The 21st Century (1972) Remember the Rain - LOST70SGEMS

 An example of the early 70s genre of cinematic soul, not too dissimilar from the widescreen expanse of the Sylvers, the Unifics and Isaac Hayes productions. It starts with the thick smog of 'cloud clearing' strings straining while whimsical woodwind lines dance, adding whimsy to the sombre beat while the usual wah wah guitar twangs away in pain.

 The lead singers' maturing voice is an exercise in how to deliver a complex mix of emotions; his hazy vocal captures the nostalgic longing and deep heartache so well. The second singer in the designated 'Jermaine Jackson' role, sings in a more spoken baritone; in the background of his verse the violins play screech away in a distinctive muted scraping style, swirling like a witch conjuring spell over a steaming cauldron.
Lyrically the song is full of buried passion and restraint; from the opening line where the singer remembers how playing out in the rain would get them scolded for being 'bad'; it establishes the 'us against the world' mindset but also hints at societal shame in the confusion apparent as he sings the line. The various trials and tribulations of love we are all familiar with are presented against the backdrop of a passionate storm of whirling desires. Check out how the revelation that "You left me for somebody else" in the middle eight is broken up into staggered spurts to match the nailed down drum breakdown giving a punctuation to each word; hammering home the definite statement like a boxer pounding an opponent.

But my favourite lyrics are in the second verse, where both singers capture a couple of everyday moments in high school relationships that are so universal but encapsulate them so succinctly;


You broke so many rules in school
I took the blame for you
I guess I was the fool
You used to sneak me notes in class
I winked my eye and laughed
Those days went by so fast

These lilting, bittersweet lines of poetry are so relatable and timeless yet sung by the adolescent singers with a tinge of lament, like their whole life lies before them in pieces. The deep, melancholic string arrangements are the highlight; they waltz and sway ever so gently in the background even as horns and funky drums and tepid electric guitars hover around in the mix, they don't overpower the wistful orchestra. Finally the ending cries of 'baby baby' during the coda as the groove kicks in really brings home the message, the singer now sounding more masculine now and bellowing breathlessly at the top of his lungs, wanting her back