Traveling Mood - Dr. John

Traveling Mood - Dr. John

2:52

In the Right Place, 1973

Written by James Waynes, 1961

This song was written by James Waynes, who recorded under a few variations of his name.  He succumbed to alcoholism and mental issues, and died at 58.  Dr. John makes it a funky, laid-back number with whistling and lots of boogie-woogie piano fills.  It's a typical blues plaint, about how his baby gone done and left him, and he's looking all over the world to find her, but Waynes' playful lyrics make it stand out: "Said that she'd never leave me / Now she's gone away to grieve me / I was fast asleep / When she begun her midnight creep."

Hallo Bimmelbahn - Nighttrain

Hallo Bimmelbahn - Nighttrain

3:22

single, 1973

Written by Jürgen Huth, Heinz Huth, Michael Holm

Nighttrain is a German rock duo.  This song, listed on the original single as simply "Bimmelbahn," is about a man who watches his lady get on a tram and leave him.  Translated from the German: "The tourist train, it hissed, my sweetheart wanted to ride along / And I called after her, don’t leave me all alone."  The narrator bemoans the loss of the tram as well as his love, adding a plaintive "bye bye bye" in English.  The song was covered and transformed by Boney M. in 1979; they left in the catchy "oooh oooh hoo" chorus, but changed the setting to the Caribbean.

Grape Fruit - Juicy Fruit - Jimmy Buffett

Grape Fruit - Juicy Fruit - Jimmy Buffett

2:58

A White Sport Coat and a Pink Crustacean, 1973

Written by Jimmy Buffett

This is a gentle, low-tempo number buoyed along by pedal steel, harmonica, and Key West vibes.  It describes a laid-back musician coming on to, presumably, a groupie, and then needing, as musicians do, to move on.  After washing away his hangover with the titular juice and gum, he gets down to the romance: "Drive-in / guzzle gin / Commit a little mortal sin / It's good for the soul."  Buffett later wrote that the song is based on a specific drive-in in Florida, and the movie was Payday, starring Rip Torn.

Fundamental Reggay - Jimmy Cliff

Fundamental Reggay - Jimmy Cliff

3:01

Unlimited, 1973

Written by Jimmy Cliff

"This is the music / For all who love beat."  Jimmy Cliff died two days ago.  He was one of the great architects of reggae, maybe not as mythic as Marley, but in some ways more formative.  Cliff's sound always kept one foot outside the genre. What he brought to the world was a version of Jamaican music that was lighter on mysticism and political dread and heavier on warmth, melody, and emotional directness. His voice was bright, flexible, and optimistic, and he used it in a rocksteady sound that embraced genre crossovers into pop, soul, and funk.  Indeed, I picked this song for its archetypical reggae beat and just such a genre-transcendent theme.  "It′s got some calypso / Just like in rock afro / Classical notion / To still your emotion." 

Does This Bus Stop at 82nd Street? - Bruce Springsteen

Does This Bus Stop at 82nd Street? - Bruce Springsteen
2:04
Greetings From Asbury Park, N.J., 1973
Written by Bruce Springsteen

I've never been fully aboard the Springsteen train.  I admire the catalog, I respect the work ethic, and he has some undeniably brilliant songs on each of a long spate of consistently good albums, but... but that salt-of-the-earth gravitas doesn't always light me up.   Here, though, on his first album, he comes out swinging, young and brash and voluble, sounding like Lou Reed and Bob Dylan had a baby who was raised by steelworkers in a small town he couldn't wait to get out of, just as soon as he memorized this rhyming dictionary.  It barrels forward in a breathless tumble of street scenes, stray characters, and neon-soaked Americana.  I mean, come on.  "Where dock wokers' dreams mix with panthers' schemes to someday own the rodeo / Tainted women in VistaVision perform for out-of-state kids at the late show."  It's the sound of a young artist announcing himself: not just talented, but overflowing.  

Jack Rabbit - Elton John

Jack Rabbit - Elton John

1:53

single, 1973

Written by Elton John and Bernie Taupin

This song, a brisk country rocker, was released as the B-side to "Saturday Night's Alright For Fighting."  The song apostrophizes the titular rabbit, who is racing around enjoying himself, while danger looms at every corner.  "Go jack-rabbit running through the woods / You had a good night and you feel real loose / Gunfire breaking up the peaceful night / Jack-rabbit lying in the cold daylight."  The tone is deceptively light, but carpe diem and memento mori, everybody; Taupin’s rustic imagery and Elton’s galloping piano make it feel like a fable in which carefree sport turns to tragedy.  Et in Arcadio ego and all that. 

I Ain't Got Nothin' But the Blues - Duke Ellington & Teresa Brewer

I Ain't Got Nothin' But the Blues - Duke Ellington & Teresa Brewer

3:19

It Don't Mean a Thing If It Ain't Got That Swing, 1973

Written by Duke Ellington and Don George, 1937

This is a smooth, swinging mix of sass and sophistication. Brewer brings a playful, almost flirty vocal — light but expressive, with a bright clarity that never overpowers the groove. Ellington’s band, as ever, is a model of polished looseness: sassy, burlesque horn punches, walking bass, and velvet-slick piano comping.  Rather than wallowing in melancholy, their version lounges in it with a sly grin: "When trumpets flare up / I keep my hair up / I just can't make it come down." It’s blues filtered through champagne — elegant, urbane, and slyly tongue-in-cheek. A meeting of jazz royalty and pop charm that goes down easy but leaves a lasting impression of the talent behind the magic.

When You Smile - Roberta Flack

When You Smile - Roberta Flack

3:44

Killing Me Softly, 1973

Written by Ralph MacDonald and William Salter

Roberta Flack died yesterday.  I really only know the one song everyone knows — which has its own interesting history as being written about Don MacLean and having the originator, Lori Lieberman denied credit — but never mind all that.  Unlike most of Flack's slow-burning material, this song has a show-hall, New Orleans rag, almost burlesque vibe to it.  It's a jazzy, brisk, brassy love song that makes big claims.  "When you smile I can see you were born, born for me / And for me you will be do or die."  I love this energetic side of Flack and wish she had more songs like this.

One Less Set Of Footsteps - Jim Croce

One Less Set Of Footsteps - Jim Croce

2:47

Life And Times, 1973

Written by Jim Croce

This breezy folk-rock song describes a failing relationship, and the narrator's realization that it's time to leave: "And we've been hidin' from somethin' that should have never gone this far / But after all it's what we've done that makes us what we are / And you've been talkin' in silence, well, if it's silence you adore / Oh, there'll be one less set of footprints on your floor in the morning." The "one less" phrasing implies that the lover may have had a series of footsteps on the floor, jeans on the door, "one less man to walk in."  The arrangement, leaning on piano and guitar, features terrific harmonies emphasizing the ends of the lines.  It makes an interesting juxtaposition, the brightness of the delivery contrasting with the sad situation; perhaps the narrator has been looking forward to leaving for a while.

Armed And Extremely Dangerous - First Choice

Armed and Extremely Dangerous – First Choice
2:47
Armed and Extremely Dangerous, 1973

Written by Allan Felder and Norman Harris

This is a punchy slice of Philly soul, with funky disco beats and strings supporting soaring girl-group vocals.  After beginning with a "calling all cars" clip straight from cheesy cop shows, the singers launch into a description of a slick lothario who breaks hearts, loving and leaving the ladies, often with serious consequences: "The day I gave into his charms, who would think that he would succeed? / Then go on his way, leaving me here with another mouth to feed."  The warning to other potential victims comes wrapped in a lush soul sheen, all polish and funky rhythm.  I love the line "He might look like the average guy / But he's wanted by the F.B.I."

Made in Japan - Buck Owens

Made in Japan - Buck Owens

2:44

In the Palm of Your Hand, 1973

Written by Bob Morris and Faye Morris

The narrator of this song meets a girl in Japan who captivates him ("The beauty of her face was beyond my wildest dreams / Like cherry blossoms blooming in the mountain in the early spring"), but this intercontinental romance is not to be, and he must leave her: "That's when I left my heart with the girl made in Japan."  It's a short but sweet story-song, tastefully done (flipping the expected script about a one night stand by a touring musician), with the guitar lines bending to mimic the sounds of traditional Japanese music.

I Got a Name - Jim Croce

I Got a Name - Jim Croce

3:14

I Got a Name, 1973

Written by Charles Fox and Norman Gimbel

A slightly funky folk melody, that burst out into a little folk-rock at the very end of the song.  The cheeriness of the music belies the lyrics, which are fairly poignant.  In the song, the narrator declares he has a name like all the plants and animals, but that he also has a dream.  "And I carry it with me like my daddy did / But I'm living the dream that he kept hid."  He's going to go and follow his dreams, and if he fails, he'll be proud he tried.  Unlike his father.

Smokin' In the Boy's Room - Brownsville Station

Smokin' In the Boy's Room - Brownsville Station

2:56

Yeah!, 1973

Written by Cub Koda and Michael Lutz

I only know this song from the Mötley Crüe version, which I don't know very well since I've never been a fan of that type of over the top metal.  This is done in a country-glam-rock style with a harder edge.  It's an example of the rebellious school kid song that was more popular in the 1950s.  It doesn't really move me one way or the other.  I find it silly, but inoffensive.  And yes, the errant apostrophe is in the original. I guess the titular room belongs to one boy.

Una Festa Sui Prati - Adriano Celentano

Una Festa Sui Prati - Adriano Celentano

3:22

single, 1973

Written by Adriano Celentano, Luciano Beretta, Michele Del Prete, and Mogol

Celantano sings this one with a somewhat deep, raspy growl, very little like the Dylanesque nasal voice he uses on "Prisencolinensinainciusol."  This song is an ode to good friends, good food, a beautiful day, and a warning to carpe diem, my boys.  "Domani questo può finire, vorrei sapere / Perché domani ci dobbiamo odiare."  ("Tomorrow this can end, I would like to know / Why tomorrow we have to hate each other.")  With an uptempo beat and some throaty "ba bum bum bums," this is a rouser.

Can the Can - Suzi Quatro

Can the Can - Suzi Quatro

3:34

Suzi Quatro, 1973

Written by Mike Chapman and Nicky Chinn

Once you get past the nonsensical title, this song features extended and wire-thin imagery in which your boyfriend is an eagle and some woman ("mama"?) is the tiger, and they fight?  Apparently the title phrase is meant to convey something impossible — you can't put a can inside a can, the same way you can't contain your man if he's out there prowling for other, uh, wild cats, I guess.  I remain dubious.  Lyrics aside, it's a decent by-the-numbers rocker, and Quatro has enough attitude to sell it.

Pool Hall Richard - Faces

Pool Hall Richard - Faces

4:26

single, 1973

Written by Rod Stewart and Ronnie Wood

The title kid is a pool wizard who comes in like a rock star, winning all the games and getting all the attention.  The song's narrator half admires and half resents him: "All the women crawl around him like he's Getty's son / Makes you kind of jealous but it sure is fun / I don't mind, but he wants my lady too."  He vows to beat Richard one day.  But that day is not today.  It's a great rocker, with Stewart belting it out like he means it.

Omaha - Waylon Jennings

Omaha - Waylon Jennings

2:38

Honky Tonk Heroes, 1973

Written by Billy Joe Shaver & Hillman Hall

O listen!

A sister song to Bobby Bare's "Detroit City," ten years on.  Guy thought he outgrew his little town, so moves to California.  Gonna be big!  Gonna be a star!  Or maybe not.  Maybe in trouble with the law.  No easy road to riches.  He misses Omaha.  "I'm leaving even if I have to crawl."  The song goes down easy, that polished '70s country sound and a universal feeling.

Road Away - John Stewart

Road Away - John Stewart

3:36

Cannons In the Rain, 1973

Written by John Stewart

There is always something new to you.  Despite my long interest in music, especially the singer-songwriters from the 1970s, I've never heard of Stewart.  He was in the second incarnation of the Kingston Trio, and wrote "Daydream Believer" and "Never Goin' Back," which I know from the Lovin' Spoonful version.  He then went on to release nearly 50 albums.  Yet he's never made his way into my consciousness.  Which is too bad; he's clearly a talented guy and has a nice voice.  This song is somewhat abstruse, but seems to be about the need to make your own way in the world, whether by choice or perforce.  It's a toe-tapping number, but I'm dinging it a point for repeating the chorus three times to fadeout.

Elderberry Wine - Elton John

Elderberry Wine - Elton John

3:34

Don't Shoot Me I'm Only the Piano Player, 1973

Written by Elton John and Bernie Taupin

A heavy, funky piano rocker with a horn section from Sir Elton.  In this song, a man regrets his wife, who left him a year ago.  The music is rollicking, but the lyrics aren't Taupin's best (and he was always much more of a painter of images than a wordsmith): I mean, "You aimed to please me / Cooked black-eyed peas me."  No, that won't do.  That's not mention the women being passed around hand to hand.  And this guy whines he can't get by in life without a wife to pick his crops and get him drunk?  No wonder she left.

Devil in a Sleepin' Bag - Willie Nelson

Devil in a Sleepin' Bag - Willie Nelson

2:38

Shotgun Willie, 1973

Written by Willie Nelson

There are many songs about a musician's life on the road, and this funky, slinky number is among the best.  It tells of a tour that wasn't the greatest — the bus breaks down and someone, the devil of the title, catches pneumonia.  The devil is Nelson's drummer Paul English.  But the tour isn't all bad; Willie is sent into raptures by Kris Kristofferson and his wife Rita Cooolidge's performance ("raw perfection there for all the world to see").  As he does with every damn things he ever touches, Willie tackles this subject with humor ("if you want to buy a bus I'm taking bids") and grace.  Perfection!