The Crane Pool Forum

And, hey, if someone(s) want to take it upon themselves to track the singles chart from 50 years ago as the year progresses then we can throw that mix into the fire here too.

But back to albums for the time being ...

Released Feb 1st, 1970 -- JAMES TAYLOR — SWEET BABY JAMES

After his eponymously titled first album which Taylor recorded in England as one of the first (if not THE first) artist on a scrappy little start-up label named ‘Apple’ -- where he got some (uncredited) help from a couple
of label execs named Paul and George -- the Massachusetts born/North Carolina raised Taylor wound up back stateside for his follow up. Recorded out in Los Angeles for Warner Brothers Records, he did retain the
services of Apple producer (and friend-in-law) Peter Asher for this record as well.
** SWEET BABY JAMES; COUNTRY ROAD; FIRE AND RAIN

Feb 11, 1970 -- THE DOORS, MORRISON HOTEL

The fifth of the six albums the Doors would record as a quartet prior to Jim Morrison’s death (or maybe that's just what they want you to think?).
This one titled back towards their earlier bluesier sound that they had departed from somewhat with the more overly produced (strings + horns) and less critically received
predecessor SOFT PARADE.
The lone single release was YOU MAKE ME REAL although it was the B-Side, ROADHOUSE BLUES, which got the most airplay though that still only got it to as high as #50 on
the singles charts. Radio play for ‘Roadhouse’ was a condition which would only increase decades later as it became maybe the single most overplayed song in the classic rock
radio era probably because program directors figured the tag line of: Woke Up This Morning and Got Myself a Beer appealed to the the young, male, rockhead demographic they
were aiming at. It got to where my hand would reflexively reach for one of the other presets on the car radio when the opening notes of that song came on before my brain even
realized what I was doing.
** ROADHOUSE BLUES; WAITING FOR THE SUN; PEACE FROG

Frayed Knot wrote: ↑Sat Feb 01, 2020 3:49 pm And, hey, if someone(s) want to take it upon themselves to track the singles chart from 50 years ago as the year progresses then we can throw that mix into the fire here too.

I can give it a try!

Billboard No. 1 on February 7, 1970: Shocking Blue – “Venus”

https://www.stereogum.com/2026141/the-n ... mber-ones/

Tom Breihan of Stereogum notes that the Dutch band did not have firm grasp of English, hence the first line being “The godness on the mountaintop” instead of being "Goddess." I never noticed that!

They also ripped off the intro from "Pinball Wizard."

My sister, she would have just turned 12 at the time, owned that 45. 'Hot Sand' was the flip side.

And of course the song would surface again in 1986 as English group Bananarama (now there's a name to use if you're truly intent on being taken seriously) turned it into a dance music hit.

Frayed Knot wrote: ↑Sun Feb 09, 2020 12:29 pm Feb 11, 1970 -- THE DOORS, MORRISON HOTEL

The fifth of the six albums the Doors would record as a quartet prior to Jim Morrison’s death (or maybe that's just what they want you to think?).
This one titled back towards their earlier bluesier sound that they had departed from somewhat with the more overly produced (strings + horns) and less critically received
predecessor SOFT PARADE.
The lone single release was YOU MAKE ME REAL although it was the B-Side, ROADHOUSE BLUES, which got the most airplay though that still only got it to as high as #50 on
the singles charts. Radio play for ‘Roadhouse’ was a condition which would only increase decades later as it became maybe the single most overplayed song in the classic rock
radio era probably because program directors figured the tag line of: Woke Up This Morning and Got Myself a Beer appealed to the the young, male, rockhead demographic they
were aiming at. It got to where my hand would reflexively reach for one of the other presets on the car radio when the opening notes of that song came on before my brain even
realized what I was doing.
** ROADHOUSE BLUES; WAITING FOR THE SUN; PEACE FROG

According to Doors' keyboardist Ray Manzarek's book, the original line is "woke up this morning and got myself a beard," meaning, really, that Morrison had been in a multi-week bender/funk and came out of so much later that he had grown a beard.

Yeah, it was during that period when Morrison's alcohol consumption was causing him to grow not just a prodigious beard but also a belly to match.
Not surprisingly, he'd be dead inside 18 months.

Frayed Knot wrote: ↑Sun Feb 09, 2020 8:09 pmNot surprisingly, he'd be dead inside 18 months.

Or retiring in Germany.

Bounding to No. 1 on the Billboard chart on Feb. 14, 1970 was:



I was surprised to see the 45 sleeve not use the full name of the song, which is, of course, Thank You (Falettinme Be Mice Elf Agin)

Great song from a band that had several! Dave Matthews does a fun cover of it.

Sly was a mess then, and is a mess now. He appeared in court on drug charges when I was a young reporter working in Bridgeport. He reappeared in 2006 for a tribute at the Grammys that went off the rails. From Wikipedia:

After the first half of "I Want to Take You Higher", the Family Stone took the stage alongside the other musicians, and Tyler called backstage "Hey, Sly; let's do it the way we used to do it!" Sporting a blonde mohawk hairdo, sunglasses, and a silver lamé suit, Sly Stone emerged and contributed vocals and keyboards to a continuation of "I Want To Take You Higher." Three minutes into the performance, Sly tossed a wave to the audience and exited the stage, leaving the Family Stone and the guest performers to complete the number alone.

Sly's unusual appearance and brief performance garnered highly mixed reviews and was covered throughout the press. An Associated Press report referred to Sly as the "J. D. Salinger of funk" and simply referred to the performance as being "bizarre". MTV News was much less complimentary: "The Grammy performance—Sly's first with the original Family Stone since 1971—was a halting, confused affair and a complete disservice to his music." Another AP report stated that "nineteen years after his last live performance, Sly Stone proved he's still able to steal the show."

Black Sabbath's Black Sabbath is 50 years old today.

kcmets wrote: ↑Thu Feb 13, 2020 9:23 am Black Sabbath's Black Sabbath is 50 years old today.

Everything about that album creeps me out. Everything. Especially the cover. I know that's the point.

What's amazing that Paranoid was released in the same calendar year, and is a lot more accessible to me. But that first album, and the first song -- shivers.

I always thought until this morning that the person on the cover was Ozzy
but apparently according to some discussion I found it's some woman.

kcmets wrote: ↑Thu Feb 13, 2020 10:19 am I always thought until this morning that the person on the cover was Ozzy
but apparently according to some discussion I found it's some woman.

If I saw her standing in my yard, I'd be afraid.

Black Sabbath recorded their debut album in one 12 hour studio session on October 16, 1969. I guess they weren't Mets fans.

That's a cool fun fact. Plus, Ozzy was about 20 and still could maintain a
coherent 12 hour attention span.

kcmets wrote: ↑Thu Feb 13, 2020 9:23 am Black Sabbath's Black Sabbath is 50 years old today.

Love it. I've been on a Sabbath kick of late. This is maybe my favorite from the Ozzy era, although I also do enjoy "Sabbath Bloody Sabbath." I will say, though, that after many listenings, I've decided that the first two Dio albums "Heaven and Hell" and "Mob Rules" are in fact my favorite Sabbath albums.

Fman99 wrote: ↑Thu Feb 13, 2020 9:39 pm

kcmets wrote: ↑Thu Feb 13, 2020 9:23 am Black Sabbath's Black Sabbath is 50 years old today.

Love it. I've been on a Sabbath kick of late. This is maybe my favorite from the Ozzy era, although I also do enjoy "Sabbath Bloody Sabbath." I will say, though, that after many listenings, I've decided that the first two Dio albums "Heaven and Hell" and "Mob Rules" are in fact my favorite Sabbath albums.

Have to agree with you about the Dio-fronted albums!

Ronnie bumped Tony's and Geezer's spirit and creativity up a notch or
two for sure. That's not me talking, they'd say the same thing...

kcmets wrote: ↑Thu Feb 13, 2020 10:19 am I always thought until this morning that the person on the cover was Ozzy
but apparently according to some discussion I found it's some woman.

According to Wikipedia (so you know it's true):
The album cover features a depiction of Mapledurham Watermill, situated on the River Thames in Oxfordshire, England. Standing in front of the watermill is a figure dressed in black. The name of the woman pictured on the front cover is forgotten, though guitarist Iommi says that she once showed up backstage at a Black Sabbath show and introduced herself. According to feelnumb.com, which featured an article on the album cover, "Not much is known about the eerie woman used in the photo other than she was a model/actress hired for the day and her name was Louise: "une certaine Louise". In 2020, the woman on the artwork was identified as Louisa Livingstone.

Right, that's basically what I read on one of those heavy metal click-bait sites
just couldn't remember where.

Nightmare fuel.

Story about the woman on the cover, with the shocking disclosure that she's naked under the robe.

https://boingboing.net/2020/02/16/witch ... A4rcO3A4OQ

That Sly Stone Grammy appearance was indeed bizarre, but he looked awesome.

And considering his reported condition over the years, I just figured I'd never see him on stage.

We won't have another single to report on until April! That's because Simon and Garfunkel's "Bridge over Troubled Waters" locked down the No. 1 spot on the Billboard chart from Feb. 28 until April 11, a six-week run!

Some interesting things about the song.
-- It's written by Simon, but sang almost entirely by Garfunkel, with Simon pitching in a little in the final verse.
-- Became the duo's biggest hit.
-- The song won five Grammy Awards, including Record of the Year and Song of the Year.

I think it's a better record than song, if that makes sense. The duo and Roy Halee did all kinds of near production tricks, such as recording the drums in an echo chamber. The live versions just aren't as good -- and I usually like live versions better! But the whole verse starting with "Sail on, silver girl..." Goosebumps.

Couple days early, but we haven't had any anniversaries here in a while and I happen to be thinking of this now and am liable to forget come Wednesday.

DEJA VU -- Crosby, Stills, Nash & Young - Released March 11, 1970

The second album for CSN and the first as a quartet with (sometimes) Y riding along.
Maybe because Young’s songs sounded more distinctly Neil rather than as a part of a band he was treated as an interloper by some, someone who was more tacked-on to the group rather than a part of
it and maybe the idea that he was said to have played on less than half the tracks on the album backs up that view. But I essentially treat songs by ALL of these guys as solo efforts whether they wind
up being released with CSN(Y), or as solo projects, or as duets, of via full-fledged bands. So, to me, a couple of Neil Young tunes added wasn’t any different from the contributions from any of the others.
Besides, I liked his stuff here and think this project with his two (2-1/2) songs replaced by third efforts from the others would have almost certainly made for a poorer album.


CARRY ON — Stephen Stills
TEACH YOUR CHILDREN — Graham Nash
ALMOST CUT MY HAIR — David Crosby
HELPLESS — Neil Young
WOODSTOCK — Joni Mitchell (lead vocal = Stills)
----------------
DEJA VU — David Crosby
OUR HOUSE — Graham Nash
4 + 20 — Stephen Stills
COUNTRY GIRL — Neil Young
EVERYBODY I LOVE YOU — Stills/Young