Sylvester Stewart, better known as Sly Stone, passed away this week, sparking an outpouring of tributes from all corners of the music world. His accolades were well-earned, as he stood tall among pop musicians in the late 1960s and early 1970s, a feat achieved by only a select few.
As a game-loving enthusiast, I can’t help but marvel at the colossal effect one man had on music genres that resonate with me – funk, soul, and hip hop. In the latest cinematic portrayal of Sly’s musical journey, Questlove affectionately calls him a genius, a title that rings true for many. It’s hard to find someone who would disagree.
Occasionally, extraordinary musicians unintentionally eclipse numerous talented artists from the same period, who may not have been labeled as “geniuses” but significantly contributed to the musical tapestry of an era. Despite falling just short of being called a genius, these individuals were still prominent figures in their time.
Who was Roger Nichols?
1970 and 1971 saw Sly reaching the top of the charts with one hit song each year. Meanwhile, a burgeoning pop composer named Roger Nichols penned a pair of tunes that peaked at number two during those same years. While he might not have been a musical prodigy, it’s safe to say that if you’re of a certain generation, you can still effortlessly recall the melodies he composed more than half a century after they were first played.
Roger Nichols recently passed away at the age of 84. I had not been aware of his passing until I read an obituary about him in The New York Times last Tuesday, which is why this tribute comes a bit late.
Born and raised in Santa Monica, with UCLA as his alma mater, Roger Nichols seems to be the unique individual who played basketball under the legendary coach John Wooden and also penned a song that R.E.M. later recorded. However, I’ve not yet delved deep into the research on this matter.
Indeed, neither of those accomplishments are what Nichols is famously recognized for. In his short college stint, he managed to score just two points for the Bruins. Meanwhile, R.E.M.’s rendition of “Out in the Country” was initially released as a secondary track and later on a compilation of uncommon tracks.
Still, Nichols had plenty of genuine hits on his resume.
Originally hailing from a musical household, Nichols decided to pursue his passion for music after departing from UCLA. He embarked on a challenging musical journey and assembled a band known as Roger Nichols and a Small Circle of Friends. Together, they produced an album that, though it didn’t gain widespread popularity, managed to captivate several influential figures with its array of intricate pop tunes.
During that period, a notable jazz bandleader named Herb Alpert was deeply moved. Alpert offered Nichols a position as an in-house songwriter, which set the stage for Nichols’ successful career by the end of the decade. It was around this time that he crossed paths with a talented lyricist named Paul Williams, and they teamed up to create music together.
The significant achievement for them originated unexpectedly. Back in the 1970s, Crocker Bank was a local business based on the West Coast. Remarkably, it was this regional institution that funded a television commercial. This advertisement presented a dreamy, soft-focus wedding scene, featuring an innocent bride and groom sporting the fashionable 1970 sideburns. The friends and family surrounding them seemed to glow with affection as the ring was exchanged. Finally, the newlyweds embarked on their journey together in their car.
You still have quite a journey ahead – Here to assist you every step of the way is The Crocker Bank
And playing over it all was an appropriately dreamy song – “We’ve Only Just Begun.”
Richard Carpenter, one-half of the famous pop duo The Carpenters, perceived both the business potential and the catchy tune in a commercial. He contacted Williams to ask if there was an extended version of the song. Williams confirmed that there was.
Later on, he confessed that regardless of whether they had composed more, he would have fabricated the truth. Being recorded by The Carpenters represented a significant career boost, which two emerging songwriters like them could truly benefit from.
After their first hit single, “(They Long to Be) Close to You,” “We’ve Only Just Begun” became the Carpenters’ next release. This song, beautifully sung by Karen Carpenter, ran for approximately 3 minutes and 6 seconds. It was the second most popular song in the USA, just falling short of the top spot due to the Jackson 5’s hit “I’ll Be There.
In simpler terms, Nichols and Williams composed additional popular tunes for The Carpenters, such as “I Won’t Last a Day Without You,” “Let Me Be the One,” and the hauntingly beautiful “Rainy Days and Mondays,” one of the most enchanting pop songs from that particular decade.
“Their hit single “Out in the Country” could have reached the top 20 on Three Dog Night’s chart, and it was later covered by Michael Stipe and R.E.M., as mentioned earlier. Notably, Nichols continued to dabble in commercial jingle creation even after his initial success, collaborating with lyricist Bill Lane for another popular tune that originally emerged from a brief promotional song.
In 1975, Kodak commissioned an advertisement to demonstrate their film’s ability to preserve memories. They enlisted the help of popular crooner Paul Anka to perform the jingle penned by Nichols and Lane. Anka sang his portion and subsequently chose, like Richard Carpenter had done five years prior, to explore recording a full-length version of the song.
In this way, the tune “Times of Your Life” transformed from a popular jingle into a Top 20 chart-topper – making it the second occasion where a melody by Roger Nichols achieved such success.
To put it straightforwardly, I’m not particularly fond of “We’ve Only Just Begun” or “Times of Your Life.” However, “Rainy Days and Mondays” and “Out in the Country”? They’re truly melodious masterpieces, penned by Roger Nichols.
Read More
2025-06-10 19:00