The Best Albums of 1974

 

THE BEST ALBUMS OF 1974

Here’s the fifth musical retrospective. My previous “Best Albums” lists were posted last week and covered 1976, 1977, 1975, and 1978 (in that order).

Summation: 1974 was a weak year for rock and pop albums. But it was a stellar year for soul. 1974 was most memorable as a watershed year for crossover artists. Many who were known primarily for R&B and soul crossed over into the mainstream. This is a polite way of saying white audiences began seriously getting into black-oriented music. It was also a huge year for artists who straddled both rock and country genres. No doubt, 1974 was a year of significant transition. Listening tastes and buying habits were changing fast. Even country music was changing. Five significant trends stand out:

1. Funk (which heavily influenced rock and R&B during this time) hit its peak of popularity.
2. This was a stunningly successful year for soul, arguably the best collection of album and singles in history. Anyone remember the weekly TV show, “Soul Train?”
3. 1974 marked the last gasp of the early 1970s singer-songwriter period, during which many solo artists with scaled back instrumentation dominated the charts.
4. Several rock groups debuted with new albums in years 1973 and 1974 which would have a lasting impact, but they also didn’t release their best material–just a few hints of what was to come.
5. Six of the top seven best-selling albums of the year were compilation albums (Greatest Hits). The only exception was Bad Company’s self-titled debut album.

Here’s my countdown of the “Best Twenty” albums of 1974:

20.  Verities & Balderdash ….. Harry Chapin
19.  Sundown ….. Gordon Lightfoot
18.  461 Ocean Boulevard ….. Eric Clapton
17.  Fire ….. Ohio Players
16.  Chicago VII ….. Chicago
15.  I’ve Got My Own Album to Do ….. Ronnie Wood
14.  Rock n’ Roll Animal …. Lou Reed
13.  Grievous Angel …. Gram Parsons
12.  Nightbirds …. LaBelle
11.  The Lamb Lies Down on Broadway ….. Genesis
10.  It’s Too Late to Stop Now ….. Van Morrison
9.  Bad Company ….. Bad Company
8.  Can’t Get Enough ….. Barry White
7.  Jolene ….. Dolly Parton
6.  Pretzel Logic ….. Steely Dan
5.  Diamond Dogs …… David Bowie
4.  Heart Like a Wheel ….. Linda Ronstandt
3.  Court and Spark ….. Joni Mitchell
2.  Marvin Gaye Live! ….. Marvin Gaye
1.  Fulfillingness’ First Finale ….. Stevie Wonder

 

NOTABLE OMISSIONS:

…….Elton John was in the midst of a creative heat wave of monster hits throughout the early 1970’s. But Caribou may have been his weakest collection. The album did produce two major hits, but everything else on here is mostly mediocre to forgettable. Critics panned it, as Elton John received the first negative reviews of his career.

……..A milestone country album that can’t be ignored is The Grand Tour. This marked troubled country-western crooner George Jones’ comeback–one of several, actually. He’d become notorious for excess drinking and disappearing acts earning him the nickname “No-Show Jones” from missing so many live gigs and leaving his fans bewildered. But after losing nearly everything, the Possum managed to pull himself together in these memorable Nashville sessions. One poignant review read: “A watershed for Jones, boasting the title track as one of the most devastating country singles ever issued that came so close to crossing over it was being played on some adult pop stations along with Sinatra, Bennett, Dionne Warwick, and Herb Alpert…Ultimately, this is Jones’ country, the kind of country music that is pure yet (sophisticated).” The album was compared to to Frank Sinatra’s In the Wee Small Hours….“An exultant wallow in heartbreak” with Jones inhabiting songs “like an inmate on suicide watch.”

……Walls and Bridges recorded by John Lennon (prodded by close guy-pal Harry Nilsson) in the aftermath of his infamous “Lost Weekend” period contains some musical gems, but is also cluttered with filler. The high-quality songs are all potentially in here. But this listener is left with the impression Lennon didn’t know exactly which direction to go — either personally or musically (he was separated from Yoko Ono during these sessions and seemed to abandon his earlier political-tinged themes). The result here is a confusing mix of material, but still worth digesting because it’s a Lennon release.

…….Free and Easy was pop-icon Helen Reddy’s much-anticipated follow up album to her women’s liberation-themed social/musical tour d’ force that had been released, an anthem for millions titled, I Am Woman. This is a strong continuation and collection, but not quite worthy of a top-20 inclusion.

…….Van Morrison’s Veedon Fleece is often compared to his earlier iconic 1968 Astral Weeks, and some even believe it’s superior. I had a difficult decision deciding which of two outstanding albums by Morrison to include from 1974. This lesser-known Irish-based collection stands up well over time, but his much brassier live double album overshadows this more reflective introspective collection. A strong argument can made that both belong in the top -20.

…….It was tough leaving off Let’s Put It All Together by the Stylistics. More of that classic Philadelphia soul sound belongs on these yearly lists, and this particular album is one of the better collections from the period.

…….Get Your Wings, Aerosmith’s second album, is certainly in the conversation of “must listen” albums, though they were still a year away from their major breakthrough release, Toys in the Attic. After the crushing commercial disappointment of their debut album, the band hit a reset and toured like crazy, then returned to the studio even more determined. This became the foundation as the band’s instantly-recognizable sound which crystalized during these sessions. Had this second album not have enjoyed modest success (it peaked at #74 on Billboard) Aerosmith may have discontinued beyond this point. Perfect title, by the way — given the band’s backstory.

…….Phoebe Snow’s first album was released that year, which contained the classic “Poetry Man.” Snow was one of those rare fiercely independent artists impossible to pigeonhole (which would end up hurting her commercially), encompassing a unique blend of multiple influences, sounds, deeply introspective lyrics, and a soothing vocal presence that further knocked down barriers. Was her music — art, poetry, mysticism, or inspiration? It could be all things to all people, and so much more.

……..Some readers will get mad that I didn’t include New York Dolls’ Too Much Too Soon, as they paved a dirt road later traveled by the Ramones, the Clash, Sex Pistols, and others who bucked the establishment. Maybe for me this album was just too much, too soon.

……..Kraftwerk’s Autobahn was released in 1974, introducing many to a new electronic sound out of Germany (not exactly known for pop music hit-making). This new sound was met with both indifference and mixed reviews. Over time, Kraftwerk’s releases became more appreciated. I find much of it repetitive, but its influence can’t be denied.

…….Finally, I’m already kicking myself for omitting Journey to the Center of the Earth, by innovative keyboard king Rick Wakeman, later best known for being with the band — Yes. I discovered this “concept album” about ten years after its release, which was a symphonic rock adaptation of Jules Verne’s 1864 science-fiction novel of the same name.

 

MY LINER NOTES:

….Harry Chapin was a master storyteller-songwriter-singer, a kind-hearted philanthropist, and an international human rights activist. His own story is worth knowing, if you don’t know it already. Chapin enjoyed a cult following of fans and admirers, holding the extraordinarily rare distinction of having all 14 of his singles chart. Verities & Balderdash was his best-selling album due in part of “Cat’s in the Cradle” as his first #1 hit. Chapin often wrote and sung autobiographical music. His songs became popular largely from college radio stations. His long-version songs like the iconic “Taxi” shattered the norms associated with hit records and commercial airplay. This album is about as mainstream as he got. One more fun fact: Chapin appeared as a guest on The Tonight Show hosted by Johnny Carson. He is one of the only acts in history to be asked by Carson on the spot to return the next night and do an encore performance of the same song. How cool is that?

…..Folksy Canadian Gordon Lightfoot personified the singer-songwriter era. His album Sundown spawned two big hits. I remember owning this album and recalling it was so good you never had head to the stereo and pick up the needle to skip any songs to get to the best music. The entire album was/is solid.

….By his own admission, Eric Clapton wasted three of the best years of his life as a heroin addict when he mostly disappeared from the music scene 1971-73 after being widely-acknowledged as the rock heir to the Jimi Hendrix guitar throne. He returned revitalized with an album that was just as much a deeply personal recovery as a massive commercial international hit.

….Fire by the Ohio Players was a funk-driven crossover release that topped multiple music charts when released in late 1974. Hard to believe, but the Cleveland-based group also released another album Skin Tight that same year, and then Honey early in the following year. The Ohio Players’ stellar three-album release within just 18 months — all critically acclaimed — included three straight platinum #1s. This is the best collection of the three.

…..Many of us mix up Chicago albums (the covers were nearly identical, except for color schemes and numbers). Their music still endures half a century later and this is one of the group’s very best most diverse releases. By 1974, the band was fracturing following a string of huge commercial successes. But some members of the band wanted to pursue a more serious musical route while others preferred to keep writing and releasing catchy hit sings (penned mostly by Peter Cetera). A compromise reached which was this album, turned into a double-disc. One disc is mostly comprised of jazz horn-heavy instrumentals. The other is a hit parade of radio-friendly songs. The album hit #1 and also produced three hit singles, including “Wishing You Were Here.”

….One of the year’s most underrated albums is Ronnie Wood’s solo debut, backed by an all all-star lineup of UK-based musicians and vocalists. In between his guitar work for the two groups he’s always associated with, The Faces and Rolling Stones, Wood was a highly-regarded taskmaster musician on the English rock scene. When Wood decided to record and then release a 12-track album to be recorded over a couple of days the basement of his Richmond (London) home, everyone wanted to be there — an illustrious list that included Mick Jagger, Keith Richards, George Harrison, Rod Stewart, Mick Taylor, and David Bowie. Little known to this day outside serious rock circles, this is terrific raw high-energy rock mega-sound collaboration. Wood, always seemingly content in the quiet sideman role, was invited to join the Stones following this release, perhaps the best testament to how good this is and how those sessions went.

….It’s Too Late to Stop Now is widely praised as one of the best live albums of the decade–capturing the often prickly and wildly inconsistent Van Morrison as a stage performer in his perfect comfort zone belting out a spontaneous burst of blues, rock, folk, and jazz during his famed 1973 tour backed by the Caledonia Soul Orchestra–the tightest band he ever worked with. His stage show included a full horn section and string quartet, plus the band. Fresh off a phenomenal six-album run of critically-acclaimed and popular ’70-’73 studio sessions from Moondance to Tupelo Honey to Veedon Fleece, the live album’s high point peaks with “St. Dominic’s Preview” and “Listen to the Lion,” where “Van the Man” roars, snarls, stutters, sometimes stops cold in the middle of songs, barks out instructions to the band, and whispers until the thundering orchestra behind him fades one by one instrument by instrument, into collective awe and transformative stillness.

….Although they were an English band, Bad Company enjoyed far greater success inside the US than the UK. Their debut was only the second album released on Led Zeppelin’s new Swan Song Records label. It was a massive hit, outselling even many Zep albums. Fronted by vocalist Paul Rodgers, this album produced three singles that have since become staples of classic ’70’s rock. This was one of the first albums I ever bought.

….If 1974 had a narrating voice, it would be the deep baritone of R&B legend Barry White. Think of James Earl Jones as the pipes of romance and seduction. Shag carpet. Lava lamps. Bleached white suit. But there’s nothing schlocky about the music. This is a great album, spawning two #1 hits, “Can’t Get Enough of Your Love Babe” and “You’re the First, the Last, My Everything.” This album has grown in stature over time, ranked #283 all time by Rolling Stone in their latest listings.

….Rock n Roll Animal was Lou Reed’s live album recorded at NYC’s famed Palladium that became a surprise hit. It includes a mix of older Velvet Underground material along with Reed’s solo work, opening up with an 8-minute version of “Sweet Jane.” The best description of this album is that is should be played loud and that by doing so you are certain to make an equal number of friends and enemies.

….Nightbirds by the all-female group Labelle (fronted by Patti LaBelle) contains the cosmic-shift classic “Lady Marmalade,” a song still remembered a half century later that became a cross-pop breakthrough and foreshadowed of the popularity of disco soon to come. Song of the year, by a mile — “kitchy kitch ya, ya, ya. ya ya….Voulez-Vous Coucher Avec Moi Ce Soir.” LaBelle started out as one of the backing vocalist-rooted “girl groups” of the late 1960s who never received their proper due, but by 1974 one of the best to evolve was Labelle, which became musical, cultural, and even fashion icons for their space-suit costumes and angelic gospel voices often belting out racy lyrics and new funky sounds with unprecedented instrumentation. Patti LaBelle would go on to superstardom, largely due to the confidence and success this album produced.

….Grievous Angel by Gram Parsons must be on this list for it to have any credibility, though it’s not in my wheelhouse of favorites. He died just as the album was released (drug overdose). After his work with the Byrds and Flying Burrito Brothers, Parsons’ solo sound was rooted in country; but his influence transcended compartmentalization. Parsons called his work “Cosmic American Music,” a hybrid of country, rhythm and blues, soul, folk, and rock.

….Dolly Parton’s solo breakthrough album was released just as she was breaking away from the often degrading typecasting (acting as the dumb well-endowed blonde) on Porter Wagoner’s weekly television series and tour show. This album was a spectacularly courageous thing to do for any unproven solo female singer at the time, especially in country music. However, Parton was clearly a songwriting force and popular performer on her own, far surpassing the yokel aw’ shucks roots that had been so career confining. Parton wrote the title track, and included penned another of the album’s songs, “I Will Always Love You” which became a monster hit a decade later for Whitney Houston. Critics pointed out at last six songs from this album could have been hits, though “Jolene” was chosen as the album title. This is a landmark album.

….Genesis released its final album with original frontman Peter Gabriel, an ambitious (perhaps too ambitious) double-disc that was only a modest commercial success initially but has since risen in stature. Conceived as a rock opera, the album divided critics and disappointed loyal fans given there were no familiar hits. However, Gabriel’s vision of a concept album now stands as one of progressive rock’s best efforts, with much to enjoy amidst the band’s internal fracturing and subsequent split.

….Pretzel Logic is Steely Dan’s first critical and commercial near-unanimous success. I consider it “the Steely Dan album” for non-Steely Dan fans (since I include myself in that mix). A better description is this: “Pretzel Logic walked so Aja could run.”

….David Bowie’s final album performed in the “glam” persona is yet another reach to new heights, sometimes successful, other times missing his mark completely. “Rebel Rebel” was the fitting hit track, though this is frequently cited as Bowie’s attempt to re-create a Spector “Wall of Sound” vibe — where the studio and everything in it become not merely a place but conduits of energy. Critics were divided both then and now — some insisting Diamond Dogs is brilliant, and others dismissing it as the worst song of the era by Bowie. As a Bowie loyalist, I’ll just say that his mediocre stuff is often still an album that must be heard, just from the often unorthodox inclusions which were cutting edge, especially back then for a mainstream commercially-successful artist.

….Linda Ronstadt’s breakthrough album Heart Like a Wheel rocketed to #1 on multiple charts and spawned four hits. Her broad collection of covers is most memorable for an expansive repertoire of styles and sounds, showcasing Ronstadt’s extraordinary flexibility as an artist and her ability to master multiple genres.

….Court and Spark was Joni Mitchell’s most successful album, and was even chosen as the album of year by multiple critics in 1974. It ranks at number 110 in Rolling Stone’s 500 Greatest Albums of All Time. This isn’t anywhere near my favorite Mitchell collection, but the consensus opinion is too powerful to ignore so it must be included among the best releases of the year.

….Marvin Gaye performed live at the London Palladium which resulted in an epic 1977 album release by that name. By then, Gaye was the consummate R&B concert stage performer. But this release three years prior is far more interesting, and even edgy in moments. Gaye had just come off the mass success of Let’s Get It On, which enticed him to begin touring again, including playing at large sports arenas. Gaye had pretty much stopped performing around 1970, though he made occasional appearances at charity fundraisers. He was booked into the Oakland Coliseum Arena in ’74, but then Gaye began developing performance anxiety. In an effort to overcome fears, Gaye (and his band) experimented with some of his best-known songs, slowing them down, adding instruments, and creating a performance that wasn’t rehearsed, nor predictable. The focus on craft and musicianship enabled Gaye to get past his anxieties and the rest is history (recall his national anthem rendition at the 1983 NBA All-Star game, which remains the gold standard). This album hit #1 and reveals Gaye at his soulful best.

….Fulfillingness’ First Finale is the fourth of five albums from what is considered Wonder’s “classic period.” It won three Grammys in 1974 — including Album of the Year (Wonder’s second consecutive win in this category), Best Male Pop Vocal, and Best Male Rhythm and Blues Vocal Performance. Yet, this album is sometimes overlooked in retrospect because it’s sandwiched in between the stellar Innovations (1973) and Songs in the Key of Life (1976). This album did not showcase Wonder in his usual upbeat empowering persona. It’s far more reflective and understated. Perhaps that departure is what makes it so memorable, and a creative standout. Interesting Fact: During the recording sessions, Stevie Wonder popped into the studio where Chaka Khan and Rufus were booked. He finished a song he’d written on the spot, and gave it to Rufus for their sessions. That song became the monster #1 crossover hit, “Tell Me Something Good.” So, Wonder’s outstanding album doesn’t even contain the single he wrote for someone else that even eventually outsold his own release. AllMusic described the song as “a rare instance of an artist like Stevie Wonder giving away a tune that he could have had a big hit with himself.” That seems like a fitting finality on a year dominated by soul, led by Stevie Wonder.

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