It was 50 years ago today ...

[Fman99]

I'm still partial to "Carouselambra." Most of the rest of that record, meh.

[Frayed Knot]

This week in 1970 brought us a couple of Live albums.

JIMI HENDRIX — Band of Gypsys
Recorded on New Year’s Day of 1970 and released on March 25th, in part to satisfy a contract dispute wit a former manager, this was Jimi’s first album without ‘The Experience’.
Backing him instead was Billy Cox on bass and Buddy Miles on drums - a crew loosely known as the Band of Gypsys. It also turned out to be the last full length release of Jimi’s
life as he would be dead by September of that year.



JOE COCKER — Mad Dogs and Englishmen
Recorded on March 27 & 28th at NYC’s Fillmore East for release as a double album in August.
Reportedly the band, the tour, and the recording (and filming) of the tour were all thrown together on short notice also, as it was with Band of Gypsys, to satisfy a contract.
Fortunately Cocker had previously worked with a number of the people he recruited although some still thought it sounded very much like a rush job.

Of the 16 tracks on the album, only four were from Cocker’s previous studio efforts. The remainder were mostly cover songs from a wide variety of rock and soul sources
playing to Cocker’s skill as an interpreter, including:
the Stones - Honky Tonk Woman
Leonard Cohen - Bird on a Wire
Dave Mason - Feelin’ Alright
Robbie Robertson - The Weight
Beatles - She Came in Through the Bathroom Window / With a Little Help From My Friends
John Sebastian - Darling Be Home Soon
B. Dylan - Girl From the North Country
Also several Leon Russell tunes (Russell plays on the album) as well as songs written by Otis Redding, Isaac Hayes, Ashford/Simpson

[Frayed Knot]

Chooglin' actually makes for an excellent status on my work-required instant messenger. What's my status? I'm chooglin', man. And when someone (invariably) asks me what that means, then I share the song with them.

The world would definitely be a better place if people choogled more often.





And now onto some releases from the final week of March 1970:

MILES DAVIS - Bitches Brew (Released March 30th, 1970)
While I realize that this was an important album where Davis combined his jazz background with rock and other modern sounds creating a record more accessible to a wider
audience, any kind of informed critical commentary on this one is going to have to come from someone more knowledgable on this subject than I.




JONI MITCHELL - Ladies of the Canyon (March 31)
The third album from the Canadian born Roberta Joan Anderson (Mitchell came from a brief early marriage) by then ensconced in the thriving musical community in and around
the Laurel Canyon section of LA
FOR FREE; LADIES OF THE CANYON; BIG YELLOW TAXI; WOODSTOCK; THE CIRCLE GAME

[Edgy MD]

I'm crazy about In Through.

[Edgy MD]

Fifty years ago this week, “Love Grows (Where My Rosemary Goes)” peaked at #5. It's a pretty sweet peach of a light pop rock/sunshine music classic, sure, but is it really that momentous to mark it hitting #5?

The thing it is, though, that it was credited to an act with the cool name of Edison Lighthouse, they were but a name for the sleeve, and were actually a studio group, featuring lead vocals by sung by Tony Burrows.

Burrows would go on to a career as a mercenary that would predict both Paul Carrack and David Cone. It would be the was the first of five hits Tony sang for five different groups that made the Top 40—an all-time record, including "LG (WMRG)" plus:

• “My Baby Loves Lovin’” by White Plains (1970)
• “Gimme Dat Ding!” by Pipkins (1970)
• “United We Stand (Divided We Fall)” Brotherhood of Man (1970)
• “Beach Baby” by First Class (1974)

All reached #13 or higher.

It kind of blew up in his face though. The second, third,and fourth of those singles were all in the U.S. Top 15 at the same time, and when they began peaking at the same time in Britain, a strange episode of Top of the Pops show featuring him singing (or miming, if it's like every TotP I ever saw), changing costumes on the side of the stage in order to be introduced with three different ensembles!

But after the taping, one of the producers told him it all seemed like a big sham. How could he be singing on three hits?! So just as he's got enough juice to release records under his own name, he gets blacklisted with the the BBC, still the only real radio station in the UK.

Even in the U.S., he only managed to reach #87 under his own name with “Melanie Makes Me Smile,” a pretty good song but it kind of sounded like a watered-down and over-arranged derivation of "Love Grows."

[Frayed Knot]

And, as long time forumites will remember, the above is not the first discussion the CPF has had over 'LOVE GROWS (wmRg)'
I recall a rather lengthy thread a whole buncha years ago, triggered mainly by singer/songwriter Freedy Johnston covering it.





ELTON JOHN / ELTON JOHN -- Released April 10, 1970

Though not officially Elton’s debut — his EMPTY SKY album was released in England back in 1969 although not in the U.S. until 1975 after Elton’s star had long been established — but this eponymously named
follow-up featured, among others: YOUR SONG, TAKE ME TO THE PILOT, BORDER SONG, SIXTY YEARS ON. This U.S. debut (both YOUR SONG and BORDER SONG charted) combined with some legendary live
performances, most notably a week-long engagement at LA’s ‘Troubadour’ six months later, blasted Elton onto the scene as a major force in music on both sides of the Atlantic.
In all, a pretty strong (semi-)leadoff effort for the just-turned 23 y/o Elton John and the not yet 20 y/o Bernie Taupin especially considering that, according to producer Gus Dudgeon, these songs were intended
not as an album to release but were instead recorded in order to have a set of polished demos designed to attract other artists to the songs John/Taupin.

[Fman99]

Fifty years ago this week, “Love Grows (Where My Rosemary Goes)” peaked at #5. It's a pretty sweet peach of a light pop rock/sunshine music classic, sure, but is it really that momentous to mark it hitting #5?

The thing it is, though, while it was credited to an act with the cool name of Edison Lighthouse, they were but a name for the sleeve, and were actually a studio group, featuring lead vocals by sung by Tony Burrows.

Burrows would go on to a career as a mercenary that would predict both Paul Carrack and David Cone. It would be the was the first of five hits Tony sang for five different groups that made the Top 40—an all-time record, including "LG (WMRG)" plus:

• “My Baby Loves Lovin’” by White Plains (1970)
• “Gimme Dat Ding!” by Pipkins (1970)
• “United We Stand (Divided We Fall)” Brotherhood of Man (1970)
• “Beach Baby” by First Class (1974)

All reached #13 or higher.

It kind of blew up in his face though. The second, third,and fourth of those singles were all in the U.S. Top 15 at the same time, and when they began peaking at the same time in Britain, a strange episode of Top of the Pops show featuring him singing (or miming, if it's like every TotP I ever saw), changing costumes on the side of the stage in order to be introduced with three different ensembles!

But after the taping, one of the producers told him it all seemed like a big sham. How could he be singing on three hits?! So just as he's got enough juice to release records under his own name, he gets blacklisted with the the BBC, still the only real radio station in the UK.

Even in the U.S., he only managed to reach #87 under his own name with “Melanie Makes Me Smile,” a pretty good song but it kind of sounded like a watered-down and over-arranged derivation of "Love Grows."

You're a really talented writer of fiction. Because, obviously, that's all way too ridiculous to be true. Plus I never heard of any of those bands, or songs. Kudos to you.

[Frayed Knot]

I certainly remember 'United We Stand' and 'Beach Baby' -- they were essentially formulaic one-offs (or rip-offs if you prefer) of folk/hippie anthems (United) and the SoCal Beach Boys sound (B. Baby) to the
point where each already sounded dated even as they were freshly released. Not that their total un-originality kept either from getting significant airplay, it just kept them from being any, y'know, good.
But I had no idea that the two shared the same lead singer as each other or with 'Love Grows'

[41Forever]

“My Baby Loves Lovin’” by White Plains (1970)
“Gimme Dat Ding!” by Pipkins (1970)
“United We Stand (Divided We Fall)” Brotherhood of Man (1970)
“Beach Baby” by First Class (1974)

They only one I don't know is "Gimme Dat Ding!" and I think I'm OK with that!

Had no idea about the singer!

[Edgy MD]

You're a really talented writer of fiction. Because, obviously, that's all way too ridiculous to be true. Plus I never heard of any of those bands, or songs. Kudos to you.

Yeah, I wish I could say you were missing a big thing on the last four, but you're not.

"Love Grows, ..." though? Run to your record store and buy it now. Buy two. You can thank me later.

[Fman99]

OK, well, since my record store is closed, I went to the world's most ad-laden online record store there is, and found this song. I'm surprised that this didn't make it into the "Once Upon a Time in Hollywood" soundtrack. It's catchy, though.

Great dancing girl video accompaniment. She's wearing what my dad used to call a "duck dress," called that because it just barely covers her quack.



OE: The "duck dress" comment is also in the comments for the video. I noticed this afterwards, lol.

[Frayed Knot]

McCartney / Paul McCartney -- April 17, 1970

’You can’t be the first one to leave the Beatles cuz I’ve already quit! … was, more or less, the message from Sir Paul
On the heels of private statements from John in late 1969 that he intended to leave THE BEATLES along with the three experimental albums he had already created with Yoko, Paul figured he’d beat everyone to
the punch with a ‘Self-Q&A’ he released in advance of his first solo album, an idea which planted in many heads (though didn’t specifically state) that it was his decision to first leave the group even as LET IT BE
had yet to be released. The blizzard of legal papers making the split permanent would start flying before the year was out.

The eponymous album contains 13 tracks although many of them barely top two minutes making the whole album clock in at just over a half-hour. It was recorded in Paul’s home and gives the impression of a
rushed production more concerned with being first than being polished. Producing only MAYBE I’M AMAZED and, to a lesser extent, EVERY NIGHT as songs with any lasting fame, and even the success of ‘Maybe’
was more the result of a live WINGS recording released years later. So while not recognized as a landmark album it was sorta/kinda the first post-Beatles solo release so I suppose that’s worth
… well, something I guess.
The RAM album, coming out a full year later, and John’s PLASTIC ONO BAND (late 1970) should probably be considered the former writing partners’ more proper debut efforts although by that time little brother
George had dropped ALL THINGS MUST PASS on everyone’s head making the whole idea of being first seem not all that important.

[Fman99]

I also like "Junk" from that record.

I'd say, too, now that I think about it, that those three other solo albums you mention (Ram, Plastic Ono Band, and All Things Must Pass) are the three records I would pick from the sum total of all post Beatle albums as the three most enjoyable to me, although I'd love for a de-Spector'ed version of the last of those.

[Edgy MD]

"Junk" is him at his bestest.

[Frayed Knot]

CAT STEVENS / MONA BONE JAKON — April 24, 1970

After releasing two albums while still a teenager, the pressures brought about by the music business led to health issues — most notably tuberculosis and a collapsed lung — which left him bed-ridden for
a year and caused a 2-1/2 year gap before the release of this, the third album for the still not-yet 22 y/o Steven Georgiou / Cat Stevens. But Stevens had used all that down time to accumulate a catalog
of songs which would make up for the gap with three albums over a 17 month span and establish him as a mainstay in the ‘Folk Rock’ scene.

MBJ was a modest success in its time but didn’t generate standout singles — LADY d’ARBANVILLE (written for then girlfriend actress Patti d’Arbanville) got to #8 on British charts — and tends to get lost
behind the huge wake created by his the two follow-up albums: Tea for the Tillerman and Teaser and the Firecat
And from the 'Things I Didn't Know Until Just Now in 2020' file, I was thinking that perhaps if all the Junior HS girls I knew who were all hot for Cat during his Tillerman/Teaser period knew that
MONA BONE JAKON was Cat’s pet name for his own penis they might have paid more attention to this one.

LADY d’ARBANVILLE
MAYBE YOU’RE RIGHT
POP STAR
I THING I SEE THE LIGHT
TROUBLE
—————————
MONA BONE JAKON
I WISH, I WISH
KATMANDU
TIME
FILL MY EYES
LILYWHITE

[smg58]

I also like "Junk" from that record.

I'd say, too, now that I think about it, that those three other solo albums you mention (Ram, Plastic Ono Band, and All Things Must Pass) are the three records I would pick from the sum total of all post Beatle albums as the three most enjoyable to me, although I'd love for a de-Spector'ed version of the last of those.

Definitely agree on All Things Must Pass. I've always felt that Spector took a great album and made it good. The horns on the title track just grate on me, especially compared to the demo that wound up on the Beatles Anthology. John was better at keeping Spector's excesses in check. The minimalist vibe of Plastic Ono Band works wonderfully as a whole, even though there a few songs on Imagine I would take ahead of anything on it.

[smg58]

And in Spector's defense, I agree with John's assessment of his work on Let It Be.

[Edgy MD]

George Harrison (over George Martin's will) pressed the engineers to find a way to create distortion on horns for "Savoy Truffle," and I don't think he ever really got over that sound. It's certainly a more sublimated effect on All Things Must Pass, but it appears.

I'm a fool for Georgemusic, but yeah, his horns can really be bothersome some times.

It's funny how all four ex-Beatles put saxes on so much of their music in the seventies.

[Frayed Knot]

GASOLINE ALLEY / Rod Stewart -- April 26, 1970

The second solo album from ‘Rod the Mod’ although it could be said to be ’solo’ in name only as many familiar faces — or, more accurately, many familiar Faces — appeared on the record: Ronnie
Lane, Ronnie Wood, Steve Marriott, and Kenney Jones played on and in some cases co-wrote some of the material as the album contained Rod’s usual mixture of self-written tunes and cover material.
Only moderately successful with sales and singles ('It’s All Over Now' hit the back end of charts) but it set the stage for the monster release of EVERY PICTURE TELLS A STORY a year later.

GASOLINE ALLEY — Rod Stewart & Ronnie Lane
IT’S ALL OVER NOW — Bobby Womack, Shirley Womack
ONLY A HOBO — B. Dylan
MY WAY OF GIVING — Ronnie Lane, Steve Marriott
COUNTRY COMFORT — John/Taupin
CUT ACROSS SHORTY — Wayne Walker, Marijohn Wilkin
LADY DAY — Stewart
JO’S LAMENT - Stewart
YOU’RE MY GIRL (And I Don’t Want to Talk About it) — Dick Cooper, Beth Beatty, Ernie Shelby

[41Forever]

I'm supposed to be keeping track of the singles hitting No. 1 during this period and got sidelined.

When we last left Billboard, Simon and Garfunkel were embarking on an epic, six-week run with "Bridge Over Troubled Waters." It would take something really special to knock it out of the top spot.

The Beatles, "Let it Be," two weeks, April 11 and April 18, 1970.

I think this is an utterly beautiful song; McCartney at his best.

Stuff I did not know until recently:

-- Paul wrote it during the White Album sessions.
-- Lennon hated it.
-- Aretha Franklin had a version out there before the Beatles released one.
-- That the single version is slightly different that what is on the album, with a different Harrison solo and more subtle orchestration.
-- The version in the movie is slightly different still, and has never been released outside of the film.
-- Linda McCartney sings background, her only appearance on a Beatles record.

Here is Paul singing it with Billy Joel at Shea:



Here is Paul singing it at Citi Field:



It was followed at No. 1 by:

The Jackson 5, "ABC," two weeks, April 27 and May 2, 1970

Berry Gordy took the young Jacksons to No.1 with "I Want You Back" and slightly reworked the tune for "ABC."

The group had two other No. 1 this year.


That's a pretty good run for No. 1s this year. There is some real schlock up head.

[Frayed Knot]

BENEFIT / Jethro Tull -- Released May 1st (U.S.) April 20 (U.K.)

The third album from Jethro Tull.
Tull was hugely popular among various segments of suburban white boys but even when I got (somewhat) into them a couple years later my reaching back to hear what I had
missed from being too young for this era of Tull, I never did get this far back so my knowledge of this disc borders on zero. It also doesn't seem to have been a favorite of
critics except maybe as a bridge to AQUALUNG and THICK AS A BRICK which would follow over the next two years. Those albums were the Tull of my brain although I wasn't
nearly disturbed enough or drug-addled enough to be among the hardcore Tull fans I knew.


WITH YOU THERE TO HELP ME
NOTHING TO SAY
ALIVE AND WELL AND LIVING IN
SON
FOR MICHAEL COLLINS, JEFFREY AND ME
--------------------------------
TO CRY YOU A SONG
A TIME FOR EVERYTHING
INSIDE
PLAY IN TIME
SOSSITY; YOU'RE A WOMAN

[Fman99]

I like it but not as much as its predecessor, "Stand Up." The "Benefit" album is considerably more melancholy.

[ashie62]

I'll take "Skating Away on the thin ice of a new day" would be my desert Island Tull

[batmagadanleadoff]

The Pulitzer Prize winning photo and the incident it depicts, not the CSNY song.

[Edgy MD]

I'll take "Skating Away on the thin ice of a new day" would be my desert Island Tull

I guess we need a Desert Island Tull poll.

Joe Walsh was supposedly present at the Kent State shootings.