The 100 Greatest Songs of 1974 #2. Nothing From Nothing (1 Viewer)

[Uruk-Hai]

4. Rufus “Tell Me Something Good” (from Rags to Rufus)

Chaka Khan and Rufus - Tell me something Good (RE-MASTERED) Official Video HD

A Classic. Had to be Repaired.

youtu.be

Written by Stevie Wonder, sung by Chaka Khan. Funk music doesn’t get much better than this legendary tune. A bass line for the ages.

Wonder was on one of music's all-time runs at this point. He was producing so much music he couldn't record it all. To the point where he was throwing A-List material to artists no one had ever heard of, like Rufus. He also produced some really good albums for his wife Syreeta at the same time - they are basically Stevie albums with a female singer.

 

[Pip's Invitation]

Now, Stevie did have two guitarists in his '70s touring bands, one of whom was Michael Sembello, who later had a hit with "Maniac" from the Flashdance soundtrack.

Your post prompted me to read up on Stevie's early-70s period and the musicians who worked on those albums. In a 2021 interview, Sembello shares a story about when Wonder first hired him on. Keep in mind that Sembello was still in high school at the time:

I just happened to be in the right place at the time thanks to a friend of mine. He woke me up one Sunday morning and told me that this guy named Stevie Wonder was looking for a musician. Back in the late 1960s and early 1970s, I really didn’t know who he was, but I heard about him. I was into John Coltrane and a bunch of jazz stuff back then. I asked my friend, “Is it that blind guy?” He replied, “Yes, that is him.” My friend told me to come with him because he really wanted the gig. So, I went there with no knowledge of who Stevie Wonder was or his music. Fortunately, for me, this was when Stevie started to move into his jazz phase. When I showed up to the tryouts, there were a couple of hundred different musicians waiting in line. They all had Stevie Wonder’s music and his books with them while they were sitting down. It was kind of like a game show. ​

​

I remember one of the guys saying, “What song are we going to play Steve?” Everyone started flipping through their Stevie Wonder song books. Stevie replied, “Man, just follow me.” And that was the beginning of him playing Coltrane stuff. I started to play and by the end of the audition, I was in pretty strong standing and quite perplexed because I really didn’t know what I was getting myself into. At the end of the 1960s, there was still this whole segregation thing between the whites and Blacks. Most Motown bands didn’t have more than one white player in their band. [Stevie] already had a white trumpet player and there was an argument going on in the corner of the studio. Ira Tucker, who was the publicist, told Stevie, “Look, you don’t realize you hired a White guy.” So, Stevie motioned me to come over to him, and he said, “Hey, man. What’s your sign?” I didn’t know what he meant, so I thought he was asking me what my nationality was so I answered him, “I’m Italian.” Stevie turned around and said, “Guys, he’s Italian. He’s not white. He’s in the band.” [laughs]​

I can’t read this text in dark mode, and I’m not taking my skin off dark mode.

 

[Uruk-Hai]

Now, Stevie did have two guitarists in his '70s touring bands, one of whom was Michael Sembello, who later had a hit with "Maniac" from the Flashdance soundtrack.

Your post prompted me to read up on Stevie's early-70s period and the musicians who worked on those albums. In a 2021 interview, Sembello shares a story about when Wonder first hired him on. Keep in mind that Sembello was still in high school at the time:

I just happened to be in the right place at the time thanks to a friend of mine. He woke me up one Sunday morning and told me that this guy named Stevie Wonder was looking for a musician. Back in the late 1960s and early 1970s, I really didn’t know who he was, but I heard about him. I was into John Coltrane and a bunch of jazz stuff back then. I asked my friend, “Is it that blind guy?” He replied, “Yes, that is him.” My friend told me to come with him because he really wanted the gig. So, I went there with no knowledge of who Stevie Wonder was or his music. Fortunately, for me, this was when Stevie started to move into his jazz phase. When I showed up to the tryouts, there were a couple of hundred different musicians waiting in line. They all had Stevie Wonder’s music and his books with them while they were sitting down. It was kind of like a game show. ​

​

I remember one of the guys saying, “What song are we going to play Steve?” Everyone started flipping through their Stevie Wonder song books. Stevie replied, “Man, just follow me.” And that was the beginning of him playing Coltrane stuff. I started to play and by the end of the audition, I was in pretty strong standing and quite perplexed because I really didn’t know what I was getting myself into. At the end of the 1960s, there was still this whole segregation thing between the whites and Blacks. Most Motown bands didn’t have more than one white player in their band. [Stevie] already had a white trumpet player and there was an argument going on in the corner of the studio. Ira Tucker, who was the publicist, told Stevie, “Look, you don’t realize you hired a White guy.” So, Stevie motioned me to come over to him, and he said, “Hey, man. What’s your sign?” I didn’t know what he meant, so I thought he was asking me what my nationality was so I answered him, “I’m Italian.” Stevie turned around and said, “Guys, he’s Italian. He’s not white. He’s in the band.” [laughs]​

I can’t read this text in dark mode, and I’m not taking my skin off dark mode.

Sembello apparently didn't know who Stevie Wonder was when he tried out for his band (yeah, ok....). Also, according to Stevie, Sembello is Italian and not white (I kind of believe this - Wonder is a little.....um..... different).

 

[Pip's Invitation]

Now, Stevie did have two guitarists in his '70s touring bands, one of whom was Michael Sembello, who later had a hit with "Maniac" from the Flashdance soundtrack.

Your post prompted me to read up on Stevie's early-70s period and the musicians who worked on those albums. In a 2021 interview, Sembello shares a story about when Wonder first hired him on. Keep in mind that Sembello was still in high school at the time:

I just happened to be in the right place at the time thanks to a friend of mine. He woke me up one Sunday morning and told me that this guy named Stevie Wonder was looking for a musician. Back in the late 1960s and early 1970s, I really didn’t know who he was, but I heard about him. I was into John Coltrane and a bunch of jazz stuff back then. I asked my friend, “Is it that blind guy?” He replied, “Yes, that is him.” My friend told me to come with him because he really wanted the gig. So, I went there with no knowledge of who Stevie Wonder was or his music. Fortunately, for me, this was when Stevie started to move into his jazz phase. When I showed up to the tryouts, there were a couple of hundred different musicians waiting in line. They all had Stevie Wonder’s music and his books with them while they were sitting down. It was kind of like a game show. ​

​

I remember one of the guys saying, “What song are we going to play Steve?” Everyone started flipping through their Stevie Wonder song books. Stevie replied, “Man, just follow me.” And that was the beginning of him playing Coltrane stuff. I started to play and by the end of the audition, I was in pretty strong standing and quite perplexed because I really didn’t know what I was getting myself into. At the end of the 1960s, there was still this whole segregation thing between the whites and Blacks. Most Motown bands didn’t have more than one white player in their band. [Stevie] already had a white trumpet player and there was an argument going on in the corner of the studio. Ira Tucker, who was the publicist, told Stevie, “Look, you don’t realize you hired a White guy.” So, Stevie motioned me to come over to him, and he said, “Hey, man. What’s your sign?” I didn’t know what he meant, so I thought he was asking me what my nationality was so I answered him, “I’m Italian.” Stevie turned around and said, “Guys, he’s Italian. He’s not white. He’s in the band.” [laughs]​

I can’t read this text in dark mode, and I’m not taking my skin off dark mode.

Sembello apparently didn't know who Stevie Wonder was when he tried out for his band (yeah, ok....). Also, according to Stevie, Sembello is Italian and not white (I kind of believe this - Wonder is a little.....um..... different).

When you can’t actually see someone’s skin color, you’re not bound by society’s definitions.

 

[timschochet]

3. Lynyrd Skynyrd “Sweet Home Alabama” (from Second Helping)

Lynyrd Skynyrd - Sweet Home Alabama (Audio)

Official Audio for Sweet Home Alabama performed by Lynyrd SkynyrdFollow Lynyrd Skynyrd:Facebook:https://facebook.com/LynyrdSkynyrdInstagram:https://instagram...

youtu.be

If I were asked to choose between the two giants of southern rock, the Allman Brothers Band and Lynyrd Skynyrd, as to which one I prefer over all, I would have to go with the Allmans. I just think they were a better band with more talented musicians and songwriting.

But on the other hand if you asked me to choose one song that was the absolute best Southern rock tune of all time, it would be a song by Skynyrd. The only question is: would it be this one, or “Freebird”? That’s a tough choice. But I would go with “Sweet Home Alabama”.

 

[AAABatteries]

Now, Stevie did have two guitarists in his '70s touring bands, one of whom was Michael Sembello, who later had a hit with "Maniac" from the Flashdance soundtrack.

Your post prompted me to read up on Stevie's early-70s period and the musicians who worked on those albums. In a 2021 interview, Sembello shares a story about when Wonder first hired him on. Keep in mind that Sembello was still in high school at the time:

I just happened to be in the right place at the time thanks to a friend of mine. He woke me up one Sunday morning and told me that this guy named Stevie Wonder was looking for a musician. Back in the late 1960s and early 1970s, I really didn’t know who he was, but I heard about him. I was into John Coltrane and a bunch of jazz stuff back then. I asked my friend, “Is it that blind guy?” He replied, “Yes, that is him.” My friend told me to come with him because he really wanted the gig. So, I went there with no knowledge of who Stevie Wonder was or his music. Fortunately, for me, this was when Stevie started to move into his jazz phase. When I showed up to the tryouts, there were a couple of hundred different musicians waiting in line. They all had Stevie Wonder’s music and his books with them while they were sitting down. It was kind of like a game show. ​

​

I remember one of the guys saying, “What song are we going to play Steve?” Everyone started flipping through their Stevie Wonder song books. Stevie replied, “Man, just follow me.” And that was the beginning of him playing Coltrane stuff. I started to play and by the end of the audition, I was in pretty strong standing and quite perplexed because I really didn’t know what I was getting myself into. At the end of the 1960s, there was still this whole segregation thing between the whites and Blacks. Most Motown bands didn’t have more than one white player in their band. [Stevie] already had a white trumpet player and there was an argument going on in the corner of the studio. Ira Tucker, who was the publicist, told Stevie, “Look, you don’t realize you hired a White guy.” So, Stevie motioned me to come over to him, and he said, “Hey, man. What’s your sign?” I didn’t know what he meant, so I thought he was asking me what my nationality was so I answered him, “I’m Italian.” Stevie turned around and said, “Guys, he’s Italian. He’s not white. He’s in the band.” [laughs]​

I can’t read this text in dark mode, and I’m not taking my skin off dark mode.

What is odd is that on desktop if I highlight it I can read it - shows up white with black text. On mobile, no luck.

 

[AAABatteries]

3. Lynyrd Skynyrd “Sweet Home Alabama” (from Second Helping)

Lynyrd Skynyrd - Sweet Home Alabama (Audio)

Official Audio for Sweet Home Alabama performed by Lynyrd SkynyrdFollow Lynyrd Skynyrd:Facebook:https://facebook.com/LynyrdSkynyrdInstagram:https://instagram...

youtu.be

If I were asked to choose between the two giants of southern rock, the Allman Brothers Band and Lynyrd Skynyrd, as to which one I prefer over all, I would have to go with the Allmans. I just think they were a better band with more talented musicians and songwriting.

But on the other hand if you asked me to choose one song that was the absolute best Southern rock tune of all time, it would be a song by Skynyrd. The only question is: would it be this one, or “Freebird”? That’s a tough choice. But I would go with “Sweet Home Alabama”.

I'd go Lynyrd > Allman and Free Bird > Sweet Home Alabama but all 4 are great.

 

[BassNBrew]

3. Lynyrd Skynyrd “Sweet Home Alabama” (from Second Helping)

Lynyrd Skynyrd - Sweet Home Alabama (Audio)

Official Audio for Sweet Home Alabama performed by Lynyrd SkynyrdFollow Lynyrd Skynyrd:Facebook:https://facebook.com/LynyrdSkynyrdInstagram:https://instagram...

youtu.be

If I were asked to choose between the two giants of southern rock, the Allman Brothers Band and Lynyrd Skynyrd, as to which one I prefer over all, I would have to go with the Allmans. I just think they were a better band with more talented musicians and songwriting.

But on the other hand if you asked me to choose one song that was the absolute best Southern rock tune of all time, it would be a song by Skynyrd. The only question is: would it be this one, or “Freebird”? That’s a tough choice. But I would go with “Sweet Home Alabama”.

I'd go Lynyrd > Allman and Free Bird > Sweet Home Alabama but all 4 are great.

That's because you have good taste.

 

[Doug B]

I can’t read this text in dark mode, and I’m not taking my skin off dark mode.

I went and put the text in black. Should show as white in Dark mode.

 

[timschochet]

2. Billy Preston “Nothing From Nothing” (from The Kids & Me)

Billy Preston - Nothing From Nothing (1974) ⢠TopPop

Watch our great music videos ⯠https://goo.gl/feVLNNMore TopPop? Subscribe here ⯠https://goo.gl/aICMxiMore info on Wikipedia ⯠https://en.wikipedia.org/wiki...

youtu.be

Greatest Afro ever? Yes. Greatest number of keyboards in a hit single? Probably so. Most uplifting, joyous song of the era? Very well could be.
This is one of those tunes that everybody loves.

 

[Pip's Invitation]

Now, Stevie did have two guitarists in his '70s touring bands, one of whom was Michael Sembello, who later had a hit with "Maniac" from the Flashdance soundtrack.

Your post prompted me to read up on Stevie's early-70s period and the musicians who worked on those albums. In a 2021 interview, Sembello shares a story about when Wonder first hired him on. Keep in mind that Sembello was still in high school at the time:

I just happened to be in the right place at the time thanks to a friend of mine. He woke me up one Sunday morning and told me that this guy named Stevie Wonder was looking for a musician. Back in the late 1960s and early 1970s, I really didn’t know who he was, but I heard about him. I was into John Coltrane and a bunch of jazz stuff back then. I asked my friend, “Is it that blind guy?” He replied, “Yes, that is him.” My friend told me to come with him because he really wanted the gig. So, I went there with no knowledge of who Stevie Wonder was or his music. Fortunately, for me, this was when Stevie started to move into his jazz phase. When I showed up to the tryouts, there were a couple of hundred different musicians waiting in line. They all had Stevie Wonder’s music and his books with them while they were sitting down. It was kind of like a game show. ​

​

I remember one of the guys saying, “What song are we going to play Steve?” Everyone started flipping through their Stevie Wonder song books. Stevie replied, “Man, just follow me.” And that was the beginning of him playing Coltrane stuff. I started to play and by the end of the audition, I was in pretty strong standing and quite perplexed because I really didn’t know what I was getting myself into. At the end of the 1960s, there was still this whole segregation thing between the whites and Blacks. Most Motown bands didn’t have more than one white player in their band. [Stevie] already had a white trumpet player and there was an argument going on in the corner of the studio. Ira Tucker, who was the publicist, told Stevie, “Look, you don’t realize you hired a White guy.” So, Stevie motioned me to come over to him, and he said, “Hey, man. What’s your sign?” I didn’t know what he meant, so I thought he was asking me what my nationality was so I answered him, “I’m Italian.” Stevie turned around and said, “Guys, he’s Italian. He’s not white. He’s in the band.” [laughs]​

I can’t read this text in dark mode, and I’m not taking my skin off dark mode.

What is odd is that on desktop if I highlight it I can read it - shows up white with black text. On mobile, no luck.

Yeah, I’ve been on mobile all day. Next time I’m reading the forum on desktop, I’ll highlight it.

 

[Pip's Invitation]

2. Billy Preston “Nothing From Nothing” (from The Kids & Me)

Billy Preston - Nothing From Nothing (1974) ⢠TopPop

Watch our great music videos ⯠https://goo.gl/feVLNNMore TopPop? Subscribe here ⯠https://goo.gl/aICMxiMore info on Wikipedia ⯠https://en.wikipedia.org/wiki...

youtu.be

Greatest Afro ever? Yes. Greatest number of keyboards in a hit single? Probably so. Most uplifting, joyous song of the era? Very well could be.
This is one of those tunes that everybody loves.

When he hosted the Midnight Special, his band was three keyboardists (including himself), four horn players and a drummer. No stringed instruments at all.

 

[Pip's Invitation]

I can’t read this text in dark mode, and I’m not taking my skin off dark mode.

I went and put the text in black. Should show as white in Dark mode.

It now shows up as black on black.

 

[Doug B]

[obligatory]

“Who punched you in the lips? For what? “What you mean ‘nothing’? Nobody get punched for nothing. What’d you do? “Don’t tell me ‘nothing’. You had to do something. “What did you do? No, don’t tell me ‘nothing’. “Nobody gets punched for nothing. What…? Eddie… “No, don’t say ‘nothing’. Eddie. Nothing from nothing leaves nothing “Had to do something “[Mofo] punched you in the mouth!”

[/obligatory]

 

[Doug B]

I can’t read this text in dark mode, and I’m not taking my skin off dark mode.

I went and put the text in black. Should show as white in Dark mode.

It now shows up as black on black.

Just for you, my man:

Sembello shares a story about when Wonder first hired him on. Keep in mind that Sembello was still in high school at the time:

Sembello: I just happened to be in the right place at the time thanks to a friend of mine. He woke me up one Sunday morning and told me that this guy named Stevie Wonder was looking for a musician. Back in the late 1960s and early 1970s, I really didn’t know who he was, but I heard about him. I was into John Coltrane and a bunch of jazz stuff back then. I asked my friend, “Is it that blind guy?” He replied, “Yes, that is him.” My friend told me to come with him because he really wanted the gig. So, I went there with no knowledge of who Stevie Wonder was or his music. Fortunately, for me, this was when Stevie started to move into his jazz phase. When I showed up to the tryouts, there were a couple of hundred different musicians waiting in line. They all had Stevie Wonder’s music and his books with them while they were sitting down. It was kind of like a game show.

I remember one of the guys saying, “What song are we going to play Steve?” Everyone started flipping through their Stevie Wonder song books. Stevie replied, “Man, just follow me.” And that was the beginning of him playing Coltrane stuff. I started to play and by the end of the audition, I was in pretty strong standing and quite perplexed because I really didn’t know what I was getting myself into. At the end of the 1960s, there was still this whole segregation thing between the whites and Blacks. Most Motown bands didn’t have more than one white player in their band. [Stevie] already had a white trumpet player and there was an argument going on in the corner of the studio. Ira Tucker, who was the publicist, told Stevie, “Look, you don’t realize you hired a White guy.” So, Stevie motioned me to come over to him, and he said, “Hey, man. What’s your sign?” I didn’t know what he meant, so I thought he was asking me what my nationality was so I answered him, “I’m Italian.” Stevie turned around and said, “Guys, he’s Italian. He’s not white. He’s in the band.” [laughs]

 

[squistion]

Be still my heart, waiting for Tim's #1 Greatest Song Of 1974.

 

[simsarge]

2. Billy Preston “Nothing From Nothing” (from The Kids & Me)

Billy Preston - Nothing From Nothing (1974) ⢠TopPop

Watch our great music videos ⯠https://goo.gl/feVLNNMore TopPop? Subscribe here ⯠https://goo.gl/aICMxiMore info on Wikipedia ⯠https://en.wikipedia.org/wiki...

youtu.be

Greatest Afro ever? Yes. Greatest number of keyboards in a hit single? Probably so. Most uplifting, joyous song of the era? Very well could be.
This is one of those tunes that everybody loves.

Saw AJ Croce Saturday night (great show. Go see him if you get a chance) and he played the hell out of this song.