As we near the end, we go back to the beginning.
40 - "Check Out Your Mind," The Impressions
39 - "Do You See My Love (For You Growning)," Junior Walker and the All-Stars
38 - "25 or 6 to 4," Chicago
37 - "Everybody's Got the Right to Love," The Supremes
36 - "Mississippi," John Phillips
35 - "Maybe," The Three Degrees
34 - "The Sly, the Slick and the Wicked," The Lost Generation
33 - "Summertime Blues," The Who
32 - "Love Land," Charles Wright and the Watts 103rd Street Rhythm Band
31 - "Mississippi Queen," Mountain
A big soul contingent in this first group. The Impressions' funky call to thought was their last hit with the legendary Curtis Mayfield as a member. Sax man Junior Walker and his band of ringers, best known for 1965's classic "Shotgun," had their last hit with this solid but unspectacular declaration of affection. The Supremes had their second post-Diana hit with this song that takes a concept Dean Martin once introduced and elevates it from a mere need to a human right. There's more harmony singing on this one than on most of their 60s hits? Symbolism? The vocal group the Three Degrees got their first hit by tacking on a long spoken-word intro to an early girl-group hit by the Chantels. Of course, their lasting impression wouldn't be made for another four years, in the form of the #1 superballad "When Will I See You Again." Chicago's The Lost Generation had their biggest success with this ballad warning women about three specific types of scoundrels who will try and tempt them into cheating on their men. The sexual politics of this may be questionable, but damn, I dig the echo effects on this song. And Charles Wright et al sing longingly about a place they can only go while in the arms of one special lady. I hate to break it to you, Chuck, but last I heard, Marge Simpson dismantled Love Land.
The rest of this section can be divided into "Mississippi" and "No Mississippi." First among the latter are Chicago, who's numerically enigmatic hit here is probably about drugs after all, given some of the lyrics ("Spinning room is sinking deep." "Should I try to do some more."). And The Who are here with their loud Live At Leeds cover of Eddie Cochrane's ode to teenage problems. Love John Entwhistle vocalizing the menacing adult world.
As for the songs involving that certain fun-to-spell state, they're pretty different. The first is a countryish song about a woman who hitches a ride to New Orleans, which was the first and only solo hit by the leader of the Mamas and the Papas. And Mackenzie Phillips' father. I'm not saying any more than that. And Long Island hard rockers Mountain had their only hit with this staple about a Cajun dancer the lead singer met on a riverboat who "taught me everything." I assume he means math, English lit, languages, maybe some poli sci. I'm on the right track, right?
30 - "(Get Up I Feel Like Being a) Sex Machine," James Brown
29 - "Patches," Clarence Carter
28 - "Overture from Tommy," The Assembled Multitude
27 - "Tell it All Brother," Kenny Rogers and the First Edition
26 - "Westbound #9," The Flaming Ember
25 - "Silver Bird," Mark Lindsay
24 - "The Wonder of You," Elvis Presley
23 - "Gimme Dat Ding," The Pipkins
22 - "In the Summertime," Mungo Jerry
21 - "(If You Let Me Make Love to You Then) Why Can't I Touch You," Ronnie Dyson
R&B isn't as dominant in this bunch, but it still kicks us off. JB the Godfather kicks us off telling us to "stay on the scene," and to "shake your arm, then use your form." Well, I suppose the man knew his business, so okay. Clarence Carter returns with the song about a child taking on adult responsibilities that I've covered a few times already. But this time, I find I'm starting to like it. Kind of country-blues, very authentic-sounding. Detroit's Flaming Ember were a white group, but they reached the Top 20 on the soul charts with this driving number about the desire to leave a hick town full of hypocrites, lecherous drunks and people who just don't appreciate you. This seems to be quite an oft-told story. And the question Ronnie Dyson asks on his biggest hit doesn't seem to make sense from a logistical point of view, but I get the feeling that what he isn't allowed to touch is his lover's heart. Metaphors. Gotta love 'em. A nice reggae feel to this one. It's a grower.
The easy stuff comes strong in this section. The Assembled Multitude's version of the overture from The Who's masterpiece may have been unnecessary, but many of those musicians went on to play on a punch of Philly soul classics, so that's cool. Future country king Kenny and his pop band had their next-to-last hit together with this call for sinners to repent. It's pretty good as white pop-gospel, but it's certainly no "Just Dropped In." Mark Lindsay, the singer for Paul Revere and the Raiders, recorded solo on the side, and he had a hit with this dramatic ballad about a guy seeing his woman off on a flight to "see what's on the other side," all the while hoping she'll return to him. For some reason, Casey felt the need to say that Lindsay was a great guy twice, which makes me wonder. And speaking of "wonder," Elvis is here with his next-to-last Top Ten, a big ol' love song about the woman who understands him and makes him feel like a king. Perfect for Vegas.
We finish with two British one-hit wonders, at least on this side of the Atlantic. The Pipkins went Top Ten with a song that's basically a piano boogie marred by nonsense lyrics and cartoonish vocals that sound like a duet Grover and Snuffelupagus would sing after smoking pot after hours on Sesame Street. So yeah, this is this week's Uneasy Rider. Mungo Jerry were somewhat less comical vocally and nonsensical lyrically on their smash here, which is why it has held up better over the years. Both, however, are likely in regular rotation on Hell's Muzak system.
Tomorrow: did you know that the Vietnam War was happening around this time? Well, if you didn't, there are plenty of reminders in the Top 20.
No comments:
Post a Comment