More from the year of the Montreal Olympics.
20 - "More, More, More," The Andrea True Connection
19 - "I'm Easy," Keith Carradine
18 - "Let Her In," John Travolta
17 - "This Masquerade," George Benson
16 - "You're My Best Friend," Queen
We begin the second half with Andrea True, who had made a name for herself in New York's adult film industry when she was hired by a Jamaican real estate firm to do a TV commercial. While there, there was attempt to overthrow the government, and True feared she would be unable to leave the island with the money she had made there. So she called a record producer friend of hers to help her write and record a song, which she would finance with her earnings. The result is this disco perennial, which I'm sure soundtracked many a coke-fuelled orgy back then. How do I like it? How do I like it? I like it fine, thanks.
Then it's actor Keith Carradine with the song he wrote for his character to perform in the movie Nashville. Given the number of lovers his character seemed to have in that movie, it's an appropriate title. And a good song, too.
Next is John Travolta, who was a year into playing Vinnie Barbarino on Welcome Back, Kotter when he released this high-voiced, overwrought ballad. It went Top Ten, so good for him, but I'll take "Don't Give Up On Us, Baby" over this.
Jazz guitarist George Benson scored his first hit with this breezy version of a Leon Russell song about a relationship in which the parties are just going through the motions. As easygoing as this sounds, I don't think you can say that about Benson's effort here.
Finishing this set off are Queen with their third American hit, a song bassist John Deacon wrote for his wife. "You make me live," he says of her. Simple, but powerful. It gives soft rock a good name.
15 - "Tear the Roof Off The Sucker," Parliament
14 - "Turn the Beat Around," Vickie Sue Robinson
13 - "You'll Never Find Another Love Like Mine," Lou Rawls
12 - "If You Know What I Mean," Neil Diamond
11 - "You Should Be Dancing," The Bee Gees
This section begins with one of George Clinton's two major groups and their insistent demands for some unknown entity to "give up the funk." It sounded like Parliament had plenty of funk of their own, but still, I wouldn't have denied them.
Then it's Vickie Sue Robinson with her only major hit, a disco smash in which she declares her love for multiple instruments, but makes it clear that what she desires to hear above all is "percussion." Yeah, drummers are pretty cool.
Lou Rawls was a veteran, journeyman singer when he hooked up with Philly Soul producers Kenny Gamble and Leon Huff for this silky strut made even smoother by Lou's velvet pipes. It was by far his biggest hit, reaching #2, and it made sure I'd remember him for more than just the songs he sang in those Garfield specials.
Then it's Neil Diamond with a single off of his Beautiful Noise album, which was produced by The Band's Robbie Robertson. So if you've ever wondered how Neil ended up in The Last Waltz, this is why. The song itself is nothing special as far as I'm concerned, just a mellow reminiscence of times past. But Neil sings it well.
Lastly it's the Bee Gees. Their move to a more disco-oriented sound had already been announced the year before with "Jive Talkin'," but after this propulsive number that practically orders the listener onto the club floor, their was clearly no turning back. Nor, as it turned out, should there have been.
Unlike the college football conference, this Big Ten is actually a Big...Ten.
10 - "Let 'Em In," Wings
This is kind of a silly song, in which Paul asks someone to let in the people who are knocking at his door, which include several of his relatives, the Everly Brothers, and for some reason, Martin Luther. But I don't know, maybe it was the drums, or maybe it was the simplicity of the lyric, but as a kid, I thought this was just the greatest. And I still love it.
9 - "I'll Be Good to You," The Brothers Johnson
George and Louis had their first and biggest hit with this bouncy promise to treat you right. I'm sure this didn't get played much in Canada, because if it had, I know I'd remember it from back then. And I don't.
8 - "Rock and Roll Music," The Beach Boys
This sprightly but safe Chuck Berry cover was the band's first Top Ten single since "Good Vibrations" ten years earlier. It was the first version I'd heard of this song, but it hasn't held on to its sentimental value for me. Oh, and if you're wondering, yes, Brian Wilson did stop playing in the sandbox or whatever he was doing at this time to play keyboards on this record.
7 - "Got to Get You Into My Life," The Beatles
This horn-laden, soul-influenced number originally appeared on the Revolver album in 1966, but wasn't released as a single until a decade later when it was included on a compilation called Rock n' Roll Music. The A-side of this single was originally intended to be "Helter Skelter," but when the label learned that a TV-movie based on the book of that same name about the Manson murders was scheduled to come out around this same time, they flipped the order. A wise choice, whatever the reasoning.
6 - "Get Closer," Seals and Crofts
I really have nothing to say. These guys are boring as fuck, and one of the best things about my switching over to the 80s is not having to think about these guys ever again.
5 - "Don't Go Breaking My Heart," Elton John and Kiki Dee
Sir Elton and his Rocket records signing Dee, whose only other American hit was 1974's "I've Got the Music in Me," went to #1 on both sides of the Atlantic with this duet that was modeled off of Marvin Gaye's duets with Tammi Terrell. By any standard, a terrific piece of pop.
4 - "Afternoon Delight," The Starland Vocal Band
Just in time, I get to cover this terrible, terrible piece of music. I mean, what the hell is this? It's supposed to be a celebration of hot sex in the middle of the day, and yet everything about this song, from the colorless vocals to the blander-than-bland arrangement, sounds more like a decaffeinated coffee commercial jingle than a song to bone by. I can just imagine that when Barry White heard this song and realized that it was meant to serve the same purpose as his music, he turned away, shook his head, and mumbled something about not understanding white people. And I wouldn't have blamed him.
3 - "Moonlight Feels Right," Starbuck
The biggest by far of this Atlanta band's two Top 40 hits, this is another easy listening sex jam, but compared to "Afternoon Delight," it's frickin' "Bolero." Plus, it's hard to muster too much hate for a song with a marimba solo.
2 - "Love is Alive," Gary Wright
This, the second of two #2 1976 singles from this New Jersey rocker, isn't nearly as well-remembered as "Dream Weaver." But that doesn't take away from this solid midtempo ballad. What does is his lack of enunciaton on the verses. He sings the choruses clearly enough, but on the rest of the song, he's almost as hard to understand as the guy from the Kingsmen on "Louie Louie." Still, pretty good, and I'm sure it too inspired a significant amount of van intercourse.
And 35 years ago, all other pop songs bowed to...
1 - "Kiss and Say Goodbye," The Manhattans
New Jersey is represented at the top of this week's list as well, in the form of this soul vocal group who scored their second Top 40 and first Number One after a dozen years of recording. It covers a lot of the 70s soul ballad bases: it's both a breakup song and an adultery song, plus it's got a deep-voiced spoken word opening which is followed by much-higher singing. But it doesn't sound at all contrived. Just smooth and good.
There were two NotCaseys: "Still the One" by Orleans and "(Don't Fear) the Reaper" by Blue Oyster Cult. Plus, there was an original Casey extra from my old buddies 3DN, "One."
Just a couple more excursions into my birth decade to go, folks. Return in six days to see where the Wayback Machine dial spins.
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