963.

"Please Mr. Postman"

The second single release, “Only Yesterday,” is considered by many to be the album’s strongest track. Written by Richard Carpenter and lyricist John Bettis, the song was a huge hit worldwide. Believing the song would not be a hit Carpenter and Bettis lost a one-thousand dollar bet to their recording engineer, Roger Young. Since the melody was upbeat, Richard asked Bettis to make sure the lyric was not completely sad, so the outlook of the song changes midstream. It goes from dark and deep to bright and propulsive. Bettis described “Only Yesterday” as, “a manipulated, positive song.” The song is an impressive “wall of sound” with each instrument clearly recognizable. It has the feel of the 60s with castanets and chimes and the technology of the 70s with electric guitar chords and soulful saxophone progressions. With all this outstanding technology it’s Karen’s voice that remains the focal point. She opens with a haunting Low E Flat and moves gracefully through the range of the song with ease. “Only Yesterday” is two songs in one with a lush ballad verse which effectively gives way to an up-tempo progressive pop chorus. The song was released on March 14, 1975, and was Carpenters’ last Top 10 hit in the US. The song did extremely well throughout the world, reaching US #4, UK #7, Canada #2, Germany #43, Ireland #5, New Zealand #10 and Japan #12. The song was also certified Gold in Japan and won the prestigious Japanese GRAND PRIX award in 1975.

Neil Sedaka and Phil Cody wrote “Solitaire” which was the third single from “Horizon.” The exuberance of the strings, Richard’s subtle keyboard and Karen’s deep, full-bodied voice give this song that chill factor that Richard looked for in a song. Many Carpenters fans consider this to be one of Karen’s most intense and finest readings. The sublime vocal arrangement was composed by Richard Carpenter, and in his words, he says, “the song was difficult to sing, and Karen nailed it perfectly.” Richard calls this one of Karen’s greatest performances. Although “Solitaire” was not a huge hit as were “Please Mr. Postman” or “Only Yesterday,” it still performed well on singles charts around the world and received a huge amount of airplay. The song’s chart stats are as follows: #17 US, #12 Canada, #32 UK, #6 New Zealand, #61 Australia and #44 Japan.

“Desperado” was another highlight on the album and received a good amount of attention from the critics stating this was a logical choice for release as a single. It was an instant favorite amongst fans and critics alike. Karen wrung out every bit of her soul as she brought this song alive. Tommy Morgan’s harmonica accents the overall aura of the song; his haunting performance establishes the song’s melancholy mood. The Eagles originally recorded “Desperado” in 1973, and was the centerpiece of their classic, cowboy-themed album also named “Desperado.” Several others have recorded this song including Linda Ronstadt, Bonnie Raitt, Kenny Rogers, Clint Black, Johnny Cash and Neil Diamond. A&M Records decided against releasing Carpenters’ version as a single, due to the fact that it had been receiving radio airplay for both Eagles and Linda Ronstadt. Many fans consider this to be a “missed opportunity.” The song “Happy,” represents another technological triumph for Richard Carpenter. One of the main attractions of this power-pop tune is the ARP Odyssey Synthesizer solo, which brings the song to a close. It gives the song a lively, out-of-this-world feeling.
Carpenters guitarist, Tony Peluso, wrote the melody and music for “Happy” which ended up becoming the B-side on the single “Only Yesterday.”

Karen Carpenter (1975)

Link to “Horizon” (Click Here)

CARPENTERS

Brothers Johnson - Right On Time (1977)

“Right On Time" by Brothers Johnson (1977)

Only two years earlier (1975) the Brothers Johnson, a funk duo comprised of brothers George and Louis Johnson, were discovered by the master Quincy Jones. On his 1975 album “Mellow Madness,” Jones included “Is It Love That We’re Missing?” a ballad co-written by George Johnson and performed by the Brothers Johnson. The song garnered enough radio play to catapult the Brothers Johnson into a recording contract with A&M Records. The brothers were a smash right from the start with their 1976 single “I’ll Be Good To You.” Their first album “Looking Out For #1” and reached #9 on the US album chart including #1 on the US R&B chart. 1977 brought more success with the release of their second album, produced by Quincy Jones, “Right On Time.” The album zoomed to US #13 (#2 US R&B), Canada #36 and Australia #43. The album was certified Platinum for sales of more than one million copies. The track “Q” won a Grammy Award for Best R&B Instrumental Performance.

"Right On Time" by Brothers Johnson (Click Here)

The album features the smash hit “Strawberry Letter 23,” a song written and composed by Shuggie Otis (son of Johnny Otis), Otis recorded it for his 1971 album Freedom Flight.

George Johnson, of the Brothers Johnson, was dating one of Otis's cousins when he came across the album Freedom Flight. Brothers Johnson recorded the song in a funkier, more dance-oriented vein than the original Otis version. Their rendition hit the Billboard Hot 100 and peaked at US #5 (and reached #1 on the US R&B/Soul Singles chart in 1977) Canada #8, Australia #25 and UK #35. Studio guitar player Lee Ritenour recreated Otis's original guitar solo for the Brothers Johnson version. The 12" single was pressed on red strawberry-scented vinyl.

"Strawberry Letter 23"

Brothers Johnson 1977

Amazon link to “Right On Time” (Click Here) 

BROTHERS JOHNSON

Quincy Jones - Body Heat (1974)

“Body Heat” (album) by Quincy Jones (1974)

"Body Heat" by Quincy Jones (Click Here)

After a music career of twenty years Quincy Jones finally made it on the map as a solo musician. Previously he had enjoyed big success producing and composing arrangements for Leslie Gore, Count Basie, Ray Charles, Sarah Vaughan, Dizzy Gillespie and countless others. But it wasn’t until 1974 that he finally made it into the top ten with one of his own albums. “Body Heat,” his 24th studio album made it up to #6 on the US album charts as well as #1 on the Jazz charts and his first to reach #1 on the R&B charts. His highest charting album before that was 1969’s “Walking In Space” and 1971’s “Smackwater Jack” each reaching #56 on the US album chart.

"Boogie Joe The Grinder"

What was it that made “Body Heat” more successful than it’s preceding albums? Could it have been Quincy’s decided embrace of a more urban sound? Maybe it was the inclusion of Minnie Riperton and Al Jarreau performing “If I Ever Lose This Heaven.” Could it have been the momentum Q had been working up beginning in 1969 with his album “Walking In Space”? Whatever it was “Body Heat” struck a chord with the music listening public and rallied Q to that day when he joined with Michael Jackson to produce the super mega-hit “Thriller.”

Quincy Jones (1974)

QUINCY JONES