For the week ending December 19, 1970:
I'm sorry that I'm a bit late with my critique this week, but a busy first half of the week with my two jobs, plus my struggle with a bad cold, zapped me of time and energy until now. But before I begin my final critique of 2014, I want to say something to all of you. I have really enjoyed contributing to this message board these past 7-8 months, especially composing these chart critiques. I have had so many opinions and feelings about hit songs that have been bottled up inside me for so long and releasing these sentiments to people like you has been a joy and a blessing. I thank Scott Lakefield and Co. for making this message board possible and the rest of you posters for being a receptive audience for my opinions and insights. And thank you for your feedback and for, when you saw fit, disagreeing with me without being disagreeable, which is what I have strived to be to all of you. Now without furthur ado, let the countdown begin.
40. Rose Garden/Lynn Anderson--From the opening staccato strings which smooth out nicely, to Ms Anderson's assertive vocals, to the mild echo-chamber effect used throughout, this is one delightful country-pop classic.
39. So Close/Jake Holmes--But not close enough to ACTUALLY make Billboard's Top 40 or to avoid being a forgotten oldie. This is, nevertheless a fine song, with great strings and acoustic guitar work, and an upbeat ending. (It sure beats the mediocre "Love The One You're With" by Stephen Stills, the real #39 song.)
38. Your Song/Elton John--This pretty, sincere ballad launched one of the most successful and enduring careers in pop music. I especially like the lush harp that closed the song.
37. Border Song (Holy Moses)/Aretha Franklin--A nicely dramatic cover version of the above pop newcomer's first chart hit (which just squeaked into the Hot 100 at # 92).
36. Do It/Neil Diamond--Well, another week, another mediocre Neil Diamond song.
35. I'm Not My Brother's Keeper/The Flaming Ember--This was my first exposure to this song, but I remember it being as energetic, yet just as sweet, as their previous hit, the powerful "Westbound Number Nine".
34. Engine No. 9/Wilson Pickett--I also was hearing this song for the first time, and I was similarly impressed. It was nicely funky and featured a cool fuzz guitar.
33. Only Love Can Break Your Heart/Neil Young--How did this snoozer break into the Top 40 but that spicy guitar masterpiece "Cinnamon Girl" fall short?
32. If I Were Your Woman/Gladys Knight & The Pips--This intriguing, dramatic Motown release, probably the group's best song at that studio, evokes visions of rain and storms without being a overt rain song. The opening piano notes seem to simulate the sound of rain drops while the accompanying strings simulate cloud cover. This is followed by speeded-up piano right before the first verse vocals and by the Pips shouting in unison before the second verse vocals, both of these intros simulating thunder. Oh, yeah, and Gladys' soulful vocals and the call-and-response interplay between her and the Pips aren't too shabby, either.
31. The Immigrant Song/Led Zeppelin--From the aggressive rhythm, to Robert Plant's opening Tarzan vocals, to the following simulation of ocean waves crashing, this is an irresistibly fun, if campy, classic. (BTW, the original b-side was the classic "Hey, Hey, What Can I Do", which was not available on any album until the group's box set was released in the early '90's)
30. River Deep, Mountain High/The Supremes & Four Tops--Before I fell in love with Tina Turner's Phil Spector-produced masterpiece, I considered this the greatest version of this song. Although it's not in the same league as that glorious original, it still possesses much of the drama, majesty, and earnest sentiment.
29. It's Impossible/Perry Como--Boy, Zeppelin and Perry Como in the same countdown! Only in the early '70's could that scenario go down. Anyway, this is one gorgeous example of early '70's easy listening fare, with a breathtaking ending.
28. Groove Me/King Floyd--This is a slightly above average funk release, but far from great.
27. Stoney End/Barbara Streisand--This Laura Nyro-penned ode to disillusionment and dispair is probably Ms Streisand's best pop hit. The interplay between piano, guitar, backup singers, and Babs' dramatic vocals is truly masterful.
26. Can't Stop Loving You/Tom Jones--I forget how it sounded, but I remember it being nicely bombastic, even to the point of simulating the sound of thunder.
25. Pay To The Piper/The Chairmen Of The Board--This is one exhilarating soul number, with a funky rhythm and punchy horns. The overall message of the song, however, I find rather morally questionable. But since I have been accused of being too preachy in the past, I'll refrain from elaborating and just move on.
24. You Don't Have To Say You Love Me/Elvis Presley--I can take it or leave it.
23. One Man Band/Three Dog Night--Ditto
22. Montego Bay/Bobby Bloom--Slightly above average. The version where he ends the song with "Oh, What A Beautiful Morning" sung accappelo is the more interesting version, though.
21. Fire And Rain/James Taylor--Although I am mostly indifferent to James Taylor's repetoire of hits, this debut release is musically dramatic and lyrically touching and sad, even including a plea for help from Jesus.
20. He Ain't Heavy, He's My Brother/Neil Diamond--This cover version of the Hollies' ode to friendship is better than Neil's other hit in the countdown, mainly because it's such a strong song to begin with. But it still pales in comparison to the sincere, heartfelt, rousing original.
19. For The Good Times/Ray Price--From the wall of sound strings, to Kris Kristofferson's mournful lyrics, to Mr Price's dramatic-yet-restrained vocals, this stands as the granddaddy of all countrypolitan hits. A true musical treasure.
18. After Midnight/Eric Clapton--It's somewhat catchy, but it pales in comparison to much of what came before from this legend ("Sunshine of Your Love", "White Room") and what would follow ("Layla").
17. Be My Baby/Andy Kim--Andy's unique blend of bubble gum and Spector-ish Wall of Sound make this cover song as good, maybe better, than the Ronettes' original (produced, of course, by Phil himself).
16. Heaven Help Us All/Stevie Wonder--A musically, and lyrically, moving gospel-inspired ballad.
15. Domino/Van Morrison--One of Van Morrison's better songs, mainly because of his soulful vocal delivery in the chorus.
14. I'll Be There/The Jackson Five--Last week, I chose Michael's solo debut "Got To Be There" as his finest performance on a hit song. But his spine-tingling, emotional workout on this release, particularly in the song's final 45 or so seconds, ranks a very close second. (Even ending with his eventual trademark "Oooh, Oooh, Oooh, Oooh!").
13. 5-10-15-20 (25-30 Years Of Love)/The Presidents--This almost forgotten soul gem has all the great hallmarks of a fine old school soul ballad--silky smooth harmonies, shimmering falsetto vocals, assertive horns, lush strings, and tender lyrics expressing true love.
12. We've Only Just Begun/The Carpenters--One cannot argue with the many virtues of this classic pop ballad. The lyrics exude the joy and optimism that fill the hearts of every newlywed couple as begin their life's happy journey together. And Karen and Richard's vocals (particularly hers) express that joy and optimism perfectly.
11. Share The Land/The Guess Who--I can take it or leave it.
10. No Matter What/Badfinger--It's a sharp, well-produced and well performed rocker, but this band wouldn't reach its peak until about a year later with their back-to-back gems "Day After Day" and "Baby Blue".
9. Gypsy Woman/Brian Hyland--Ten years after he sang about a polka-dot bikini, Brian Hyland released this smooth, intriguing single, a major step up in maturity and sophistication, needless to say.
8. Does Anybody Really Know What Time It Is?/Chicago--Actually I do; it's 9:51 PM on Christmas Eve...so all you kiddies better jump in bed and cover you head, 'cause Santa Claus is on his way!
Seriously, this is yet another masterful example of horn rock by the masters of that genre.
7. Stoned Love/The Supremes--With apologies to the great Diana Ross, THIS release, with Jean Terrell on lead, is the best song the Supremes ever released. The piano-infused arrangement chugs along gloriously, and Jean, Mary, and Cindy blend their voices beautifully. But the ultimate hook of this soul gem is the tension and release in the chorus, where the ladies build the tension with the "Whoo-whoo-ooh oooh, Ston-n-n-ne" and release it with "Lo-o-o-o-ve", with perfect piano backup.
6. Knock Three Times/Dawn--It's hard not to like the song's slick arrangement, but the lyrics are rather lame. "Candida" and "Tie A Yellow Ribbon" are far superior songs.
5. Black Magic Woman/Santana--Carlos Santana and Co do a fine job creating a sinister soundtrack to accompany the ominous lyrics describing one evil woman.
4. I Think I Love You/The Partridge Family--Although this song virtually epitomizes bubble gum pop, it's just too darn charming to dislike. And, yes, you gotta admit David had a pretty good singing voice.
3. One Less Bell To Answer/The Fifth Dimension--Although the lyrics are rather trite (what real man only eats just one egg), Marilyn McCoo and company always rise to the occasion and make any bland, trite song sound exquisite.
2. My Sweet Lord/George Harrison--Phil Spector once again works his musical magic, blending acoustic and electric guitars, tambourines, and George's soulful wailing (along with a backup chorus or George's vocals multitracked), to create one beautiful release. (And then he darn near ruined it with the Hari Krishna chants, but oh well.)
1. The Tears Of A Clown/Smokey Robinson & The Miracles--Ten years after he almost hits the summit with "Shop Around", Smokey and the gang finally hit #1 with this three year old album cut. And what a spectacular song it is! The circus calliopy snippets alone are worth the price of admission. But you cannot forget the driving backbeat throughout the song, as well as the delightfully chaotic middle part of each verse, which features some of the most intriguing drum work of any Motown song. This is one of the rare examples, IMHO, of an act's biggest hit also being their greatest song.
And my favorite song of the countdown (drum roll):
Stoned Love by Jean Terrell & the Supremes (sorry again, Diana)
Good night and Merry Christmas, everybody!