Nancy Wilson - Now I'm A Woman (1970)

“Now I’m A Woman” by Nancy Wilson (1970)

Release Date: September 1970
Produced by Gamble-Huff Productions
Genre: Vocal, R&B, Pop, Jazz, Adult Contemporary
Label: Capitol Records

Chart Positions: #54 (US), #5 (US R&B)
Certifications: N/A
Awards: N/A

Singles and Chart Positions: “Now I’m A Woman” #93 (US), #41 (US R&B)
Singles Certifications: N/A
Other Charting Tracks: N/A
Best Tracks: “Now I’m A Woman,” “Joe,” “Bridge Over Troubled Water,” “The Real Me”

“Now I’m A Woman” by Nancy Wilson (Click Here)

After an extended period of albums with producer David Cavanaugh, Wilson did this 1970 album with Gamble-Huff productions, featuring producers/arrangers including Thom Bell, Bobby Martin, and arranger-conductor Lenny Pakula. Cavanaugh did show up as executive producer.

Around this time the Philly production team was best known for their work with artists like Jerry Butler, Billy Paul, and the Delfonics, among many others. Wilson falls right into the production style.

The title track is a customary strong outing from Kenny Gamble and Leon Huff. The beautiful "Joe" has the sound of a prime Thom Bell production, and Wilson gives an amazing performance and a particularly emotional note that might go through a listener. Wilson shines on "Lonely, Lonely" and "Let's Fall in Love Again"; both benefit from Bobby Martin's patently brassy and sweeping Philly production. “Now I'm a Woman” is an important album in Wilson's oeuvre and the Philly sound.

The release of Nancy Wilson's Now I'm a Woman album coincided with her distingué performance in an episode of Hawaii Five-O's third season ("Trouble in Mind") as the heroin-addicted jazz vocalist Eadie Jordan. In one scene, the no-nonsense Steve McGarrett confesses to being an Eadie Jordan record collector and fanboy.

The album’s only single, the title track, “Now I’m A Woman,” is a soul-stirring song that Wilson sinks her teeth into. The song about a woman reflecting on her past hurts, once as a baby, then as a lady, and now as a woman. Once again displaying their remarkable ability at song-tailoring, Kenny Gamble and Leon Huff craft a beauty for Wilson, utilizing an understated rhythm section and stately, well-spaced strings. Wilson was as comfortable and compelling in contemporary settings as she was with jazz and more elaborately arranged sessions.

Now I'm A Woman (1970)

Album highlight, “Joe,” a Kenny Gamble/Norman Harris/Allan Felder song that the Philly innovators also recorded with Dusty Springfield; Nancy Wilson's quite comfortable in this contemporary setting and demonstrates her inherent ability to sing in perfect diction, making the availability of lyrics unnecessary. Trademark Philly horns provide a familiar opening, and Wilson's exquisite, longing enhances the lush track. She misses Joe badly; check out her sorrowful, womanly cry before the chorus, it catches you by surprise.

Other album highlights “Bridge Over Troubled Water” is a soul-stirring rendition that brings an aura to the song that is as moving as any other cover of the Simon and Garfunkel classic. “The Real Me” is one of the three best songs on the album showcasing Wilson’s finesse with jazz and blues.

The following is a review of Nancy's album in the November 21, 1970 issue of Billboard Magazine:
A talent of consistent fine quality - that's Nancy Wilson. In this album, she demonstrates her versatility and professionalism with a selection of today's top hits "Bridge Over Troubled Water," "Long and Winding Road," "Close To You" and "Now I'm A Woman."

The following review showed up in the Spotlight Singles section of the October 10, 1970 issue of Billboard Magazine:
Miss Wilson is at her ballad best with this beautiful Gamble-Huff material that should prove an Easy Listening and Soul smash and carry her over to the Top 100 as well. First-rate production work.

Nancy Wilson (1970)

Link to “Now I’m A Woman” (Click Here)

NANCY WILSON

Dean Friedman- Dean Friedman (1977)

“Dean Friedman” by Dean Friedman (1977)

Release Date: April 1977
Produced by Rob Stevens
Genre: Pop, Rock, Ballads, Adult Contemporary
Label: Lifesong

Chart Positions: N/A
Certifications: N/A
Awards: N/A

Singles and Chart Positions: 
“Ariel” #26 (US), #19 (Canada, New Zealand), #47 (Scotland)
“Woman Of Mine” #52 (UK), #47 (Scotland)
Singles Certifications: N/A
Other Charting Tracks: N/A

Best Tracks: “Company,” “Ariel,” “Woman Of Mine,” “Humor Me”

“Dean Friedman” by Dean Friedman (Click Here) 

Trivia: Dean Friedman is one of those artists that pretty much has gone unnoticed by the masses but has maintained a healthy enough audience to continue releasing albums into this current decade and perform a steady stream of concerts to this very day.

Dean’s popularity began with the hit single “Ariel,” it was the first of two hits from Friedman's eponymous debut LP, Dean Friedman. "Ariel," however, was his only hit in North America. It reached number 26 on the U.S. Billboard Hot 100 chart, number 17 on the Cash Box Top 100 and number 19 in Canada. The song spent 22 weeks on the Billboard chart and 24 weeks on Cash Box.

"Ariel" has been described as a "quirkily irresistible and non-categorical pop song about a free spirited, music loving, vegetarian Jewish girl", from Paramus, New Jersey, where Friedman grew up. The lyrics describe the young girl from "deep in the bosom of suburbia," who sang "mighty fine," with "'Tears on My Pillow' and 'Ave Maria'" perhaps implying that he was Roman Catholic. It describes the girl Ariel, "standing by the [since dismantled] waterfall at Paramus Park", one of the many shopping malls in Paramus. The quarters she was collecting for "the friends of BAI" refers to the New York radio station WBAI, and their listener association, while the song also makes reference to "channel 2," which refers to local CBS affiliate WCBS-TV.
Chicago radio superstation WLS, which gave the song much airplay, ranked "Ariel" as the 60th most popular hit of 1977. It reached as high as number four on their survey of August 20, 1977.

Lifesong, the record label which produced "Ariel" insisted Friedman change the song's second verse, which refers to the eponymous Ariel as "a Jewish girl", believing that radio stations might use it as an excuse not to play the record. The third verse was also removed to make the single shorter for radio. The management company received threats from the Jewish Defense League protesting against the edit and, at Friedman's insistence; the original version was put on the album.

"Ariel" (1977)

“Woman Of Mine” a more serious adult contemporary tune was Friedman’s first chart appearance in the UK reaching #52 and also scored on the charts in Scotland at #47. The song combines acoustic guitar with a super-smooth classic rock styled electric guitar solo in the middle of the song. Many that have heard this song have felt the song should have been a top ten hit.

“Humor Me,” an album standout is described by Dean Friedman as a love song for hopeless romantics. The song blends an irresistible combination of acoustic guitar and electric keyboards with an understated backing vocal chorus. The song is somewhat similar to a Michael Franks tune.

Here's a little lesser known trivia... Tony Levin, who is best known for playing electric bass with famous musicians such as King Crimson and Peter Gabriel as well as contributing to more than 500 albums for artists such as Paul Simon, Cher, Alice Cooper, Bryan Ferry, Seal, James Taylor and Carly Simon, also performed electric bass on Dean's first two albums.

Dean Friedman 1977

Link to “Dean Friedman” (Click Here) 

DEAN FRIEDMAN

Barbra Streisand - Superman (1977)

“Superman” by Barbra Streisand (1977)

Release Date: June 1977
Produced by Gary Klein, Charles Calello (produced “My Heart Belongs To Me)
Genre: Pop, Easy Listening, Adult Contemporary
Label: Columbia

Chart Positions: #1 (Canada), #3 (US), #11 (Australia), #23 (Netherlands), #32 (UK), #33 (New Zealand), #44 (Japan), #46 (Sweden)
Certifications: 2xPlatinum (US, Canada), Gold (Australia)
Awards: N/A

Singles and Chart Positions:
“My Heart Belongs To Me” #4 (US), #3 (Canada) #1 (US Adult Contemporary, Canada Adult Contemporary)
“Superman” #29 (US Adult Contemporary) #18 (Canada Adult Contemporary)
 Singles Certifications: N/A
Other Charting Tracks: N/A
Best Tracks: "My Heart Belongs To Me," "Superman," "Cabin Fever," "New York State Of Mind"

“Superman” by Barbra Streisand (Click Here)

Trivia: “Superman” is Barbra Streisand’s 19th studio album (if you include the soundtracks it is her 27th album). At this point in time “Streisand Superman” was her second most successful album worldwide topped only by 1976’s “A Star Is Born” soundtrack. As the years progressed other such as 1980’s “Guilty,” 1985’s “The Broadway Album” and 1997’s “Higher Ground” have outperformed “Streisand Superman.”

Having been released only 7 months after the “A Star Is Born” soundtrack, “Superman” follows with a similar pop-rock feel. Two of the song that showed up on the album (“Answer Me” and “Lullaby For Myself”) were written for “A Star Is Born” but did not make it into the movie. Streisand co-wrote “Answer Me” with Paul Williams and Kenny Ascher. Streisand also co-wrote the rock inspired “Don’t Believe What You Said.”

Many have stated Streisand’s cover of “New York State of Mind” fit her so well that it has become the definitive recording. Billy Joel, who wrote the song claimed, “I thought, ‘This is one of the greatest woman singers ever, doing … me? Me?’ I really loved it, though, because it kind of finally made me legitimate in this business to my mother.”

The first single release was the classic ballad “My Heart Belongs To Me” which was a huge success reaching the Top 5 in both the US and Canada. Columbia Records and Barbra put together a “publicity film” for “My Heart Belongs To Me.” It was shown at Columbia’s 1977 convention to industry insiders. Barbra lip-synched to the track. During the musical interlude, she “conducted” the orchestra, then started coughing from the smoke machines, all very comedic. At the end of the video, she spun toward the camera and made a funny face.

My Heart Belongs To Me (1977)

The second single, the title track “Superman,” was released about a year and a half after the album and did not fare to well, but was a moderate hit on Adult Contemporary radio.

Link to “Superman” (Click Here)

BARBRA STREISAND

Smokey Robinson - A Quiet Storm (1975)

“A Quiet Storm” by Smokey Robinson (1975)

Release Date: March 26, 1975
Produced by Smokey Robinson
Genre: Soul, Quiet Storm, Smooth Grooves, R&B, Pop, Adult Contemporary
Label: Tamla

Chart Positions: #36 (US), #7 (US R&B)
Certifications: N/A

Singles and Chart Positions: 
“Baby That’s Backatcha” #26 (US), #1 (US R&B), #7 (US Dance)
“The Agony and the Ecstasy” #36 (US), #7 (US R&B)
“Quiet Storm” #61 (US), #25 (US R&B)
Singles Certifications: N/A
Other Charting Tracks: N/A

Best Tracks: All tracks – Entire album is solid from beginning to end

“A Quiet Storm” by Smokey Robinson (Click Here) 

Trivia: “A Quiet Storm” is Smokey Robinson’s third solo studio album, if you count his albums with the Miracles than this is his 22nd studio album release. From conception the album was destined to be classic & historic.

This is one of the most highly acclaimed soul albums of the 1970s. A longtime innovator at Motown, Robinson responded to the Funk revolution in black music (Marvin Gaye, James Brown, Sly Stone, Curtis Mayfield, Al Green) with an effective counterpoint: the stylish and mature album A Quiet Storm. This landmark album spawned and lent its name to the "Quiet Storm" musical programming format, a format still adopted by radio stations across America 40 years later. Quiet storm is a radio format and a subgenre of contemporary R&B music that is characterized by understated, mellow dynamics, slow tempos, and relaxed rhythms.

The album generated 3 hit singles including Smokey’s first disco hit "Baby That's Backatcha" that went to #7 on the Billboard Disco chart ( as well as #1 R&B), it was Robinson's first number one single since leaving the Miracles. The album re-established Robinson's reputation as a master songwriter and producer and solidified his solo success after leaving his legendary group, The Miracles.

“Love Letters” is a high point in terms of tempo, and it displays how masterful Smokey is in leading an uptempo track. He never misses a beat, and his cadence is virtually unmatched. “Wedding Song," an album highlight, was written for Hazel and Jermaine Jackson's wedding.

As he sings in “The Agony And The Ecstasy”; “our two worlds intertwine”. It was a match made in musical heaven. That particular song also highlights the love metaphor very clearly. Trying to find a balance between two worlds, both of which are essential. “We got to have the agony, before we have the ecstasy”. Both are excessive, but somehow blend seamlessly.

The seven minute title track, "Quiet Storm" became the cornerstone of a more upscale and sophisticated Soul sound that captivated an older, mature and largely black middle class audience. Robinson helped bring Soul music to the forefront of adult contemporary and middle of the road audiences.

In a review for Rolling Stone Magazine Robert Palmer wrote: "The languid intimacy of "Quiet Storm," the intricate instrumental arrangements on "Backatcha" and "Love Letters," and the prominence given to Marvin Tarplin's classy guitar throughout the album are evidence that one of black music's brightest lights is still a dynamic creative force."

"Love Letters" 1975

Smokey Robinson 1975

Link to “A Quiet Storm” (Click Here)

                         Smokey Robinson

Phoebe Snow - Second Childhood (1976)

“Second Childhood” by Phoebe Snow (1976)

Release Date: January 1976
Produced by Phil Ramone
Genre: Soft Rock, Pop, Adult Contemporary, Lite Jazz
Label: Columbia

Chart Positions: #13 (US), #18 (New Zealand), #10 (US Jazz), #33 (US R&B)
Certifications: Gold (US)

Singles: “All Over,” “Two Fisted Love” (No Chart Data on both singles)
Singles Certifications: N/A
Other Charting Tracks: N/A
Best Tracks: “All Over,” “Two Fisted Love,” “ Sweet Disposition”

“Second Childhood” by Phoebe Snow (Click Here)

"Second Childhood" is the second album by singer–songwriter Phoebe Snow, released in 1976. The album Certified Gold by the RIAA on July 09, 1976 .

Phoebe's voice caresses the melodies, soars and swoops with ease and great accuracy over the astonishingly wide vocal range she possesses. The musicians accompanying her play with a sensitivity and empathy rarely heard in popular music, but that's hardly surprising when you consider that the players featured on the album read like a who's who of America's finest. Artists in their own right, they bring their expertise to the magic in this amazing work. Featured on the album is jazz legend Ron Carter (on bass), Ken Ascher (who co-wrote “The Rainbow Connection” with Paul Williams), highly prolific session drummer Steve Gadd, guitar legend Tony Levin (who has played with everybody from King Crimson, Pink Floyd, Paul Simon and John Lennon), percussionist Ralph MacDonald and saxophonist David Sanborn amongst a host of others.

Phoebe Snow wrote seven of the ten tracks. Interestingly, although there were three singles from this album not one of them charted anywhere in the world - not even on side charts such as jazz, adult contemporary or R&B.

"All Over" (1976)

Link to “Second Childhood” (Click Here)

PHOEBE SNOW

Lou Rawls - All Things In Time (1976)

“All Things In Time” by Lou Rawls (1976)

Release Date: June 7, 1976
Produced by Kenny Gamble, Leon Huff, Bunny Sigler, Dexter Wansel, Jack Faith, Bobby Martin
Genre: Philadelphia Soul, Jazz, Adult Contemporary, R&B
Label: Philadelphia International Records
Chart Positions: #7 (US)
Certifications: Platinum (US), Gold (Canada)

Singles: “You’ll Never Find Another Love Like Mine” #1 (South Africa), #2 (US, Canada), #8 (Netherlands), #10 (UK, Belgium), #16 (New Zealand), #22 (Australia), #1 (US R&B, US Dance, US Adult Contemporary), “Groovy People” #64 (US), #19 (US R&B), #19 (US Adult Contemporary), "From Now On" #53 (UK)
Other Charting Songs: "this Song Will Last Forever" #74 (US R&B)
Singles Certifications: You'll Never Find Another Love Like Mine" (US Gold, Canada)

All Things in Time is an album by American R&B singer Lou Rawls, released in June 1976 on the Philadelphia International Records (PIR) label. It was his 27th studio album. Coming after a career lull in the years immediately preceding, All Things in Time was Rawls' first album for PIR; at the time he was the first artist to sign with PIR after having already enjoyed a substantial recording career and chart success with other record labels.

“All Things In Time” by Lou Rawls (Click Here) 

“All Things in Time” became an immediate success on the back of its celebrated lead single "You'll Never Find Another Love Like Mine", which gave Rawls the biggest hit of his career. The album was Rawls' third R&B chart topper (the first since 1966), and reached #7 on the pop chart. It was certified Platinum in the US by the RIAA for sales in excess of 1 million.

“All Things in Time” was highly rated by critics on its original release for the quality and variety of its material, faultless production standards and Rawls' vocal performances.

Rawls was one of the few acts on the label that could do great work with a variety of producers and arrangers. The biggest track was the bravado-filled "You'll Never Find Another Love Like Mine." With its subtle Latin rhythms and Rawls' tongue-in-cheek intonations.

"Time" written by Jack Faith and Allan Felder has Rawls doing a pitch-perfect vocal that makes the song sound like a standard. Despite not being released as a single “Time” with Rawls’ rich crooning vocal, reached #8 on the US Dance chart.

On this album, Rawls also got a chance to do work with the quixotic Bunny Sigler. Both "Need You Forever" and "From Now On" have Sigler accentuating Rawls' rougher edges. Unfortunately, all of the tracks aren't great here. All Things in Time ends on a great note, on "Let's Fall in Love All Over Again," a song previously done by Billy Paul and Nancy Wilson, Rawls' take is arguably the best version.

The lead single “You’ll Never Find Another Love Like Mine” ensured the success of this album. The legendary songwriting team of Kenny Gamble and Leon Huff wrote the song. They were the powerhouse producers behind most of the Philadelphia Sound, and they wrote this song specifically for Rawls. The track helped lure Rawls to Gamble & Huff's Philadelphia International label, as he was impressed that they took the time to understand his voice and write something to suit it. The song was not only a huge pop hit but was an even bigger crossover hit reaching #1 on the US R&B chart, US Dance chart and the US Adult Contemporary chart. The song was a popular favorite in roller skate rinks across the US during 1976 and 1977. “You’ll Never Find Another Love Like Mine” was a chart topper in South Africa and reached #2 in both the US and Canada. In the UK it charted a tad bit lower reaching #10. “You’ll Never Find Another Love Like Mine” was certified Gold in the US for sales of more than 500,000. The song was also nominated for a Grammy Award in the Best Male Pop Vocal Performance category but lost out to Stevie Wonder's "Songs In The Key Of Life."

"You'll Never Find Another Love Like Mine" (1976)

“Groovy People, with its electric guitar chord opening, was the second single from the album. Though it did receive airplay it charted low at US #64 and made it into the Top 20 on both the US R&B and Adult Contemporary charts. Fans were thrilled by the songs optimistic nature and Rawls’ carefree vocal performance.  The song received a Grammy Nomination for Best Male R&B Vocal Performance but lost out to Stevie Wonder's "I Wish." The song’s b-side “This Song Will Last Forever” made it to #74 on the US R&B charts.

Lou Rawls (1976)

Link to “All Things In Time” (Click Here)

LOU RAWLS

Bread - Baby I’m-a Want You (1972)

“Baby I’m-a Want You’” by Bread (1972)

Release Date: January 1972
Produced by David Gates
Genre: Soft-Rock, Pop, Adult Contemporary, Easy Listening
Label: Elektra
Chart Positions: #3 (US), #9 (Canada, UK), #23 (Australia)
Certifications: Gold (US)
Singles: “Baby I’m-a Want You” #1 (Canada), #3 (US), #5 (Brazil), #8 (France, Australia), #14 (UK), “Everything I Own” #5 (US), #6 (Canada), #12 (Australia), #32 (UK), “Diary” #15 (US), #20 (Canada), #32 (UK)

“Baby I’m-a Want” was Bread’s fourth studio album released in January 1972. By this point in time Bread had 4 top ten hits with their fifth on the way. They were moving into peak of their career with “Baby I’m-a Want You,” which contained 3 Top 15 hits and was their best selling and highest peaking album in the US and Canada.

“Baby I’m-a Want You” by Bread (Click Here) 

“Baby I’m-a Want You” featured Bread at their peak showcasing both their soft and hard sides. Yes, Bread had a hard edge to them in some of their tracks such as “Mother Freedom” with its crunchy James Griffin guitar solo. They alternate fast songs with slow ones and in doing so help to get the overall effect of expression in-the-round, which their earlier albums lacked. The superb soft rocker "Baby I'm-A Want You" made a brilliant opening which set the tempo for the album. The songs range from wistful sentimentality ("Diary") to spirited protest ("This Isn't What the Government," a poor man's "Taxman" with an anti-war slant).

There is no doubt as to Bread's musicianship, for all its members are accomplished and respected studio musicians. Robb Royer left the group before recording “Baby I’m-a Want You” (though his presence is felt due to a couple of tracks he co-wrote with James Griffin), replaced by the versatile Larry Knetchel. This slight realignment makes this one of Bread's strongest records.

The lead single “Baby I’m-a Want You” was released a few months before the album and reached #3 in the US and #1 in Canada. The song was a big hit throughout the world including Top Ten in France, Australia and Brazil. Written by keyboardist and singer David Gates, who says, "I had written the song on piano, and when we recorded it on piano, it had no life. I went home demoralized because I knew it was a good song. So I tried it on guitar and raised it a whole key, then redid it. It made all the difference in the world." “Baby I’m-a Want You” was certified Gold by the RIAA for US sales.

The second single “Everything I Own” was released a few days after the album and zoomed into the Top 10 in the US, Canada and Australia. The song is a classic known by many music lovers and has been recorded by many musicians including Boy George who took the song to #1 in the UK in 1987.  David Gates wrote “Everything I Own” in honor of his father after he passed. If you listen to the words, 'You sheltered me from harm, kept me warm, gave my life to me, set me free,' it says it all."

"Everything I Own" (1972)

The third and final single “Diary,” was another beautiful and heart-touching song. It wasn’t quite as big a hit as the two previous singles but it did reach #15 in the US and #20 in Canada. This song is about a boy who is in love with a girl. He finds her diary and reads it, only to find out she is in love with someone else. Bread keyboard player David Gates made up the story. The unusual sound that plays through the track is a guitar run through a synthesizer.

Bread 1972

Link to “Baby I’m-a Want You” (Click Here) 

BREAD

Cher - Dark Lady (1974)

“Dark Lady” by Cher (1974)

Release Date: May 1974
Produced by Snuff Garrett
Chart Positions: #69 (US), #33 (Canada), #86 (Australia)
Certifications: N/A

Singles: “Dark Lady” #1 (US, Canada, Sweden), #4 (France, South Africa), #10 (Norway), #15 (Netherlands), #17 (Australia, Holland), #22 (Belgium), #36 (UK)
“Train Of Thought” #27 (US), #10 (France), #18 (Canada), #84 (Australia)
“I Saw A Man And He Danced With His Wife” #42 (US), #31 (Canada)
“Rescue Me” #82 (Canada)

“Dark Lady” is Cher’s eleventh studio album and her fifth (and final) for MCA Records (the first two were on Kapp-MCA). Released the year following “Half Breed”, “Dark Lady” is very similar, like an extension of that album with an inclusion of a rock edge and a dark edge that did not exist on “Half Breed.” The album was produced by Snuff Garrett. He produced four albums for Cher in the 1970s and also produced a few Sonny & Cher albums as well as Bobby Vee, Gary Lewis and the Playboys. One of the biggest hits he produced is Vickie Lawrence’s “The Night The Lights Went Out in Georgia.”

“Dark Lady” by Cher (Click Here)

After the success of “Half-Breed,” Cher once again chose Snuff Garrett and Al Capps to produce “Dark Lady, her final album for MCA. During that same year, she divorced Sonny Bono, this ended their professional musical ties and television show for a while. Due to the success of previous albums produced by Garrett, “Dark Lady” followed the same narrative ballad style.

"Dark Lady", the album's first single release, reached #1 in the US, Canada and Sweden. The song became Cher's third solo U.S. #1 hit on March 23, 1974, and her last until "Believe" twenty-five years later. It also reached #3 on the US Adult Contemporary chart. "Dark Lady" also charted at #36 in the UK, #4 in France and South Africa, #10 in Norway and the Top 40 in many countries around the world. "Dark Lady" was written and composed by The Ventures' keyboard player, Johnny Durrill. He recalled: "I spent a week in Snuff Garrett's office playing him songs, and Cher ended up recording “Carousel Man.” Later, when I was on tour in Japan with the Ventures, I was writing an interesting song. I telegraphed the unfinished lyrics to Garrett. He said to 'make sure the b#!ch kills him.' Hence, in the song both the lover and fortune teller were killed." Thus, "Dark Lady" may with some accuracy be described as a murder ballad, even though the narrator of its lyrics essentially commits a crime of passion. The "Dark Lady" of the song's title is a gypsy fortune teller in New Orleans with a history of disdain for men (the narrator of the song describes seeing scratches on the inside of the teller's limousine from her previous conquests). The narrator follows the fortune teller's limousine to her lair and pays money for a fortune; as a result of the fortune, she learns that her lover has been unfaithful to her with, "someone else who is very close to you". Advised to leave the fortune teller's shop, never to return, and to forget she has ever seen the fortune teller's face, the narrator returns home in a state of shock, unable to sleep, and then realizes to her horror that she had once smelled, in her own room, the very perfume the fortune teller had been wearing. Sneaking back to the fortune teller's shop with a gun, she catches her lover and the fortune teller "laughing and kissing", and shoots them both to death.

"Dark Lady"

The album’s opening track "Train of Thought," written by Alan O’Day (“Undercover Angel,” Helen Reddy’s “Angie Baby”), was the second single release. Though it was a sizeable hit through various parts of the world it was not quite the hit as “Dark Lady,” the album’s first single. The song is a raw and fast-moving rock track that reached #27 in the US and #9 on the US Adult Contemporary chart.

The third single chart was yet another story song of broken love to make a new love connection. “I Saw A Man and He Danced With His Wife,” a big band styled ballad touches on an emotion Cher was living after her recent divorce from her long-time husband Sonny Bono. The song was even less successful as a single than “Train Of Thought,” just missing the US top 40 making it to #42 and #31 in Canada.

A cover of Fontella Bass’ 1965 #1 hit “Rescue Me,” was a hint at what was ahead for Cher in the late 80s and early 90s.  The song contains a timeless vocal and musical arrangement that has aged very well. In the US the song was released as a promotional single and as a single throughout Europe but it did not chart. It did chart at #86 in Canada.

Bob Stone, who wrote her first success of the 1970s, “Gypsys, Tramps and Thieves,” wrote the albums closing track “Apples Don’t Fall Far From The Tree.” “What’ll I Do” is a cover of the theme song from the 1974 film “The Great Gatsby.” “Miss Subway of 1952” is a tribute to Bette Midler as she sings the lyric, “To my idol the divine.”

Cher (1974)

Link to “Dark Lady” (Click Here)

CHER

Rod Stewart - A Night On The Town (1976)

“A Night On The Town” by Rod Stewart (1976)

Release Date: June 18, 1976
Produced by Tom Dowd
Genres: Rock, Pop, Classic Rock, Adult Contemporary
Chart Positions: #1 (UK, Australia, Canada, Norway, New Zealand, Sweden), #2 (US), #5 (Netherlands), #23 (Japan), #29 (Germany)
Certifications: 6xPlatinum (Australia), 2xPlatinum (US, Canada), Platinum (UK)

Singles: “Tonight’s The Night” (#1 US, Canada), #2 (Brazil, Ireland, New Zealand), #3 (Australia), #4 (France), #5 (Netherlands), (UK), #6 (Norway), #7 (Sweden, Holland), #13 (Belgium), #26 (Germany), #2 (US Adult Contemporary)
“The Killing Of Georgie” ##2 (UK), #7 (Canada), #9 (France), #24 (Holland), #25 (Netherlands), #30 (US), #36 (Germany), #38 (Australia)
“The First Cut Is The Deepest” #1 (UK, Germany, Netherlands), #4 (Ireland), #5 (New Zealand), #10 (France), #21 (US), #3 (US Adult Contemporary)
Singles Certifications: "Tonight's The Night" Gold (US, Canada), "The First Cut Is The Deepest" Silver (UK)

A Night on the Town is Rod Stewart's seventh album, released in 1976. The cover art is based on Pierre-Auguste Renoir's painting Bal du moulin de la Galette, with Stewart inserted in the centre in period costume. Stewart performed "Big Bayou" regularly with The Faces during their final US tour the previous year, although the version found on "A Night On The Town" was based on the one Ronnie Wood released on his 1975 solo album, Now Look.

“A Night On The Town" by Rod Stewart (Click Here) 

“A Night On The Town” was a star-studded event with guest players such as Eagles band-member Joe Walsh on guitar, David Lindley (“Mercury Blues”) on guitar, legendary record producer and songwriter David Foster (known for his 1985 hit “Love Theme from St. Elmos Fire) playing keyboards, R&B and Blues musician Booker T. Jones on keyboards, Tower of Power on horns and Arif Mardin composing the strings arrangement. Producer Tom Dowd produced many other popular acts of the time including Kenny Loggins, Chicago, Eric Clapton, Lynyrd Skynyrd, Meatloaf, J. Geils Band, Diana Ross, Willie Nelson, The Eagles as well as many jazz greats such as Charles Mingus, Herbie Mann, Ornette Coleman, Thelonius Monk, John Coltrane, Charlie Parker and a host of others.

The first single release “Tonight’s The Night (Gonna Be Alright)” shot up the charts instantly and was a huge hit throughout the world. This was his comeback hit in the US. His previous Top 15 US hit was 1972’s “You Wear It Well.” The song was 1977’s #1 song in the US and Canada.

According to Dan Peek of America, Stewart's inspiration for "Tonight's the Night" was America's Top 30 hit "Today's the Day": Peek recalls that one evening when he and his guest Rod Stewart were playing together in Peek's home recording studio: "I played 'Today's the Day', the song I had been working on. Rod said that he liked it and that it gave him an idea for a song. Of course after his recording of 'Tonight's the Night' came out I laughed when I remembered what he'd said. I'm sure I probably smacked my forehead and said: 'Why didn't I think of that?'"

The song features a French spoken part from Britt Ekland who was Stewart's girlfriend at the time. Some listeners have interpreted the song as an incestuous pedophile's successful seduction of his daughter. Stewart's persona explicitly refers to his partner as his "virgin child," and among her French comments at the end, she asks, "What is Mama going to say?" The song was partially banned in some parts of the UK because of its suggestive lyrics. Later the ban was dropped due to public demand.

“The Killing of Georgie” was the album’s second single release. This was a personal song to Rod. The song tells the story of a gay man who was killed in New York City. A two-part song, Part I was the more popular hit and was blended into the more melancholy and sombre Part II. The song's lyrics tell the tale of a friend of the narrator's, a gay man, the eponymous Georgie. The song follows Georgie through his life. When Georgie reveals his sexuality to his parents his father asks, "How can my son not be straight, after all I've said and done for him?" Georgie, cast out by his parents, leaves home and heads for New York City where he becomes successful and popular in Manhattan's upper class, "the toast of the Great White Way". The narrator visits him in Summer 1975, when Georgie tells him he's in love; the narrator is pleased for him. Georgie attends the opening night of a Broadway musical, but has no interest in lingering afterward so he leaves "before the final curtain call" and heads crosstown. He is attacked near East 53rd Street by a New Jersey gang of thieves that was waiting in a car on a "darkened side street" and one thief inadvertently kills him. The narrator remembers Georgie's advice on living life to the full while young, before it ends. The song ends with the narrator begging Georgie to stay.
The year of Georgie's death is given as 1975 purely for the purposes of the song's rhyme. The murder of the individual on which the song is based occurred in 1974.

"The Killing of Georgie"

In the May 1995 issue of Mojo, Stewart explained: "That was a true story about a gay friend of The Faces. He was especially close to me and Mac. But he was knifed or shot, I can't remember which. That was a song I wrote totally on me own over the chord of open E." The switchblade knife in the song's lyrics implies that Georgie was stabbed to death.

When he was asked about writing a song with a gay theme, Stewart said, "It's probably because I was surrounded by gay people at that stage. I had a gay PR man, a gay manager. Everyone around me was gay. I don't know whether that prompted me into it or not. I think it was a brave step, but it wasn't a risk. You can't write a song like that unless you've experienced it. But it was a subject that no one had approached before. And I think it still stands up today."

The third and final single from “A Night On The Town,” “The First Cut Is The Deepest” was released in the UK as a double a-side coupled with “I Don’t Want To Talk About It.” In the US the song was released with “Balltrap” as its b-side. “The First Cut Is The Deepest” was written by Cat Stevens and was first recorded by P.P. Arnold in May 1967. P.P. Arnold did a good amount of recording with Small Faces in 1967 and also recorded a duet with Rod Stewart the same year. Stevens released his version a few months later on his album “New Masters.”

Album highlight “Pink Flamingo” was recorded in 1966 by Manfred Mann and was a #1 hit in the UK and Top 30 hit in the US for them.

Written by Rod Stewart, “Fool For You” takes him back to his early 70s days with a sound similar to “Maggie Mae” and “You Wear It Well.” "Fool for You" is a melodic and heart-breaking tale of a man realizing he's involved with a woman who lives in a world in which he will never belong. He feels his out of his league and can never make her happy so he's breaking off the relationship (by letter, of course) with great sadness as he is still very much in love.(He's even leaving her his records!

Rod Stewart 1976

Link to “A Night On The Town”: (Click Here)

ROD STEWART

Roberta Flack - Killing Me Softly (1973)

“Killing Me Softly” by Roberta Flack (1973)

Release Date: August 1, 1973
Produced by Joel Dorn
Chart Positions: #3 (US), #40 (UK), #6 (Norway), #9 (Netherlands), #11 (Australia), #13 (Canada), #47 (Germany)
Certifications: 2xPlatinum (US), Gold (Canada)
Singles: “Killing Me Softly With His Song” (#1 US, Canada, New Zealand, Australia, #3 Holland, #4 Netherlands, Norway, #5 France, #6 UK, Brazil, #8 South Africa, #17 Belgium, #19 Austria, #30 Germany, #32 Switzerland)
“Jesse” (#23 Canada, #24 Australia, #30 US)

Killing Me Softly reached US #3 and #2 on the US Soul chart. The Recording Industry Association of America (RIAA) certified the album GOLD on August 27, 1973, and double platinum on January 30, 2006. It was nominated for a Grammy Award for Album of the Year, which it lost to Stevie Wonder's 1973 album Innervisions. The album's title track was released as a single and topped the Billboard Hot 100 and won the 1974 Grammy Award for Record of the Year.

“Killing Me Softly” by Roberta Flack (Click Here)

“Killing Me Softly” is Roberta Flack’s fourth studio album (her fifth if you include the collaboration albums with Donny Hathaway). She spent 18 months recording the album with producer Joel Dorn. Dorn, a jazz and R&B producer, has produced albums for Max Roach, Herbie Mann, the Neville Brothers and others. Dorn and Flack took a less is more approach in producing an album full of soulful heartfelt tunes. They left out all the catchy pop hooks that were popular in the 70s and went for a straightforward smooth soulful sound that has paid off as time has past. The album is still as fresh and heart felt as it was in 1973.

The first single “Killing Me Softly With His Song,” written by Charles Fox and Norman Gimbel, became a huge hit single and received major airplay all over AM and FM radio being played on Top 40 Pop, Easy Listening, R&B and Jazz radio stations. Gimbel and Fox also wrote the theme songs to the TV shows Happy Days and Laverne & Shirley. Lori Lieberman was the first to record the song in late 1971, releasing it in early 1972. Helen Reddy has said she was sent the song, but "the demo sat on my turntable for months without being played because I didn't like the title." Roberta Flack first heard the song on an airline, when the Lieberman original was featured on the in-flight audio program. After scanning the listing of available audio selections, Flack would recall: "The title, of course, smacked me in the face. I immediately pulled out some scratch paper, made musical staves then played the song at least eight to ten times jotting down the melody that I heard. When I landed, I immediately called Quincy Jones at his house and asked him how to meet Charles Fox. Two days later I had the music." Shortly afterwards Flack rehearsed the song with her band in the Tuff Gong Studios in Kingston, Jamaica but did not then record it.

In September 1972, Flack was opening for Marvin Gaye at the Greek Theater; after performing her prepared encore song, Flack was advised by Gaye to sing an additional song. Flack – "I said well, I got this song I've been working on called "Killing Me Softly..." and he said "Do it, baby." And I did it and the audience went crazy, and he walked over to me and put his arm around me and said, "Baby, don't ever do that song again live until you record it." Released in January 1973, Flack's version spent a total of five non-consecutive weeks, more weeks than any other record in 1973 at #1. Billboard ranked it as the #3 song for 1973. Charles Fox suggested that Flack's version was more successful than Lieberman's because Flack's "version was faster and she gave it a strong backbeat that wasn't in the original."[7] According to Flack: "My classical background made it possible for me to try a number of things with [the song's arrangement]. I changed parts of the chord structure and chose to end on a major chord. [The song] wasn't written that way."[14] Flack plays electric piano on the track. Several well known jazz musicians performed on the song including bass is by Ron Carter, guitar by Hugh McCracken and drums by Ray Lucas. Flack won the 1973 Grammy Award for Record of the Year and Best Pop Vocal Performance, Female, for the single, with Gimbel and Fox earning the Song of the Year Grammy. According to Lori Lieberman, who performed the original recording in 1972, the song was born of a poem she wrote after experiencing a strong reaction to the Don McLean song "Empty Chairs." She then related this information to Gimbel, who took her feelings and put them into words. Then Gimbel passed the words to Fox, who set them to music.

"Killing Me Softly"

The next single, the beautiful and somber, “Jesse” written by singer/songwriter Janis Ian. The song appeared on Ian’s 1974 album “Stars” of which its title track was inspired by Don McLean. Janis Ian began writing this song in the mid 1960s when she was around 14-15 years old. The song was going to be about a Vietnam vet coming home from the war. But then she thought that was too limiting. She ended up writing the song to have a more universal meaning, as the song could relate to anyone wondering when, or if, a loved one will return home. The song was a semi-hit reaching US #30, Australia #24 and Canada #23.

One of the album’s highlights is the upbeat and optimistic “When You Smile,” with Dixieland flavored guitars, banjo and horns the song has a universal groove that we don’t hear much from Flack. This would have made a great single. Written by jazz musician Ralph MacDonald, Roberta Flack was the first person to record the song. MacDonald also co-wrote “Where Is The Love” a Top 10 hit for Roberta Flack and Donny Hathaway in 1972. MacDonald also co-wrote “Just The Two of Us” a song that has become a standard as released in 1981.

Roberta Flack (1973)

Link to “Killing Me Softly” (Click Here)

ROBERTA FLACK

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

Yvonne Elliman - Love Me (1977)

“Love Me” (album) by Yvonne Elliman (1977)

Release Date: 1977
Produced by Freddie Perren
Chart Positions: #68 (US)
Certifications: N/A
Singles: “Love Me” (US #14, US Adult Contemporary #5, UK #6, New Zealand and South Africa #3, Ireland #9, Canada #11, Australia #15, Netherlands #16, Belgium #30), “Hello Stranger” (US #15, US Adult Contemporary #1, US R&B #57, UK #26, New Zealand #12, Canada #13, Netherlands #20), “I Can’t Get You Outta My Mind” (US Adult Contemporary #19, UK #17)

Yvonne Elliman performed for four years in the first cast of Jesus Christ Superstar. She scored a number of hits in the 1970s and achieved a US #1 hit with "If I Can't Have You". After a long hiatus in the 1980s and 1990s, during which time she dedicated herself to her family, she made a comeback album as a singer-songwriter in 2004.

"Yvonne Elliman: The Collection” 

(includes every song from the album “Love Me”)(Click Here)

Hawaiian born Yvonne Elliman first made it big in 1971 as a cast member of the stage show “Jesus Christ Superstar.” A single from the cast album “I Don’t Know How To Love Him” was released and became a Top 30 US and Canada hit as well as charting throughout Europe.  Over the next five years Yvonne released three albums that failed to chart. Finally in 1977 she released the album “Love Me” which charted only in the US but spawned two singles that charted throughout the North America, Europe and Zealandia.

Producer Freddie Perren worked primarily with Motown artists such as Michael Jackson, Jackson 5, Jermaine Jackson, The Miracles. By the mid seventies he branched out to other artists such as Tavares, The Sylvers, Minnie Riperton, Peaches and Herb, Gloria Gaynor and other.

There were three singles from the album the first was the title track which was a written by the Barry Gibb and Robin Gibb. The Bee Gees recording of “Love Me” appeared on their 1976 album “Children of the World.” The song was a huge hit for Yvonne and lead to several other hits in the next two years.

"Love Me"

The second single was “Hello Stranger” a remake of Barbara Lewis’ 1963 top 3 hit. Yvonne Elliman and producer Freddie Perren deliberately sought to capture the sound of the original. "Hello Stranger" was similar in chart action to her previous  "Love Me" and reached #15 on the US charts; the song also charted R&B at #57 and was most successful on the Adult Contemporary chart where it was #1 for four weeks.

The third single, “I Can Get You Outta My Mind” went almost unnoticed but managed to make it to #19 on the US Adult Contemporary chart as well as making it to #17 on the UK chart. This was Elliman’s third consecutive top 30 hit in the UK. Many fans have always felt this song should have reached a higher position on the charts.

Other album highlights include “Good Sign” a reggae-calypso influenced tune written by Carole Bayer Sager, David Wolfert and Melissa Manchester. We all know Melissa Manchester from her string of hits from the 70s and 80s including “Don’t Cry Out Loud,” “Midnight Blue” and “You Should Hear How She Talks About You.” During this point in time Carole Bayer Sager was becoming a well sought after songwriter with songs being recorded by Leslie Gore, The Mindbenders, Jackie DeShannon, Frankie Valli, Melissa Manchester, Helen Reddy, Tony Orlando and Dawn, Anne Murray, Leo Sayer, Gladys Knight, Aretha Franklin, John Travolta and a treasure chest of others. “Good Sign” was used as the b-side to Yvonne Elliman’s worldwide #1 hit “If I Can’t Have You.”

Yvonne Elliman (1977)

Link to “Yvonne Elliman: The Collection” (includes every song from the album “Love Me”)(Click Here) 

YVONNE ELLIMAN

Michael Johnson - The Michael Johnson Album (1978)

“The Michael Johnson Album” by Michael Johnson (1978)

Release Date: 1978
Produced by Steve Gibson and Brent Maher
Chart Positions: #81 (US), #83 (Canada)
Certifications: N/A
Singles: “Bluer Than Blue” (US #12, Canada #6, #1 on US and Canada Adult Contemporary), (New Zealand #24)
“Almost Like Being In Love” (US #32, Canada #40, US Adult Contemporary #4, Canada Adult Contemporary #10)
Sailing Without A Sail (US Adult Contemporary #44)

Michael Johnson, a Colorado born singer, songwriter and guitarist is best known for his 1978 Top Ten hit “Bluer Than Blue.” By that time he had been on the music scene for five years releasing music. “The Michael Johnson Album” was his fourth album, but the first that most people heard.

"The Michael Johnson Album" by Michael Johnson (1978)(Click Here)

With producers Steve Gibson and Brent Maher, Johnson created a two-song demo consisting of "Bluer Than Blue" and "Almost Like Being in Love" (first made famous by Frank Sinatra in 1947 and later recorded by Nat King Cole in 1955). EMI America took one listen and wasted no time in signing him, quickly getting The Michael Johnson Album out in 1978. The first single, "Bluer Than Blue", became Johnson's first Top 40 hit, peaking at No. 12 on the Billboard Hot 100 chart in the summer of 1978; the song became a chart-topping single on the Adult Contemporary chart. "Almost Like Being in Love" went to No. 91 on the R&B chart while hitting #4 on the AC chart and the #32 on the pop chart.

“Bluer Than Blue,” Johnson’s breakout single was written by Bernice Parks and veteran songwriter Randy Goodrum. Goodrum has written a string of Top 40 hits including “It’s Sad To Belong” by England Dan & John Ford Coley, “You Needed Me” and “Broken Hearted Me” both by Anne Murray, “Before My Heart Finds Out” by Gene Cotton, “Oh Sherrie” by Steve Perry and several others. Michael Johnson recorded a second Goodrum song for his 1979 album “Dialog” called “The Very First Time.”

In 1978, Johnson was quoted as saying, "I knew “Bluer Than Blue” was potentially a successful song but I didn't think it would go this far. It seemed, well, too mature. The experience of being married or living with someone is hard to identify with for younger people.

Michael Johnson (1978)

Johnson’s next single “Almost Like Being In Love” was written by Frederick Loewe and Alan Jay Lerner, a duo that composed the music for several Broadway musicals including “My Fair Lady” and “Camelot.” “Almost Like Being In Love” was written for the musical “Brigadoon.” Johnson took the jazz influenced musical tune and revived it as a downbeat ballad.

"Almost Like Being In Love"

The third single “Sailing Without A Sail” did not fare so well but did receive a minor amount of airplay.

Another album highlight is a Latin influenced pop-jazz recording of Curtis Mayfield’s “Gypsy Woman.” The mournful ballad “When You Come Home,” written by Eric Kaz and Tom Snow, was considered by many to be strong enough to have been a single release and received moderate airplay on MOR and adult contemporary radio stations.

Link to “The Michael Johnson Album” (Click Here)

MICHAEL JOHNSON

Freddy Fender - Before The Next Teardrop Falls (1974)

“Before The Next Teardrop Falls” by Freddy Fender (1974)

Release Date: 1974
Produced by Huey P. Meaux
Chart Positions: #20 (US), #1 (New Zealand), #9 (Netherlands), #10 (Canada), #1 (US Country Music Chart)
Certifications: Gold (US, Canada)
Singles: “Before The Next Teradrop Falls” (US #1, New Zealand #2, Canada #6, Netherlands #6, Belgium #12), “Wasted Days and Wasted Nights” (US #8, New Zealand #1, Canada #6, Belgium #7, Netherlands #14)

Freddy Fender, who was born Baldemar Garza Huerta first made it to the music scene in 1957 using the name El Bebop Kid and released two singles: Spanish versions of Elvis Presley’s “Don’t Be Cruel” (No Seas Cruel) and Harry Belafonte’s “Jamaica Farewell.” Both songs were hits in Mexico and parts of South America. In 1959 Fender wrote and recorded “Wasted Days and Wasted Nights,” the song was a hit but shortly after he was arrested for possession of marijuana and served 3 years times in jail. He was released from jail, in 1963, with the condition that he stay away from music and alcohol for the duration of his probation. Freddy recorded four singles between 1964-1969 but nothing came of them

In 1971 Freddy met producer Huey P. Meaux. Meaux had Fender focus more on country music while maintaining his Hispanic roots and by 1973 he was releasing music again on a regular basis.

“Before The Next Teardrop Falls” by Freddy Fender (Click Here) 

1974 was Freddy Fender’s banner year. It is the year he broke into the Top Ten. In the later part of ’74 Fender released his first album “Before The Next Teardrop Falls,” but nothing happened with it until January 1975 when he released the single of the same name. The song took off immediately with airplay across the US on AM pop radio.

“Before The Next Teardrop Falls” was written in the late 1960s and had been recorded more than two dozen times. The song had achieved modest success with recordings by various performers; the original version by Duane Dee reached #44 on the Billboard country chart in early 1968, and Linda Martell sent her version to #33 in early 1970. Jerry Lee Lewis recorded a version of the song on his 1969 album, Another Place Another Time.

In 1974, record producer Huey P. Meaux approached Fender about overdubbing vocals for an instrumental track. Fender agreed, performing the song bilingual style — singing the first verse in English, then repeating the verse in Spanish.
"The recording only took a few minutes," Fender once told an interviewer. "I was glad to get it over with and I thought that would be the last of it."

However, "Before the Next Teardrop Falls" immediately took off in popularity when released to country radio in January 1975. The song ascended to #1 on the Billboard Hot Country Singles chart in March, spending two weeks atop the chart. Thereafter, the song caught on just as strongly at Top 40 radio stations and it was not long before Fender had a #1 Billboard Hot 100 hit as well. Billboard ranked it as the No. 4 song for 1975.

Riding on the success of “Before The Next Teardrop Falls” Fender released “Wasted Days and Wasted Nights” as the next single. Fender wrote and recorded "Wasted Days and Wasted Nights", a blues ballad, for Duncan Records in 1959, during the early stages of his career. He was in the process of perfecting his mesh of rockabilly and Tejano, and the song showcased his new style. But he was arrested on charges of possession of marijuana, and in May 1960, he was convicted. The popularity of the song, along with his own popularity, plummeted.

Then, in 1975, "Before the Next Teardrop Falls" became a major hit, and Fender's career was rejuvenated. With the help of record producer Huey P. Meaux, Fender re-recorded "Wasted Days and Wasted Nights." This time, the song became a major pop and country hit, topping the Billboard Hot Country Singles chart in August 1975. On other charts, "Wasted Days and Wasted Nights" went to number eight on the Billboard Hot 100, and number nine on Billboard's Easy Listening chart.

"Wasted Days and Wasted Nights"

"Wasted Days and Wasted Nights" was certified gold for sales of 1 million units by the Recording Industry Association of America. The song was a major hit in New Zealand. In 1975, it spent a total of 12 weeks in the number one position in the New Zealand singles charts, making it the longest running number-one single at the time and the third-longest running number-one single of all time.

Other highlights include a recording of “Roses Are Red (My Love)” a song made famous by Bobby Vinton and the Freddy Fender penned, mariachi influenced, “I Love My Rancho Grande.”

Freddy Fender (1975)

Link to “Before The Next Teardrop Falls” (Click Here)

FREDDY FENDER