The wheel lands this week on 1975. Ah, the Ford years.
40 - "Don't Tell Me Goodnight," Lobo
39 - "I'm Not Lisa," Jessi Colter
38 - "When Will I Be Loved," Linda Ronstadt
37 - "Shakey Ground," The Temptations
36 - "Cut the Cake," The Average White Band
35 - "The Immigrant," Neil Sedaka
34 - "Hijack," Herbie Mann
33 - "Beer Barrel Polka," Bobby Vinton
32 - "Sister Golden Hair," America
31 - "Love Won't Let Me Wait," Major Harris
We start with male-sung MOR. Lobo had his next-to-last hit with a song I came in halfway through. Don't think I missed anything. Neil Sedaka's somewhat overwrought tribute to new arrivals in the "mystical, magical land called America" and the less-than-hospitable treatment they sometimes receive was inspired by the U.S. goverment's politcally-motivated attempt to deport John Lennon. Sedaka even had "Dedicated to John Lennon" printed on the record label, which Lennon was touched by. Bobby Vinton had his last major pop hit with a disco-tinged reworking of a 1927 Czech party number. Not quite a "barrel of fun." Maybe a quarter-barrel. And America scored their second and final #1 with this uptempo song about about a pretty blonde. This is an America song that I actually like. Yes, there is one.
The two female vocalists in this batch both have Waylon Jennings connections His longtime wife was the former Miriam Johnson, and she's here with her only major pop success: this beautiful ballad about a woman who tries to convince her lover to forget about the ex that left him and appreciate the love that he has. Just from the voice, I'd say the guy doesn't deserve what he's got. And Linda Ronstadt followed up her first #1, "You're No Good," with this Buddy Holly cover that fell one spot short of the top. Waylon, you'll remember, was in Buddy's band at the time of the plane crash known as "The Day the Music Died," but gave up his seat at the last minute.
The rest is R&B, soul and disco. The Temps scored their last Top 40 with a song about life going to shit after the end of a relationship. But it makes this predicament sound like fun. The Average White Band followed up "Pick Up the Pieces" with their only other Top Ten. This one's doesn't quite match the funk level of the earlier hit, but it's pretty good. Plus it has lyrics. Not great lyrics, but lyrics. Jazz flautist Herbie Mann got on the disco bandwagon and made his biggest dent on the pop charts with a song whose title comes from the practice of commandeering commercial aircraft for commercial purposes. I know that always makes me feel like dancing. And ex-Delfonic Major Harris had his one pop hit with one of the great "I gotta have you NOW!" ballads. Me, I'm still waiting, whether love will let me or not.
30 - "Shaving Cream," Benny Bell
29 - "Young Americans," David Bowie
28 - "Bad Time," Grand Funk
27 - "Amie," The Pure Prairie League
26 - "Autobahn," Kraftwerk
25 - "Shoeshine Boy," Eddie Kendricks
24 - "No No Song," Ringo Starr
23 - "Lady Marmalade," LaBelle
22 - "Thank God I'm a Country Boy," John Denver
21 - "Only Yesterday," The Carpenters
We'll begin with two records that were extremely different from everything else on the radio at the time. Benny Bell made a career in the 30s and 40s by recording naughty novelty records for cocktail bar jukeboxes (sample titles include "My Grandfather Had a Long One" and "I'm Gonna Give My Girl a Goose for Thanksgiving."). But the mainstream paid him no mind until his signature tune got airplay on the Dr. Demento radio show. The song's popularity grew, and it was re-released. In case you haven't heard it, it's a jazz tune with a waltz tempo whose verses tell tales where the last word would seem to be a certain synonym for feces. But instead of the dirty word, Benny sings "sh...aving cream, be nice and clean, shave every day and you'll always look keen." I don't think you'll be surprised to learn that it's receiving this week's Uneasy Rider. And four spots above this sound of the past is the sound of the future in the form of the only U.S. hit by German electronic music pioneers Kraftwerk. The song in its original form is over 22 minutes, but it was edited down to three for radio. It was concrete proof that synthesizers had come a long way in the short time since "Popcorn." I remember when spoiled young aristocrat Baron von Wurtzenburger was in such a great hurry to see this group perform in Stuttgart that he was rude to the American agents who helped recover his family's stolen paintings from Abe Simpson. Oh, and they're not singing "Fun, fun, fun on the Autobahn," they're singing "We drive, drive, drive on the Autobahn" in German.
I'll put three of these songs in the "rock" category. David Bowie followed up his U.S. breakthrough re-release of "Space Oddity" with the soulful title track to the Young Americans album. It's notable for many reasons, among them asking the question "Do you remember your President Nixon?" just months after his resignation, and the fact that future R&B superstar Luther Vandross sang backup on it. Grand Funk's last big hit is disappointing to me, in that it's so slick and polished a piece of midtempo lite-rock that I barely recognize them. The grimy underbelly they showed on "We're an American Band" was completely gone. A sad way for them to go out, in my humble opinion. And Ringo returns from our last visit to this time period with his declaration that when it comes to recreational mind-altering substances, he's too old for this shit. No "Snookeroo" this time. Didn't miss it at all.
Three hits of the easy stuff in this batch. The Pure Prairie League were named after a fictional anti-alcohol group from an Errol Flynn Western, and this sleepy song about a girl they like doesn't sound like any potent potables were consumed during its creation. John Denver had one of his biggest hits with this rollicking live version of this hoedown-ready breakdown about the joys of rural living. Can't help but love it. And indeed, "life ain't nothin' but a funny funny riddle." And this effort from the Carpenter siblings finds Karen in a good mood for once, feeling hopeful "since I threw my sadness away." It's good to hear her happy, considering what the future would hold.
We close with some upbeat R&B. Ex-Temp Eddie Kendricks is here singing about a lowly polisher of footwear, assuring him that he can work his way up in life and reminding him not to forget where he came from. Well-worn ground, but delivered in a cool package. And LaBelle are here on their way down the list with their French come-ons and unforgettable nights of pleasure involving "mocha chocolatta." Sexxxxay.
Tomorrow: Dancing, walking, and our two favorite Barrys.
Saturday, April 30, 2011
Monday, April 25, 2011
April 23, 1977 Part Two
Picking up where we left off.
20 - "Your Love," Marily McCoo and Billy Davis Jr.
19 - "Sir Duke," Stevie Wonder
18 - "Dancing Queen," ABBA
17 - "I'm Your Boogie Man," KC and the Sunshing Band
16 - "Can't Stop Dancing," The Captain and Tennille
This half opens with a married pair of ex-5th Dimensionites with the follow-up to their #1 "You Don't Have to Be a Star (To Be in My Show)." Similar, but a bit faster and much more danceable. A B-minus level effort.
Next is Stevie Wonder with his bouncy tribute to the power of music. Specifically, jazz. Even more specifically, Count Basie, Glenn Miller, Louis Armstrong, Ella Fitzgerald, and "the king of all," Duke Ellington. A fun listen, and educational too!
Then it's Sweden's finest at the peak of their powers. This very familiar number about a 17-year-old girl with all the right moves was their only American #1. I see that girl, I'm watching that scene, and you better believe I'm digging it.
Harry Wayne Casey and his funky bunch are back with their fourth charttopper, in which KC insists he is the answer to all your needs. A few years ago, there was a commercial for some product or other that changed the lyrics to "I'm Cheese Boogie Man." Why anyone thought that made sense I'll never understand. I doubt Don Draper would have allowed that out into the world.
Finishing this group are Daryl and Toni with a fast, piano-driven tune about the inability to stop movin' and/or groovin'. It's a boogie record, but more in the 1957 sense than the 1977 one.
15 - "Lido Shuffle," Boz Scaggs
14 - "Couldn't Get it Right," The Climax Blues Band
13 - "I Wanna Get Next to You," Rose Royce
12 - "Rich Girl," Daryl Hall and John Oates
11 - "Trying to Love Two," William Bell
Boz Scaggs opens this section with his second-biggest hit, a song about a ne'er-do-well named Lido who just can't go straight. Boz used to be in the Steve Miller Band, and he was backed up by future members of Toto, which I suppose would make him a minor sun in the 70s medium-rock universe. But I have to say, I'll take this over anything from his satellites.
Next up are a group that originally called themselves the Climax Chicago Blues Band, despite being from England. Nearly a decade after forming, they scored their first American hit with this slinky, dancefloor-friendly hit about getting both literally and figuratively lost on the road. Like this way, way better then their other hit, the goopy 1981 ballad "I Love You."
Then it's Rose Royce with their second and last Top Ten, which also came from the Car Wash soundtrack. It's a pretty little seduction ballad, but it doesn't really stick with me upon first listen.
Daryl and John scored their first Number One with this funky little riposte to a woman who has grown callous and out of touch with the world because she relies "on the old man's money." This was a favorite of 6-year-old me, although I did used to think that one line went "You can rely on the old Fast Money." I guess I thought the song had something to do with Family Feud
Closing out this quintet is William Bell, who during a 13-year stint on the legendary Stax label only managed one Top Ten R&B hit. Three years and one label change later, he's hit Number 10 on the pop chart with this ballad about a guy whose attempt to juggle both a wife and a mistress makes him feel like he needs to be "three men in one." It's a pretty damn good song, and it still became a hit even though it sounded like it could have been recorded early in Bell's career. Perhaps I'll have to dig deeper into Mr. Bell's catalogue. Get in line, Willie.
But wait, there's more. Ten more.
10 - "Right Time of the Night," Jennifer Warnes
The first and biggest solo hit a by former Leonard Cohen backup singer and future movie-theme duetter extraordinaire. This often gets confused in my mind with the 1979 Anne Murray hit "Shadows in the Moonlight." Similar tempos, similar voices, both songs mention the Milky Way. Listen to them both back to back sometime and you'll see what I mean.
9 - "When I Need You," Leo Sayer
The suspendered and Whafroed (like that? If so, don't steal it, it's mine!) one with his second and last American #1, a ballad in which he tells his lover that all he has to do is close his eyes to be with her. Anything to avoid having to go back home, eh Leo?
8 - "So Into You," The Atlanta Rhythm Section
This song belongs to a genre I like to call "lite-southern-discoish-MOR." The only other entry in this genre I can thing of right now is "Kiss You All Over," by Exile. And I like that several thousand times better than this. I'll use the rest of this time to congratulate the Atlanta Hawks on their 3-1 series lead on the Magic. Just one win away from being swept by the Bulls, guys!
7 - "Evergreen (Love Theme From A Star is Born," Barbra Streisand
Babs is back from our last trip to these parts with the song from that movie she did with Kris Kristofferson. Meh, "The Way We Were" is worth ten of these. I'm talking about the songs. Haven't seen either movie, don't plan to.
6 - "I've Got Love on My Mind," Natalie Cole
Didn't remember this jazzy little tune from Nat King's offspring. It was okay, but nothing that inspired me to write more about it. But again, she was in the Zontar episode of SCTV and for that she gets a lifetime pass from me.
5 - "The Things We Do for Love," 10cc
This one, on the other hand, I remember well. Liked it a lot, although I didn't understand why they mentioned comedian Charlie Callas in the last verse. Later I learned it was because I didn't hear them correctly. And yes, I'm aware of what the band's name refers to. If you aren't, look it up yourself.
4 - "Don't Give Up on Us," David Soul
The man who was best known at the time as Starsky's partner Hutch had always been more interested in a music career, and he finally was able to launch it with this pleading ballad that went to #1 in the U.S. and the U.K. The hits dried up on this side of the pond, but he had a few more in Britain, and he was so beloved their that he would eventually move their and become a citizen. So I guess he was the one who gave up on U.S. *rimshot*
3 - "Hotel California," The Eagles
Ah yes, the "American Pie" of the second half of the decade. Is the titular building the Church of Satan, or a mental hospital? What are "colitas?" Don't they know that wine isn't technically a spirit? And who the hell is the "she" who is intermittently referred to in the lyrics? I'm just going to leave all these questions alone and just say that this is a pretty good song. Exploring the meaning further might be construed as "checking in," and I've heard that checking out can be a tricky business.
2 - "Southern Nights," Glen Campbell
Glen's last major pop hit was this cover of a song written by legendary New Orleans musician Allen Toussaint. I've always liked it a lot. It's like if country met Dixieland in a disco and made sweet,sweet love.
And the biggest flake in the pop music blizzard of April '77 was...
1 - "Don't Leave Me This Way," Thelma Houston
This disco plea for continued lovin' was originally sung by Teddy Pendergrass on a Harold Melvin and the Blue Notes album. But it was Motown singer Houston who would finally release it as a single and take it to the top. This is disco at its best, especially the way Thelma just rips up that chorus. She'd only have one more Top 40. But at least there's this.
The NotCaseys this week were "I Just Want to Be Your Everything" by Andy Gibb, "Main Street," by Bob Seger, and "Margaritaville" by Jimmy Buffett.
There will be more next week. Tremble at the very thought. Tremble I say!
20 - "Your Love," Marily McCoo and Billy Davis Jr.
19 - "Sir Duke," Stevie Wonder
18 - "Dancing Queen," ABBA
17 - "I'm Your Boogie Man," KC and the Sunshing Band
16 - "Can't Stop Dancing," The Captain and Tennille
This half opens with a married pair of ex-5th Dimensionites with the follow-up to their #1 "You Don't Have to Be a Star (To Be in My Show)." Similar, but a bit faster and much more danceable. A B-minus level effort.
Next is Stevie Wonder with his bouncy tribute to the power of music. Specifically, jazz. Even more specifically, Count Basie, Glenn Miller, Louis Armstrong, Ella Fitzgerald, and "the king of all," Duke Ellington. A fun listen, and educational too!
Then it's Sweden's finest at the peak of their powers. This very familiar number about a 17-year-old girl with all the right moves was their only American #1. I see that girl, I'm watching that scene, and you better believe I'm digging it.
Harry Wayne Casey and his funky bunch are back with their fourth charttopper, in which KC insists he is the answer to all your needs. A few years ago, there was a commercial for some product or other that changed the lyrics to "I'm Cheese Boogie Man." Why anyone thought that made sense I'll never understand. I doubt Don Draper would have allowed that out into the world.
Finishing this group are Daryl and Toni with a fast, piano-driven tune about the inability to stop movin' and/or groovin'. It's a boogie record, but more in the 1957 sense than the 1977 one.
15 - "Lido Shuffle," Boz Scaggs
14 - "Couldn't Get it Right," The Climax Blues Band
13 - "I Wanna Get Next to You," Rose Royce
12 - "Rich Girl," Daryl Hall and John Oates
11 - "Trying to Love Two," William Bell
Boz Scaggs opens this section with his second-biggest hit, a song about a ne'er-do-well named Lido who just can't go straight. Boz used to be in the Steve Miller Band, and he was backed up by future members of Toto, which I suppose would make him a minor sun in the 70s medium-rock universe. But I have to say, I'll take this over anything from his satellites.
Next up are a group that originally called themselves the Climax Chicago Blues Band, despite being from England. Nearly a decade after forming, they scored their first American hit with this slinky, dancefloor-friendly hit about getting both literally and figuratively lost on the road. Like this way, way better then their other hit, the goopy 1981 ballad "I Love You."
Then it's Rose Royce with their second and last Top Ten, which also came from the Car Wash soundtrack. It's a pretty little seduction ballad, but it doesn't really stick with me upon first listen.
Daryl and John scored their first Number One with this funky little riposte to a woman who has grown callous and out of touch with the world because she relies "on the old man's money." This was a favorite of 6-year-old me, although I did used to think that one line went "You can rely on the old Fast Money." I guess I thought the song had something to do with Family Feud
Closing out this quintet is William Bell, who during a 13-year stint on the legendary Stax label only managed one Top Ten R&B hit. Three years and one label change later, he's hit Number 10 on the pop chart with this ballad about a guy whose attempt to juggle both a wife and a mistress makes him feel like he needs to be "three men in one." It's a pretty damn good song, and it still became a hit even though it sounded like it could have been recorded early in Bell's career. Perhaps I'll have to dig deeper into Mr. Bell's catalogue. Get in line, Willie.
But wait, there's more. Ten more.
10 - "Right Time of the Night," Jennifer Warnes
The first and biggest solo hit a by former Leonard Cohen backup singer and future movie-theme duetter extraordinaire. This often gets confused in my mind with the 1979 Anne Murray hit "Shadows in the Moonlight." Similar tempos, similar voices, both songs mention the Milky Way. Listen to them both back to back sometime and you'll see what I mean.
9 - "When I Need You," Leo Sayer
The suspendered and Whafroed (like that? If so, don't steal it, it's mine!) one with his second and last American #1, a ballad in which he tells his lover that all he has to do is close his eyes to be with her. Anything to avoid having to go back home, eh Leo?
8 - "So Into You," The Atlanta Rhythm Section
This song belongs to a genre I like to call "lite-southern-discoish-MOR." The only other entry in this genre I can thing of right now is "Kiss You All Over," by Exile. And I like that several thousand times better than this. I'll use the rest of this time to congratulate the Atlanta Hawks on their 3-1 series lead on the Magic. Just one win away from being swept by the Bulls, guys!
7 - "Evergreen (Love Theme From A Star is Born," Barbra Streisand
Babs is back from our last trip to these parts with the song from that movie she did with Kris Kristofferson. Meh, "The Way We Were" is worth ten of these. I'm talking about the songs. Haven't seen either movie, don't plan to.
6 - "I've Got Love on My Mind," Natalie Cole
Didn't remember this jazzy little tune from Nat King's offspring. It was okay, but nothing that inspired me to write more about it. But again, she was in the Zontar episode of SCTV and for that she gets a lifetime pass from me.
5 - "The Things We Do for Love," 10cc
This one, on the other hand, I remember well. Liked it a lot, although I didn't understand why they mentioned comedian Charlie Callas in the last verse. Later I learned it was because I didn't hear them correctly. And yes, I'm aware of what the band's name refers to. If you aren't, look it up yourself.
4 - "Don't Give Up on Us," David Soul
The man who was best known at the time as Starsky's partner Hutch had always been more interested in a music career, and he finally was able to launch it with this pleading ballad that went to #1 in the U.S. and the U.K. The hits dried up on this side of the pond, but he had a few more in Britain, and he was so beloved their that he would eventually move their and become a citizen. So I guess he was the one who gave up on U.S. *rimshot*
3 - "Hotel California," The Eagles
Ah yes, the "American Pie" of the second half of the decade. Is the titular building the Church of Satan, or a mental hospital? What are "colitas?" Don't they know that wine isn't technically a spirit? And who the hell is the "she" who is intermittently referred to in the lyrics? I'm just going to leave all these questions alone and just say that this is a pretty good song. Exploring the meaning further might be construed as "checking in," and I've heard that checking out can be a tricky business.
2 - "Southern Nights," Glen Campbell
Glen's last major pop hit was this cover of a song written by legendary New Orleans musician Allen Toussaint. I've always liked it a lot. It's like if country met Dixieland in a disco and made sweet,sweet love.
And the biggest flake in the pop music blizzard of April '77 was...
1 - "Don't Leave Me This Way," Thelma Houston
This disco plea for continued lovin' was originally sung by Teddy Pendergrass on a Harold Melvin and the Blue Notes album. But it was Motown singer Houston who would finally release it as a single and take it to the top. This is disco at its best, especially the way Thelma just rips up that chorus. She'd only have one more Top 40. But at least there's this.
The NotCaseys this week were "I Just Want to Be Your Everything" by Andy Gibb, "Main Street," by Bob Seger, and "Margaritaville" by Jimmy Buffett.
There will be more next week. Tremble at the very thought. Tremble I say!
Sunday, April 24, 2011
April 23, 1977 Part One
On this Easter weekend, we're going back to 1977. A time when both the sports and entertainment worlds were holding their breath in anticipation of a second epic clash between teams led by Gabe Kaplan, Telly Savalas and Robert Conrad on Battle of the Network Stars. Let's see if the chart action then could match such excitement.
40 - "Ain't Gonna Bump No More (With No Big Fat Woman)," Joe Tex
39 - "Old Fashioned Boy (You're the One)," Stallion
38 - "I Like Dreamin'," Kenny Nolan
37 - "Whodunit," Tavares
36 - "Got to Give it Up Part 1," Marvin Gaye
35 - "Uptown Festival," Shalamar
34 - "Heard It in a Love Song," The Marshall Tucker Band
33 - "Hello Stranger," Yvonne Elliman
32 - "Sometimes," Facts of Life
31 - "Dancin' Man," Q
Disco dominates the first quarter. Soul veteran Joe Tex had his last major hit by hopping on the bandwagon with a song about the dangers of doing a certain contact-heavy step with females of ample proportions. It sounded okay, but I can't really judge it too accurately from the extremely truncated edit Casey played. Tavares are here again, working on the mystery of the missing lover. During the song, they call for help from a who's who of fictional detectives, from Sherlock Holmes and Charlie Chan to Kojak and Dirty Harry. But the song ends with the mystery unsolved. I demand resolution! Marvin Gaye went disco with "Got to Give it Up Part 1," but it was so good it doesn't tarnish his legacy at all. Unfortunately, on the show, Casey played the okay but inferior "Part 2." Vocal group Shalamar had their first hit with what was essentially a disco medley of Motown classics, including "I Can't Help Myself" and "Stop in the Name of Love." After this succsss, the producer who put the group together hired all new singers, including future late-80s dance dive Jody Watley. Ynonne Elliman, before her triumph with "If I Can't Have You," went Top 20 with a midtempo cover of a 1963 hit by Barbara Lewis about encountering an old lover. Haven't heard the original, but Yvonne's version is pretty damn sexy. And the group Q had their only hit with this tepid disco number about a guy who enjoys the occasional boogie. And no, Quincy Jones had nothing to do with them, to my knowledge.
The rest of this batch qualify for MOR status and the benefits and penalties that accompany this classification. Stallion only got to #37 with their only hit, and aside from a bit of spacey synth in the middle, it doesn't really stand out from the Pablo Cruises and Ambrosias of the world. Kenny Nolan returns with his appropriately sleepy song about nocturnal flights of fancy. The sound of boredom, that's what this is. Southern rockers the Marshall Tucker Band had their biggest hit with a light, countryish number in which he blames his desire to leave his longtime love on some song he heard once that, apparently one that "can't be wrong." Homer Simpson once believed the same thing about desserts. He was wrong, and I daresay Marshall is too. And Facts of Life had their only hit with an R&B cover of a 1975 country smash by "Whispering Bill" Anderson about the temptation to stray from a marriage. Decent song. All I can say.
30 - "Lonely Boy," Andrew Gold
29 - "Feels Like the First Time," Foreigner
28 - "Lucille," Kenny Rogers
27 - "N.Y., You Got Me Dancing," The Andrea True Connection
26 - "Disco Lucy," The Wilton Place Street Band
25 - "Angel in Your Arms," Hot
24 - "Maybe I'm Amazed," Wings
23 - "Calling Dr. Love," Kiss
22 - "The First Cut is the Deepest," Rod Stewart
21 - "Carry On Wayward Son," Kansas
This time MOR kicks off. Andrew "Thank You for Being a Friend" Gold had his first and biggest hit with this song about how he resented the birth of his sister, then left home at 18. And then his sister had a son of her own. Gold wrings much more drama out of this than one would think possible, so, good for him. A First Editionless Kenny Rogers made his return to the pop charts with this gentle storysong about picking up a woman in a Toledo, Ohio bar, then being interrupted by her husband, whom she left alone to deal with "four hungry children and a crop in the fields." Lucille sends the husband away, and she and Kenny find a hotel room, but Kenny finds himself, shall we say, unable to perform, due to the memory of seeing the poor guy she abandoned. Always a fun singalong. And L.A. vocal trio Hot had their only major hit with this ballad about how the titular heavenly body "is gonna be the Devil in someone else's arms tonight." I remember the song, and I also remember for some reason commercials for this group's appearance on, I think, The Mike Douglas Show. But not the appearance itself. Strange.
A good chunk of rock in this section. Foreigner had their first hit with this staple that is basically a male riff on the theme that Madonna would later cover in "Like a Virgin." And from 24 to 21, we have an historic "Classic Rock Quadruple Shot" It starts with Paul McCartney and company's live version of his ballad about how awestruck he is by how much he loves (presumably) Linda. I wonder if this is the version you have to play backwards to get that lentil soup recipe. The alleged Knights in Satans Service cracked the top 20 with arguably their most rocking pop hit, in which Gene Simmons declares himself to be a medical professional with a very special specialty. Hearing the real version almost cleanses the stain left by the one in those Dr. Pepper commercials. Rod Stewart just missed the Top 20 with this version of a Cat Stevens song about trying to re-enter the world of romance after a bad heartbreak. Of the three versions I've heard, this is #1, followed by Sheryl Crow and Keith Hampshire. And Kansas closes out this Rock Block with another one of those songs that classic rock radio has drilled into its listeners' consciousnesses. I'm only guessing, but I assume that it's been at least thirty years since the band have done this and "Dust in the Wind" before the encore. Feel free to correct me if you have contradictory evidence.
We close with disco. Andrea True, the porn star-turned-disco diva behind "More More More," actually had a second hit with this nothing-to-write-home-about ode to New York. I liked her better as a one-hit-wonder. And the Wilton Place Street Band cracked the charts with, yes, a disco version of the theme to a certain groundbreaking Lucille Ball/Desi Arnaz sitcom. It's an instrumental, of course, but there are occasional outbursts of "Let's go" and "Dance, Dance, Disco Lucy" from some female backing singers. I think I sort of remember it from back in the day. Either way, it's this week's winner of the prestigious (at least I'd like to think so) Uneasy Rider Award.
Tomorrow: A duke, a queen, and a lady whose wealth comes from means other than royal lineage.
40 - "Ain't Gonna Bump No More (With No Big Fat Woman)," Joe Tex
39 - "Old Fashioned Boy (You're the One)," Stallion
38 - "I Like Dreamin'," Kenny Nolan
37 - "Whodunit," Tavares
36 - "Got to Give it Up Part 1," Marvin Gaye
35 - "Uptown Festival," Shalamar
34 - "Heard It in a Love Song," The Marshall Tucker Band
33 - "Hello Stranger," Yvonne Elliman
32 - "Sometimes," Facts of Life
31 - "Dancin' Man," Q
Disco dominates the first quarter. Soul veteran Joe Tex had his last major hit by hopping on the bandwagon with a song about the dangers of doing a certain contact-heavy step with females of ample proportions. It sounded okay, but I can't really judge it too accurately from the extremely truncated edit Casey played. Tavares are here again, working on the mystery of the missing lover. During the song, they call for help from a who's who of fictional detectives, from Sherlock Holmes and Charlie Chan to Kojak and Dirty Harry. But the song ends with the mystery unsolved. I demand resolution! Marvin Gaye went disco with "Got to Give it Up Part 1," but it was so good it doesn't tarnish his legacy at all. Unfortunately, on the show, Casey played the okay but inferior "Part 2." Vocal group Shalamar had their first hit with what was essentially a disco medley of Motown classics, including "I Can't Help Myself" and "Stop in the Name of Love." After this succsss, the producer who put the group together hired all new singers, including future late-80s dance dive Jody Watley. Ynonne Elliman, before her triumph with "If I Can't Have You," went Top 20 with a midtempo cover of a 1963 hit by Barbara Lewis about encountering an old lover. Haven't heard the original, but Yvonne's version is pretty damn sexy. And the group Q had their only hit with this tepid disco number about a guy who enjoys the occasional boogie. And no, Quincy Jones had nothing to do with them, to my knowledge.
The rest of this batch qualify for MOR status and the benefits and penalties that accompany this classification. Stallion only got to #37 with their only hit, and aside from a bit of spacey synth in the middle, it doesn't really stand out from the Pablo Cruises and Ambrosias of the world. Kenny Nolan returns with his appropriately sleepy song about nocturnal flights of fancy. The sound of boredom, that's what this is. Southern rockers the Marshall Tucker Band had their biggest hit with a light, countryish number in which he blames his desire to leave his longtime love on some song he heard once that, apparently one that "can't be wrong." Homer Simpson once believed the same thing about desserts. He was wrong, and I daresay Marshall is too. And Facts of Life had their only hit with an R&B cover of a 1975 country smash by "Whispering Bill" Anderson about the temptation to stray from a marriage. Decent song. All I can say.
30 - "Lonely Boy," Andrew Gold
29 - "Feels Like the First Time," Foreigner
28 - "Lucille," Kenny Rogers
27 - "N.Y., You Got Me Dancing," The Andrea True Connection
26 - "Disco Lucy," The Wilton Place Street Band
25 - "Angel in Your Arms," Hot
24 - "Maybe I'm Amazed," Wings
23 - "Calling Dr. Love," Kiss
22 - "The First Cut is the Deepest," Rod Stewart
21 - "Carry On Wayward Son," Kansas
This time MOR kicks off. Andrew "Thank You for Being a Friend" Gold had his first and biggest hit with this song about how he resented the birth of his sister, then left home at 18. And then his sister had a son of her own. Gold wrings much more drama out of this than one would think possible, so, good for him. A First Editionless Kenny Rogers made his return to the pop charts with this gentle storysong about picking up a woman in a Toledo, Ohio bar, then being interrupted by her husband, whom she left alone to deal with "four hungry children and a crop in the fields." Lucille sends the husband away, and she and Kenny find a hotel room, but Kenny finds himself, shall we say, unable to perform, due to the memory of seeing the poor guy she abandoned. Always a fun singalong. And L.A. vocal trio Hot had their only major hit with this ballad about how the titular heavenly body "is gonna be the Devil in someone else's arms tonight." I remember the song, and I also remember for some reason commercials for this group's appearance on, I think, The Mike Douglas Show. But not the appearance itself. Strange.
A good chunk of rock in this section. Foreigner had their first hit with this staple that is basically a male riff on the theme that Madonna would later cover in "Like a Virgin." And from 24 to 21, we have an historic "Classic Rock Quadruple Shot" It starts with Paul McCartney and company's live version of his ballad about how awestruck he is by how much he loves (presumably) Linda. I wonder if this is the version you have to play backwards to get that lentil soup recipe. The alleged Knights in Satans Service cracked the top 20 with arguably their most rocking pop hit, in which Gene Simmons declares himself to be a medical professional with a very special specialty. Hearing the real version almost cleanses the stain left by the one in those Dr. Pepper commercials. Rod Stewart just missed the Top 20 with this version of a Cat Stevens song about trying to re-enter the world of romance after a bad heartbreak. Of the three versions I've heard, this is #1, followed by Sheryl Crow and Keith Hampshire. And Kansas closes out this Rock Block with another one of those songs that classic rock radio has drilled into its listeners' consciousnesses. I'm only guessing, but I assume that it's been at least thirty years since the band have done this and "Dust in the Wind" before the encore. Feel free to correct me if you have contradictory evidence.
We close with disco. Andrea True, the porn star-turned-disco diva behind "More More More," actually had a second hit with this nothing-to-write-home-about ode to New York. I liked her better as a one-hit-wonder. And the Wilton Place Street Band cracked the charts with, yes, a disco version of the theme to a certain groundbreaking Lucille Ball/Desi Arnaz sitcom. It's an instrumental, of course, but there are occasional outbursts of "Let's go" and "Dance, Dance, Disco Lucy" from some female backing singers. I think I sort of remember it from back in the day. Either way, it's this week's winner of the prestigious (at least I'd like to think so) Uneasy Rider Award.
Tomorrow: A duke, a queen, and a lady whose wealth comes from means other than royal lineage.
Monday, April 18, 2011
April 17, 1971 Part Two
Concluding this week's proceedings.
20 - "If," Bread
19 - "Love's Lines, Angles and Rhymes," The 5th Dimension
18 - "What is Life," George Harrison
17 - "Love Story (Where Do I Begin)," Andy Williams
16 - "No Love at All," B.J. Thomas
Like a meal at an Italian restaurant, we start with Bread. This is arguably their best-known hit, and as Bread goes, it's not bad. It's a sweet, earnest ballad, not too treacly, and I like the echoey guitar. Apparently, Kojak himself, Telly Savalas, went on to record this and actually went to #1 in Britain. I'm not sure I want to track it down, though.
Then it's Marilyn McCoo and her cohorts with a song that lays on a bunch of strange metaphors involving pendulums and triangles and other things that don't instantly make one thing of romance. I admire the ambition, and it's well sung, but it doesn't really work.
Next is the "quiet Beatle" with a song that questions where he would be without his lover. The Beach Boys did this better on "God Only Knows," but this is still an excellent effort from George. This would be his second Top 10, which made him the first solo Beatle to reach such heights more than once.
Returning from our last visit to this time period is Andy Williams with his vocal version of the theme from the movie that made Ali MacGraw and Ryan O'Neal superstars. I don't love it, so I guess I don't have to say I'm sorry.
Rounding out this group is B.J. Thomas, who apparently was more of an MOR hit machine than I'd imagined. This song tells us that "a little bit of love is better than no love at all." Well, duh. But this is actually a decent little song. It might even be my favorite of his. This or "Raindrops Keep Falling on My Head."
15 - "Help Me Make it Through the Night," Sammi Smith
14 - "Never Can Say Goodbye," The Jackson 5
13 - "Wild World," Cat Stevens
12 - "I Am...I Said," Neil Diamond
11 - "Proud Mary," Ike and Tina Turner
This group starts with Sammi Smith's tender reading of Kris Kristofferson's "pleasebabypleasebabybabybabyplease" ballad. One of the best of its kind. Sammi, if I could, I'd help ya.
It was years before I discovered that the Gloria Gaynor disco classic I loved so much was actually a Jackson 5 cover. I was pleasantly surprised. Even though I'll always prefer Gloria's version, the original more than stands on its own merits as an essential Motown standard. Young Michael was quite a little singer, wasn't he?
Next is Cat Stevens with his first American hit, a song he wrote after breaking up with American actress Patti D'Arbanville. Apparently, he wished her well, but I don't know about that line "I'll always remember you like a child, girl." Could be misinterpreted in unflattering ways, Cat.
Then it's our old friend Neil with a ballad about not belonging in either one's birthplace or one's adopted home, to the point where you are starting to question your very place in the world. This is what Neil's big, bombastic voice was made for.
Closing out this batch are Ike and Tina rippping up a great-but-tame CCR hit and turning it into a party. Can anyone not love this?
Submitted for your approval: Ten songs, linked only by their high levels of popularity. And yet, they all somehow find a commonality...in the Glovehead Zone.
10 - "One Toke Over the Line," Brewer and Shipley
Mike and Tim's only hit confused listeners. The title made it seem like a drug song, but the lyrics seemed almost gospelly. To demonstrate this dichotomy, Vice President Spiro Agnew decried the song as "subversive," while at the same time, none other than Lawrence Welk, for whom the Carpenters were presumably too heavy, allowed two of his regular singers to perform it on his show, even referring to it as a "modern spiritual." To me, it's just an okay folk-pop number.
9 - "For All We Know," The Carpenters
This song the duo borrowed from a movie has grown on me a bit, but mainly because of Karen's performance. It's still not much in and of itself
8 - "Doesn't Somebody Want to be Wanted," The Partridge Family
David Cassidy and his fake (except for Mom) family are back, singing about the desire to be desired. If you ask me, they should have let Bonaduce sing lead at least once, just for shits and giggles.
7 - "Me and Bobby McGee," Janis Joplin
More Kristofferson, this time interpreted by the late Great White Blues Mama. Still sounds fresh somehow.
6 - "Put Your Hand in the Hand," Ocean
This only hit by a Canadian band was a gentle folk rocker that asked listeners to put themselves in the grasp of "the Man from Gallilee. According to the book Precious and Few: Pop Music in the Early Seventies by Don and Jeff Breithaupt (a book I highly recommend if you can track it down), Ocean weren't really that religious, but they recorded this song anyway because at that time, with the phenomenon of "Jesus Freaks" and a certain Andrew Lloyd Webber musical, they felt it was the right commercial move. I don't think the religious leaders that Casey said were sending the band fan letters were aware of this.
5 - "Another Day," Paul McCartney
Paul McCartney had his first solo hit with this meditation on the mundane life of a single woman. Paul liked getting into women's heads in songs like "She's Leaving Home" and "Lady Madonna." Not a lot of male songwriters do that, and certainly not as often as Macca.
4 - "She's a Lady," Tom Jones
The hip-swingin' Welsh dynamo is back with this tribute to the class and femininity of some unnamed woman. And I'm sure the subject of this adulation was abundantly grateful. Tommy had that way about him.
3 - "Just My Imagination (Running Away With Me)," The Temptations
The one and only Temps, pining away for an unattainable life with the woman of their dreams on this former #1. Incurable heartbreak has never sounded more beautiful.
2 - "What's Going On," Marvin Gaye
This song was originally written by Obie Benson of the Four Tops after witnessing anti-war protesters being beaten by police. He had planned to have Joan Baez, but instead it ended up in the hands of Marvin, who, inspired in part by the horror stories his brother told upon returning from Vietnam, helped fill out the lyric and recorded it. Motown head Berry Gordy didn't want to release it, deeming it "too jazzy." But Marvin refused to record another song until it was released, and when the song leaked to deejays and started to gain popularity, Gaye was vindicated. Mr. Gordy, your track record is impreccable, but I don't see how you could get this so wrong. From note one, this is nothing but gold.
And at the top of the pile of vinyl, we find a black disc labelled...
1 - "Joy to the World," Three Dog Night
Here it is, the biggest and best 3DN had to offer: a fun, absurd singalong about wine-drinking bullfrogs, rainbow riders, and the fishes in the deep blue sea. No, it's not a great, important song, but it puts a smile on my face, so all credit to these guys. There's still a lot of mediocrity in their catalogue, though.
The NotCaseys were "Me and You and a Dog Named Boo" by Lobo and "Want Ads" by The Honey cone. Plus Casey played four extra songs for various reasons: "Half Moon" by Janis Joplin; "Mule Train" by Frankie Laine; "Sleep Walk" by Santo and Johnny; Elvis' "Heartbreak Hotel;" and "Harper Valley P.T.A." by Jeannie C. Riley.
Another look back at a stack of wax next week, kids. Hang cool until then.
20 - "If," Bread
19 - "Love's Lines, Angles and Rhymes," The 5th Dimension
18 - "What is Life," George Harrison
17 - "Love Story (Where Do I Begin)," Andy Williams
16 - "No Love at All," B.J. Thomas
Like a meal at an Italian restaurant, we start with Bread. This is arguably their best-known hit, and as Bread goes, it's not bad. It's a sweet, earnest ballad, not too treacly, and I like the echoey guitar. Apparently, Kojak himself, Telly Savalas, went on to record this and actually went to #1 in Britain. I'm not sure I want to track it down, though.
Then it's Marilyn McCoo and her cohorts with a song that lays on a bunch of strange metaphors involving pendulums and triangles and other things that don't instantly make one thing of romance. I admire the ambition, and it's well sung, but it doesn't really work.
Next is the "quiet Beatle" with a song that questions where he would be without his lover. The Beach Boys did this better on "God Only Knows," but this is still an excellent effort from George. This would be his second Top 10, which made him the first solo Beatle to reach such heights more than once.
Returning from our last visit to this time period is Andy Williams with his vocal version of the theme from the movie that made Ali MacGraw and Ryan O'Neal superstars. I don't love it, so I guess I don't have to say I'm sorry.
Rounding out this group is B.J. Thomas, who apparently was more of an MOR hit machine than I'd imagined. This song tells us that "a little bit of love is better than no love at all." Well, duh. But this is actually a decent little song. It might even be my favorite of his. This or "Raindrops Keep Falling on My Head."
15 - "Help Me Make it Through the Night," Sammi Smith
14 - "Never Can Say Goodbye," The Jackson 5
13 - "Wild World," Cat Stevens
12 - "I Am...I Said," Neil Diamond
11 - "Proud Mary," Ike and Tina Turner
This group starts with Sammi Smith's tender reading of Kris Kristofferson's "pleasebabypleasebabybabybabyplease" ballad. One of the best of its kind. Sammi, if I could, I'd help ya.
It was years before I discovered that the Gloria Gaynor disco classic I loved so much was actually a Jackson 5 cover. I was pleasantly surprised. Even though I'll always prefer Gloria's version, the original more than stands on its own merits as an essential Motown standard. Young Michael was quite a little singer, wasn't he?
Next is Cat Stevens with his first American hit, a song he wrote after breaking up with American actress Patti D'Arbanville. Apparently, he wished her well, but I don't know about that line "I'll always remember you like a child, girl." Could be misinterpreted in unflattering ways, Cat.
Then it's our old friend Neil with a ballad about not belonging in either one's birthplace or one's adopted home, to the point where you are starting to question your very place in the world. This is what Neil's big, bombastic voice was made for.
Closing out this batch are Ike and Tina rippping up a great-but-tame CCR hit and turning it into a party. Can anyone not love this?
Submitted for your approval: Ten songs, linked only by their high levels of popularity. And yet, they all somehow find a commonality...in the Glovehead Zone.
10 - "One Toke Over the Line," Brewer and Shipley
Mike and Tim's only hit confused listeners. The title made it seem like a drug song, but the lyrics seemed almost gospelly. To demonstrate this dichotomy, Vice President Spiro Agnew decried the song as "subversive," while at the same time, none other than Lawrence Welk, for whom the Carpenters were presumably too heavy, allowed two of his regular singers to perform it on his show, even referring to it as a "modern spiritual." To me, it's just an okay folk-pop number.
9 - "For All We Know," The Carpenters
This song the duo borrowed from a movie has grown on me a bit, but mainly because of Karen's performance. It's still not much in and of itself
8 - "Doesn't Somebody Want to be Wanted," The Partridge Family
David Cassidy and his fake (except for Mom) family are back, singing about the desire to be desired. If you ask me, they should have let Bonaduce sing lead at least once, just for shits and giggles.
7 - "Me and Bobby McGee," Janis Joplin
More Kristofferson, this time interpreted by the late Great White Blues Mama. Still sounds fresh somehow.
6 - "Put Your Hand in the Hand," Ocean
This only hit by a Canadian band was a gentle folk rocker that asked listeners to put themselves in the grasp of "the Man from Gallilee. According to the book Precious and Few: Pop Music in the Early Seventies by Don and Jeff Breithaupt (a book I highly recommend if you can track it down), Ocean weren't really that religious, but they recorded this song anyway because at that time, with the phenomenon of "Jesus Freaks" and a certain Andrew Lloyd Webber musical, they felt it was the right commercial move. I don't think the religious leaders that Casey said were sending the band fan letters were aware of this.
5 - "Another Day," Paul McCartney
Paul McCartney had his first solo hit with this meditation on the mundane life of a single woman. Paul liked getting into women's heads in songs like "She's Leaving Home" and "Lady Madonna." Not a lot of male songwriters do that, and certainly not as often as Macca.
4 - "She's a Lady," Tom Jones
The hip-swingin' Welsh dynamo is back with this tribute to the class and femininity of some unnamed woman. And I'm sure the subject of this adulation was abundantly grateful. Tommy had that way about him.
3 - "Just My Imagination (Running Away With Me)," The Temptations
The one and only Temps, pining away for an unattainable life with the woman of their dreams on this former #1. Incurable heartbreak has never sounded more beautiful.
2 - "What's Going On," Marvin Gaye
This song was originally written by Obie Benson of the Four Tops after witnessing anti-war protesters being beaten by police. He had planned to have Joan Baez, but instead it ended up in the hands of Marvin, who, inspired in part by the horror stories his brother told upon returning from Vietnam, helped fill out the lyric and recorded it. Motown head Berry Gordy didn't want to release it, deeming it "too jazzy." But Marvin refused to record another song until it was released, and when the song leaked to deejays and started to gain popularity, Gaye was vindicated. Mr. Gordy, your track record is impreccable, but I don't see how you could get this so wrong. From note one, this is nothing but gold.
And at the top of the pile of vinyl, we find a black disc labelled...
1 - "Joy to the World," Three Dog Night
Here it is, the biggest and best 3DN had to offer: a fun, absurd singalong about wine-drinking bullfrogs, rainbow riders, and the fishes in the deep blue sea. No, it's not a great, important song, but it puts a smile on my face, so all credit to these guys. There's still a lot of mediocrity in their catalogue, though.
The NotCaseys were "Me and You and a Dog Named Boo" by Lobo and "Want Ads" by The Honey cone. Plus Casey played four extra songs for various reasons: "Half Moon" by Janis Joplin; "Mule Train" by Frankie Laine; "Sleep Walk" by Santo and Johnny; Elvis' "Heartbreak Hotel;" and "Harper Valley P.T.A." by Jeannie C. Riley.
Another look back at a stack of wax next week, kids. Hang cool until then.
Sunday, April 17, 2011
April 17, 1971 Part One
Back to my birth year. These were the sounds my two-month-old ears could not escape.
40 - "Rags to Riches/Where Did They Go Lord," Elvis Presley
39 - "I Love You for All Seasons," The Fuzz
38 - "Don't Change on Me," Ray Charles
37 - "I Don't Blame You at All," Smokey Robinson and the Miracles
36 - "Friends," Elton John
35 - "Soul Power," James Brown
34 - "You're All I Need to Get By," Aretha Franklin
33 - "Baby Let Me Kiss You," King Floyd
32 - "Timothy," The Buoys
31 - "Dream Baby (How Long Must I Dream)," Glen Campbell
Three legends whose hitmaking careers date back to the beginnings of what Casey always called "the rock era" are in this group. The King himself is here with another of those double-sided hits. The A-side was a cover of the Tony Bennett classic "Rags to Riches," and the B, which Casey played, is a big ballad about the passage of time and what gets left behind. Honestly, these 70s Elvis ballads all blend together. Ray Charles had his second last Top 40 with a soulful love ballad that sounds like it could have been recorded a decade earlier. I don't know if the same could be said of his last hit, but the fact that it was titled "Booty Butt." makes me wonder. And the Godfather of Soul busts out more of the kind of funk that only he could provide. We do need soul power, James, and we always will. Thank you for supplying enough to last until the end of time.
There are four more R&B hits here. The Fuzz had their first and biggest of a two-hit career with this pretty-but-hardly-essential song about loving someone a lot. Smokey Robinson and the Miracles had their last hit together with a record that reminds me quite a bit of "Tears of a Clown." Which is fine, but I'd still rather hear the original. Or "Love Machine." Aretha is here with a cover of a Marvin Gaye and Tammi Terrell classic. It sounds pretty similar, and normally I'd consider such a cover unnecessary. But I don't think you can ever say that about three minutes of the voice of Lady Soul. And King Floyd, of "Groove Me," fame, is here with another decent bit of strutting funk. And yes, I think it was the right choice to once again do the "Awww, sookie sookie" thing. Can't go wrong with that.
Two more songs here fit into your basic easy-listening category. Sir Elton's first hit "Your Song," has become a ubiquitous pop standard., but the same cannot be said for his second, this title song of an obscure British film. Having heard it for the first time, I can say the world isn't missing anything. And Glen Campbell is here with a cover of a Roy Orbison hit. Now this is an unnecessary cover. It sounds the same, just without Roy's inimitable vocal power. No reason for this to exist at all.
And then there's "Timothy," certainly one of the most infamous pop hits of all time. If you haven't heard it, or never paid close enough attention to the lyrics, well, here goes: It's about three miners who get trapped in a cave-in. There's the unnamed narrator, his friend Joe, and their friend Timothy. Anyway, time goes on, the men are overcome with fear, fatigue, and hunger, and eventually the narrator loses consciousness. Later, he awakes to find that he and Joe have been rescued, but no one has been able to find Timothy. How can this be? But then the narrator realizes that he's not hungry anymore. Don't tell me...We didn't...did we? Yes, you did. You and Joe sustained yourself with the only meat you could find. How the hell did a song about cannibalism of all things become a Top 40 hit, you ask? Well, it was a calculated effort to couch a disquieting lyric in a sunny pop song in hopes that the ensuing controversy would draw attention to the then unknown Buoys. It worked, at least for one hit. And the man who had this bright idea was none other than the song's writer, Rupert Holmes, who would later have a #1 smash as an artist with that immortal disco-era artifact "Escape (The Pina Colada Song)" This was going to win this week's Uneasy Rider Award from the moment I knew it was on this list, but if there was any doubt, it was cemented by how deadly serious Casey took the subject matter in his introduction, even going so far as to recount the tale of the Donner Party. Anyway, as I've said before, the fact that both this and "D.O.A." were hits during the first months of my life fascinates me. But it's obviously just a coincidence. Right?
30 - "Blue Money," Van Morrison
29 - "Oye Como Va," Santana
28 - "Power to the People," John Lennon and the Plastic Ono Band
27 - "Heavy Makes You Happy," The Staple Singers
26 - "I Play and Sing," Dawn
25 - "Chick-a-Boom (Don't Ya Jes' Love It)," Daddy Dewdrop
24 - "Temptation Eyes," The Grass Roots
23 - "We Can Work it Out," Stevie Wonder
22 - "I'm Eighteen," Alice Cooper
21 - "Stay Awhile," The Bells
We start with classic rock. Van Morrison was at the peak of his blue-eyed soul powers on the swinging "Blue Money." I love the scatting at the end, though I'm not even going attempt to write it out. Santana had one of their best-known hits with a cover of a 1963 composition by salsa legend and one-time Springfield Elementary music teacher Tito Puente. Probably the biggest hit to contain the word "mulatta." John Lennon had another of his early solo hits with an anthem in the same style as "Give Peace a Chance." Right on! And back when Alice Cooper wasn't just the name of the singer but his entire band, they had their first taste of pop success with this legendary sludge-ballad about adolescent angst. "I got a baby's brain and an old man's heart." Yeah, I think that was me at 18.
R&B is represented twice here. The Staple Singers aren't saying that putting on weight is the key to inner joy on their hit here, but going over the lyrics, I'm not really sure what they are trying to say. And Stevie Wonder finds the funk in a Beatles classic. This cover, unlike some, is very, very necessary.
MOR will always be with us. "I Play and Sing" was Dawn's first Top 40 hit not to go Top Ten, and I can declare that this failure was more than merited. Not much of a hook here. The Grass Roots are back from last time with their song about those oh-so-fetching peepers. Again, nice song, shame about the lack of Creed. And the Bells, a Canadian band formed by a pair of South African immigrants, had their biggest worldwide success with this ballad that I find more disturbing than romantic. Especially the way the breathy chick sings about the guy sneaking into her room and spying on her dreams. Well, I suppose some people are into that, but I would find it more creepy than erotic. I don't hate this song, I just don't get it.
We end this half of the chart with a song that might have won an Uneasy Rider in another, cannibalism-free week. Daddy Dewdrop was a guy named Dick Monda who at this time was writing songs to be used in the cartoon series Sabrina and the Groovie Goolies. "Chick-a-Boom" was one of these songs, but for some reason, he ended up re-recording it as a pop single, and it made it all the way to #9. In a raspy, almost Wolfman Jack-ish voice, Dewdrop describes a dream he had about a bikini-clad lady who then disappears around a corner. He follows her and finds himself in front of three doors. Behind the first door, he finds her bikini top in the middle of a wild party. Behind the second door, he finds the bikini bottom in a place that he believes to be Africa. And behind the third, he finally finds the woman, but when he says hello to her, she responds with the same phrase as the other people in the other rooms did when he asked them where he could find her: "Chick-a-boom, chick-a boom, don't ya jes' love it?" Yes, it's nonsensical. But it's fun and disposble, so I've got no beef with it.
Tomorrow: Three Dogs find a Cat amongst the Partidges. Yeah, that's awful. Sorry.
40 - "Rags to Riches/Where Did They Go Lord," Elvis Presley
39 - "I Love You for All Seasons," The Fuzz
38 - "Don't Change on Me," Ray Charles
37 - "I Don't Blame You at All," Smokey Robinson and the Miracles
36 - "Friends," Elton John
35 - "Soul Power," James Brown
34 - "You're All I Need to Get By," Aretha Franklin
33 - "Baby Let Me Kiss You," King Floyd
32 - "Timothy," The Buoys
31 - "Dream Baby (How Long Must I Dream)," Glen Campbell
Three legends whose hitmaking careers date back to the beginnings of what Casey always called "the rock era" are in this group. The King himself is here with another of those double-sided hits. The A-side was a cover of the Tony Bennett classic "Rags to Riches," and the B, which Casey played, is a big ballad about the passage of time and what gets left behind. Honestly, these 70s Elvis ballads all blend together. Ray Charles had his second last Top 40 with a soulful love ballad that sounds like it could have been recorded a decade earlier. I don't know if the same could be said of his last hit, but the fact that it was titled "Booty Butt." makes me wonder. And the Godfather of Soul busts out more of the kind of funk that only he could provide. We do need soul power, James, and we always will. Thank you for supplying enough to last until the end of time.
There are four more R&B hits here. The Fuzz had their first and biggest of a two-hit career with this pretty-but-hardly-essential song about loving someone a lot. Smokey Robinson and the Miracles had their last hit together with a record that reminds me quite a bit of "Tears of a Clown." Which is fine, but I'd still rather hear the original. Or "Love Machine." Aretha is here with a cover of a Marvin Gaye and Tammi Terrell classic. It sounds pretty similar, and normally I'd consider such a cover unnecessary. But I don't think you can ever say that about three minutes of the voice of Lady Soul. And King Floyd, of "Groove Me," fame, is here with another decent bit of strutting funk. And yes, I think it was the right choice to once again do the "Awww, sookie sookie" thing. Can't go wrong with that.
Two more songs here fit into your basic easy-listening category. Sir Elton's first hit "Your Song," has become a ubiquitous pop standard., but the same cannot be said for his second, this title song of an obscure British film. Having heard it for the first time, I can say the world isn't missing anything. And Glen Campbell is here with a cover of a Roy Orbison hit. Now this is an unnecessary cover. It sounds the same, just without Roy's inimitable vocal power. No reason for this to exist at all.
And then there's "Timothy," certainly one of the most infamous pop hits of all time. If you haven't heard it, or never paid close enough attention to the lyrics, well, here goes: It's about three miners who get trapped in a cave-in. There's the unnamed narrator, his friend Joe, and their friend Timothy. Anyway, time goes on, the men are overcome with fear, fatigue, and hunger, and eventually the narrator loses consciousness. Later, he awakes to find that he and Joe have been rescued, but no one has been able to find Timothy. How can this be? But then the narrator realizes that he's not hungry anymore. Don't tell me...We didn't...did we? Yes, you did. You and Joe sustained yourself with the only meat you could find. How the hell did a song about cannibalism of all things become a Top 40 hit, you ask? Well, it was a calculated effort to couch a disquieting lyric in a sunny pop song in hopes that the ensuing controversy would draw attention to the then unknown Buoys. It worked, at least for one hit. And the man who had this bright idea was none other than the song's writer, Rupert Holmes, who would later have a #1 smash as an artist with that immortal disco-era artifact "Escape (The Pina Colada Song)" This was going to win this week's Uneasy Rider Award from the moment I knew it was on this list, but if there was any doubt, it was cemented by how deadly serious Casey took the subject matter in his introduction, even going so far as to recount the tale of the Donner Party. Anyway, as I've said before, the fact that both this and "D.O.A." were hits during the first months of my life fascinates me. But it's obviously just a coincidence. Right?
30 - "Blue Money," Van Morrison
29 - "Oye Como Va," Santana
28 - "Power to the People," John Lennon and the Plastic Ono Band
27 - "Heavy Makes You Happy," The Staple Singers
26 - "I Play and Sing," Dawn
25 - "Chick-a-Boom (Don't Ya Jes' Love It)," Daddy Dewdrop
24 - "Temptation Eyes," The Grass Roots
23 - "We Can Work it Out," Stevie Wonder
22 - "I'm Eighteen," Alice Cooper
21 - "Stay Awhile," The Bells
We start with classic rock. Van Morrison was at the peak of his blue-eyed soul powers on the swinging "Blue Money." I love the scatting at the end, though I'm not even going attempt to write it out. Santana had one of their best-known hits with a cover of a 1963 composition by salsa legend and one-time Springfield Elementary music teacher Tito Puente. Probably the biggest hit to contain the word "mulatta." John Lennon had another of his early solo hits with an anthem in the same style as "Give Peace a Chance." Right on! And back when Alice Cooper wasn't just the name of the singer but his entire band, they had their first taste of pop success with this legendary sludge-ballad about adolescent angst. "I got a baby's brain and an old man's heart." Yeah, I think that was me at 18.
R&B is represented twice here. The Staple Singers aren't saying that putting on weight is the key to inner joy on their hit here, but going over the lyrics, I'm not really sure what they are trying to say. And Stevie Wonder finds the funk in a Beatles classic. This cover, unlike some, is very, very necessary.
MOR will always be with us. "I Play and Sing" was Dawn's first Top 40 hit not to go Top Ten, and I can declare that this failure was more than merited. Not much of a hook here. The Grass Roots are back from last time with their song about those oh-so-fetching peepers. Again, nice song, shame about the lack of Creed. And the Bells, a Canadian band formed by a pair of South African immigrants, had their biggest worldwide success with this ballad that I find more disturbing than romantic. Especially the way the breathy chick sings about the guy sneaking into her room and spying on her dreams. Well, I suppose some people are into that, but I would find it more creepy than erotic. I don't hate this song, I just don't get it.
We end this half of the chart with a song that might have won an Uneasy Rider in another, cannibalism-free week. Daddy Dewdrop was a guy named Dick Monda who at this time was writing songs to be used in the cartoon series Sabrina and the Groovie Goolies. "Chick-a-Boom" was one of these songs, but for some reason, he ended up re-recording it as a pop single, and it made it all the way to #9. In a raspy, almost Wolfman Jack-ish voice, Dewdrop describes a dream he had about a bikini-clad lady who then disappears around a corner. He follows her and finds himself in front of three doors. Behind the first door, he finds her bikini top in the middle of a wild party. Behind the second door, he finds the bikini bottom in a place that he believes to be Africa. And behind the third, he finally finds the woman, but when he says hello to her, she responds with the same phrase as the other people in the other rooms did when he asked them where he could find her: "Chick-a-boom, chick-a boom, don't ya jes' love it?" Yes, it's nonsensical. But it's fun and disposble, so I've got no beef with it.
Tomorrow: Three Dogs find a Cat amongst the Partidges. Yeah, that's awful. Sorry.
Monday, April 11, 2011
April 10, 1976 Part Two
Finishing off another week.
20 - "Welcome Back," John Sebastian
19 - "All by Myself," Eric Carmen
18 - "Fooled Around and Fell in Love," Elvin Bishop
17 - "Deep Purple," Donny and Marie Osmond
16 - "Money Honey," The Bay City Rollers
The second half begins with ex-Lovin' Spoonful leader John Sebastian's return to the charts with the folky theme to the high school sitcom Welcome Back Kotter. This was just the beginning of a period where John Travolta vehicles would produce several big hits. Saturday Night Fever, Grease, Urban Cowboy. Not to mention Travolta's own Top Ten hit, "Let Her In," which perhaps we'll encounter somewhere down the line. The man sold records.
Next is that awful Eric Carmen song. I covered it before, so I'm going to leave it alone this week. It deserves isolation, and so does Eric for writing it.
Blues guitarist Elvin Bishop scored his only Top 40 hit with this sunny pop song. The vocals are provided by Mickey Thomas, who would go on to do the seemingly impossible: make Jefferson Starship even worse.
The second and third-youngest Osmond siblings return with this cover. At this point, their variety show had been airing for three months, and had become a hit. I remember it pretty well, considering. I think the Busby Berkeley-style skating numbers were my favorite part of the show. Don't ask me why.
Rounding out this bunch are the Bay City Rollers singing about filthy lucre, during a time when they were probably making more of it than they would at any other time. I'm sure they thought they'd be stars forever. Shockingly, they weren't.
15 - "There's a Kind of Hush," The Carpenters
14 - "December 1963 (Oh What a Night)" The Four Seasons
13 - "Sweet Thing," Rufus featuring Chaka Khan
12 - "Bohemian Rhapsody," Queen
11 - "Show Me the Way," Peter Frampton
This section starts with the Carpenters covering Herman's Hermits. I've sung their praises frequently here, but I'm not a fan of this one. The arrangement's limp, and Karen seems to be holding back. Perhaps they were aware that their time was passing. Personally, I liked hearing Lenny Leonard singing it to his bowling ball better.
Then it's Frankie V. and his group with a song that kinda sucks. I'm sure you know it, it's been here before, so let's move on.
Rufus are next with a great soul ballad that Chaka co-wrote for her then-husband. This was their second biggest hit. They're another group that I haven't been exposed to enough. Once I get around to Al Green, they're next.
Queen return with arguably their defining moment, the song that the respective bombasts of hard rock and classical opera couLd make beautiful music together. It was a true. "You got peanut butter in my chocolate!/You got chocolate in my peanut butter!" moment. There's a debate topic: Which is better: Reese's Peanut Butter Cups or "Bohemian Rhapsody?" Feel free to discuss.
We close with the first solo hit by Peter Frampton, which helped move a shitload of copies of Frampton Comes Alive and helped popularize the "talk box." And his hair on the cover of that album may have been the male counterpart to Farrah Fawcett's do on that poster.
These are the ten who reigned above all others for seven glorious days. We remember them now, and thank them for their service:
10 - "Golden Years," David Bowie
Mr. Jones sounds a little bit like Bing Crosby on parts of this ("Come buh-buh-buh baby.") And later, the two would famously duet on "Little Drummer Boy" for Bing's final Christmas special. No wonder that pairing worked so well.
9 - "Sweet Love," The Commodores
The first Top Ten for a group who got their name by randomly picking a word out of a dictionary. Founding member William King once said "We almost became the Commodes!" And their career would have gone down the...no, I'm not going to make that joke. I'm embarrassed that I even thought of it. My face is flushed.
8 - "Only Sixteen," Dr. Hook
The now-Medicine Show-less ones do all right covering Sam Cooke, on second glance. It's better than when they went disco, anyway.
7 - "Boogie Fever," The Sylvers
This disco classic by nine Memphis siblings about the most fun-sounding disease since Rockin' Pneumonia went all the way to the top. I think I'm coming down with it as well. Turn around while I get something out of my system.
There, I think I'm good for the rest of the night.
6 - "Dream On," Aerosmith
The breakthrough power ballad by Boston's finest sleaze rockers. One of the great "go for it, no matter what" songs. But I must say, I'm liking Steven Tyler on Idol less every week. He's flashy, and he gets some laughs, but I don't think he's contributing much.
5 - "Right Back Where We Started From," Maxine Nightingale
This catchy disco stomper was the first and biggest of British soulstress Nightingale's two American hits. Definitely a childhood favorite, and it holds up extremely well. And that is her real name.
4 - "Let Your Love Flow," The Bellamy Brothers
The biggest hit for this country duo. I was going to call Casey out for referring to the brothers as "David and Howard," when I was sure that the second bro's name was Homer, but as the song says, "There's a reason." Howard was his middle name, and presumably the one he went by. Wimp. You're Homer. Stand by it. If you had committed to it, it would have become cool. Now it's a secret that people can dig up and laugh at.
3 - "Lonely Night (Angel Face)," The Captain and Tennille
Daryl and Toni back with their slightly less successful take on Sedaka. I liked it a little better this time. I detected a hint of xylophone in the background, which I quite enjoyed
2 - "Dream Weaver," Gary Wright
Mr. Wright is back, fantasizing about travelling to astral planes and leaving his earthly headaches behind. And yes, it still makes me think about making out in a van. And I've never even done that.
And the song that everybody was diggin' the most back then was...
1 - "Disco Lady," Johnnie Taylor
This isn't Johnnie's best or most interesting hit, but it was by far his biggest. To a somewhat understated disco groove, Taylor gives the titular female a series of instructions regarding what she should do with "it." I don't know about you, but if I were her, after a couple minutes of this, I'd be giving Johnnie some "it"-related suggestions of my own. I don't care if he did tell me I should be on Soul Train. My "it" is my own, dammit!
The NotCaseys were "Turn the Beat Around" by Vicki Sue Robinson, "Silly Love Songs" by Wings, and Diana Ross' disco debut "Love Hangover." And I forget why, but Casey played "All I Have to Do is Dream" by the Everly Brothers.
Uh oh, I think the boogie fever is starting to overcome me again, so farewell until next week.
20 - "Welcome Back," John Sebastian
19 - "All by Myself," Eric Carmen
18 - "Fooled Around and Fell in Love," Elvin Bishop
17 - "Deep Purple," Donny and Marie Osmond
16 - "Money Honey," The Bay City Rollers
The second half begins with ex-Lovin' Spoonful leader John Sebastian's return to the charts with the folky theme to the high school sitcom Welcome Back Kotter. This was just the beginning of a period where John Travolta vehicles would produce several big hits. Saturday Night Fever, Grease, Urban Cowboy. Not to mention Travolta's own Top Ten hit, "Let Her In," which perhaps we'll encounter somewhere down the line. The man sold records.
Next is that awful Eric Carmen song. I covered it before, so I'm going to leave it alone this week. It deserves isolation, and so does Eric for writing it.
Blues guitarist Elvin Bishop scored his only Top 40 hit with this sunny pop song. The vocals are provided by Mickey Thomas, who would go on to do the seemingly impossible: make Jefferson Starship even worse.
The second and third-youngest Osmond siblings return with this cover. At this point, their variety show had been airing for three months, and had become a hit. I remember it pretty well, considering. I think the Busby Berkeley-style skating numbers were my favorite part of the show. Don't ask me why.
Rounding out this bunch are the Bay City Rollers singing about filthy lucre, during a time when they were probably making more of it than they would at any other time. I'm sure they thought they'd be stars forever. Shockingly, they weren't.
15 - "There's a Kind of Hush," The Carpenters
14 - "December 1963 (Oh What a Night)" The Four Seasons
13 - "Sweet Thing," Rufus featuring Chaka Khan
12 - "Bohemian Rhapsody," Queen
11 - "Show Me the Way," Peter Frampton
This section starts with the Carpenters covering Herman's Hermits. I've sung their praises frequently here, but I'm not a fan of this one. The arrangement's limp, and Karen seems to be holding back. Perhaps they were aware that their time was passing. Personally, I liked hearing Lenny Leonard singing it to his bowling ball better.
Then it's Frankie V. and his group with a song that kinda sucks. I'm sure you know it, it's been here before, so let's move on.
Rufus are next with a great soul ballad that Chaka co-wrote for her then-husband. This was their second biggest hit. They're another group that I haven't been exposed to enough. Once I get around to Al Green, they're next.
Queen return with arguably their defining moment, the song that the respective bombasts of hard rock and classical opera couLd make beautiful music together. It was a true. "You got peanut butter in my chocolate!/You got chocolate in my peanut butter!" moment. There's a debate topic: Which is better: Reese's Peanut Butter Cups or "Bohemian Rhapsody?" Feel free to discuss.
We close with the first solo hit by Peter Frampton, which helped move a shitload of copies of Frampton Comes Alive and helped popularize the "talk box." And his hair on the cover of that album may have been the male counterpart to Farrah Fawcett's do on that poster.
These are the ten who reigned above all others for seven glorious days. We remember them now, and thank them for their service:
10 - "Golden Years," David Bowie
Mr. Jones sounds a little bit like Bing Crosby on parts of this ("Come buh-buh-buh baby.") And later, the two would famously duet on "Little Drummer Boy" for Bing's final Christmas special. No wonder that pairing worked so well.
9 - "Sweet Love," The Commodores
The first Top Ten for a group who got their name by randomly picking a word out of a dictionary. Founding member William King once said "We almost became the Commodes!" And their career would have gone down the...no, I'm not going to make that joke. I'm embarrassed that I even thought of it. My face is flushed.
8 - "Only Sixteen," Dr. Hook
The now-Medicine Show-less ones do all right covering Sam Cooke, on second glance. It's better than when they went disco, anyway.
7 - "Boogie Fever," The Sylvers
This disco classic by nine Memphis siblings about the most fun-sounding disease since Rockin' Pneumonia went all the way to the top. I think I'm coming down with it as well. Turn around while I get something out of my system.
There, I think I'm good for the rest of the night.
6 - "Dream On," Aerosmith
The breakthrough power ballad by Boston's finest sleaze rockers. One of the great "go for it, no matter what" songs. But I must say, I'm liking Steven Tyler on Idol less every week. He's flashy, and he gets some laughs, but I don't think he's contributing much.
5 - "Right Back Where We Started From," Maxine Nightingale
This catchy disco stomper was the first and biggest of British soulstress Nightingale's two American hits. Definitely a childhood favorite, and it holds up extremely well. And that is her real name.
4 - "Let Your Love Flow," The Bellamy Brothers
The biggest hit for this country duo. I was going to call Casey out for referring to the brothers as "David and Howard," when I was sure that the second bro's name was Homer, but as the song says, "There's a reason." Howard was his middle name, and presumably the one he went by. Wimp. You're Homer. Stand by it. If you had committed to it, it would have become cool. Now it's a secret that people can dig up and laugh at.
3 - "Lonely Night (Angel Face)," The Captain and Tennille
Daryl and Toni back with their slightly less successful take on Sedaka. I liked it a little better this time. I detected a hint of xylophone in the background, which I quite enjoyed
2 - "Dream Weaver," Gary Wright
Mr. Wright is back, fantasizing about travelling to astral planes and leaving his earthly headaches behind. And yes, it still makes me think about making out in a van. And I've never even done that.
And the song that everybody was diggin' the most back then was...
1 - "Disco Lady," Johnnie Taylor
This isn't Johnnie's best or most interesting hit, but it was by far his biggest. To a somewhat understated disco groove, Taylor gives the titular female a series of instructions regarding what she should do with "it." I don't know about you, but if I were her, after a couple minutes of this, I'd be giving Johnnie some "it"-related suggestions of my own. I don't care if he did tell me I should be on Soul Train. My "it" is my own, dammit!
The NotCaseys were "Turn the Beat Around" by Vicki Sue Robinson, "Silly Love Songs" by Wings, and Diana Ross' disco debut "Love Hangover." And I forget why, but Casey played "All I Have to Do is Dream" by the Everly Brothers.
Uh oh, I think the boogie fever is starting to overcome me again, so farewell until next week.
Sunday, April 10, 2011
April 10. 1976 Part One
Back to spring '76. The Montreal Canadiens were on their way to the first of four straight Stanley Cups, and a little-known Georgia peanut farmer was on his way to securing the Democratic nomaination for the Presidency of the United States. I was five. And this was the background music for all of this:
40 - "Hit the Road Jack," The Stampeders
39 - "Rhiannon (Will You Ever Win)," Fleetwood Mac
38 - "Misty Blue," Dorothy Moore
37 - "Trying to Get That Feeling Again," Barry Manilow
36 - "We Can't Hide it Anymore," Larry Santos
35 - "Strange Magic," Electric Light Orchestra
34 - "Sara Smile," Daryl Hall and John Oates
33 - "Fopp," The Ohio Players
32 - "You'll Lose a Good Thing," Freddy Fender
31 - "Lorelei," Styx
We begin with rock. Canada's Stampeders had their second and final U.S. hit five years after "Sweet City Woman, with a chugging Ray Charles cover that features the trademark patter of Wolfman Jack at the beginning and end. Fleetwood Mac are here with the song that launched the image of Stevie Nicks as a modern-day witch-goddess. She named this song after a character in a novel she read on an airplane, and only later learned that Rhiannon was a major figure in Welsh mythology. Anyway, this is pure unadulterated Stevie, and therefore wonderful. ELO are here with another slow one. And the lyrics aren't much. But it's okay. And Styx had their second top 40 with a ballad that's basically a slightly rockier "Lady." Nothing essential.
A couple of R&B numbers. Dorothy Moore had her biggest of two hits with this song that was originally a country hit in the 60s for both Wilma Burgess and Eddy Arnold. This one is sweetly heartbreaking, despite being produced by Mr. Sunshine himself, Harry Casey. And The Ohio Players invented a new word for this hard-funkin' single. I'm not sure what "fopping" is, but according to the song, if you do it hard enough, you can "make the people warm" or even lose your shoe. Good to know. And even though the word "fopp" never caught on, for making the effort, the Players take this week's Uneasy Rider award.
MOR fills out the rest. Barry's back with a song that I think might be among my top 5 of his, in which he's lost his passion for his lady during her absence and just can't seem to find it even now that she's coming back. Tough luck, Bare. Footnote Larry Santos is past that point and is sneaking around behind his lover's back, but he knows the jig will soon be up. The song's not much, but Santos sounded a bit like a white Lou Rawls, which is nice. Hall and Oates are here with their first hit, a pretty ballad written about Daryl's girlfriend. I wonder if Johnny O.'s girl got a song of her own as well. If not, I'll bet she was pissed. And Freddy Fender had his last pop hit with a basic country song telling his woman that she'll lose him if she doesn't stop running around. He should have known the hits were about to dry up after winning the Best New Artist Grammy. That thing's a well-known kiss of death in the music industry. The Academy did you a favor, Bieber.
30 - "Love Fire," Jigsaw
29 - "Looking for Space," John Denver
28 - "Only Love is Real," Carole King
27 - "Livin' for the Weekend," The O'Jays
26 - "Shannon," Henry Gross
25 - "Tangerine," Salsoul Orchestra
24 - "Take it to the Limit," The Eagles
23 - "I Do, I Do, I Do, I Do, I Do," ABBA
22 - "Love Machine," The Miracles
21 - "Action," Sweet
Big stack of light sounds here. Jigsaw had their only other American hit after the Top Ten "Sky High" with this similar, less memorable tune. But I did like it when another, deeper-voiced singer unexpectedly popped up for a second. John Denver shows up this week with his typical granola folk. This song, however, was inspired by Denver's involvement in the controversial self-help training program "est," and is therefore a little more interesting than average. Carole King is back from our last trip to these parts, still singing about love and positivity in her comforting, hot cocoa-ish way. Henry Gross makes it two countdowns in a row with songs inspired by dead dogs. This one was written about the death of a canine belonging to Beach Boy Carl Wilson. That's sad and all, but it doesn't make up for the fact that the chorus contains one of the most annoying falsettos ever. And Sweden's finest show's up with a song that I'm sure has accompanied many a walk down the aisle. Apparently, this song contains elements of a form of European pop music known as schlager. I like this ABBA tune, but it does not inspire me to go seeking out more schlager. Well, maybe Goldschlager.
Three soul-disco hits in the bunch. The O'Jays added another entry in the catalogue of songs about enjoying the freedom of the days off at the end of the week, but I don't mind, because hell, they're the freaking O'Jays. The house band of Salsoul records with a song that Casey now informs me was first a hit for big-band leader Jimmy Dorsey. For some reason, there were quite a few early disco hits that were covers of songs from the first half of the century. Huh. And The Miracles were on the way down from the top with their song about that fanous apparatus that "won't work for nobody but you." But I bet a skilled hacker could change that.
Two rock songs close Act One. The Eagles return asking to be put on a highway and shown a sign. Apparently, they were pointed in the direction of a rather strange hotel, if their next album was any indication. And England's power-glam heroes Sweet remind us all that what we really want and need is excitement. And this song does its best to provide.
Tomorrow: a sitcom theme, the dancing disease, and a man who came alive.
40 - "Hit the Road Jack," The Stampeders
39 - "Rhiannon (Will You Ever Win)," Fleetwood Mac
38 - "Misty Blue," Dorothy Moore
37 - "Trying to Get That Feeling Again," Barry Manilow
36 - "We Can't Hide it Anymore," Larry Santos
35 - "Strange Magic," Electric Light Orchestra
34 - "Sara Smile," Daryl Hall and John Oates
33 - "Fopp," The Ohio Players
32 - "You'll Lose a Good Thing," Freddy Fender
31 - "Lorelei," Styx
We begin with rock. Canada's Stampeders had their second and final U.S. hit five years after "Sweet City Woman, with a chugging Ray Charles cover that features the trademark patter of Wolfman Jack at the beginning and end. Fleetwood Mac are here with the song that launched the image of Stevie Nicks as a modern-day witch-goddess. She named this song after a character in a novel she read on an airplane, and only later learned that Rhiannon was a major figure in Welsh mythology. Anyway, this is pure unadulterated Stevie, and therefore wonderful. ELO are here with another slow one. And the lyrics aren't much. But it's okay. And Styx had their second top 40 with a ballad that's basically a slightly rockier "Lady." Nothing essential.
A couple of R&B numbers. Dorothy Moore had her biggest of two hits with this song that was originally a country hit in the 60s for both Wilma Burgess and Eddy Arnold. This one is sweetly heartbreaking, despite being produced by Mr. Sunshine himself, Harry Casey. And The Ohio Players invented a new word for this hard-funkin' single. I'm not sure what "fopping" is, but according to the song, if you do it hard enough, you can "make the people warm" or even lose your shoe. Good to know. And even though the word "fopp" never caught on, for making the effort, the Players take this week's Uneasy Rider award.
MOR fills out the rest. Barry's back with a song that I think might be among my top 5 of his, in which he's lost his passion for his lady during her absence and just can't seem to find it even now that she's coming back. Tough luck, Bare. Footnote Larry Santos is past that point and is sneaking around behind his lover's back, but he knows the jig will soon be up. The song's not much, but Santos sounded a bit like a white Lou Rawls, which is nice. Hall and Oates are here with their first hit, a pretty ballad written about Daryl's girlfriend. I wonder if Johnny O.'s girl got a song of her own as well. If not, I'll bet she was pissed. And Freddy Fender had his last pop hit with a basic country song telling his woman that she'll lose him if she doesn't stop running around. He should have known the hits were about to dry up after winning the Best New Artist Grammy. That thing's a well-known kiss of death in the music industry. The Academy did you a favor, Bieber.
30 - "Love Fire," Jigsaw
29 - "Looking for Space," John Denver
28 - "Only Love is Real," Carole King
27 - "Livin' for the Weekend," The O'Jays
26 - "Shannon," Henry Gross
25 - "Tangerine," Salsoul Orchestra
24 - "Take it to the Limit," The Eagles
23 - "I Do, I Do, I Do, I Do, I Do," ABBA
22 - "Love Machine," The Miracles
21 - "Action," Sweet
Big stack of light sounds here. Jigsaw had their only other American hit after the Top Ten "Sky High" with this similar, less memorable tune. But I did like it when another, deeper-voiced singer unexpectedly popped up for a second. John Denver shows up this week with his typical granola folk. This song, however, was inspired by Denver's involvement in the controversial self-help training program "est," and is therefore a little more interesting than average. Carole King is back from our last trip to these parts, still singing about love and positivity in her comforting, hot cocoa-ish way. Henry Gross makes it two countdowns in a row with songs inspired by dead dogs. This one was written about the death of a canine belonging to Beach Boy Carl Wilson. That's sad and all, but it doesn't make up for the fact that the chorus contains one of the most annoying falsettos ever. And Sweden's finest show's up with a song that I'm sure has accompanied many a walk down the aisle. Apparently, this song contains elements of a form of European pop music known as schlager. I like this ABBA tune, but it does not inspire me to go seeking out more schlager. Well, maybe Goldschlager.
Three soul-disco hits in the bunch. The O'Jays added another entry in the catalogue of songs about enjoying the freedom of the days off at the end of the week, but I don't mind, because hell, they're the freaking O'Jays. The house band of Salsoul records with a song that Casey now informs me was first a hit for big-band leader Jimmy Dorsey. For some reason, there were quite a few early disco hits that were covers of songs from the first half of the century. Huh. And The Miracles were on the way down from the top with their song about that fanous apparatus that "won't work for nobody but you." But I bet a skilled hacker could change that.
Two rock songs close Act One. The Eagles return asking to be put on a highway and shown a sign. Apparently, they were pointed in the direction of a rather strange hotel, if their next album was any indication. And England's power-glam heroes Sweet remind us all that what we really want and need is excitement. And this song does its best to provide.
Tomorrow: a sitcom theme, the dancing disease, and a man who came alive.
Monday, April 4, 2011
April 1, 1972 Part Two
Keepin' on.
20 - "Precious and Few," Climax
19 - "Day Dreaming," Aretha Franklin
18 - "Down by the Lazy River," The Osmonds
17 - "Roundabout," Yes
16 - "A Cowboy's Work is Never Done," Sonny and Cher
The name of the song at 20 could also describe one's moments on Earth, so I'm not going to waste any more on crap like that. A nothing song.
The exaxt opposite can be said about Aretha's entry here. She's a lot more laid back than usual. Not a lot of belting. And it works perfectly. Sultry and exuberant. Might be one of her best ever.
Then it's Utah's favorite sons trying to rock out while inviting you to what they say will be a wild crazy party. But being Mormons, than probably just meant that they were busting out the caffeinated coffee. Oooooh.
Next come one of the biggest groups of the progressive-rock movement with the biggest of their two pop hits of the decade. They had to shave off five minutes to get it on AM radio, but "Roundabout" keeps enough of its noodly charm to work at this length. A decade later, they made their big commercial move and went to #1 with the slick "Owner of a Lonely Heart." Which is a pretty good song for what it is, but it wasn't really Yes. This, unquestionably, is.
Wrapping up this section is the final Top Ten hit for Mr. and Mrs. Bono. It's a fun little number, but the whole lyrical theme of children playing cowboys is a little too reminiscent of the earlier, better Cher hit "Bang Bang (My Baby Shot Me Down)."
15 - "Rock and Roll Lullaby," B.J. Thomas
14 - "Betcha By Golly Wow," The Stylistics
13 - "The Way of Love," Cher
12 - "Everything I Own," Bread
11 - "In the Rain," The Dramatics
This section kicks off with Billy Joe Thomas' sweet but sappy number about the tune his mother used to sing to him. Although having the mother be 16 when she had him was probably shocking to some at the time, so good on you, B.J.
Then it's the Stylistics with a song whose childish title doesn't seem to fit such a tender, soulful ballad, but damn if it doesn't work. This really was a good era for love songs.
Cher is here again, this time on her own with a song that isn't as well-remembered as some of her others. Probably because it's just a simple "love hurts" ballad instead of a three-minute melodrama like her best stuff. She sings this all right, but from Cher, I want sex and death and shame.
Bread return from two months ago, offering to renounce all their material possessions for you. Keep your stuff, guys. I'm not worth it. Take your "Baby I'm-a Want You"'s and "If"'s somewwhere else.
Last in this bunch are The Dramatics with a ballad that more than lives up to the group's name. The lyric doesn't break any new ground with its "I want to go out in the rain so no one can tell that I'm crying." theme, but the combination of echoey guitar, strings, and pained, impassioned vocals make this a classic. And where thunderstorm sound effects would probably come off as over-the-top on a lesser song, they fit in perfectly here. Fantastic heartbreak music.
And now the Top Ten, before which Casey asked his listeners to go out and vote, presumably in U.S. primary elections. But we've got an election of our own here in Canada next month, so I will join Casey in encouraging my countrypeople to exercise their democratic rights.
10 - "The First Time Ever I Saw Your Face," Roberta Flack
One of the great voices of the decade had her first big hit with this cover of a song written by British folksinger Ewan MacColl. He apparently wasn't too fond of this version, but I sure am. Made for romance. But old Ewan gave the world the late Kirsty MacColl, so I've got no beef with him.
9 -"Rockin' Robin," Michael Jackson
I'm only speculating, but I wouldn't be surprised if Motown had Michael record this 1958 Bobby Day hit after seeing the success Donny Osmond was having redoing oldies. Not surprisingly, this one blows all of Donny's covers away. Better singer, better song, much better result.
8 - "Jungle Fever," The Chakachas
The biggest hit by this Belgian group sounds so much like music from a porno film that it was later used in Boogie Nights. Although it is disturbing how often the moaning woman who frequently pops up in this says the word "no." I imagine that this would be the biggest point of controversy if this came out today.
7 - "Without You," Nilsson
Harry's back with the big ballad that I often confuse with "All by Myself." This is much better, though.
6 - "I Gotcha," Joe Tex
This was the biggest hit for Joseph Arrington Jr. In it, he shoutily orders a woman to give him what she promised him. Right now. Yes, more questionable sexual politics. Tex sounds a lot like James Brown on this. Not surprisingly, the two didn't like each other, to the point where James once took a shot at Joe. He missed. That's how I like my gunplay between musical rivals. Inaccurate.
5 - "The Lion Sleeps Tonight," Robert John
Again, it's this guy covering an anglicized version of an African song. In a way, that's like doing "Tutti Frutti" and saying you're covering Pat Boone.
4 - "Mother and Child Reunion," Paul Simon
Garfunkel's ex had his first solo hit with this song that was apparently inspired by the death of a family dog. And the title comes from the name of a dish at a Chinese restaurant Simon once went to. The song comes by its reggae feel honestly, having been recorded with Jimmy Cliff's band. So Paul started his trend of borrowng sounds from around the world right off the bat.
3 - "Puppy Love," Donny Osmond
And here's Donny himself, doing a song that Paul Anka originally wrote about his relationship with then-girlfriend Annette Funicello. Donny tries, and I like the desperation on the "Someone help me please" parts, but the kid just didn't have much of a voice then. Justin Bieber may take a lot of shit, but I must admit that guy sings waaaay better than little Donald.
2 - "Heart of Gold," Neil Young
The biggest by far of Shakey's three Top 40s. This made it to #1, while the other two didn't even crack the top 30. Neil wasn't happy about this much mainstream success. Probably not surprising from a guy who was sued by a record label because the albums he made for them didn't sound enough like Neil Young. Ah, gotta love him.
And winning this week's popularity contest was...
1 - "A Horse with No Name," America
This song that sounded to many like a Neil Young record replaced "Heart of Gold" in the top spot and launched the band's career. Why the horse wasn't named despite the guy having nothing better to do in that desert is a mystery best left untouched. All I know is, Ned Flanders sang an alternate version of this after meeting a girl whom he knew had given him a fake name. She turned out to be a famous movie star. Way to go, Neddy.
The NotCaseys were Cat Stevens' "Morning Has Broken" and Jackson Browne's "Doctor My Eyes." Casey also played the #1 from ten years earlier, "Don't Break the Heart that Loves You" by Connie Stevens.
Back next week. Because I like it.
20 - "Precious and Few," Climax
19 - "Day Dreaming," Aretha Franklin
18 - "Down by the Lazy River," The Osmonds
17 - "Roundabout," Yes
16 - "A Cowboy's Work is Never Done," Sonny and Cher
The name of the song at 20 could also describe one's moments on Earth, so I'm not going to waste any more on crap like that. A nothing song.
The exaxt opposite can be said about Aretha's entry here. She's a lot more laid back than usual. Not a lot of belting. And it works perfectly. Sultry and exuberant. Might be one of her best ever.
Then it's Utah's favorite sons trying to rock out while inviting you to what they say will be a wild crazy party. But being Mormons, than probably just meant that they were busting out the caffeinated coffee. Oooooh.
Next come one of the biggest groups of the progressive-rock movement with the biggest of their two pop hits of the decade. They had to shave off five minutes to get it on AM radio, but "Roundabout" keeps enough of its noodly charm to work at this length. A decade later, they made their big commercial move and went to #1 with the slick "Owner of a Lonely Heart." Which is a pretty good song for what it is, but it wasn't really Yes. This, unquestionably, is.
Wrapping up this section is the final Top Ten hit for Mr. and Mrs. Bono. It's a fun little number, but the whole lyrical theme of children playing cowboys is a little too reminiscent of the earlier, better Cher hit "Bang Bang (My Baby Shot Me Down)."
15 - "Rock and Roll Lullaby," B.J. Thomas
14 - "Betcha By Golly Wow," The Stylistics
13 - "The Way of Love," Cher
12 - "Everything I Own," Bread
11 - "In the Rain," The Dramatics
This section kicks off with Billy Joe Thomas' sweet but sappy number about the tune his mother used to sing to him. Although having the mother be 16 when she had him was probably shocking to some at the time, so good on you, B.J.
Then it's the Stylistics with a song whose childish title doesn't seem to fit such a tender, soulful ballad, but damn if it doesn't work. This really was a good era for love songs.
Cher is here again, this time on her own with a song that isn't as well-remembered as some of her others. Probably because it's just a simple "love hurts" ballad instead of a three-minute melodrama like her best stuff. She sings this all right, but from Cher, I want sex and death and shame.
Bread return from two months ago, offering to renounce all their material possessions for you. Keep your stuff, guys. I'm not worth it. Take your "Baby I'm-a Want You"'s and "If"'s somewwhere else.
Last in this bunch are The Dramatics with a ballad that more than lives up to the group's name. The lyric doesn't break any new ground with its "I want to go out in the rain so no one can tell that I'm crying." theme, but the combination of echoey guitar, strings, and pained, impassioned vocals make this a classic. And where thunderstorm sound effects would probably come off as over-the-top on a lesser song, they fit in perfectly here. Fantastic heartbreak music.
And now the Top Ten, before which Casey asked his listeners to go out and vote, presumably in U.S. primary elections. But we've got an election of our own here in Canada next month, so I will join Casey in encouraging my countrypeople to exercise their democratic rights.
10 - "The First Time Ever I Saw Your Face," Roberta Flack
One of the great voices of the decade had her first big hit with this cover of a song written by British folksinger Ewan MacColl. He apparently wasn't too fond of this version, but I sure am. Made for romance. But old Ewan gave the world the late Kirsty MacColl, so I've got no beef with him.
9 -"Rockin' Robin," Michael Jackson
I'm only speculating, but I wouldn't be surprised if Motown had Michael record this 1958 Bobby Day hit after seeing the success Donny Osmond was having redoing oldies. Not surprisingly, this one blows all of Donny's covers away. Better singer, better song, much better result.
8 - "Jungle Fever," The Chakachas
The biggest hit by this Belgian group sounds so much like music from a porno film that it was later used in Boogie Nights. Although it is disturbing how often the moaning woman who frequently pops up in this says the word "no." I imagine that this would be the biggest point of controversy if this came out today.
7 - "Without You," Nilsson
Harry's back with the big ballad that I often confuse with "All by Myself." This is much better, though.
6 - "I Gotcha," Joe Tex
This was the biggest hit for Joseph Arrington Jr. In it, he shoutily orders a woman to give him what she promised him. Right now. Yes, more questionable sexual politics. Tex sounds a lot like James Brown on this. Not surprisingly, the two didn't like each other, to the point where James once took a shot at Joe. He missed. That's how I like my gunplay between musical rivals. Inaccurate.
5 - "The Lion Sleeps Tonight," Robert John
Again, it's this guy covering an anglicized version of an African song. In a way, that's like doing "Tutti Frutti" and saying you're covering Pat Boone.
4 - "Mother and Child Reunion," Paul Simon
Garfunkel's ex had his first solo hit with this song that was apparently inspired by the death of a family dog. And the title comes from the name of a dish at a Chinese restaurant Simon once went to. The song comes by its reggae feel honestly, having been recorded with Jimmy Cliff's band. So Paul started his trend of borrowng sounds from around the world right off the bat.
3 - "Puppy Love," Donny Osmond
And here's Donny himself, doing a song that Paul Anka originally wrote about his relationship with then-girlfriend Annette Funicello. Donny tries, and I like the desperation on the "Someone help me please" parts, but the kid just didn't have much of a voice then. Justin Bieber may take a lot of shit, but I must admit that guy sings waaaay better than little Donald.
2 - "Heart of Gold," Neil Young
The biggest by far of Shakey's three Top 40s. This made it to #1, while the other two didn't even crack the top 30. Neil wasn't happy about this much mainstream success. Probably not surprising from a guy who was sued by a record label because the albums he made for them didn't sound enough like Neil Young. Ah, gotta love him.
And winning this week's popularity contest was...
1 - "A Horse with No Name," America
This song that sounded to many like a Neil Young record replaced "Heart of Gold" in the top spot and launched the band's career. Why the horse wasn't named despite the guy having nothing better to do in that desert is a mystery best left untouched. All I know is, Ned Flanders sang an alternate version of this after meeting a girl whom he knew had given him a fake name. She turned out to be a famous movie star. Way to go, Neddy.
The NotCaseys were Cat Stevens' "Morning Has Broken" and Jackson Browne's "Doctor My Eyes." Casey also played the #1 from ten years earlier, "Don't Break the Heart that Loves You" by Connie Stevens.
Back next week. Because I like it.
Sunday, April 3, 2011
April 1, 1972 Part One
This week we go back to April Fool's Day 39 years ago. Though it was a couple months later that the year's biggest prank took place at a Washington hotel. And it would take two more years to get to the punchline.
40 - "King Heroin," James Brown
39 - "Slippin' Into Darkness," War
38 - "No One to Depend on," Santana
37 - "Could it Be Forever," David Cassidy
36 - "Family of Man," Three Dog Night
35 - "Vincent," Don McLean
34 - "Glory Bound," The Grass Roots
33 - "Hurting Each Other," The Carpenters
32 - "Suavecito," Malo
31 - "Do Your Thing," Isaac Hayes
This section is bookended by two soul legends. James Brown leads off with this week's Uneasy Rider. Essentially a spoken word piece backed by a spare, mournful ballad track, The Godfather delivers a sermon in which he describes a dream where he encountered the personification of Heroin, who recited an epic poem about how he enslaves those who experiment with him, to the point where they are riding a white horse to Hell. It's certainly more effective than anything Nancy Reagan came up with in the 80s, but not something I would have expected to have even this level of chart success. And the late great Isaac Hayes is here with a slow groover that imparts the timeless message "If it feels good, do it." Like all the rest of his non -"Shaft" singles from this era, it didn't even go Top 20. Doesn't seem fair.
There is a trio of latin-flavored numbers here. War had their first major hit with
the spooky "Slippin' Into Darkness", whose tune was heavily influneced by Bob Marley's "Get Up, Stand Up." And no, you don't have to know that beforehand to figure that out. Santana had a minor hit with a track in which Carlos' guitar is even more dominant than on their previous singles. And the Santana family's presence is felt again at 32, as Carlos' brother Jorge's band Malo are there with their biggest hit, a midtempo ballad that began as a poem the singer wrote for a girl in his algebra class, and ended up being considered by some "the Chicano National Anthem." I don't think any of the notes I passed in class had that potential, but maybe I should have saved some so I could check.
And there is always MOR. David Cassidy did his teen idol thing sans Partridges with this ballad where he wonders whether or not he's found "the one." Somehow, I don't think he did. 3DN return with something I didn't recall, but I liked it. It rocked, by their standards, plus the "rebuilding after the Apocalypse" lyrical theme reminded me of a better song, Talking Heads' "(Nothing But) Flowers." Don "American Pie" McLean is here with his second-best known song, a tribute to that artist who cut his ear off. It's pretty and poetic, but if I want to here a song about an artist, I''ll probably pick David Bowie's "Andy Warhol" most times. The Grass Roots had one of their last hits with this upbeat, inconsequential hit. Again, I care less about their Creed Bratton-less incarnation. Karen and Richard are back again, lamenting the cruelties lovers inflict on each other "without ever knowing why. Karen belongs right up there on the Mount Rushmore of musical heartbreak queens with Billie Holliday, Patsy Cline and...I'm not sure who else to put there right now.
30 - "Take a Look Around," The Temptations
29 - "Every Day of My Life," Bobby Vinton
28 - "Runnin' Away," Sly and the Family Stone
27 - "We've Got to Get it On Again," The Addrisi Brothers
26 - "Taurus," Dennis Coffey
25 - "Crazy Mama," J.J. Cale
24 - "The Day I Found Myself," The Honey Cone
23 - "Ain't Understanding Mellow," Jerry Butler and Brenda Lee Eager
22 - "Give Ireland Back to the Irish," Wings
21 - "Bang a Gong (Get it On)," T. Rex
Big 'ol batch of R&B. The Temptations have another one of their socially conscious records here, and while it's by no means the equal of "Papa Was a Rollin' Stone" or "Ball of Confusion," it's definitely one to seek out. Sly and the Family Stone bring some sweet funk on this song about how one can never escape one's problems. "Look at you fooling you," Sly almost taunts. Dennis Coffey, who'd scored a Top Ten the previous year with "Scorpio," returned a year later with another astrologically-titled instrumental. It's proto-disco, with some fantastic guitar work, but unfortunately, it couldn't quite match its predecessor's success. Thus we were spared more Zodiac tunes, which is too bad. As an Aquarian, all I've got is that song from "Hair," and I got sick of that long ago. Girl-group The Honey Cone, best known for songs about pursuing men ("Want Ads," "Stick-Up") had their last hit with a song about being empowered by being dumped. A welcome change of heart. And Jerry Butler and Brenda Lee Eager again try to explain what's so mellow about understanding. Still don't quite get that. But they seem happy, so what do I know?
Not a lot of the easy stuff here, though. Bobby Vinton is here with a countryish tune about how much he loves someone. Boring. Shoulda sang a verse in Polish, Bob. Worked for "My Melody of Love." And Don and Dick Addrisi, former members of their family's Flying Addrisis acrobat act, had the first of their two hits this decade with this state-of-the-art lite-popper about rekindling their relationship. It's not a great song, but it's okay enough that I'll forgive them for writing "Never My Love," a big hit for those musical supervillains The Association.
What's left is rock. J.J. Cale, a respected singer-songwriter best known for writing the Eric Clapton hits "After Midnight" and "Cocaine," had his only hit for himself with this laid-back, bluesy trip about the unbablanced lady he can't get enough of. Paul McCartney, not as well-known for wandering into politics as some of the other members of his old band, decided to debut his new group Wings with a song, wtitten in response to the Bloody Sunday massacre, asking the British government to get out of Northern Ireland. Stepping into the mess that would be euphemistically known as "The Troubles" hardly seemed like the greatest career move, and the song was predictably banned by the BBC. But it did have success elsewhere, and the band would eventually establish itself with less controversial fare. I'd heard of this song for years, but this was the first time I'd heard it, and I've gotta say, muckraking aside, it's a catchy tune. Paul did know his way around a melody. Finally, T. Rex return from our last trip to this year with their only American hit, which set a bar for rock raunch that Grand Funk tried to clear a year later with "We're an American Band." They fell just short. Marc Bolan > Mark Farner.
Tomorrow: A Cher pair, a Donny duo, and a couple of 'tics.
40 - "King Heroin," James Brown
39 - "Slippin' Into Darkness," War
38 - "No One to Depend on," Santana
37 - "Could it Be Forever," David Cassidy
36 - "Family of Man," Three Dog Night
35 - "Vincent," Don McLean
34 - "Glory Bound," The Grass Roots
33 - "Hurting Each Other," The Carpenters
32 - "Suavecito," Malo
31 - "Do Your Thing," Isaac Hayes
This section is bookended by two soul legends. James Brown leads off with this week's Uneasy Rider. Essentially a spoken word piece backed by a spare, mournful ballad track, The Godfather delivers a sermon in which he describes a dream where he encountered the personification of Heroin, who recited an epic poem about how he enslaves those who experiment with him, to the point where they are riding a white horse to Hell. It's certainly more effective than anything Nancy Reagan came up with in the 80s, but not something I would have expected to have even this level of chart success. And the late great Isaac Hayes is here with a slow groover that imparts the timeless message "If it feels good, do it." Like all the rest of his non -"Shaft" singles from this era, it didn't even go Top 20. Doesn't seem fair.
There is a trio of latin-flavored numbers here. War had their first major hit with
the spooky "Slippin' Into Darkness", whose tune was heavily influneced by Bob Marley's "Get Up, Stand Up." And no, you don't have to know that beforehand to figure that out. Santana had a minor hit with a track in which Carlos' guitar is even more dominant than on their previous singles. And the Santana family's presence is felt again at 32, as Carlos' brother Jorge's band Malo are there with their biggest hit, a midtempo ballad that began as a poem the singer wrote for a girl in his algebra class, and ended up being considered by some "the Chicano National Anthem." I don't think any of the notes I passed in class had that potential, but maybe I should have saved some so I could check.
And there is always MOR. David Cassidy did his teen idol thing sans Partridges with this ballad where he wonders whether or not he's found "the one." Somehow, I don't think he did. 3DN return with something I didn't recall, but I liked it. It rocked, by their standards, plus the "rebuilding after the Apocalypse" lyrical theme reminded me of a better song, Talking Heads' "(Nothing But) Flowers." Don "American Pie" McLean is here with his second-best known song, a tribute to that artist who cut his ear off. It's pretty and poetic, but if I want to here a song about an artist, I''ll probably pick David Bowie's "Andy Warhol" most times. The Grass Roots had one of their last hits with this upbeat, inconsequential hit. Again, I care less about their Creed Bratton-less incarnation. Karen and Richard are back again, lamenting the cruelties lovers inflict on each other "without ever knowing why. Karen belongs right up there on the Mount Rushmore of musical heartbreak queens with Billie Holliday, Patsy Cline and...I'm not sure who else to put there right now.
30 - "Take a Look Around," The Temptations
29 - "Every Day of My Life," Bobby Vinton
28 - "Runnin' Away," Sly and the Family Stone
27 - "We've Got to Get it On Again," The Addrisi Brothers
26 - "Taurus," Dennis Coffey
25 - "Crazy Mama," J.J. Cale
24 - "The Day I Found Myself," The Honey Cone
23 - "Ain't Understanding Mellow," Jerry Butler and Brenda Lee Eager
22 - "Give Ireland Back to the Irish," Wings
21 - "Bang a Gong (Get it On)," T. Rex
Big 'ol batch of R&B. The Temptations have another one of their socially conscious records here, and while it's by no means the equal of "Papa Was a Rollin' Stone" or "Ball of Confusion," it's definitely one to seek out. Sly and the Family Stone bring some sweet funk on this song about how one can never escape one's problems. "Look at you fooling you," Sly almost taunts. Dennis Coffey, who'd scored a Top Ten the previous year with "Scorpio," returned a year later with another astrologically-titled instrumental. It's proto-disco, with some fantastic guitar work, but unfortunately, it couldn't quite match its predecessor's success. Thus we were spared more Zodiac tunes, which is too bad. As an Aquarian, all I've got is that song from "Hair," and I got sick of that long ago. Girl-group The Honey Cone, best known for songs about pursuing men ("Want Ads," "Stick-Up") had their last hit with a song about being empowered by being dumped. A welcome change of heart. And Jerry Butler and Brenda Lee Eager again try to explain what's so mellow about understanding. Still don't quite get that. But they seem happy, so what do I know?
Not a lot of the easy stuff here, though. Bobby Vinton is here with a countryish tune about how much he loves someone. Boring. Shoulda sang a verse in Polish, Bob. Worked for "My Melody of Love." And Don and Dick Addrisi, former members of their family's Flying Addrisis acrobat act, had the first of their two hits this decade with this state-of-the-art lite-popper about rekindling their relationship. It's not a great song, but it's okay enough that I'll forgive them for writing "Never My Love," a big hit for those musical supervillains The Association.
What's left is rock. J.J. Cale, a respected singer-songwriter best known for writing the Eric Clapton hits "After Midnight" and "Cocaine," had his only hit for himself with this laid-back, bluesy trip about the unbablanced lady he can't get enough of. Paul McCartney, not as well-known for wandering into politics as some of the other members of his old band, decided to debut his new group Wings with a song, wtitten in response to the Bloody Sunday massacre, asking the British government to get out of Northern Ireland. Stepping into the mess that would be euphemistically known as "The Troubles" hardly seemed like the greatest career move, and the song was predictably banned by the BBC. But it did have success elsewhere, and the band would eventually establish itself with less controversial fare. I'd heard of this song for years, but this was the first time I'd heard it, and I've gotta say, muckraking aside, it's a catchy tune. Paul did know his way around a melody. Finally, T. Rex return from our last trip to this year with their only American hit, which set a bar for rock raunch that Grand Funk tried to clear a year later with "We're an American Band." They fell just short. Marc Bolan > Mark Farner.
Tomorrow: A Cher pair, a Donny duo, and a couple of 'tics.
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