Posts Tagged ‘8th Day’

Rainy Day Make-Work

February 11, 2019

Originally posted June 19, 2009

It was dreary and rainy the other day, and I looked out our front window at the lawn. It’s probably going to need mowing – which our landlord takes care of – this weekend. And the combination of the weather and the wet grass reminded me of part of the summer of 1971, the first half of which I spent as a member of the lawn-mowing crew at St. Cloud State.

There were days, of course, when it rained, and no mowing would get done. But the maintenance department, without question, could always find something for us to do. I recall spending three days that summer in a second-floor hallway in Stewart Hall, armed with chisels and chipping away at old and worn tile on the floor. It was tedious work, made more tolerable by actually being able to talk to one another. When we were out on the lawnmowers, the only people we could talk to was ourselves. (I wrote not long ago about how I addressed that quandary.)

But there, in the hallway, with only occasional supervision – our boss, busy with other stuff, wandered through every hour or so, just to make sure we were making some progress – we could talk as we chipped away. (The tile had likely been in place since Stewart Hall was built in the late 1940s, and in places it had worn away entirely; finding an edge to pry away the bits of tile near those worn spots was a challenge.) Our topics ranged broadly, but music was one we always came back to. During one of those days in the hallway, I recall one of my co-workers and I exchanging views on Ten Years After: He preferred Ssssh, while I held out for Cricklewood Green.

On another rainy day later in the summer, our crew and a few others were dispatched to the new Education Building, which would open for classes that fall quarter. There, in a large room on the second floor, stood at least three hundred file cabinets, still in their boxes. Our work that day would be to get the cabinets out of the boxes and distribute them to the offices that were their intended destinations. While we unboxed the cabinets, someone from one of the painting crews plugged in his radio – the painters were allowed to listen to music as they worked, as long as it wasn’t too loud – and that made the morning more tolerable. I assume the radio was tuned to KDWB in the Twin Cities, but the only thing I recall hearing that morning was Peter Nero’s cover of the “Theme to ‘Summer of ’42’,” a record I welcomed, as I’d recently seen the movie.

As the day wore on and the empty file cabinet boxes piled up on the other side of the room, we might have heard some of these:

A Six-Pack From The Charts (Billboard Hot 100, June 19, 1971)
“Treat Her Like A Lady” by the Cornelius Brothers & Sister Rose, United Artists 50721 (No. 6)
“She’s Not Just Another Woman” by The 8th Day, Invictus 9087 (No. 20)
“Funky Nassau (Part One)” by the Beginning Of The End, Alston 4595 (No. 23)
“Get It On” by Chase, Epic 10738 (No. 50)
“Chicago” by Graham Nash, Atlantic 2804 (No. 61)
“I’ve Found Someone Of My Own” by the Free Movement, Decca 32818 (No. 91)

The Cornelius Brothers & Sister Rose had two Top Ten hits, and what great records they were! “Treat Her Like A Lady” was the first of them, riding that chugging guitar, superb hook and gospelish call-and-response all the way to No. 3. “Too Late To Turn Back Now,” which went to No. 2 during the summer of 1972, was also a good record, but it was smoother and somehow less demanding. If forced to choose, I’d give the decision to “Treat Her Like A Lady” on points, but both sounded great coming out of the car radio. (The group had two other Top 40 hits, “Don’t Ever Be Lonely (A Poor Little Fool Like Me)” and “I’m Never Gonna Be Alone Anymore,” neither of which reached the Top Twenty.)

The second of these has to have an odd story behind it, but it’s a story I don’t know, and a quick riffle through my reference books this morning has left me uninformed. “She’s Not Just Another Woman” by the group The 8th Day went to No. 11 during the summer of 1971 and eventually went gold for the Invictus label. A slightly longer version of the same recording – an edit of 3:23 as opposed to the 3:04 of the single edit I present here – showed up, also in 1971, as an album track on Somebody’s Been Sleeping in My Bed, the debut album of the wonderfully named group 100 Proof (Aged in Soul), released on the Hot Wax label. Hot Wax and Invictus were sister labels, formed in 1969 by the trio of Lamont Dozier, Brian Holland and Eddie Holland when the three left Motown Records. So the same recording, essentially, was credited to two different groups. It might be that the single edit I offer here is a bastard edit, created after the fact by license for packaging purposes, but either way, it’s still an edit of the same track that shows up on Somebody’s Been Sleeping in My Bed, giving us, as I said, the same recording credited to two different groups. Very odd.

I don’t know much about the Beginning of the End, which came from Nassau in the Bahamas, or about its hit, which went to No. 15 that summer. I do have a vague memory of hearing the record as I drove around town one evening in my 1961 Falcon, but that’s all. I’m sure there’s information out there, but not through the usual sources. The only thing All-Music Guide has to say is: “One of the very few soul groups from Nassau, the Beginning of the End had one hit in 1971, the scintillating ‘Funky Nassau.’ They [sic] recorded an album of the same name that year, then dropped out of sight.” Obscure or not, the record was pretty good.

“Get It On” by Chase was one of the great and somewhat forgotten records of the early 1970s. Tough vocals and foundation, great horn accents, the escalating tension and the glorious whirling horn runs: What more do you want? Well, a longer career for Bill Chase and his band; Chase and three members of the band were killed in a plane crash near Jackson, Minnesota, in August 1974. What’s left is the group’s one hit, which went to No. 24 during the summer of 1971, and the three albums, all of which have been released on CD.

Let’s say you asked a fan in 1971: Which of the four members of Crosby, Stills, Nash & Young is least likely to release an overtly political single? My guess is that most fans would have responded with the name of “Graham Nash.” Not that Nash didn’t care about such things, but on Crosby, Stills & Nash and on Déjà Vu, Nash’s songs were more personal than political: “Marrakesh Express,” “Lady of the Island,” “Teach Your Children, “Our House.” So it was a little surprising when Nash’s solo album, Songs for Beginners, sandwiched its reflections about romance and personal growth (including the luminous “Simple Man”) with two clearly political songs: The opening track, “Military Madness” addresses the issue of the military’s influence on society in a general way (although it begins with a reference to Nash’s birth in Blackpool, England). Conversely, the album’s closing track, “Chicago,” is a more direct political statement, deploring the treatment of Bobby Seale, co-founder of the Black Panther party. During Seale’s trial for conspiracy and inciting to riot – charges that developed out of the events surrounding the 1968 Democratic National Convention in Chicago – one of Seale’s many outbursts led the judge to order Seale bound and gagged, inspiring Nash’s song. The record went to No. 35.

The Free Movement’s “I’ve Found Someone Of My Own” – a good record and a somewhat accurate reflection of the morals and mores of the time as regards fidelity – had been languishing in the bottom section of the Hot 100 for five weeks at this time thirty-eight years ago. The song dropped out of the Hot 100 for two weeks, then re-entered on July 7 and began its long climb that took it eventually to No. 5.

Chart Digging: Mid-January 1972

January 12, 2012

January of 1972 is mostly a blank spot. I know I’d just started my second quarter at St. Cloud State. I recall two of the classes I took: Music Theory 1 and a one-credit practicum at KVSC, the campus radio station; as a result of the latter, I began to spend a lot of time hanging around the station’s offices. I recall that I wasn’t dating anyone and that I was still palling around with Dave and Chisago Rick and the other guys I met during orientation the summer before.

But nothing much happened, as far as I remember. I was just there. And looking at the Billboard Top Ten from this week in 1972, I get the same kind of sense. Nothing all that interesting was going on.

Well, maybe that’s not fair to Don McLean, whose “American Pie” hit No. 1 that week; it would stay there for four weeks. At the time, McLean’s coded history of rock ’n’ roll was – as I’ve noted before – the fodder for lengthy discussions: What did this line mean? Who was the jester? But after many listenings, many interpretations and forty years, the record has lost its power. I mean, I still sing along when it pops up on the car radio, but the record no longer amazes me the way it did during that long-ago January.

Sitting below McLean’s opus in the Top Ten were some good records, but I don’t see much else that made me say “Wow” back then or would do so today:

“Brand New Key” by Melanie
“Let’s Stay Together” by Al Green
“Sunshine” by Jonathan Edwards
“Family Affair” by Sly & the Family Stone
“Scorpio” by Dennis Coffey & the Detroit Guitar Band
“I’d Like To Teach The World To Sing (In Perfect Harmony)” by the New Seekers
“Got To Be There” by Michael Jackson
“Hey Girl/I Knew You When” by Donny Osmond
“Clean Up Woman” by Betty Wright

I know some folks who loved “Scorpio” (and still do), but I don’t recall hearing it all that much. I guess the best of that bunch for me was “Let’s Stay Together,” which I still like today. The rest of those records didn’t move me much then and still don’t.

That disenchantment (if that’s not too strong a word) was paired with the album rock ethos I discovered early in 1972 at KVSC. The station still played classical music during the daytime, but we shifted to rock in the evenings, and the only person in the studios and office who ever listened to the classical music going on the air was the disc jockey on duty in the main booth. For the rest of us, one or another of the other turntables in the studio was used to play albums that the evening and night-time jocks had brought in from their own collections.

So I wasn’t all that thrilled with what I heard on the radio in the car or when I was hanging around with Dave and Chisago Rick and the others. But as I dig into the lower portions of the Billboard Hot 100 from January 15, 1972, I find a number of records that I think I would have liked to hear coming out of the radio speakers.

Four of the six records below are by R&B acts that I’m rather familiar with today (though that would not have been the case forty years ago). The other two are by acts I’d not heard of until I began digging through that distant Hot 100, one a pop group and the other an R&B singer.

Little Johnny Taylor was a blues singer who passed on in 2002 and who spent much of his performing life not being Johnnie Taylor, the R&B singer who had memorable hits with “Who’s Making Love” and “Disco Lady.”  Little Johnny Taylor’s only Top 40 hit came in 1963, when “Part Time Love” went to No. 19 (and to No. 1 on the R&B chart). In mid-January 1972, the bluesy “Everybody Knows About My Good Thing, Pt. 1” was sitting at its peak of No. 60. It would be the last of seven Johnny Taylor records to reach or bubble under the Hot 100; six of his records reached the R&B Top 40. (The video I’m linking to includes both sides of the 45 – Part 1 and Part 2.)

I’m pretty sure I knew about Junior Walker & The All Stars in early 1972, if for no other reasons than the two No. 4 singles the group scored: “Shotgun” in 1965 and “What Does It Take (To Win Your Love)” in 1969. But I had no clue that “Way Back Home” was in the chart that January. The song can be filed with other tunes that catalog the desire to go back to one’s southern roots; “Don’t It Make You Want To Go Home” by Joe South and “Midnight Train to Georgia” by Gladys Knight & The Pips come quickly to mind although there are many others. As mid-January rolled past, “Way Back Home” was at No. 68. It went only to No. 52 for some reason; it sounds to me as if it should have done much better.

On the other end of the familiarity scale, I found N.F. Porter and his “Keep On Keeping On” sitting at No. 77. I know next to nothing about Porter, just that he was an R&B singer who also recorded as Nolan Porter and just plain Nolan, which meant he had a different billing for all three records he got into the lower portions of the Hot 100 (and into the R&B Top 40) between 1971 and 1973. “Keep On Keeping On” was the second of the three, and No. 77 was as high as it would climb. (The first record, “I Like What You Give,” went to No. 70, and the third, “If I Could Only Be Sure,” peaked at No. 88.) “Keep On . . .” is a good record, but maybe the coolest thing about it is that – like its predecessor – it was released on the Lizard label.

The Detroit Emeralds have shown up in this space twice before when I’ve dug into the charts, and, as I research these posts, I find myself perking up whenever I see the group’s name. This time, “You Want It, You Got It” was the title I saw, and the record didn’t disappoint. It turns out to have been the first of two Top 40 hits for the group, peaking at No. 36 (and at No. 5 on the R&B chart). The only record that did better for the Emeralds – who were actually from Little Rock, Arkansas – was “Baby Let Me Take You (In My Arms,)” which went to No. 24 (No. 4 R&B) in the spring of 1972.

We’ll take a break from blues and R&B for a moment with a rather odd, almost psychedelic version of the folk song “Five Hundred Miles” as recorded by a group billed as Heaven Bound with Tony Scotti. At the time the single was released, Scotti – according to All-Music Guide – had produced albums for Petula Clark and Joey Heatherton and would go on to produce for Jim Stafford and the Bellamy Brothers. (Three of the members of Heaven Bound – Joan Medora, Eddie Medora and Tommy Oliver – have significant writing credits listed at AMG; I suspect the same would be true for Michael Lloyd if I could find the correct Michael Lloyd.) “Five Hundred Miles” was the second of three singles by Heaven Bound to reach or bubble under the Hot 100, and it peaked at No. 79, the highest any of the three singles went. (When you click on the player, be prepared to think for a few moments that you’re hearing a cover of the Lemon Pipers’ “Green Tambourine.”)

The difficulty of being “the other man” is the topic of the last record in today’s digging: “If I Could See The Light” by the Detroit group 8th Day. While perhaps not as good as the group’s “She’s Not Just Another Woman,” which went to No. 11 in 1971, “If I Could See The Light” rolls along in an infectious up-tempo R&B groove. It was sitting at No. 89 during mid-January 1972, heading toward its peak of No. 79. It’s an energetic – if ethically dubious – way to close today’s digging.

Farewell To Seven-Toed Henri

August 24, 2011

Originally posted October 17, 2008

I was going to write about the autumn of 1971 today, a time that was unexceptional for the most part. It did mark my first quarter of college, and I guess that made it a time of major adjustments. But I’ll write about that some other day.

We lost another cat yesterday.

This summer, shortly after we had to let go of the Texas Gal’s beloved Smudge, one of the Texas Gal’s co-workers said a kitten had found its way to her mother’s place. The kitten ended up with the Texas Gal’s co-worker, who then learned that her husband and son were allergic to cats. For two days, the kitten was alone in their basement while they figured out what to do, and there was talk of letting it loose in a field to fend for itself.

Given that we were in the middle of the difficult (and expensive) process of moving, I was reluctant to bring in a kitten, but I’ll never let a little one be let loose in a field; I can’t imagine anything more terrifying – or more practically lethal – for a small animal. So one evening, the Texas Gal brought home our new little guy, black with some white trim . . . and seven toes on each front foot.

I’m not sure where the name came from, but after some hesitation, the Texas Gal named him Henri Matisse, after the artist. But we pronounced his name “Henry” instead of the French “Ehn-ree.” And we took him to Dr. Tess for his standard kitten care. He had worms, which we expected, and we treated him for that. A few months later, not long after we moved, we had him neutered and had his front claws removed.

Even after treatment for worms, Henri’s digestive problems continued. When we organized the empty boxes we’d thrown off to the side of the basement during the move, we discovered that he hadn’t been using his cat box regularly. We thought his continued digestive problems might be the reason, so we changed his diet, kept an eye on his trips to the basement and gave him a supplement for two weeks.

Nothing really helped his digestion, and once the two-week regimen of the supplement was over, he began to lose weight and he didn’t always seem comfortable. And one evening this week, we discovered that his cat box behavior in the basement hadn’t changed. In some ways, it’s no big deal. We’ve cleaned up worse messes over the years. But the vet said yesterday morning that it was unlikely Henri’s behavior would change, even if we could correct the problem with his digestion. And we knew we couldn’t continue.

Henri went peacefully. And we have another cat-shaped hole in the house. The Texas Gal and I both spent a little bit more time than usual last evening playing with Oscar and talking to Clarence, our two remaining catboys. That helped, at least a little.

A Baker’s Dozen from 1971, Vol. 4
“Tell Me Why” by Matthews’ Southern Comfort, Decca 32874 (No. 99 on the Billboard Hot 100 as of October 16, 1971)

“Theme from ‘Summer of ’42’” by Peter Nero, Columbia 45399 (No. 91)

“Respect Yourself” by the Staple Singers, Stax 0104 (No. 82)

“It’s a Cryin’ Shame” by Gayle McCormick, Dunhill 4288 (No. 60)

“Two Divided By Love” by the Grass Roots, Dunhill 4289 (No. 55)

“Women’s Love Rights” by Laura Lee, Hot Wax 7105 (No. 37)

“You’ve Got To Crawl (Before You Walk)” by 8th Day, Invictus 9098 (No. 36)

“One Fine Morning” by Lighthouse, Evolution 1048 (No. 32)

“Loving Her Was Easier (Than Anything I’ll Ever Do Again)” by Kris Kristofferson, Monument 8525 (No. 27)

“Stick-Up” by Honey Cone, Hot Wax 7106 (No. 19)

“I’ve Found Someone Of My Own” by the Free Movement, Decca 32818 (No. 15)

“So Far Away” by Carole King, Ode 66019 (No. 14)

“Smiling Faces Sometimes” by the Undisputed Truth, Gordy 7108 (No. 12)

A few notes:

The Matthews’ Southern Comfort track is a cover of the Neil Young tune from After the Goldrush album, which came out in 1970. Southern Comfort was headed by Ian Matthews, who had been a founding member of Britain’s Fairport Convention. Matthews’ career is a fascinating series of stops, starts and sudden left turns, but his music has always been listenable and sometimes inspired.

One evening during the summer of 1971, after a day of unpacking file cabinets in the new Education Building at St. Cloud State, I wandered off to the theater and took in The Summer of ’42. The movie touched me, with its tale of a young man’s beginning to grow up, of his crush on the older woman played by the luminescent Jennifer O’Neill (looking impossibly young from where I sit now) and of the tragedy and confusion of wartime. I was also blown away by Michel Legrand’s Academy Award-winning score, which was sweet and sad and over-the-top – all of the things that we are at sixteen. I never looked for the soundtrack LP; I’m not sure why. But when Peter Nero had a hit with the main theme later in the year (the single went to No. 22), I was pleased to hear the song coming out of my radio.

Gayle McCormick was the lead singer for Smith, the group that had a No. 5 hit in the autumn of 1969 with a cover of “Baby It’s You.” “It’s A Cryin’ Shame” was a pretty good single from her first solo album – she recorded two others in the early 1970s, and after that, I lose track of her – but it didn’t do very well. Nor did her follow-ups. She never cracked the Top 40 as a solo artist.

This selection includes three more good singles (several showed up in previous Baker’s Dozen selections) from Hot Wax and Invictus, the labels launched by Eddie Holland, Lamont Dozier and Brian Holland after they left Motown. The singles weren’t as successful on the pop chart as they were good. “Women’s Love Rights” peaked at No. 36, and “You’ve Got To Crawl” topped out at No. 28, but the Honey Cone single nearly got into the Top Ten, stalling at No. 11. (It spent two weeks at No. 1 on the R&B chart.)

This version of Lighthouse’s “One Fine Morning” originally linked with this post was from the album. Since then, I was able to find a video with the fairly rare single edit. Either way, once I saw the title in the Hot 100 for this week in 1971, I had to post the song, even in the wrong version. It’s just too good to ignore.

The Undisputed Truth’s “Smiling Faces Sometimes” was a pretty grim and tough song, talking about the perfidy surrounding all of us, wherever we go. Some folks saw it as a political allegory, and the theme of betrayal makes that at least a little bit plausible, given the realities of 1971. Whatever the message, the record had a great groove.

Edited and rewritten slightly on August 6, 2013.