Release Date: March 20, 1977 Produced by Vic Smith and Chris Parry Chart Positions: #20 (UK) Certifications: N/A Singles: “In The City” (#40 UK)
In the City is the debut studio album of British mod revival/punk rock band The Jam. It was released in 1977 by Polydor Records and featured the hit single and title track "In the City".
Paul Weller's guitar style on the album is very much influenced by Wilko Johnson and Pete Townshend. The album includes two cover songs, "Slow Down" (the Larry Williams song made famous as recorded by The Beatles for their 1974 album "Something New") and the theme to the 1960s television series, Batman.
“In The City” offers a good balance between the forward-looking, "destroy everything" aggression of punk with a certain reverence for '60s beat and R&B. In an era that preached attitude over musicianship, the Jam bettered the competition with good pop sense, strong melodies, and plenty of hooks that compromised none of punk's ideals or energy, plus youth culture themes and an abrasive, ferocious attack.
"In the City" was the debut single by English mod revival/punk rock band The Jam from their album of the same title. It was released on 29 April 1977 and reached No. 40 on the UK Singles Chart in May 1977, making it their first Top 40 single and the beginning of their streak of 18 consecutive Top 40 singles. While only a minor hit on the charts, the song was the UK's first introduction to The Jam, and was characteristic of Paul Weller's youth anthems—mod-influenced celebrations of British youth—that dominated the band's early output.
"In The City"
Musically, the song is in the vein of the band's first album, a mod/punk number influenced by The Who's early music, but with an energy and attitude updated for the punk era. "In the City" borrowed its title from an obscure Who song of the same name, which was released in 1966 as the B-side of the "I'm a Boy" single (and which can now be found as a bonus track on most CD re-issues of their 1966 album A Quick One).
Lyrically, the song is a celebration of youth in the big city, and of what Paul Weller called the "young idea", reflecting Weller's optimism for the punk movement. There was also a direct reference to police brutality: "In the city there's a thousand men in uniform/And I hear they now have the right to kill a man".
“Bridge Of Sighs” by Robin Trower (1974)
Release Date: April 20, 1974
Produced by Matthew Fisher
Chart Positions: #1 (UK, Australia, Canada, Norway, New Zealand, Sweden), #2 (US), #5 (Netherlands), #23 (Japan), #29 (Germany)
Certifications: Gold (US) Silver (UK)
Singles: “Too Rolling Stoned”
Label: Chrysalis
Bridge of Sighs is the second solo album by the English guitarist and songwriter Robin Trower. It was released in 1974. Bridge of Sighs, his second album after leaving Procol Harum, was a breakthrough album for Trower. Songs from this album, such as "Bridge of Sighs", "Too Rolling Stoned", "Day of the Eagle", and "Little Bit of Sympathy", have become live concert staples for Trower.
The album was produced by organist Matthew Fisher, formerly Trower's bandmate in Procol Harum. Acclaimed Beatles engineer Geoff Emerick was this album's sound engineer.
In an interview with Guitar World, Robin Trower explained how the album got its title. Robin said that he had had the first line of the song for years and then one day he saw some sport pages which listed a racehorse called Bridge of Sighs and thought that would be a great title.
Bridge of Sighs (Chrysalis 1057) reached #7 in the UK during a chart stay of 31 weeks. It was certified Gold on 10 September 1974. Early printings of the original album cover had the front image upside-down, and were more greenish in colour.
“Bridge of Sighs” is Robin Trower’s career watermark. It is his highest charting UK album. “Bridge of Sighs” was a throwback to the ’60s. Even if it was behind the times, the Cream and Jimi Hendrix inspiration resonates, particularly on the LP bookends, “Day of the Eagle” and “Little Bit of Sympathy,” and “Lady Love,” which is reminiscent of Free.
Even the liquid dreamscapes conveyed by the brilliantly languid title track and “In this Place” seem to hearken back to the previous decade, which quite possibly explained why they connected deeply with listeners still mourning for the quickly fading, unfulfilled promises of the Summer of Love. As such, just as the real Bridge of Sighs, located in Venice, Italy, had once transported medieval convicts from court to gallows, Trower’s masterwork carried the musical ghosts of the ‘60s into the new decade, before paying them a teary goodbye forever.
“Too Rolling Stoned” was the only single release from the album. The song failed to chart but has become a favorite of Trower fans.
Release Date: April 1978 Produced by John Jansen and Tom Verlaine Chart Positions: #7 (UK) Certifications: N/A Singles: “Foxhole” (#36 UK), “Glory” (No chart data), “Ain’t That Nothing” (No chart data)
“Adventure” was the second album release for the New York City formed proto-punk band Television. The album was released in April 1978. It was issued in standard black vinyl in the US, but in red vinyl (matching the cover and inner sleeve) in the UK.
“Adventure” exposes a softer side of the band than their first album “Marquee Moon,” which in the end only enhances the talents and versatilities of this rock guitar driven band. “Adventure” is a brilliant work of the 70s that deserves more recognition than it has received. The guitar work is outstanding with its nuances and intensity well displayed in the performances by Tom Verlaine and Richard Lloyd. Television blends guitar punk with a garage band rawness that gives the music a certain sort of soul and intimacy that doesn’t exist with the more popular polished bands of the time. Some of the songs are similar to Magazine meets the Rolling Stones.
There isn't a weak song on the album each song flows together creating a work of music that is reflective yet maintaining an uptown type punk rock emotion. "Carried Away", the best ballad on the album, floats away on an organ instead of a guitar; "The Fire" is a melodramatic piece that is defines the band’s introspectiveness.
The merry martial beat and blithe vocal harmonies of "Careful," conjure up memories of folk-rock pop ditties of the 60s such as the Turtles’ “Happy Together.”
Tom Verlaine as always is, a unique and masterful guitarist who doesn't play lines so much as shape them with a sculptor's deliberation. A connoisseur of timbres, he draws on everything from a Middle Eastern jangle to the blues to a crystalline tinkle to achieve — on a song like "The Dream's Dream" — an encyclopedic but unified grandeur.
“Foxhole” the first single from the album was a top 40 hit in the UK reaching #36. The anti-war song opens with the crisp and clear guitar chords of Tom Verlaine and works into his always-recognizable lead vocals.
"Foxhole"
The second and third singles “Glory” and “Ain’t That Nothing” both failed to chart but remain highlight on the album.
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.”
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.”
Release Date: November 1972 Produced by Jerry Goldstein, Lonnie Jordan, Howard E. Scott Chart Positions: #1 (US) Certifications: Gold (US) Singles: “The Cisco Kind” (#2 US), (#1 Canada), (#4 Netherlands), (#10 France), (#22 Holland)
“The World Is A Ghetto” (#7 US)
(70’s Music: Album by Album highly recommends this album for any music lover + this is a must buy)
The band's commercial high point - it topped the charts and quickly went gold. It brilliantly blends rebellious 60s experimentation with starry-eyed 70s hedonism, delivering all of their signature motifs: superbly lyrical Lee Oskar solos, inclusive group harmonies, taut Latin rhythms, wah-wah'ed guitar, and smoky jazz saxophone, all of it packaged as hard-driving funk and R&B with heavy hints of jazz. Rolling Stone Magazine music critic described the album as the black “Dark Side of the Moon.”
War has progressed far and fast since they split from Eric Burdon to develop fully as a band on their own merit. They continued and developed a full, luscious sound that's engagingly funk-filled. Their previous album, All Day Music saw the evolvement of this distinctly urban sound to a point just short of proficiency -- War could talk but hadn't yet mastered the language. With The World Is a Ghetto, they edge even closer to total mastery of their music as they attempt to use it to communicate the essence of ghetto life.
Their emphasis was to rely less on lyrical content, allowing space to develop the relaxed instrumental groove that became widely respected. In addition, their timing was perfect, as a host of African American stars such as Stevie Wonder, Marvin Gaye and Curtis Mayfield were experimenting and developing their own sounds and messages, all with increasing critical and commercial success. War’s style developed beyond soul, to loosely fuse progressive rock, jazz, R&B and a splash of calypso.
“The World Is A Ghetto” was War’s third studio album (fifth if you include the albums they did with Burdon). It has been certified Gold by the RIAA and topped the charts in the US. The album had been re-evaluated by music critics in 2012 when the 40th Anniversary Edition was released. The echoing verdict is that the album has held up extremely well through the decades and remained relevant to the social issues of the current day. With “The World Is A Ghetto” War created a visionary work of music.
The album opens with "The Cisco Kid," a song just teeming with imagery about Cisco and obese buddy Pancho. Sittin' down by the Rio Grande, drinkin' wine and "eatin' salted peanuts from the can" C.K. and Pancho are no more than a fantasy in the minds of the ghetto youth singing their praises, but an important fantasy because it allows them hope, heroes, and a temporary respite from the harsh realities of ghetto existence. “The Cisco Kid” was the second single release from the album and shot straight to the top of the charts. War guitarist Howard Scott came up with the idea for this song. Drummer Harold Brown commented, "Howard has always been a major contributor. He was in Compton, he had this apartment. I visited Howard there and he was sitting on his amp. He said, 'Harold, I got this idea. Cisco kid was a friend of mine.' That idea came about because there were no ethnic heroes at that time. Mainly, we were seeing people like Hopalong Cassidy, Gene Autry, Roy Rogers. There wasn't really anybody to relate to except Cisco Kid. He was like the total different kind of person. We wanted to give kids, people, another alternative besides the ones that were right in our face, obvious heroes. And it worked out really good, because it had the right kind of hook, it was a fun song. People at that time didn't want to be hearing about wars or anything, they just wanted fun music." “The Cisco Kid” struck a chord with the African American community but the song went well beyond striking a chord with the youth of the US. “The Cisco Kid” represented a yearning of escaping from what had become viewed as acceptable by the norms of society. The song quickly rose to #2 on the US charts for 2 weeks as well as #1 in Canada and the Top 10 in a few countries across Europe. The song received a Gold record certification from the RIAA.
The first single release was the titled track, “The World Is A Ghetto,” the song was an instant hit making it to #7 on the US chart. The song was their first post Eric Burdon top ten hit leading to another five top tens. "The World Is a Ghetto" was written by Papa Dee Allen (percussion), Harold Brown (drums), Morris "B.B." Dickerson (bass), and Leroy "Lonnie" Jordan (keyboards): together with Howard Scott (guitar), Charles Miller (sax/flute) and Lee Oskar (harmonica), they formed the band War. The song was released as a single—it entered the Billboard Top 40 the week of December 30, 1972 and stayed for 9 weeks, peaking at #7 the week of February 10, 1973. "The World Is a Ghetto" was also the name of the album—the only one they ever released that topped the pop charts, it sold over three million copies—on which the song (over 10 minutes long) was placed. The song was edited down to 3:59 for the single release. The title track is simply the most successful use of the "Groovin'" motif since the Rascals tantalized urban America with the prototype. A study in casual, laid-back musical discipline, it soothes savage passions, lulling them to sleep to be awakened only by the stark, sudden refrain, "the world is a ghetto". Charles Miller's sax solo is magnificent, as definitive a statement of emotion as can be imagined.—Gordon Fletcher, Rolling Stone, 3/1/73
The title track was a triumphant blend of great exchanges and unison vocals, plus concise and spirited musical contributions all around.—Ron Wynn, The All-Music Guide to Rock, 1995
"Walkin' down the street, smoggy-eyed / Looking at the sky, starry-eyed / Searchin' for the place, weary-eyed / Crying in the night, teary-eyed / Don't you know that it's true / That for me and for you / The world is a ghetto / Don't you know that it's true / That for me and for you / The world is a ghetto / Wonder when I'll find paradise / Somewhere there's a home sweet and nice / Wonder if I'll find happiness / Never give it up now I guess / Don't you know that it's true / That for me and for you / The world is a ghetto / Don't you know that it's true / That for me and for you / The world is a ghetto /—long instrumental break—/ There's no need to search anywhere / Happiness is here, have your share / If you know you're loved, be secure / Paradise is love to be sure / Don't you know that it's true / That for me and for you / The world is a ghetto / Don't you know that it's true / That for me and for you / The world is a ghetto / Don't you know that it's true / That for me and for you / The world is a ghetto / Don't you know that it's true / That for me and for you / The world is a ghetto"
"The World Is A Ghetto"
The album is one highlight after another. There’s not one track that misses or slows the album down. "Where Was You At," which follows, is a true delight, a soulful get-down cut from the Isley Brothers mold. The kinda funk you need to get off on the good foot! These two cuts are truly Watts and Harlem unleashed -- ghetto life at its most brazen.
"City, Country, City" is a tour de force energizer in which each band member gets the chance to show off his ability. Through a series of solos ahead of varying rhythmic percussion accompaniment, War attempts to convey the hustle and bustle of a ghetto day, sandwiched between the comparative calm of morning and night. "City, Country, City" pointed toward dance music's future with a travelogue of deep beats, each melodic theme more euphoric than the next.
"Four Cornered Room" is a Temptationesque choral ballad that introduces a darker element to War's music, one that would culminate with the title track. A slow, languid gospel/blues/jazz pattern carries the rhythm and tempo and conveys a sense of dark foreboding. A near instrumental, the vocals are only a chant in the first half of the song, eventually building to a chant of the title chorus. Soon after this, a spoken word recitation takes over, delivering a message of despair and urban dread. The street politics that the band often sang about come to a great climax here, mirroring the dark emotions of the early '70s. “Four Cornered Room” was used as the b-side to the single release of “The World Is A ghetto.” (Note this is my favorite song from the album).
Closing the album, after two downcast but brilliant songs that reflected the urban dread at the time, the rhythmic "Beetles in the Bog" is a life-affirming, almost joyous African-styled chant. Over a funk base, the group's vocal camaraderie is in full swing here, creating a feeling that is hopeful and empowering. As in many of War's songs, the percussion section almost acts as a melodic instrument, and this was one of the things that set the band aside from many of their contemporaries.
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” 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!
“True Stories and Other Dreams” by Judy Collins (1973)
Release Date: January 1973 Produced by Mark Abramson and Judy Collins
Chart Positions: #27 (US)
Certifications: N/A Singles: “Cook With Honey” (US #32), “Secret Gardens” (US #122)
“True Stories and Other Dreams” was Judy Collins’ ninth studio album. For the first half-dozen albums of her career, Judy Collins sang only traditional folk tunes and material by other songwriters. Even when she began to write songs in the late 1960s, her compositions were outnumbered by tunes from other sources on the records she issued during the next five years or so. The 1973 LP True Stories and Other Dreams, however, marked the first album on which her own songs comprised the majority of the material. As usual, though, the record also featured astutely selected tunes from a variety of other contemporary singer-songwriters, some of who had also been recording since the early days of the folk revival, and some of who were newcomers to the music scene.
True Stories and Other Dreams also marked the first occasion on which she received a producer's credit, shared with Mark Abramson, who'd produced her recordings since the mid-1960s. As Judy elaborates, however, throughout their association, "we produced together, truly. I would never have denied him his production credit. But it was also my choices, my thinking, my determination, and then Mark backing me up, helping me get what I wanted to get done. And we knew all these wonderful people, of course." On True Stories and Other Dreams, that support cast included her longtime friend Eric Weissberg on acoustic guitar, banjo, and upright bass; Bill Keith, whose pedal steel lent an occasional country flavor; and even Latin jazzman Ray Barretto on congos and bongos.
The songs on the album showcased Judy’s varied musical interests. The single “Cook With Honey” was alight flavored pop song that reached #32 on the US singles chart. The protest song, “The Hostage” brought us back to Judy’s folk roots. “Secret Gardens,” the second single from the album is a beautiful orchestral ballad about her family. The song bubbled under the US singles chart making it to #122. Opening with Judy’s tender keyboard playing, the wistful “Holly Ann” is about Judy’s sister. Of course there are the fantastic story songs like “Fisherman Song,” where Judy excels. Judy recalls, "I took a little time off in 1972 and went out to Long Island just to do some songwriting," remembers Judy today. "At that point, I wrote 'Fishermen Song.' I was on the beach there and these fishermen sing; they bring in the fish, and they would hand me a fresh bluefish or something for me to cook. So 'Fishermen Song' is really about that experience of watching them fish."
"Song For Martin"
“Song For Martin” is a poignant album highlight about Martin Hoffman, a school teacher, who composed the music for a poem written by Woody Guthrie titled “Deportee.” Hoffman and Judy became friends in the 1960s. Collins remembers, "He was the first person I ever heard sing 'This Land Is Your Land,' up at Lookout Mountain in Colorado," says Judy. "He was a wonderful man, just a sweet man." Hoffman committed suicide prior to the recording of “True Stories and Other Dreams.”
