Closing the book.
20 - "I'll Play for You," Seals and Crofts
19 - "The Last Farewell," Roger Whittaker
18 - "Philadelphia Freedom," Elton John
17 - "Old Days," Chicago
16 - "Thank God I'm a Country Boy," John Denver
The second half begins with our old MOR buddies Jim and Dash, singing about making music and stuff. But as usual with these guys, it's boring and uninspiring. It's an offer I'm compelled to refuse.
Then it's Roger Whittaker, a man who was born in England, grew up in Kenya, and was known to me growing up as a guy who sang gentle folk tunes on albums that were advertised heavily on television, but never got any airplay on any radio stations I ever listened to. To me, he was in the same league as Nana Mouskouri and the master of the Pan flute, Zamfir. But apparently, he did have one huge international smash. Whittaker hosted and sang on a British radio show in the early 70s, and he used to have a segment where he would sing a song he had composed using lyrics sent in by one of his listeners. One of these lyrics was "The Last Farewell," a tale of a man saying goodbye to his wife before he sails off to war. Whittaker would record this in 1971, but it wasn't until the wife of an Atlanta DJ heard it played on a Canadian radio station and convinced her husband to put it on the air that it became a huge success, reaching the Top 20 in the U.S., #2 in Britain, and selling over 10 million copies worldwide. I'm surprised, but hey, good for him.
Elton John is back again with his classic inspired by liberation, tennis, and the home of the NHL's Flyers. Speaking of the latter, can you believe they traded away Carter and Richards? I can't. But who knows, maybe it'll go down as a genius move.
Next are Chicago with a bit of jazz-pop remembrance of things past. Among the nostalgic items name-checked in the song are comic books, baseball cards, and TV puppet Howdy Doody. Apparently, singer Peter Cetera didn't like singing this song live due to the fact that he hated Howdy Doody. Really? Singing the name of a freaking puppet bothered you that much, Pete? That's kind of silly.
Finishing this five is Johnny D. with his raucous raveup about fiddling, farming, and family. It's by far the most energetic the man ever sounded on one of his radio singles. If you asked me, it would have been nice if he'd loosened up one or two more times. He sounds so happy here.
15 - "Bad Luck (Part 1)," Harold Melvin and the Blue Notes
14 - "Bad Time," Grand Funk
13 - "Magic," Pilot
12 - "Only Women (Bleed)," Alice Cooper
11 - "Take Me in Your Arms," The Doobie Brothers
This group opens with Harold, Teddy Pendergrass, and the rest on a deceptively upbeat number that describes a man on a serious losing streak. Financial and emotional collapse never sounded so sprightly.
Then it's Grand Funk with their last big hit. Last time, I dismissed this, because it was too poppy and polished for what I associate that band with. This time, I just listened to the song without prejudice, and I found that I appreciated its simple aural pleasures much more. It's a really good song. It's still not Grand Funk to me, though.
Next are Pilot, a Scottish group that included two pre-fame members of the Bay City Rollers. This was their only American hit, and I'm sure everyone is very familiar with its "Oh, oh, oh, it's magic, you know" chorus. A bouncy pop trifle, memorable but inconsequential.
Alice Cooper began the ballad phase of his Top 40 career with this song, whose title was shortened by one word reportedly because radio stations thought it might refer to menstruation. Given Alice's shock-rock rep, it's perhaps understandable that they would jump to that conclusion. However, had they listened to the lyrics, they would know that it was a sympathetic depiction of the plight of an abused wife. The scary man in ghoul makeup was standing up for women. That was even more shocking than a song about periods.
Rounding out this pack are the Doobies with a faithful cover of a 1965 Top 5 R&B hit for Kim Weston, who is best known for duetting with Marvin Gaye on "It Takes Two." It exposed the song to more people than ever, so that elevates it just above unnecessary.
Ten records up on top:
10 - "Cut the Cake," The Average White Band
The Scots funksters had their second-biggest hit with this bumper that was slightly more wordy than "Pick Up the Pieces." Not as good, obviously, but it makes me feel like getting up and dancing...to the refrigerator.
9 - "Listen to What the Man Said," Paul McCartney and Wings
Sir Paul and his feathery apendages racked up another #1 with this light, airy gem about the power of love and "the wonder of it all, baby." Still don't know who "The Man" in this song is, though. But I'm sure there are theories.
8 - "Get Down, Get Down (Get on the Floor)," Joe Simon
This soul vet had his last and biggest pop hit with this dance number that implores listeners to "let the good times roll" while doing "the kung fu bump." Probably not the way most would have liked him to go out, but you can't begrudge a guy like this long-awaited Top 10 success, no matter what form it took.
7 - "The Hustle," Van McCoy and the Soul City Symphony
Van McCoy had seen success behind the scenes as a songwriter and producer throughout the 60s and 70s, but he didn't have a hit of his own until an unheralded track from an album he made called Disco Baby that he had written after seeing people do a dance called The Hustle at a New York nightclub called Adam's Apple became a Number One sensation. Driven by horns, strings, piccolo, and those shouted commands to do the titular dance, it's another one of the first few songs that come to mind when anyone thinks of disco.
6 - "Sister Golden Hair," America
By far my favorite America song. Nothing pretentious about it, just a simple, catchy song about missing feminine companionship. Very solid 70s pop.
5 - "Love Won't Let Me Wait," Major Harris
Mr. Harris the Third had his only pop hit with this song that gently but effectively conveys a certain need. Although I'm not exactly sure I'd call what's not letting him wait "love."
4 - "I'm Not Lisa," Jessi Colter
Her real name was Marilyn, her stage name was Jessi, but in this song, she's Julie, a woman trying to get it through her man's thick skull that she's not the woman who left him heartbroken, but rather the one who loves him now and is pledging to stay by her side forever. Seems like a thankless task. Dude, wise up. I don't care how great this Lisa was, Julie's a keeper. Snap out of it!
3 - "Wildfire," Michael Murphey
On country-pop singer Murphey's signature hit, he sings about an unnamed girl who dies one winter while searching for her beloved pony Wildfire, who had broken loose from his stall and ran off into a blizzard. But apparently, the girl and Wildfire are ghosts now, and he believes that soon they will come for him and take him away to parts unknown. You know what I believe? I believe that this deserves this week's Uneasy Rider award. I almost gave it to Roger Whittaker, but going over the whole "waiting for a kid and her spectral horse to carry me off to a better life" scenario this presents, I've made a last-minute switch to Mr. Murphey.
2 - "When Will I Be Loved," Linda Ronstadt
Linda's been cheated, mistreated, made blue, lied to, put down, and pushed 'round. When will it end? she asks. Don't know, Linda. But you do all right by Buddy, so at least there's that.
And leading the United States in popularity 36 years ago was:
1 - "Love Will Keep Us Together," The Captain and Tennille
Mr. and Mrs. Dragon went straight to the top right off the bat with their bouncy cover of a Neil Sedaka-Howard Greenfield tune about shunning temporary temptations for the safety of a solid relationship. It's probably become a bit of a cliche and a joke in some circles, but when you just sit back and listen, it's pure, giddy pop that no one should be embarrased to admit liking.
Two of the NotCaseys were up-and-comers; Aerosmith's "Sweet Emotion" and "Disco Queen" by Hot Chocolate. The third was "Poetry Man," which was a hit earlier in the spring of '75, but was played in tribute to the recently passed Phoebe Snow.
Next week is going to be another different one. I won't go in to specifics, but both the 70s and 80s will be involved. To find out more, come back next week.
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