Track of the Day: "I Thank You," Jigsaw (1975)

Jigsaw were a typical 70s radio-pop band: competent musicians with a firm understanding of classic song craft and a very sweet tooth constantly in search of the sugar rush of a hit. While they didn't actually score very many hits, they did occasionally transcend their commercial inclinations with some off-centre and delectable morsels.

Their biggest hit was "Sky High," a very 70s piece of not-quite-over-the-top pop that would have fit perfectly on Rhino Records' Have a Nice Day: Super Hits of the 70s series or the Guardians of the Galaxy soundtrack (maybe file it somewhere near Gary Wright's "Dream Weaver" or Pilot's "Magic"). However, for my money, it is "I Thank You," conveniently buried as the second-to-last song on Side A, that transcends enjoyable kitsch into something closer to classic.

The opening theme defines smooth groove with it soft funk bass line leading the way, with light funk guitar chords outlining the contours, and pillowy electric piano lending the while thing a warm glow. The vocals come in carrying a pleasant melody that maybe sorta kinda reappeared six years later as the verses in Duran Duran's "Is There Something I Should Know." But then the chorus.

The chorus is where this delightful song becomes truly special. After the verse modulates into a minor key for a one line bridge ("I never say 'I thank you,' but I shou-ould..."), the vocals cut out, the bass keeps grooving, and the piano cascades down, sweeping you into a cotton candy smile of impossible-to-resist finger snapping and inevitable singing along. "'Cause ev'ry time you stop and touch my cheek (pause) I thank you," steps springingly on the bouncing beat as caressing ooh-ahh-ohh's coo and blow around the soaring melody. Pop perfection.

To Jigsaw, I thank you.

 
 

Track of the Day: "The Last Ocean Rider," Keith Cross & Peter Ross (1972)

The Brits really had a way with rural rock. They absorbed bits of Americana and folk rock while retaining strong elements of their classical tradition and lyricism. Heads Hands & Feet were the best band to follow the The Band. Starry Eyed & Laughing did a nice job picking up the Byrds trail. And here's another, the lead track from Keith Cross & Peter Ross' wonderful one-off album, Bored Civilians. It starts off unassumingly but you start to realize there's something a little more special going on when they hit the lilting, sublime harmonies of the first "chorus" at around 0:50. Then drums kick-in as the song elegantly shifts through several parts, culminating in its staggering guitar solo (starting around 4:15) that lifts the song through its climax, coda and conclusion. Here, it's critical to note that Keith Cross was, only two years prior, the dazzling 17 year old guitar prodigy for the Beatles meets Cream proto-prog powerhouse, T2. Here, Cross trades his Hendrix-meets-Fripp pyrotechnics and distortion for something far more restrained and understated. That he is able to retain such emotional intensity with such restraint is testimony to his genius. It's not clear what happened to him after this album...

 
 


Chris Squire (March 4, 1948--June 27, 2015)

Chris Squire (RIP) was one of the greatest, if not THEE greatest, bass player in rock history: forceful yet graceful, unerringly melodic yet wallopingly rhythmic, virtuosic yet frequently funky. Not only that, but he was also a strong vocalist and a charming raconteur. While his work with Yes is clearly immortal, here's my favorite track from his wall-to-wall excellent solo album.