The Letter To Paul

Relations between the Beatles were extremely frosty by this point in 1970. They were millionaires, yet their outside ventures were still hemorrhaging money. Nobody had an explanation. Paul wanted his father-in-law, Lee Eastman, to straighten out their business affairs. The others chose Rolling Stones manager Allen Klein over McCartney’s objections. Paul’s solo album was ready, as were the long-shelved “Let It Be” LP/movie and Ringo’s just-released solo project. To prevent cutting into the group’s record sales, John and George asked McCartney to hold off releasing his album for a few months. On this date in 1970 they sent Paul a letter to that effect which Starr hand delivered; that was the last straw. Paul totally went off on Ringo, even though he was solely the messenger and was only going along to get along, and rudely sent Starr out the door. It took several years for those two to patch things up. The band’s breakup was VERY soon at hand...

“Gotta Hold On To This Feeling” #21 3/28/1970

It’s a shame when really good songs seldom get played on the radio, if at all. This mellow effort from Junior Walker and the All-Stars qualifies as such. They would have one more Top 40 entry, and that was pretty much it. Junior later contributed one of the most smokin’ sax solos ever on Foreigner’s “Urgent” in the early 80’s.

“Celebrate” #15 3/28/1970

Three Dog Night was unique in that the group featured three lead vocalists. Usually, either Danny Hutton, Chuck Negron or Cory Wells would be out front on a given track. Here, the three of them (in the order above) took turns singing lead. The horn section from the band Chicago appears as well. Written by Gary Bonner and Alan Gordon, who penned a number of hits for the Turtles.

“Love Grows (Where My Rosemary Goes)” #5 3/28/1970

It’s rare enough to be a one-hit wonder. British vocalist Tony Burrows managed the near-impossible feat of singing on FOUR one-hit wonders almost simultaneously in early 1970. Different lineups of UK studio musicians recorded using the names of White Plains, the Pipkins, the Brotherhood of Man, and here under the moniker Edison Lighthouse. Burrows’ vocals were the one constant. Tony also fronted the studio group First Class on 1974’s “Beach Baby.” Nice work if you can get it.

“Instant Karma!” #3 3/28/1970

This Plastic Ono Band single went from composition to recording, mixing and release in one week. Billy Preston and George Harrison appear, too. Harrison spotted Phil Spector at the Apple offices the day of the session and asked him to produce the record. John and George were suitably impressed with the result and (unbeknownst to George Martin or Paul McCartney) asked Spector to work his magic on the still-unreleased “Let It Be” LP tapes. That fateful decision led to lots of instant karma. Video is from “Top Of The Pops.” Yoko knitting while blindfolded is just bizarre. A Lennon solo classic, and an absolute personal favorite of mine.

“Do The Funky Chicken” #28 3/21/1970

One of the goofiest dances of the 70’s was the Funky Chicken. It’s almost impossible to describe properly. You had to be there. Rufus Thomas hadn’t had a hit since 1963’s Top 10 “Walking The Dog” and was already in his 50’s when this one came out of nowhere. He remains the only father to reach the pop Top 10 after his daughter did so - Carla Thomas achieved that feat with “Gee Whiz” in ‘61.

“Kentucky Rain” #16 3/21/1970

Yet another track from those marathon Memphis recording sessions that produced so many hits for Elvis. This was the breakthrough for co-writer Eddie Rabbitt, who saw considerable success in country music during the 70’s and 80’s. The piano was by Ronnie Milsap, who also became a huge country star thanks to Rabbitt’s “Pure Love” in 1974. Eddie really did get the idea for that tune while having a bowl of Cap’n Crunch (“milk and honey and Cap’n Crunch and you in the morning...”).

“Didn’t I (Blow Your Mind This Time)” #10 3/21/1970

A quintessential Philly soul record and the last major pop hit from the Delfonics. Philadelphia soul music of the 70’s was light years apart from what came out of Motown or Stax in the 60’s. Smooooooth as silk. Several Delfonics tunes played a part in the plot line of Quentin Tarantino’s “Jackie Brown.”

“Evil Ways” #9 3/21/1970

The breakthrough single from Santana. They secured a recording deal with Columbia after their sizzling Woodstock gig, but the first couple of 45’s floundered. The organ solo from lead vocalist Gregg Rolie just smokes. Rolie left the band in 1973 and went on to form Journey, one of the leading 70’s stadium rock groups.

“He Ain’t Heavy, He’s My Brother” #7 3/21/1970

Although the Hollies were still successful back in the UK, they hadn’t had a major hit in America since “Carrie Anne” in 1967. This single changed everything. The title phrase dated from 1800’s Scotland and had been used in a 1924 story from the very first issue of Kiwanis magazine, and also as a slogan by Boys Town in the 1940’s. The song featured the piano of a yet-relatively unknown Elton John, still a session musician. Video is from Britain’s “Top Of The Pops.”

“Give Me Just A Little More Time” #3 3/21/1970

General Johnson (yes, that’s his real name) put together the Showmen in his home town of Norfolk, VA and scored a Carolina beach music classic with “It Will Stand” in 1961. After years of scuffling, he moved to Detroit where he joined up with the Holland-Dozier-Holland team and formed the Chairmen of the Board for their Invictus label. Johnson wrote “Patches” for Clarence Carter and lots more hits.

“The Rapper” #2 3/21/1970

Another single that got stuck at #2 thanks to Simon and Garfunkel. This came from a one-hit wonder, the Jaggerz, formed several years earlier at Slippery Rock State in Pennsylvania. They became local stars on the Pittsburgh area club scene. Front man Dominic Ierace, better known as Donnie Iris, went on to join Wild Cherry (post-“Play That Funky Music”) before having a solo hit with “Ah! Leah!” in 1980.

“The Fightin’ Side Of Me” #1 Country 3/14/1970

After the success of “Okie From Muskogee,” the followup from Merle Haggard was this week’s #1 country song. It tapped once again into the conservative movement as a response to all the protests happening in the country at the time. Hag sure didn’t pull any punches as to what he thought of all that.

“Victoria” #62 3/14/1970

One from a concept album surrounding a British TV special that never got off the ground because the financing fell through. The Kinks cut the record anyway. They hadn’t made much of a dent in America over the previous few years; their next release brought them back on the radar over here in a big way.

“Je t’aime...moi non plus” #58 3/14/1970

If you ban a record, it’s likely to become a hit. Even though this was banned in many countries, it sold well enough in the UK to reach #1 in late 1969. A lot of US radio stations wouldn’t touch the single. The title roughly translates as “I Love You...Yeah, Me Neither.” French actor Serge Gainsbourg wrote the song for Brigette Bardot, with whom he was having an affair. Bardot’s then-husband understandably wasn’t too pleased so it went unreleased. Gainsbourg then did a new heavy-breathing version with British model Jane Birkin. Anyone need a smoke?

“Oh Well (Pt. 1)” #55 3/14/1970

The first US chart single for Fleetwood Mac, a quirky little tune that John Paul Jones later said was the inspiration for Led Zeppelin’s “Black Dog.” The Mac wouldn’t see the Hot 100 again until 1975’s “Over My Head.” By that point the band had undergone numerous personnel changes, leading to their classic hit-making lineup.

“My Elusive Dreams” (Bobby Vinton) #45 3/14/1970

Here’s a Top 10 easy listening tune from Bobby Vinton, a remake of the 1967 #1 country duet from David Houston and Tammy Wynette. His choice of material made sense, considering Bobby was recording quite a bit in Nashville with producer extraordinaire Billy Sherrill. Hey, if it’s working, don’t mess with success.

“Oh Me Oh My (I’m A Fool For You Baby)” #22 3/14/1970

After her 1967 #1 hit “To Sir With Love,” the Scottish-born Lulu had struggled in America, though she was a TV and music star in the UK. Her two previous singles weren’t even released in the States, including the Eurovision Song Contest-winning “Boom Bang-A-Bang.” Recorded in Muscle Shoals, this was her last US hit until the 1980’s. Lulu was married to Maurice Gibb of the Bee Gees from 1969-73.

“Ma Belle Amie” #5 3/14/1970

Much like Shocking Blue and “Venus,” this tune was by a Dutch group (the Tee Set), became a worldwide smash, and was also their only US hit. These Dutch acts were brought to America by Jerry Ross, who began as the staff announcer on “American Bandstand” before producing “Sunny” for Bobby Hebb. Jerry also co-wrote “I’m Gonna Make You Love Me” with Philly music legend Kenny Gamble.

“Wand’rin’ Star” #1 UK 3/7/1970

Lee Marvin had dozens of movie roles prior to starring alongside Clint Eastwood in the old-school musical “Paint Your Wagon.” Marvin reportedly drank heavily during filming, contributing to the flick going way over budget and generally receiving negative reviews. He really wasn’t a singer (co-star Jean Seberg compared his voice to rain gurgling down a rusty pipe), but insisted on doing his own vocals here. It was this week’s #1 record in the UK and kept “Let It Be” out of the top spot.

“Until It’s Time For You To Go” #53 3/7/1970

When Neil Diamond left his first label, Bang Records, it was a very acrimonious split. Neil wound up competing with himself on the charts a few times as the old and new labels released his work simultaneously. As revenge of sorts, Bang issued a different single to interfere with this 45 on Uni Records, written by Buffy Sainte-Marie. The bickering caused both records’ performance to suffer somewhat.

“Jennifer Tomkins” #36 3/7/1970

As we’ve noted previously, Ron Dante was contractually prohibited from putting out records as the Cuff Links after the “group’s” first album. So Mr. Piña Colada, Rupert Holmes, stepped in to make some Cuff Links tunes. Meanwhile, Holmes cut this track (with Dante surreptitiously appearing) under the name of the Street People. Rupert also wrote “Timothy,” perhaps best described as “Sixteen Tons” meets the Donner Party. Google it sometime.

“Never Had A Dream Come True” #26 3/7/1970

Stevie Wonder was in a bit of a career trough at this point. Even after successes like “My Cherie Amour” and “For Once In My Life,” he was struggling to get away from the public’s perception as Little Stevie Wonder. He desired a little more artistic freedom than Motown necessarily wanted to give him. He also wanted a little better royalty deal, and eventually got it. Amazing how those can be connected.

“Rainy Night In Georgia” #4 3/7/1970

Brook Benton’s dad had been a Methodist church choir director in South Carolina, so his love of music came naturally. Brook saw chart success in the pre-British Invasion days but went without a Top 40 record since 1963 until this one, though he had a number of R&B hits. This Tony Joe White tune became Benton’s last pop hit before he passed away in 1988.

“Who’ll Stop The Rain” #2 3/7/1970

In stark contrast to the other side of this single, CCR got into some wistful memories of performing at Woodstock and the storm that disrupted the concert. John Fogerty snuck in some political commentary (“five year plans and new deals”), much like “Fortunate Son.” And like that song, Fogerty lost the licensing rights for a while as this was used in ads for a deck sealant. Video includes some Vietnam footage.

“Travelin’ Band” #2 3/7/1970

Here’s one about life on the road for musicians, a tribute to Little Richard’s style by Creedence Clearwater Revival. This was so similar that Richard’s record label sued CCR for plagiarism; the case was settled out of court. It was yet another two-sided hit for Creedence, but was kept from the top spot by “Bridge Over Troubled Water.”

“Try (Just A Little Bit Harder)” #103 2/28/1970

Janis Joplin undoubtedly had a lot of soul for a white girl. Co-written by Chip Taylor (writer of “Wild Thing” and “Angel Of The Morning”) and Jerry Ragovoy (co-writer of “Piece Of My Heart”), this one just plain smokes. It was from a solo LP, the last studio album issued before her death; “Pearl” was released posthumously.

“New World Coming” #42 2/28/1970

The last single of any consequence for Mama Cass Elliot. She had some success with songs written by the husband and wife team of Barry Mann and Cynthia Weil, so she tried it again here. Cass would move toward becoming a cabaret act before her untimely passing in 1974. She was an incredibly talented singer, and an unmistakable part of the 60’s.

“If I Were A Carpenter” (Johnny Cash/June Carter) #36 2/28/1970

Another song that’s been done many times over the years. Bobby Darin and the Four Tops were both successful with their versions of this Tim Hardin tune, but Johnny Cash and his wife June Carter had a Top 5 country hit and won a Grammy with their take. They were married for 35 years until both passed away in 2003.

“(There’s) Always Something There To Remind Me” (R.B. Greaves) #27 2/28/1970

We present a Bacharach/David song that certainly had a varied life. First done as a demo by Dionne Warwick in 1963, it was a Top 50 the next year for Lou Johnson. Sandie Shaw then had a version that reached #1 in Britain but didn’t do much in America. Ms. Warwick released it as a B-side in 1968, then this version from R.B. Greaves came along. Naked Eyes had the biggest hit with their 1983 take.

“Honey Come Back” #19 2/28/1970

Glen Campbell had some success covering “Hey Little One,” a song originally done by early rockabilly star Dorsey Burnette. Glen did even better with an unreleased track of Dorsey’s from 1965. Burnette recorded this for a Motown subsidiary, Mel-O-Dy Records, that ventured into country music. The label folded soon afterward.

“Psychedelic Shack” #7 2/28/1970

Once again the Temptations journeyed into the psychedelic soul regions and came back with a monster hit. Once again all five Temps traded lead vocals and the Funk Brothers provided first-class backing, with Dennis Coffey’s wah-wah front and center. And yes, this inspired the B-52’s “Love Shack.” That’s where it’s at...