This week we go back to the beginning of the decade. Around the time this countdown first aired, Vigdís Finnbogadóttir was elected president of Iceland, thus becoming the world's first democratically elected female head of state. Meanwhile, on American radio...
40 - "Atomic," Blondie
39 - "Ashes By Now," Rodney Crowell
38 - "Angel Say No," Tommy Tutone
37 - "Stand By Me," Mickey Gilley
36 - "Take Your Time (Do it Right)," The S.O.S. Band
35 - "Misunderstanding," Genesis
34 - "Love the World Away," Kenny Rogers
33 - "Theme from New York, New York," Frank Sinarta
32 - "Answering Machine," Rupert Holmes
31 - "All Night Long," Joe Walsh
We'll begin with the groups. Blondie followed up "Call Me" with this darkly sexy dance-rocker in which Deborah Harry coos "Oh, your hair is beautiful." What that has to do with fusion or fission or any of the other things one might associate with the song's title, I'm not sure. But does it matter? Of course not. San Francisco's Tommy Tutone would have their most lasting impact on pop in 1982 with "867-5309 (Jenny)," but their first hit came two years earlier with this catchy power pop tune about watching someone do something that seems like a big mistake. I can't say it's better than their more famous number, but definitely worth seeking out. Atlanta soulsters The S.O.S. band are back from last August with their sweet bit of disco-funk about time management. And also returning from that time are Genesis with their hit about discovering a lover's affair. That Phil Collins turned a lot of his romantic travails into hits, didn't he?
Next we have three songs that have the following in common: they were sung by men, and they were not used in a movie in which John Travolta rides a mechanical bull. Country singer Rodney Crowell had his only pop hit with this moving, poetic ballad about a man who can't stay away from a woman even though he's been burned by her so many times (metaphorically, of course.) Lee Ann Womack would have a much bigger country hit with this twenty years later. I've never heard it, but I can't imagine liking it better than the original. The legend that is Ol' Blue Eyes himself, Francis Albert Sinatra, had his final Top 40 hit (and first since 1969's "My Way.") at the age of 64 with this now-standard ode to The Big Apple that was originally written for a 1977 Martin Scorsese-directed musical film that starred Robert DeNiro and Liza Minnelli. The movie didn't make it anywhere, but Frank's boisterous performance took the song to the "top of the heap." And for being an old-school, jazzy concoction among all the other strange strains that composed "pop music" in 1980, Frank claims this week's Uneasy Rider. And Rupert Holmes had his third and last Top 40 hit with this typically slick bit of MOR about a couple who are trying to make a commitment to each other, but they are thwarted by the limits of a newfangled device that allowed people to leave messages to their friends and loved ones when they couldn't answer the phone. Gimmicky, just like "The Pina Colada Song." But I like this one a lot more. But maybe that's because I haven't heard it a million times.
We close this section with three tracks that actually were from a movie that featured Travolta on a mechanical bull. That movie was Urban Cowboy, and the mechanical bull was in a bar called Gilley's. The owner of said bar, country star Mickey Gilley, is here with what would be his only pop Top 40, a cover of the 1961 Ben E. King classic. This version is earnest and twangy, and I can't really say anything negative about it, but it just doesn't do it for me. Kenny Rogers contribued a bland, unremarkable ballad about finding shelter from the outside world in a lover's arms. Can't blame him for saving the good stuff for his own records, though. And sometime Eagle Joe Walsh chipped in with a bluesy raveup about partying in the evening with the aid of alcohol (okay) and dipping tobacco (not such a good idea). Yee haw.
30 - "Two Places at the Same Time," Raydio
29 - "Gimme Some Lovin'," The Blues Brothers
28 - "Lost in Love," Air Supply
27 - "Wondering Where the Lions Are," Bruce Cockburn
26 - "Hurt So Bad," Linda Ronstadt
25 - "In America," The Charlie Daniels Band
24 - "Stomp," The Brothers Johnson
23 - "More Love," Kim Carnes
22 - "Brass in Pocket," The Pretenders
21 - "I'm Alive," The Electric Light Orchestra
I'll start this bunch with American bands. Ray Parker Jr. and his band are here with some lite-funk over which Ray tells a woman he wants to be "inside you, and inside your mind." That's either really deep, really stupid, or really creepy. Oh Ray, you always keep me guessing. Dan Aykroyd and John Belushi, as their alter egos Jake and Elwood Blues, are here with a cover of a 1966 Spencer Davis Group hit from the "brothers"' eponymous movie about their "mission from God." This track is hardly essential, but as for the film, I'm so glad they made it. The Charlie Daniels Band are here with a flag waving Southern rocker that declares that in spite of the United States' then-current troubles (a struggling economy, the Iranian hostage crisis and the subsequent failed rescue attempt, lingering post-Watergate disillusionment), "We're gonna put her feet back on the path of righteousness and then/God Bless America again." And this being the middle of the Cold War, Daniels also adds, "If the Russians don't believe that, they can all go straight to Hell." Jingoistic, to be sure, but there's no doubt it tapped into a very real anger that existed in the public mood of the time. And as a song, I actually kind of like it. Not as much as "Uneasy Rider," though. And The Brothers Johnson return from last time, still inviting you do dance vigorously. Why not accept?
Then there are the band from outside the U.S. Australia's Air Supply are back from last time with their ballad about a disorienting romance. Again, better than most of what would follow it. Also returning are the three Englishmen and one Ohioan that made up The Pretenders with their immortal, attention demanding strut. They made me notice, all right. And Britains ELO are here with a song from the then-unreleased movie Xanadu. It's about, well, what it feels like to come to life. And it accompanies the scene in which the nine Muses of Greek Mythology step out of a mural. One of them, played by Olivia Newton-John, inspires a struggling painter to open a roller rink with Gene Kelly, and then...I'm sorry, I'm having trouble coming to grips with the fact that this movie actually exists, never mind the fact that I actually saw it IN A THEATER!
I'll finish off my look at the first half with the solo singers. Canadian Bruce Cockburn (it's prononuced "COE-burn," in case you had other ideas) had his only American hit with this folky ditty with abstract lyrics about jungle cats, trees, flying orange boats, eternity, and ecstasy. I really couldn't say what it's about, but it's wonderful. One of the best songs my country has produced. Linda Ronstadt returns from last time with a song that I didn't mention was a cover of a 1966 Little Anthony and the Imperials hit. Although given her history, the fact that it was a hit for someone else first probably didn't need saying. And Kim Carnes returns from last August, promising a whole lotta love. Still decent, but still not "Bette Davis Eyes."
Tomorrow: father-daughter awkwardness, a songwriter "covers" a song she wrote herself, and, yes, more Xanadu.
Saturday, June 30, 2012
Tuesday, June 26, 2012
June 20, 1987 Part Two
Before we wrap up '87, let's take a detour to June 23, 1973.
Paul McCartney and Wings were at #1 with "My Love." The rest of the Top Ten contained such favorites as "Playground in My Mind," "Will it Go Round in Circles," "Kodachrome," and "Daniel."...First among the newbies are The Stylistics at #23 with "You'll Never Get to Heaven (If You Break My Heart)," a Bacharach/David composition that was originally a hit for Dionne Warwick in 1964. Classy cool...Boston's J. Geils Band had their second hit with the energetic bar-rock workout "Give it to Me," this week's #30...At #31 we find "And I Love You So," the final pop hit for relazed crooner Perry Como. As sleepy as you'd imagine, but hey, it had been 30 years since he first hit the charts, so cut the man some slack...Eric Carmen is here at #36, but fortunately, it's as a member of The Raspberries. "Let's Pretend" is solid, dreamy romance pop. I guess the other guys in the band kept his sappier tendencies in check...And at #38, soul group The Dells had their final pop hit with "Give Your Baby a Standing Ovation." A cool sentiment, but perhaps impractical in real life...But this week, my spotlight falls on...
34 - "No More Mr. Nice Guy," Alice Cooper
The last hit for the original Alice Cooper band was this song that Alice (the man) wrote after hearing the negative reactions of his mother's church group toward his act and image. "They say, 'He's sick, he's obscene.'" He turned that into a fun rock tale of a former (figurative) choirboy who's now become such a pariah that his pets have turned on him, his parents are shunned by the community, and when he tries to go to church in disguise, the minister recognizes him and punches him. One of Alice's most enduring hits, and deservedly so.
And now, back to 1987.
20 - "With or Without You," U2
19 - "Funkytown," Pseudo Echo
18 - "Jammin' Me," Tom Petty and the Heartbreakers
17 - "Something So Strong," Crowded House
16 - "Point of No Return," Exposé
The second half opens with the return of U2's breakthrough smash. A standard of slow-burn rock. Simple and solid.
Australians Pseudo Echo had their only American hit with a rock cover of Lipps Inc.'s 1980 disco classic. There's nothing interesting about the band, this version is completely unnecessary, and that's all I have to say about it.
Next are Tom Petty and company with a song he co-wrote with bandmate Mike Campbell and future fellow-Travelling Wilbury Bob Dylan. It's a jagged rocker about someone who's sick of being deluged by uselsess information from the media. Among the things this person wants the world to "take back" are Vanessa Redgrave, Joe Piscopo and Eddie Murphy. Okay. I understand how the last two are connected, but Redgrave seems like the random addition to this trio. Still, cool song.
Then it's Crowded House with their second and last U.S. Top 40. It's catchy pop-rock about the intensity of love. Just as good as "Don't Dream it's Over." Like I've said before, these guys deserved several more American hits, but I think pop radio turned in a direction that shut them out.
This bunch ends with Miami dance trio Exposé and another of their disco hits. I just don't care about this group enough to say much more about any of their songs. They existed, people liked their music for a couple years, good for them.
15 - "The Lady in Red," Chris DeBurgh
14 - "Don't Disturb This Groove," The System
13 - "Lessons in Love," Level 42
12 - "Shakedown," Bob Seger
11 - "Meet Me Half Way," Kenny Loggins
This section begins with the return of Chris DeBurgh's massive ballad about his favorite scarlet woman. Still overly sappy and cringeworthy.
Synth-soul duo The System had their only pop hit with this midtempo ballad about the kind of activity that makes two people feel the need to hang a sign on their hotel-room door. "You're my lollipops and everything and a little taste of sin," singer Mic Murphy says. Tasty, in a weird sex way. Anyway, I like this more than most songs of its type.
Next are England's Level 42 with their second and last American hit, a bland synthpopper about trying to learn from romantic mistakes. I get the feeling that a lot of their other stuff was interesting, but man, their hits were dull.
Then it's the Styx of Detroit with his only #1 hit. He was away from his Silver Bullet Band when he teamed up with Harold "Axel F." Faltermeyer and producer Keith Forsey to write this synth-rocker for the Beverly Hills Cop II soundtrack. It's big and noisy and has lyrics about chases and getting busted. I guess it worked at the time, but it comes off as very dated and cheesy now.
This group is closed out by a Kenny Loggins soundtrack ballad about new beginnings. Any idea what movie it was from? Well, it was a film called Over the Top, in which Sylvester Stallone played a truck driver who wins the love of his estranged son by winning the World Arm Wrestling Championship. Ah, the 80s. Anyway, the movie sounds terrible, but this song is okay.
The Top Ten are here to see you. They don't have an appointment, but I'm sure you can squeeze them in.
10 -"Just to See Her," Smokey Robinson
Smokey returned to the Top Ten for the first time in six years with this ballad about wanting his baby back. I like his voice on this one. His best hit of the 80s.
9 - "Songbird," Kenny G.
This Seattle sax smoothie had his first pop hit with this sleepy instrumental that has been soothing waiting-room occupants for a quarter of a century now. He's boring, but he's made a shitload of money. And apparently, he's a very good golfer. But of course he is.
8 - "You Keep Me Hangin' On," Kim Wilde
The second-generation British pop star rerurns with the Supremes cover that was her only American #1. Still completely unnecessary. I'd rather hear "Kids in America."
7 - "Wanted Dead or Alive," Bon Jovi
The Jersey pop-metal collective followed up their two hard-rockin' #1s with this acoustic ballad on which Jon compares his life as a tourning singer to that of a cowboy riding "a steel horse" with "a loaded six-string on my back." Clever. Three years later, Jon would continue down this Western path with his #1 solo hit "Blaze of Glory" from the movie Young Guns II. But his first venture into this territory was by far the better one.
6 - "Alone," Heart
The band's second and last #1 was this big bombastic ballad about loneliness that's become a favorite among singing-competition participants. I guess it works as a showcase in that context, but as a song, I don't think much of it. I tell ya, if these guys broke up in 1980, I'd have been a lot happier.
5 - "Diamonds," Herb Alpert
The trumpet star had his final pop Top Ten with this dance track that was produced by Jimmy Jam and Terry Lewis and sung by Janet Jackson (who at the time was recording for A&M, the record label Alpert co-founded) and Lisa Keith. Basically, it's an update of "Diamonds are a Girl's Best Friend," even going as far as to contain that very phrase. Anyway/ it's all right, but there's not a heck of a lot of trumpet on it. But again, he owned the label, so...
4 - "In Too Deep," Genesis
The fourth hit from the monster LP Invisible Touch was this bland ballad that really doesn't do anything for me. Just Phil Collins on autopilot.
3 - "I Wanna Dance With Somebody (Who Loves Me)," Whitney Houston
The first single from Whitney's second album was this uptempo tune about wanting to shake one's booty, but only with "The One" as a partner. I think it's the best thing she ever did, and it the fourth of her string of seven straight #1s.
2 - "Always," Atlantic Starr
The only pop #1 for this R&B group was this okay ballad about eternal devotion that I'm sure was the wedding song of the summer of '87. But how many of those marriages were later destroyed by "Secret Lovers"?
And the top song in the U.S.A. 25 years ago was...
1 - "Head to Toe," Lisa Lisa and Cult Jam
The group's first Full Force-less hit became their first #1. It's a dance track about the giddiness of romance, but theres a retro feel to it that appeals to me more than most such songs from this period. It could have been recorded in many different styles and still have been catchy. Easily the best thing these guys did.
This week's NotCaseys were "Rock Steady" by The Whispers, "Give to Live" by Sammy Hagar, "Seven Wonders" by Fleetwood Mac, and "Don't Dream it's Over" by Crowded House. And there was only one LDD this week: A Buffalo man, tired of all the negative comments people made about his city and convinced that there were better times ahead for both the town and its sports teams, sent out a message to the haters in the form of Timbuk 3's "The Future's So Bright, I Gotta Wear Shades."
Another down. More soon. Bye bye.
Paul McCartney and Wings were at #1 with "My Love." The rest of the Top Ten contained such favorites as "Playground in My Mind," "Will it Go Round in Circles," "Kodachrome," and "Daniel."...First among the newbies are The Stylistics at #23 with "You'll Never Get to Heaven (If You Break My Heart)," a Bacharach/David composition that was originally a hit for Dionne Warwick in 1964. Classy cool...Boston's J. Geils Band had their second hit with the energetic bar-rock workout "Give it to Me," this week's #30...At #31 we find "And I Love You So," the final pop hit for relazed crooner Perry Como. As sleepy as you'd imagine, but hey, it had been 30 years since he first hit the charts, so cut the man some slack...Eric Carmen is here at #36, but fortunately, it's as a member of The Raspberries. "Let's Pretend" is solid, dreamy romance pop. I guess the other guys in the band kept his sappier tendencies in check...And at #38, soul group The Dells had their final pop hit with "Give Your Baby a Standing Ovation." A cool sentiment, but perhaps impractical in real life...But this week, my spotlight falls on...
34 - "No More Mr. Nice Guy," Alice Cooper
The last hit for the original Alice Cooper band was this song that Alice (the man) wrote after hearing the negative reactions of his mother's church group toward his act and image. "They say, 'He's sick, he's obscene.'" He turned that into a fun rock tale of a former (figurative) choirboy who's now become such a pariah that his pets have turned on him, his parents are shunned by the community, and when he tries to go to church in disguise, the minister recognizes him and punches him. One of Alice's most enduring hits, and deservedly so.
And now, back to 1987.
20 - "With or Without You," U2
19 - "Funkytown," Pseudo Echo
18 - "Jammin' Me," Tom Petty and the Heartbreakers
17 - "Something So Strong," Crowded House
16 - "Point of No Return," Exposé
The second half opens with the return of U2's breakthrough smash. A standard of slow-burn rock. Simple and solid.
Australians Pseudo Echo had their only American hit with a rock cover of Lipps Inc.'s 1980 disco classic. There's nothing interesting about the band, this version is completely unnecessary, and that's all I have to say about it.
Next are Tom Petty and company with a song he co-wrote with bandmate Mike Campbell and future fellow-Travelling Wilbury Bob Dylan. It's a jagged rocker about someone who's sick of being deluged by uselsess information from the media. Among the things this person wants the world to "take back" are Vanessa Redgrave, Joe Piscopo and Eddie Murphy. Okay. I understand how the last two are connected, but Redgrave seems like the random addition to this trio. Still, cool song.
Then it's Crowded House with their second and last U.S. Top 40. It's catchy pop-rock about the intensity of love. Just as good as "Don't Dream it's Over." Like I've said before, these guys deserved several more American hits, but I think pop radio turned in a direction that shut them out.
This bunch ends with Miami dance trio Exposé and another of their disco hits. I just don't care about this group enough to say much more about any of their songs. They existed, people liked their music for a couple years, good for them.
15 - "The Lady in Red," Chris DeBurgh
14 - "Don't Disturb This Groove," The System
13 - "Lessons in Love," Level 42
12 - "Shakedown," Bob Seger
11 - "Meet Me Half Way," Kenny Loggins
This section begins with the return of Chris DeBurgh's massive ballad about his favorite scarlet woman. Still overly sappy and cringeworthy.
Synth-soul duo The System had their only pop hit with this midtempo ballad about the kind of activity that makes two people feel the need to hang a sign on their hotel-room door. "You're my lollipops and everything and a little taste of sin," singer Mic Murphy says. Tasty, in a weird sex way. Anyway, I like this more than most songs of its type.
Next are England's Level 42 with their second and last American hit, a bland synthpopper about trying to learn from romantic mistakes. I get the feeling that a lot of their other stuff was interesting, but man, their hits were dull.
Then it's the Styx of Detroit with his only #1 hit. He was away from his Silver Bullet Band when he teamed up with Harold "Axel F." Faltermeyer and producer Keith Forsey to write this synth-rocker for the Beverly Hills Cop II soundtrack. It's big and noisy and has lyrics about chases and getting busted. I guess it worked at the time, but it comes off as very dated and cheesy now.
This group is closed out by a Kenny Loggins soundtrack ballad about new beginnings. Any idea what movie it was from? Well, it was a film called Over the Top, in which Sylvester Stallone played a truck driver who wins the love of his estranged son by winning the World Arm Wrestling Championship. Ah, the 80s. Anyway, the movie sounds terrible, but this song is okay.
The Top Ten are here to see you. They don't have an appointment, but I'm sure you can squeeze them in.
10 -"Just to See Her," Smokey Robinson
Smokey returned to the Top Ten for the first time in six years with this ballad about wanting his baby back. I like his voice on this one. His best hit of the 80s.
9 - "Songbird," Kenny G.
This Seattle sax smoothie had his first pop hit with this sleepy instrumental that has been soothing waiting-room occupants for a quarter of a century now. He's boring, but he's made a shitload of money. And apparently, he's a very good golfer. But of course he is.
8 - "You Keep Me Hangin' On," Kim Wilde
The second-generation British pop star rerurns with the Supremes cover that was her only American #1. Still completely unnecessary. I'd rather hear "Kids in America."
7 - "Wanted Dead or Alive," Bon Jovi
The Jersey pop-metal collective followed up their two hard-rockin' #1s with this acoustic ballad on which Jon compares his life as a tourning singer to that of a cowboy riding "a steel horse" with "a loaded six-string on my back." Clever. Three years later, Jon would continue down this Western path with his #1 solo hit "Blaze of Glory" from the movie Young Guns II. But his first venture into this territory was by far the better one.
6 - "Alone," Heart
The band's second and last #1 was this big bombastic ballad about loneliness that's become a favorite among singing-competition participants. I guess it works as a showcase in that context, but as a song, I don't think much of it. I tell ya, if these guys broke up in 1980, I'd have been a lot happier.
5 - "Diamonds," Herb Alpert
The trumpet star had his final pop Top Ten with this dance track that was produced by Jimmy Jam and Terry Lewis and sung by Janet Jackson (who at the time was recording for A&M, the record label Alpert co-founded) and Lisa Keith. Basically, it's an update of "Diamonds are a Girl's Best Friend," even going as far as to contain that very phrase. Anyway/ it's all right, but there's not a heck of a lot of trumpet on it. But again, he owned the label, so...
4 - "In Too Deep," Genesis
The fourth hit from the monster LP Invisible Touch was this bland ballad that really doesn't do anything for me. Just Phil Collins on autopilot.
3 - "I Wanna Dance With Somebody (Who Loves Me)," Whitney Houston
The first single from Whitney's second album was this uptempo tune about wanting to shake one's booty, but only with "The One" as a partner. I think it's the best thing she ever did, and it the fourth of her string of seven straight #1s.
2 - "Always," Atlantic Starr
The only pop #1 for this R&B group was this okay ballad about eternal devotion that I'm sure was the wedding song of the summer of '87. But how many of those marriages were later destroyed by "Secret Lovers"?
And the top song in the U.S.A. 25 years ago was...
1 - "Head to Toe," Lisa Lisa and Cult Jam
The group's first Full Force-less hit became their first #1. It's a dance track about the giddiness of romance, but theres a retro feel to it that appeals to me more than most such songs from this period. It could have been recorded in many different styles and still have been catchy. Easily the best thing these guys did.
This week's NotCaseys were "Rock Steady" by The Whispers, "Give to Live" by Sammy Hagar, "Seven Wonders" by Fleetwood Mac, and "Don't Dream it's Over" by Crowded House. And there was only one LDD this week: A Buffalo man, tired of all the negative comments people made about his city and convinced that there were better times ahead for both the town and its sports teams, sent out a message to the haters in the form of Timbuk 3's "The Future's So Bright, I Gotta Wear Shades."
Another down. More soon. Bye bye.
Monday, June 25, 2012
June 20, 1987 Part One
This week, it's back to 1987. The Dusky Seaside Sparrow became officially extinct around the time this countdown aired. And here are some of the songs the last of that species may have heard in its final days:
40 - "Looking for a New Love," Jody Watley
39 - "Happy," Surface
38 - "I Still Haven't Found What I'm Looking For," U2
37 - "Big Love," Fleetwood Mac
36 - "I Want Your Sex," George Michael
35 - "The Pleasure Principle," Janet Jackson
34 - "I'd Still Say Yes," Klymaxx
33 - "I'll Still Be Loving You," Restless Heart
32 - "Kiss Him Goodbye," The Nylons
31 - "Right On Track," The Breakfast Club
We begin with the solo artists. Jody Watley is back from last time with her slick strut about moving on. It also gave Arnold Schwarzenegger his Terminator 2 catchphrase, "Hasta la vista, baby" Later , at a Springfield Elementary School President's Day pageant, Bart Simpson changed it to "Hasta la vista, Abie," for his portrayal of John Wilkes Booth. I'm not sure how successful that pageant was, but I think it did better than Abraham Lincoln, Vampire Hunter did this weekend. George Michael is here with the the first single from Faith, which also appeared on the Beverly Hills Cop II soundtrack. It's a funky declaration of unadulterated lust that was deemed too controversial for many radio stations, due to its racy nature. And that line "I don't need no Bible" probably didn't help matters. But for me, it's a solid song that even His Supreme Lustiness, Prince, would have been proud to call his own. And Janet Jackson had her sixth hit from Control with this song that, despite its Freudian title, is actually about a breakup. It was her first Top 40 to miss the Top Ten, and while it's decent enough, that chart performance seems completely justified.
Then we have the American bands. New York R&Bers Surface scored their first pop hit with an okay uptempo song about the woman who gives them joy. The phone call in the middle was a nice touch, but still, not much. Klymaxx, the band with a stripper's name, had their third and final pop hit with this ballas about a relationship that's still as good as it was at the beginning. Not great, but it beats the hell out of "I Miss You." Country band Restless Heart picked up their first pop hit with this ballad about pledging one's love to someone until the end of time and such. It works, but in a way that's interchangeable with dozens of other songs. Nothing distinct. And Madonna's ex-band The Breakfast Club return from last time with their hit about the mating rituals of the New York male. Still nice, fun, forgettable pop.
We finish with the bands from outside the U.S. Ireland's U2 had their second American Top Ten with this evocative number about spiritual searching. Effortlessly anthemic, and definitely one of their best. Anglo-American superstars Fleetwood Mac are back from last time with their song about large affection. Again, it's one I like a lot. And Toronto acapella group The Nylons had their only major American success with this cover of one-hit wonder Steam's 1969 Number One plea for a girl to dump her man. These guys do all right with it, but still, the best versions are the ones performed by sports-stadium crowds at the end of games they know the home team is going to win.
30 - "Rock the Night," Europe
29 - "Soul City," The Partland Brothers
28 - "Rhythm is Gonna Get You," Gloria Estefan and Miami Sound Machine
27 - "Heart and Soul," T'Pau
26 - "Girls, Girls, Girls," Motley Crue
25 - "Endless Nights," Eddie Money
24 - "Notthing's Gonna Change My Love for You," Glenn Medeiros
23 - "Sweet Sixteen," Billy Idol
22 - "Fascinated," Company B
21 - "Every Little Kiss," Bruce Hornsby and the Range
This section kicks off with more bands from outstide the United States. Swedish hair-metallers Europe followed up the immortal "The Final Countdown," with this rocker about letting loose and partying and stuff. It suffers greatly in comparison to its predecessor, but on its own, I imagine it could inspire some mild fist-pumping. Canadians G.P. and Chris Partland made their only impression on the American charts with this slick pop tune about going somewhere to have a good time and not coming back "'til the money's all gone." It's catchy and cool, and the boys harmonize like, well, brothers. An underrated gem. And England's T'Pau, a band named after a Vulcan priestess from a Star Trek episode, had their only American hit with this dance-pop single about desire for an unattainbale lover. I think that's it. For years, I assumed that this group was fronted by two women, but as it turns out, singer Carol Decker sang all the overlapping parts and double-tracked the choruses. Anyway, I've always loved this song, but I think I might like their #1 U.K. hit "China in Your Hand" even better.
Then it's the American groups. Miami Sound Machine, who now gave their sexy singer Gloria Estefan top billing, are here with the first single from the Let it Loose LP. It's a Latin dance track about the inescapablity of a good beat. I think this is much better than "Conga." Metal stars Motley Crue had their second Top 40 hit with this grinding rocker about...you know what, I'll leave that for you to ascertain. But I will mention that it namechecks several strip clubs, so that might be a clue. And not surprisingly, it has been frequently used as musical accompaniment by employees of such establishments over the years. Not a great song, but I can't imagine life without it. Another Miami group, Company B, had their only major pop hit with this Latin-freestyle number on which the singer declares "I'm fascinated by your love toy." Now there's a pickup line. And to me, that's the only remotely fascinating thing about this song. And Bruce Hornsby and the Range had their third hit with this bouncy piano tune about a laborer missing the company of his lover "a thousand miles away." Possibly the most pleasant listen among the group's hits, if not necessarily the best song.
The first half ends with the male solo singers. Edward Mahoney had another of his hits with this bland ballad about loneliness. This guy had many more hits than he deserved. But I don't begrudge him at all. He seems like a nice enough guy. Hawaiian Glenn Medeiros returns from last time with his mushy ballad. Nothing's gonna change my indifference toward it. And Billy Idol is here with an uncharacteristically gentle ballad about how the underage female he gave an engangement ring to ran away from him. And on top of that are some weird lyrics like "Built a moon for a rocking chair," and "Someone's built a candy brain and filled it in." Some very odd construction going on. And thus, in a weak field, Billy wins this week's Uneasy Rider.
Tomorrow: some Australians take us back to a familiar location, a famous rock star drops names, and music to arm-wrestle by.
40 - "Looking for a New Love," Jody Watley
39 - "Happy," Surface
38 - "I Still Haven't Found What I'm Looking For," U2
37 - "Big Love," Fleetwood Mac
36 - "I Want Your Sex," George Michael
35 - "The Pleasure Principle," Janet Jackson
34 - "I'd Still Say Yes," Klymaxx
33 - "I'll Still Be Loving You," Restless Heart
32 - "Kiss Him Goodbye," The Nylons
31 - "Right On Track," The Breakfast Club
We begin with the solo artists. Jody Watley is back from last time with her slick strut about moving on. It also gave Arnold Schwarzenegger his Terminator 2 catchphrase, "Hasta la vista, baby" Later , at a Springfield Elementary School President's Day pageant, Bart Simpson changed it to "Hasta la vista, Abie," for his portrayal of John Wilkes Booth. I'm not sure how successful that pageant was, but I think it did better than Abraham Lincoln, Vampire Hunter did this weekend. George Michael is here with the the first single from Faith, which also appeared on the Beverly Hills Cop II soundtrack. It's a funky declaration of unadulterated lust that was deemed too controversial for many radio stations, due to its racy nature. And that line "I don't need no Bible" probably didn't help matters. But for me, it's a solid song that even His Supreme Lustiness, Prince, would have been proud to call his own. And Janet Jackson had her sixth hit from Control with this song that, despite its Freudian title, is actually about a breakup. It was her first Top 40 to miss the Top Ten, and while it's decent enough, that chart performance seems completely justified.
Then we have the American bands. New York R&Bers Surface scored their first pop hit with an okay uptempo song about the woman who gives them joy. The phone call in the middle was a nice touch, but still, not much. Klymaxx, the band with a stripper's name, had their third and final pop hit with this ballas about a relationship that's still as good as it was at the beginning. Not great, but it beats the hell out of "I Miss You." Country band Restless Heart picked up their first pop hit with this ballad about pledging one's love to someone until the end of time and such. It works, but in a way that's interchangeable with dozens of other songs. Nothing distinct. And Madonna's ex-band The Breakfast Club return from last time with their hit about the mating rituals of the New York male. Still nice, fun, forgettable pop.
We finish with the bands from outside the U.S. Ireland's U2 had their second American Top Ten with this evocative number about spiritual searching. Effortlessly anthemic, and definitely one of their best. Anglo-American superstars Fleetwood Mac are back from last time with their song about large affection. Again, it's one I like a lot. And Toronto acapella group The Nylons had their only major American success with this cover of one-hit wonder Steam's 1969 Number One plea for a girl to dump her man. These guys do all right with it, but still, the best versions are the ones performed by sports-stadium crowds at the end of games they know the home team is going to win.
30 - "Rock the Night," Europe
29 - "Soul City," The Partland Brothers
28 - "Rhythm is Gonna Get You," Gloria Estefan and Miami Sound Machine
27 - "Heart and Soul," T'Pau
26 - "Girls, Girls, Girls," Motley Crue
25 - "Endless Nights," Eddie Money
24 - "Notthing's Gonna Change My Love for You," Glenn Medeiros
23 - "Sweet Sixteen," Billy Idol
22 - "Fascinated," Company B
21 - "Every Little Kiss," Bruce Hornsby and the Range
This section kicks off with more bands from outstide the United States. Swedish hair-metallers Europe followed up the immortal "The Final Countdown," with this rocker about letting loose and partying and stuff. It suffers greatly in comparison to its predecessor, but on its own, I imagine it could inspire some mild fist-pumping. Canadians G.P. and Chris Partland made their only impression on the American charts with this slick pop tune about going somewhere to have a good time and not coming back "'til the money's all gone." It's catchy and cool, and the boys harmonize like, well, brothers. An underrated gem. And England's T'Pau, a band named after a Vulcan priestess from a Star Trek episode, had their only American hit with this dance-pop single about desire for an unattainbale lover. I think that's it. For years, I assumed that this group was fronted by two women, but as it turns out, singer Carol Decker sang all the overlapping parts and double-tracked the choruses. Anyway, I've always loved this song, but I think I might like their #1 U.K. hit "China in Your Hand" even better.
Then it's the American groups. Miami Sound Machine, who now gave their sexy singer Gloria Estefan top billing, are here with the first single from the Let it Loose LP. It's a Latin dance track about the inescapablity of a good beat. I think this is much better than "Conga." Metal stars Motley Crue had their second Top 40 hit with this grinding rocker about...you know what, I'll leave that for you to ascertain. But I will mention that it namechecks several strip clubs, so that might be a clue. And not surprisingly, it has been frequently used as musical accompaniment by employees of such establishments over the years. Not a great song, but I can't imagine life without it. Another Miami group, Company B, had their only major pop hit with this Latin-freestyle number on which the singer declares "I'm fascinated by your love toy." Now there's a pickup line. And to me, that's the only remotely fascinating thing about this song. And Bruce Hornsby and the Range had their third hit with this bouncy piano tune about a laborer missing the company of his lover "a thousand miles away." Possibly the most pleasant listen among the group's hits, if not necessarily the best song.
The first half ends with the male solo singers. Edward Mahoney had another of his hits with this bland ballad about loneliness. This guy had many more hits than he deserved. But I don't begrudge him at all. He seems like a nice enough guy. Hawaiian Glenn Medeiros returns from last time with his mushy ballad. Nothing's gonna change my indifference toward it. And Billy Idol is here with an uncharacteristically gentle ballad about how the underage female he gave an engangement ring to ran away from him. And on top of that are some weird lyrics like "Built a moon for a rocking chair," and "Someone's built a candy brain and filled it in." Some very odd construction going on. And thus, in a weak field, Billy wins this week's Uneasy Rider.
Tomorrow: some Australians take us back to a familiar location, a famous rock star drops names, and music to arm-wrestle by.
Tuesday, June 19, 2012
June 19, 1976
Once again, we're making another venture back into the 70s. This time, it's 1976. The U.S.A. was just days away from turning 200, the NBA and ABA had just merged, and Czechoslovakia was about to win Euro 1976. But don't talk to me about this year's Euro. I'm half-Dutch. Nuff said. Anyway, here's 40-11, with the new ones in bold.
40 - "Rock and Roll Music," The Beach Boys
39 - "Mamma Mia," ABBA
38 - "Right Back Where We Started From," Maxine Nightingale
37 - "I'm Easy," David Carradine
36 - "Turn the Beat Around," Vickie Sue Robinson
35 - "Save Your Kisses for Me," Brotherhood of Man
34 - "Fooled Around and Fell in Love," Elvin Bishop
33 - "Tear the Roof off the Sucker (Give Up the Funk)," Parliament
32 - "Making Our Dreams Come True," Cyndi Grecco
31 - "Let Her In," John Travolta
30 - "Today's the Day," America
29 - "Got to Get You Into My Life," The Beatles
28 - "That's Where The Happy People Go," The Trammps
27 - "You're My Best Friend," Queen
26 - "Get Closer," Seals and Crofts
25 - "Boogie Fever," The Sylvers
24 - "Welcome Back," John Sebastian
23 - "Rhiannon (Will You Ever Win)," Fleetwood Mac
22 - "The Boys are Back in Town," Thin Lizzy
21 - "Fool to Cry," The Rolling Stones
20 - "Baretta's Theme (Keep Your Eye on the Sparrow)," Rhythm Heritage
19 - "Take the Money and Run," The Steve Miller Band
18 - "Moonlight Feels Right," Starbuck
17 - "Never Gonna Fall in Love Again," Eric Carmen
16 - "I Want You," Marvin Gaye
15 - "Movin'," Brass Construction
14 - "Takin' It to the Streets," The Doobie Brothers
13 - "Love is Alive," Gary Wright
12 - "Kiss and Say Goodbye," The Manhattans
11 - "Happy Days," Pratt and McClain
Twelve newbies, and they divide up nicely.
We'll start with two groups who have participated in the infamous Eurovision Song Contest. ABBA, who won the 1974 contest for Sweden with "Waterloo," are here with their disco classic about repeatedly forgiving a cheating lover. It, of course, later lent its title to the successful stage and film musicals based around the band's hits. I saw some of the movie, and it looked okay, but not really my thing. I'd rather just listen to the originals. And the U.K.'s Brotherhood of Man won the 1976 title with their entry here. a cheesy bit of folky bubblegum that seems to be written about a lover, but in a twist ending, is actually directed toward a three-year-old. Incredibly cloying and silly, and the harmonies are nothing to write home about. And yet it not only won Eurovision, it was a massive international hit. But it sounds like a Tony Orlando and Dawn reject. So I'm giving it this week's 70s Uneasy Rider.
This may have been the all-time chart heyday for television theme songs. There were four on this week's chart: John Sebastian's "Welcome Back," plus three of our newcomers. First is Cyndi Grecco, who had her only hit with the song that opened the sitcom Laverne and Shirley, a peppy tune that set the tone for the weekly adventures of Mmes. DeFazio and Feeney, two Milwaukee brewery workers looking for love and happiness in the late 50s and early 60s. Not a great song, but it brings back fond memories of milk and Pepsi, Boo-Boo Kitty, and of course, Lenny and Squiggy. And this version doesn't contain the "Schlemiel, Schlimazel!" part, so points off for that. Rhythm Heritage, who had previously gone to #1 with the theme from S.W.A.T., are here with their version of the theme from a drama series that starred Robert Blake as a tough, cockatoo-owning cop. But theirs wasn't the version from the show: that was originally performed by composer Dave Gruisin, and a later version was sung by Sammy Davis Jr. And as far as I'm concerned, the latter is the best one. Nothing like the Candy Man singing "Don't do the crime if you can't do the time." And the team of San Antonio, Texas' Truett Pratt and Pasadena, California's Jerry McClain started out as commercial jingle performers, then later tried to break into rock. They would score their only hit when the producers of the hit sitcom Happy Days decided to replace Bill Haley's "Rock Around The Clock" with an original theme tune, and they hired Pratt and McClain to record it. The song has a 50s retro sound, with lyrics about having a girl wear your school ring on a chain, cruising around town, and "rockin' and rollin' all week long." Not much of a song, but again, it's all about the memories of Richie, Potsie, Ralph Malph, and of course, Fonzie. Just try to block out that time he jumped over that shark. And the Ted McGinley years.
This being the 70s, of course we have MOR. America had their last hit of the 80s with this song in which they feel like a lover's return is imminent. I don't know, guys. This listless pop sleeping pill reminds me of The Association, and that's not good. If she hears this, I don't think today will be the day. And not tomorrow either. You'll be waiting quite a while. And my old friend Eric Carmen followed up his shitburger of a debut solo hit, "All By Myself," with this midtempo number about giving up on love. By his solo standards, it's pretty good, but still, I don't need to hear it ever again. If he's not with The Raspberries, I'll pass every time.
Let's clear our palates with some R&B. The Trammps, future igniters of a "Disco Inferno," had their second pop hit with this danceable ode to putting one's worries aside and going to the local discotheque, because the people their are so joyful and upbeat. It's not quite up their with their signature number, but I'd boogie to it. Marvin Gaye is here with this lush bit of semi-disco about love and desire and such. There really isn't much to say about it except that it's awesome, and this could be used by filmmakers as an effective substitute when they're tempted to use "Let's Get it On" for the millionth time. And Brooklyn funk band Brass Construction had their only major pop hit with this minimally-lyriced funk grinder. Basically, they've got themselve together, and their moving on. After that, all that's left to do is groove. As it should be.
,
We finish our look at the fresh stuff with two rock bands. The Rolling Stones are here with a ballad about how many of the people close to Mick Jagger have a unique and seemingly counterproductive method of dealing with him when he tells them his troubles. But it seems to work for him, and it's a good song, so who am I to judge? And The Doobie Brothers are here with their first hit of the Michael McDonald era, And it's the best of the bunch, with the band's grittier origins still shining through somewhat under Mikey Mac's pop sheen. That wouldn't last.
I just met you, and this is crazy, but here's the Top Ten, so call me maybe.
10 - "I'll Be Good to You," The Brothers Johnson
George and Louis say they'll treat you right. Well, this song certainly does.
9 - "Afternoon Delight," The Starland Vocal Band
I'll say it again: This is the least sexy song about sex ever written. This would kill even the most erotic mood, and the only thing that could get it back is, I don't know, a disco number performed by a porn star. But what are the chances one of those will come around any time soon?
8 - "More, More, More," The Andrea True Connection
And right on cue, here's Andrea True. How do I like it? I like it a lot. Now get those cameras rollin', keep the action going, and don't stop until I've forgotten that "Afternoon Delight" ever existed.
7 - "Shop Around," The Captain and Tennille
Daryl and Toni kept their run of hits going with this sprightly cover of a 1960 Smokey Robinson and the Miracles tune that just happened to be the first #1 R&B hit for a little record label called Motown. It's about a piece of maternal romantic advice: namely, try out a few prospective partners before deciding on "The One." Good advice, I suppose. But a great song in its original form, and these two don't do too badly with it.
6 - "Shannon," Henry Gross
I find it hard to believe that this guy played Woodstock when he was in Sha Na Na. Almost as hard to believe as the fact that Sha Na Na played Woodstock. Anyway, here he is with his big hit about a dog who has hopefully swam away to "an island with a shady tree." That sounds way nicer than the farm upstate most dogs end up.
5 - "Sara Smile," Daryl Hall and John Oates
The breakthrough for these Philadelphians. I used to think it wasn't that good, but it's growing on me. "She's Gone" is still better, though.
4 - "Love Hangover," Diana Ross
Miss Ross goes disco on a track about a headache you actually do want your lover to have. Apparently, to get in her in the right mood, producer Hal Davis had a strobe light installed in the studio. I guess it worked, because this went to #1. It starts out lush and slow, then gets all funky on you. One of her better solo moments.
3 - "Misty Blue," Dorothy Moore
A cracker of a soul ballad. For some reason, I wrote last time that this was produced by Harry Casey. It wasn't. I should have known. He would have discoed it up, to its extreme detriment. We're all better off.
2 - "Get Up and Boogie," Silver Convention
The second and last American hit for this German disco group. Quite similar to "Fly, Robin, Fly," with about the same amount of lyrics. I think this is just a bit funkier, though. And the "That's right!" exclamation had been sampled quite often over the years. But for now, I'll just sit down. Maybe I'll boogie in an hour or so.
And on top of pop 36 years ago was...
1 - "Silly Love Songs," Wings
Finally, I get to cover one of the best known and most polarizing of Paul McCartney's hits. He wrote it as a response to the complaints of some critics that his songs were too lightweight. And over the years, many have cited this as an example of that very charge. I guess I can see that, but to me, it's just so damn catchy, and those horn riffs are just undeniably smile-inducing. So I like it, and I ask you, what's wrong with that?
The NotCaseys this week were "Play That Funky Music" by Wild Cherry and "A Fifth of Beethoven" by Walter Murphy and the Big Apple Band. And Casey himself played B.B. King's "The Thrill is Gone" to accompany the story of how King once rescued his guitar from a burning building.
Done at last for this week. See you again very soon.
40 - "Rock and Roll Music," The Beach Boys
39 - "Mamma Mia," ABBA
38 - "Right Back Where We Started From," Maxine Nightingale
37 - "I'm Easy," David Carradine
36 - "Turn the Beat Around," Vickie Sue Robinson
35 - "Save Your Kisses for Me," Brotherhood of Man
34 - "Fooled Around and Fell in Love," Elvin Bishop
33 - "Tear the Roof off the Sucker (Give Up the Funk)," Parliament
32 - "Making Our Dreams Come True," Cyndi Grecco
31 - "Let Her In," John Travolta
30 - "Today's the Day," America
29 - "Got to Get You Into My Life," The Beatles
28 - "That's Where The Happy People Go," The Trammps
27 - "You're My Best Friend," Queen
26 - "Get Closer," Seals and Crofts
25 - "Boogie Fever," The Sylvers
24 - "Welcome Back," John Sebastian
23 - "Rhiannon (Will You Ever Win)," Fleetwood Mac
22 - "The Boys are Back in Town," Thin Lizzy
21 - "Fool to Cry," The Rolling Stones
20 - "Baretta's Theme (Keep Your Eye on the Sparrow)," Rhythm Heritage
19 - "Take the Money and Run," The Steve Miller Band
18 - "Moonlight Feels Right," Starbuck
17 - "Never Gonna Fall in Love Again," Eric Carmen
16 - "I Want You," Marvin Gaye
15 - "Movin'," Brass Construction
14 - "Takin' It to the Streets," The Doobie Brothers
13 - "Love is Alive," Gary Wright
12 - "Kiss and Say Goodbye," The Manhattans
11 - "Happy Days," Pratt and McClain
Twelve newbies, and they divide up nicely.
We'll start with two groups who have participated in the infamous Eurovision Song Contest. ABBA, who won the 1974 contest for Sweden with "Waterloo," are here with their disco classic about repeatedly forgiving a cheating lover. It, of course, later lent its title to the successful stage and film musicals based around the band's hits. I saw some of the movie, and it looked okay, but not really my thing. I'd rather just listen to the originals. And the U.K.'s Brotherhood of Man won the 1976 title with their entry here. a cheesy bit of folky bubblegum that seems to be written about a lover, but in a twist ending, is actually directed toward a three-year-old. Incredibly cloying and silly, and the harmonies are nothing to write home about. And yet it not only won Eurovision, it was a massive international hit. But it sounds like a Tony Orlando and Dawn reject. So I'm giving it this week's 70s Uneasy Rider.
This may have been the all-time chart heyday for television theme songs. There were four on this week's chart: John Sebastian's "Welcome Back," plus three of our newcomers. First is Cyndi Grecco, who had her only hit with the song that opened the sitcom Laverne and Shirley, a peppy tune that set the tone for the weekly adventures of Mmes. DeFazio and Feeney, two Milwaukee brewery workers looking for love and happiness in the late 50s and early 60s. Not a great song, but it brings back fond memories of milk and Pepsi, Boo-Boo Kitty, and of course, Lenny and Squiggy. And this version doesn't contain the "Schlemiel, Schlimazel!" part, so points off for that. Rhythm Heritage, who had previously gone to #1 with the theme from S.W.A.T., are here with their version of the theme from a drama series that starred Robert Blake as a tough, cockatoo-owning cop. But theirs wasn't the version from the show: that was originally performed by composer Dave Gruisin, and a later version was sung by Sammy Davis Jr. And as far as I'm concerned, the latter is the best one. Nothing like the Candy Man singing "Don't do the crime if you can't do the time." And the team of San Antonio, Texas' Truett Pratt and Pasadena, California's Jerry McClain started out as commercial jingle performers, then later tried to break into rock. They would score their only hit when the producers of the hit sitcom Happy Days decided to replace Bill Haley's "Rock Around The Clock" with an original theme tune, and they hired Pratt and McClain to record it. The song has a 50s retro sound, with lyrics about having a girl wear your school ring on a chain, cruising around town, and "rockin' and rollin' all week long." Not much of a song, but again, it's all about the memories of Richie, Potsie, Ralph Malph, and of course, Fonzie. Just try to block out that time he jumped over that shark. And the Ted McGinley years.
This being the 70s, of course we have MOR. America had their last hit of the 80s with this song in which they feel like a lover's return is imminent. I don't know, guys. This listless pop sleeping pill reminds me of The Association, and that's not good. If she hears this, I don't think today will be the day. And not tomorrow either. You'll be waiting quite a while. And my old friend Eric Carmen followed up his shitburger of a debut solo hit, "All By Myself," with this midtempo number about giving up on love. By his solo standards, it's pretty good, but still, I don't need to hear it ever again. If he's not with The Raspberries, I'll pass every time.
Let's clear our palates with some R&B. The Trammps, future igniters of a "Disco Inferno," had their second pop hit with this danceable ode to putting one's worries aside and going to the local discotheque, because the people their are so joyful and upbeat. It's not quite up their with their signature number, but I'd boogie to it. Marvin Gaye is here with this lush bit of semi-disco about love and desire and such. There really isn't much to say about it except that it's awesome, and this could be used by filmmakers as an effective substitute when they're tempted to use "Let's Get it On" for the millionth time. And Brooklyn funk band Brass Construction had their only major pop hit with this minimally-lyriced funk grinder. Basically, they've got themselve together, and their moving on. After that, all that's left to do is groove. As it should be.
,
We finish our look at the fresh stuff with two rock bands. The Rolling Stones are here with a ballad about how many of the people close to Mick Jagger have a unique and seemingly counterproductive method of dealing with him when he tells them his troubles. But it seems to work for him, and it's a good song, so who am I to judge? And The Doobie Brothers are here with their first hit of the Michael McDonald era, And it's the best of the bunch, with the band's grittier origins still shining through somewhat under Mikey Mac's pop sheen. That wouldn't last.
I just met you, and this is crazy, but here's the Top Ten, so call me maybe.
10 - "I'll Be Good to You," The Brothers Johnson
George and Louis say they'll treat you right. Well, this song certainly does.
9 - "Afternoon Delight," The Starland Vocal Band
I'll say it again: This is the least sexy song about sex ever written. This would kill even the most erotic mood, and the only thing that could get it back is, I don't know, a disco number performed by a porn star. But what are the chances one of those will come around any time soon?
8 - "More, More, More," The Andrea True Connection
And right on cue, here's Andrea True. How do I like it? I like it a lot. Now get those cameras rollin', keep the action going, and don't stop until I've forgotten that "Afternoon Delight" ever existed.
7 - "Shop Around," The Captain and Tennille
Daryl and Toni kept their run of hits going with this sprightly cover of a 1960 Smokey Robinson and the Miracles tune that just happened to be the first #1 R&B hit for a little record label called Motown. It's about a piece of maternal romantic advice: namely, try out a few prospective partners before deciding on "The One." Good advice, I suppose. But a great song in its original form, and these two don't do too badly with it.
6 - "Shannon," Henry Gross
I find it hard to believe that this guy played Woodstock when he was in Sha Na Na. Almost as hard to believe as the fact that Sha Na Na played Woodstock. Anyway, here he is with his big hit about a dog who has hopefully swam away to "an island with a shady tree." That sounds way nicer than the farm upstate most dogs end up.
5 - "Sara Smile," Daryl Hall and John Oates
The breakthrough for these Philadelphians. I used to think it wasn't that good, but it's growing on me. "She's Gone" is still better, though.
4 - "Love Hangover," Diana Ross
Miss Ross goes disco on a track about a headache you actually do want your lover to have. Apparently, to get in her in the right mood, producer Hal Davis had a strobe light installed in the studio. I guess it worked, because this went to #1. It starts out lush and slow, then gets all funky on you. One of her better solo moments.
3 - "Misty Blue," Dorothy Moore
A cracker of a soul ballad. For some reason, I wrote last time that this was produced by Harry Casey. It wasn't. I should have known. He would have discoed it up, to its extreme detriment. We're all better off.
2 - "Get Up and Boogie," Silver Convention
The second and last American hit for this German disco group. Quite similar to "Fly, Robin, Fly," with about the same amount of lyrics. I think this is just a bit funkier, though. And the "That's right!" exclamation had been sampled quite often over the years. But for now, I'll just sit down. Maybe I'll boogie in an hour or so.
And on top of pop 36 years ago was...
1 - "Silly Love Songs," Wings
Finally, I get to cover one of the best known and most polarizing of Paul McCartney's hits. He wrote it as a response to the complaints of some critics that his songs were too lightweight. And over the years, many have cited this as an example of that very charge. I guess I can see that, but to me, it's just so damn catchy, and those horn riffs are just undeniably smile-inducing. So I like it, and I ask you, what's wrong with that?
The NotCaseys this week were "Play That Funky Music" by Wild Cherry and "A Fifth of Beethoven" by Walter Murphy and the Big Apple Band. And Casey himself played B.B. King's "The Thrill is Gone" to accompany the story of how King once rescued his guitar from a burning building.
Done at last for this week. See you again very soon.
Monday, June 18, 2012
June 18, 1983
This week, it's back to 1983. On the date this countdown originally aired, Sally Ride became the first American woman in space. That's pretty cool.
This is another week where a lot of the songs have been covered already, so here's 40-11, with the newbies in bold:
40 - "No Time for Talk." Christopher Cross
39 - "1999," Prince
38 - "The Closer You Get," Alabama
37 - "Sweet Dreams (Are Made of This)," Eurythmics
36 - "Stand Back," Stevie Nicks
35 - "Don't Pay the Ferryman," Chris DeBurgh
34 - "She Works Hard for the Money," Donna Summer
33 - "Roll Me Away," Bob Seger and The Silver Bullet Band
32 - "Is There Something I Should Know," Duran Duran
31- "Solitaire," Laura Branigan
30 - "Wishing (If I Had a Photograph of You)," A Flock of Seagulls
29 - "Straight From the Heart," Bryan Adams
28 - "That's Love," Jim Capaldi
27 - "Baby Jane," Rod Stewart
26 - "Little Red Corvette," Prince
25 - "All This Love," DeBarge
24 - "The Woman in You," The Bee Gees
23 - "Try Again," Champaign
22 - "We Two," The Little River Band
21 - "Our House," Madness
20 - "She Blinded Me with Science," Thomas Dolby
19 - "Come Dancing," The Kinks
18 - "I'm Still Standing," Elton John
17 - "Wanna Be Startin' Something," Michael Jackson
16 - "She's a Beauty," The TubesL
15 - "Too Shy," Kajagoogoo
14 - "Every Breath You Take," The Police
13 - "Never Gonna Let You Go," Sergio Mendes
12 - "Faithfully," Journey
11 - "Beat It," Michael Jackson
An even dozen newcomers. Okay, let's split 'em up.
We'll start with North American solo men. Christopher Cross had his penultimate Top 40 hit with this synth-heavy midtempo ballad about how his recent breakup was so devastation, it made the front page of the Melancholy News. I've never heard of that publication, but I'm sure I'd never want to read it, let alone be covered by it. One of his better ones, but that says very little. And Bryan Adams picked up his first American hit with this ballad about wanting a second chance from one's ex. Many of his future slow songs would be overblown and mushy, but this is just straight ahead and sincere. I can stand this one.
Now to the American bands. County-pop megagroup Alabama had their last pop Top 40 with this tune about how proximity to the object of one's affection makes one fall more deeply in love. I trust the science behind this theory (assuming there was any), but the song isn't any better than okay. Bob Seger and the Styx of Detroit are here with an anthemic rocker about hitting the open road on a motorcycle. This isn't world-changing stuff, but it does what it sets out to do. I like it. El DeBarge orignally wrote the soulful ballad "All This Love" with Marvin Gaye in mind, but he ended up recording it with his family band, and it became their biggest hit. Yeah, I think Marvin would have owned it, but El does pretty damn well. It's probably DeBarge's best moment. And Champaign, of "How 'Bout Us" fame, had their only other pop hit with this starting-over ballad. It's their better hit, to my ears.
Then there's the solo acts from the British Isles. Argentine-born, Irish-raised Chris DeBurgh had his first American hit with this dramatic pop-rocker about a man who boards a mysterious boat piloted by "a hooded man." The journey on the water is plagued by storms and other mysterious happenings, and because of this, the ferry's captain demands to be paid immediately. But "voices in the night" tell the passenger not to do so "till he get you to the other side." This song is based on myths like that of Charon, the Greek mythology figure who guides the dead across the River Styx. However, the song doesn't reveal whether or not the man heeded the voices' advice. Again, a song disappoints me with a lack of closure. But still, this is way better than "The Lady in Red," and it also captures this week's Uneasy Rider. Jim Capaldi, formerly of the prog-rock band Traffic, had his biggest American solo hit with this look at all the ups and downs of romance: the fights, the heartbreaks, and the good times that make it all worth it. It's slickly produced by Capaldi and his ex-Traffic bandmate Steve Winwood, but it's still got a simple charm. And Rod Stewart is here with a synth-heavy pop number about saying goodbye to a woman who has left him for bigger and better things in "high society." I know songs like this often are based on the singer's real-life experiences, but in this case, I don't think that's true. Don't ask me why. And my buddies The Little River Band are here with their next-to-last hit, a song about how hard it is to find love and wanting "to fly away in a big balloon." I must admit I find this tolerable, which by their standards makes it damn near a masterpiece.
We close our look at the new meat with the groups from outside the U.S. New Wave punchlines A Flock of Seagulls had their final American hit on which singer Mike Score bemoans the fact that he doesn't have a picture of the woman he loves. This isn't a problem that people seem to have nowadays. But anyway, cool keyboard riff, and to me, it's just as good as "I Ran." The Bee Gees attempted a return to past glories with their entry here, one of their contributions to the soundtrack of the Saturday Night Fever sequel Staying Alive. It's somewhat edgier funk than the disco of five years earlier, and it's actually pretty good when one listens with open ears. But the Gibbs were still tainted by disco, so this wasn't as big a hit as it might have been. Plus, the movie sucked.
Have the Top Ten and a smile.
10 - "Family Man," Daryl Hall and John Oates
Again, probably my favorite H&O of the 80s. Leave poor weak Daryl alone, you hussy!
9 - "Affair of the Heart," Rick Springfield
Sorry, Rick, but I don't buy that your relationship with this girl isn't "just physical." You're probably still pining for Jessie's girl.
8 - "Always Something There to Remind Me," Naked Eyes
New wave and Burt Bacharach: Two great tastes that taste...okay together.
7 - "Don't Let it End," Styx
No, do let it end so I can hear "Mr. Roboto" again.
6 - "My Love," Lionel Richie
"Thinkin' about you baby just blows my mind." You know what blows my mind, Lionel? The fact that you have one of the biggest-selling albums of 2012.
5 - "Overkill," Men at Work
Their other hits may be more fun, but this was their best pure pop song.
4 - "Electric Avenue," Eddy Grant
Political reggae-funk at its catchiest. And nearly thirty years later, we still can't figure out "who is to blame in what country?"
3 - "Let's Dance," David Bowie
If I had red shoes, I would most definitely dance the blues to the song they're playing on the radio. Especially if it's this one.
2 - "Time (Clock of the Heart)," Culture Club
Underneath the image, Boy George was one of the great white soul singers of all time. Laugh at that if you will, but prove me wrong. I don't think you can.
And at the top of the charts way back when was...
1 - "Flashdance (What a Feeling)," Irene Cara
Yeah, it's a decent song for what it is, but what I want to talk about is the weirdest thing that came out of that movie's wake. I'm talking, of course, about It's Flashbeagle, Charlie Brown. Charles Schulz, I love you, you were a genius in so many ways, but what could have possibly made you think the world wanted to see Snoopy dancing around in leg warmers?
This week's NotCaseys were "Down Under" by Men at Work, "(Keep Feeling) Fascination" by The Human League, "White Wedding" by Billy Idol, and "Saved by Zero" by The Fixx. And there were two LDDs. In the first, an Egyptian man named Osama (!) dedicated Air Supply's "The One that You Love" to his American girlfriend who can't join him in Egypt for another three years. And later, a college girl and her five siblings sent out Dan Fogelberg's "Leader of the Band" to their retiring father, whom they had misunderstood and unnecessarily feared growing up.
Tomorrow: This week's 70's list found an opening in my 1976 coverage, so I'm going to write that one up this week too. Aren't you lucky?
This is another week where a lot of the songs have been covered already, so here's 40-11, with the newbies in bold:
40 - "No Time for Talk." Christopher Cross
39 - "1999," Prince
38 - "The Closer You Get," Alabama
37 - "Sweet Dreams (Are Made of This)," Eurythmics
36 - "Stand Back," Stevie Nicks
35 - "Don't Pay the Ferryman," Chris DeBurgh
34 - "She Works Hard for the Money," Donna Summer
33 - "Roll Me Away," Bob Seger and The Silver Bullet Band
32 - "Is There Something I Should Know," Duran Duran
31- "Solitaire," Laura Branigan
30 - "Wishing (If I Had a Photograph of You)," A Flock of Seagulls
29 - "Straight From the Heart," Bryan Adams
28 - "That's Love," Jim Capaldi
27 - "Baby Jane," Rod Stewart
26 - "Little Red Corvette," Prince
25 - "All This Love," DeBarge
24 - "The Woman in You," The Bee Gees
23 - "Try Again," Champaign
22 - "We Two," The Little River Band
21 - "Our House," Madness
20 - "She Blinded Me with Science," Thomas Dolby
19 - "Come Dancing," The Kinks
18 - "I'm Still Standing," Elton John
17 - "Wanna Be Startin' Something," Michael Jackson
16 - "She's a Beauty," The TubesL
15 - "Too Shy," Kajagoogoo
14 - "Every Breath You Take," The Police
13 - "Never Gonna Let You Go," Sergio Mendes
12 - "Faithfully," Journey
11 - "Beat It," Michael Jackson
An even dozen newcomers. Okay, let's split 'em up.
We'll start with North American solo men. Christopher Cross had his penultimate Top 40 hit with this synth-heavy midtempo ballad about how his recent breakup was so devastation, it made the front page of the Melancholy News. I've never heard of that publication, but I'm sure I'd never want to read it, let alone be covered by it. One of his better ones, but that says very little. And Bryan Adams picked up his first American hit with this ballad about wanting a second chance from one's ex. Many of his future slow songs would be overblown and mushy, but this is just straight ahead and sincere. I can stand this one.
Now to the American bands. County-pop megagroup Alabama had their last pop Top 40 with this tune about how proximity to the object of one's affection makes one fall more deeply in love. I trust the science behind this theory (assuming there was any), but the song isn't any better than okay. Bob Seger and the Styx of Detroit are here with an anthemic rocker about hitting the open road on a motorcycle. This isn't world-changing stuff, but it does what it sets out to do. I like it. El DeBarge orignally wrote the soulful ballad "All This Love" with Marvin Gaye in mind, but he ended up recording it with his family band, and it became their biggest hit. Yeah, I think Marvin would have owned it, but El does pretty damn well. It's probably DeBarge's best moment. And Champaign, of "How 'Bout Us" fame, had their only other pop hit with this starting-over ballad. It's their better hit, to my ears.
Then there's the solo acts from the British Isles. Argentine-born, Irish-raised Chris DeBurgh had his first American hit with this dramatic pop-rocker about a man who boards a mysterious boat piloted by "a hooded man." The journey on the water is plagued by storms and other mysterious happenings, and because of this, the ferry's captain demands to be paid immediately. But "voices in the night" tell the passenger not to do so "till he get you to the other side." This song is based on myths like that of Charon, the Greek mythology figure who guides the dead across the River Styx. However, the song doesn't reveal whether or not the man heeded the voices' advice. Again, a song disappoints me with a lack of closure. But still, this is way better than "The Lady in Red," and it also captures this week's Uneasy Rider. Jim Capaldi, formerly of the prog-rock band Traffic, had his biggest American solo hit with this look at all the ups and downs of romance: the fights, the heartbreaks, and the good times that make it all worth it. It's slickly produced by Capaldi and his ex-Traffic bandmate Steve Winwood, but it's still got a simple charm. And Rod Stewart is here with a synth-heavy pop number about saying goodbye to a woman who has left him for bigger and better things in "high society." I know songs like this often are based on the singer's real-life experiences, but in this case, I don't think that's true. Don't ask me why. And my buddies The Little River Band are here with their next-to-last hit, a song about how hard it is to find love and wanting "to fly away in a big balloon." I must admit I find this tolerable, which by their standards makes it damn near a masterpiece.
We close our look at the new meat with the groups from outside the U.S. New Wave punchlines A Flock of Seagulls had their final American hit on which singer Mike Score bemoans the fact that he doesn't have a picture of the woman he loves. This isn't a problem that people seem to have nowadays. But anyway, cool keyboard riff, and to me, it's just as good as "I Ran." The Bee Gees attempted a return to past glories with their entry here, one of their contributions to the soundtrack of the Saturday Night Fever sequel Staying Alive. It's somewhat edgier funk than the disco of five years earlier, and it's actually pretty good when one listens with open ears. But the Gibbs were still tainted by disco, so this wasn't as big a hit as it might have been. Plus, the movie sucked.
Have the Top Ten and a smile.
10 - "Family Man," Daryl Hall and John Oates
Again, probably my favorite H&O of the 80s. Leave poor weak Daryl alone, you hussy!
9 - "Affair of the Heart," Rick Springfield
Sorry, Rick, but I don't buy that your relationship with this girl isn't "just physical." You're probably still pining for Jessie's girl.
8 - "Always Something There to Remind Me," Naked Eyes
New wave and Burt Bacharach: Two great tastes that taste...okay together.
7 - "Don't Let it End," Styx
No, do let it end so I can hear "Mr. Roboto" again.
6 - "My Love," Lionel Richie
"Thinkin' about you baby just blows my mind." You know what blows my mind, Lionel? The fact that you have one of the biggest-selling albums of 2012.
5 - "Overkill," Men at Work
Their other hits may be more fun, but this was their best pure pop song.
4 - "Electric Avenue," Eddy Grant
Political reggae-funk at its catchiest. And nearly thirty years later, we still can't figure out "who is to blame in what country?"
3 - "Let's Dance," David Bowie
If I had red shoes, I would most definitely dance the blues to the song they're playing on the radio. Especially if it's this one.
2 - "Time (Clock of the Heart)," Culture Club
Underneath the image, Boy George was one of the great white soul singers of all time. Laugh at that if you will, but prove me wrong. I don't think you can.
And at the top of the charts way back when was...
1 - "Flashdance (What a Feeling)," Irene Cara
Yeah, it's a decent song for what it is, but what I want to talk about is the weirdest thing that came out of that movie's wake. I'm talking, of course, about It's Flashbeagle, Charlie Brown. Charles Schulz, I love you, you were a genius in so many ways, but what could have possibly made you think the world wanted to see Snoopy dancing around in leg warmers?
This week's NotCaseys were "Down Under" by Men at Work, "(Keep Feeling) Fascination" by The Human League, "White Wedding" by Billy Idol, and "Saved by Zero" by The Fixx. And there were two LDDs. In the first, an Egyptian man named Osama (!) dedicated Air Supply's "The One that You Love" to his American girlfriend who can't join him in Egypt for another three years. And later, a college girl and her five siblings sent out Dan Fogelberg's "Leader of the Band" to their retiring father, whom they had misunderstood and unnecessarily feared growing up.
Tomorrow: This week's 70's list found an opening in my 1976 coverage, so I'm going to write that one up this week too. Aren't you lucky?
Monday, June 11, 2012
June 8, 1985 Part Two
Before we finish off 1985, let's briefly slip back another decade to June 7, 1975.
John Denver was on top with "Thank God I'm a Country Boy." The rest of the Top Ten included "Sister Golden Hair," "When Will I Be Loved," "I'm Not Lisa," and "Philadelphia Freedom."...The first newcomer to these parts is at #24. It's "I Wanna Dance Wit ' Choo (Do That Dance)," the second and final hit by none other than Disco Tex and the Sex-O-Lettes. Technically, I'd never heard it before, but because it so closely follows the template of "Get Dancin'," it felt instantly familiar. But I won't hold that against Mr. Tex or any of the Sex-O-Lettes. You just can't stay mad at a group with a name like that...The funky Tavares brothers scored their second pop hit with the reconcilitation ballad "Remember What I Told You to Forget," found this week at #25. Don't remember it, but it's good...Texas singer-songwriter Boomer Castleman had his only hit with this week's #34, the tale of how a teenage boy's affair with his young stepmother "Judy Mae" may have led to his father's suicide. Wow, I guess "Run Joey Run" had some competition for the title of most fucked-up hit of 1975...And Bad Company are at #36 with the solid unspectacular hard rock of "Good Lovin' Gone Bad." Doesn't have the spark of their bigger hits...But this week, my spotlight falls on...
39 - "Lizzie and the Rainman," Tanya Tucker
Raised in Arizona, Tucker was only 14 when she had her first country hit with "Delta Dawn," one year before Helen Reddy would take it to the top of the pop charts. Over the next three years, she would have several big country hits, including three #1s. Her fourth C&W charttopper, however, would become her first and only pop Top 40. It's a story song, inspired by a 1956 Burt Lancaster/Katherine Hepburn film called The Rainmaker, about a man who comes to a drought-stricked town in West Texas promising that he can bring rain if the town pays him one hundred dollars. The townsfolk seem prepared to believe him, except for one woman, Lizzie Cooper, who calls the man a liar and a con artist. The rainmaker then takes Lizzie aside, and it is implied that not only does he seduce her, but he actually does make it rain. I'm not sure if that's how the movie turns out, but as for the song, I quite like it. It has the same vibe as my favorite Reddy and Cher tale tunes, plus Tucker's voice had a world-weary rasp even at seventeen. Good stuff.
Okay, now let's finish the '85 business.
20 - "Would I Lie to You," Eurythmics
19 -"Just a Gigolo/I Ain't Got Nobody," David Lee Roth
18 - "The Neverending Story," Limahl
17 - "Raspberry Beret," Prince and the Revolution
16 - "The Search is Over," Survivor
The second half begins with Eurythmics last American Top 10, a strutting, R&B-inflected hard rocker in which Annie Lennox declares her intention to leave her lover. Not one of my favorites of theirs, but Annie sings the hell out of it, so it's certainly admirable.
Diamond Dave returns from last time with his jazzy medley about a lonely Lothario. He really was, and I suppose still is, one of mainstream rock's most fun characters.
Next is Limahl , back singing about a tale that has no conclusion. And yet the song does have an ending. Is that ironic? Maybe. But the song is meh.
Then it's Prince and company with a sunny pop song about a boy's "first time," which he shared witha girl in a distinctive hat that came into the store where he was working "through the out door." A song that never fails to make me smile. And probably Wendy and Lisa's best backing-vocal performance.
This section closes with Survivor and their overwrought power ballad about discovering that the love of one's life was always in front of you. Not that good, but somehow, it sold. Really, nothing they did other than "Eye of the Tiger" matters. Speaking of which, Manny Pacquiao came out to that song Saturday night for his fight with Timothy Bradley. Can you believe that decision. This is why no one takes boxing seriously anymore.
15 - "A View to a Kill," Duran Duran
14 - "Smuggler's Blues," Glenn Frey
13 - "Smooth Operator," Sade
12 - "Sussudio," Phil Collins
11 - "Angel," Madonna
This bunch is led off by Duran Duran's second and last American Number One, which was also the theme song to Roger Moore's last James Bond film. I must admit, I've never seen an entire Bond film, but in my opinion, this is the best Bond theme. It's big, it's bold, it's got dramatic flourishes, the lyrics speak of intrigue and violence and lust. What more do you need? For me, it's between this and "Live and Let Die," and this takes it.
Next is Glenn Frey, back from last time with his tune about the ins and outs of the narcotics trade. Again, its the closest thing to a song I like he ever did on his own.
Then Sade returns with her silky lounge-popper about what the kids these days call a "player." This is kind of the outside view of the character from "Just a Gigolo." Play them back to back and you kind of get the full story.
While working with a drum machine in the studio one day, Phil Collins was trying to figure out a word to use for one part of a song, and until he came up with one, he made up the nonsensical word "sussudio" as a placeholder. But he found that no other word seemed to fit as well, so "Sussudio" became the name of the girl that's been on his mind all the time. It's catchy, horn-heavy pop with a big beat, so of course it was a massive hit. The only question is, is a weird title alone enough to merit an Uneasy Rider? I've decided that yes, it is. Congrats, Phil.
This bunch is closed out by Madonna and a nice little dance pop number about a guy she likes. Reminds me a bit of "Lucky Star," only not as good. One of her less-memorable early hits.
When the Top Ten awakens, the world will tremble.
10 - "Walking on Sunshine," Katrina and the Waves
Vitamin D in pop form. You don't always feel like it, but it's good for you.
9 - "Fresh," Kool and the Gang
This is neither exciting nor inviting to me. Play "Hollywood Swinging" instead.
8 - "Don't You (Forget About Me)," Simple Minds
I won't, Jim Kerr. But Chrissie Hynde did. Shame about that, really.
7 - "In My House," The Mary Jane Girls
Sure, you ladies say you'll "keep me happy and so satisified." That's nice. But my question is, do you actually have any "mary jane"? You know what I mean. But I'm sure if you didn't, your buddy Rick knew where to get some.
6 - "Things Can Only Get Better," Howard Jones
Can they, Howard? Can they? This song is so uplifting and positive I want to believe you, but sometimes it's difficult.
5 - "Heaven," Bryan Adams
This song probably gets played a lot in Hell, I'm guessing.
4 - "Suddenly," Billy Ocean
"You wake up, and suddenly, you're in love." Does it really happen like that, Billy? Another thing I'd like to be true but still aren't convinced about.
3 - "Axel F.," Harold Faltermayer
Hey Eddie, when's Beverly Hills Cop IV coming out? You know you're going to do it. Nothing else you've done lately that doesn't involve talking donkeys has set the world on fire, so you know you're going to be tempted to go back to this well someday. Or are you going to try Norbit 2 first?
2 - "Everything She Wants," Wham
George Michael should have gotten the respect and cred then that Justin Timberlake gets now. Discuss.
And at Number 1 twenty-seven years ago was...
1 - "Everybody Wants to Rule the World," Tears for Fears
Now this, I don't think is true. We want control over more of our lives than we actually have, but ruling the world? I think the only people who want that are assholes like Donald Trump. Anyway, good song.
The NotCaseys this week were "I Wonder if I Take You Home," by Lisa Lisa and Cult Jam with Full Force, "Centerfield" by John Fogerty, "What About Love" by Heart, and "People are People" by Depeche Mode. And there were two LDDs. In the first, a teenage girl dedicated Chicago's "Hard to Say I'm Sorry," to the troubled boy her parents adopted and later gave up because she couldn't get along with him. And later, a Filipino university student dedicated Foreigner's "Waiting for a Girl Like You," to the classmate he's in love with but can't screw up the courage to talk to.
Thank you for allowing me onto your screens. Back next week.
John Denver was on top with "Thank God I'm a Country Boy." The rest of the Top Ten included "Sister Golden Hair," "When Will I Be Loved," "I'm Not Lisa," and "Philadelphia Freedom."...The first newcomer to these parts is at #24. It's "I Wanna Dance Wit ' Choo (Do That Dance)," the second and final hit by none other than Disco Tex and the Sex-O-Lettes. Technically, I'd never heard it before, but because it so closely follows the template of "Get Dancin'," it felt instantly familiar. But I won't hold that against Mr. Tex or any of the Sex-O-Lettes. You just can't stay mad at a group with a name like that...The funky Tavares brothers scored their second pop hit with the reconcilitation ballad "Remember What I Told You to Forget," found this week at #25. Don't remember it, but it's good...Texas singer-songwriter Boomer Castleman had his only hit with this week's #34, the tale of how a teenage boy's affair with his young stepmother "Judy Mae" may have led to his father's suicide. Wow, I guess "Run Joey Run" had some competition for the title of most fucked-up hit of 1975...And Bad Company are at #36 with the solid unspectacular hard rock of "Good Lovin' Gone Bad." Doesn't have the spark of their bigger hits...But this week, my spotlight falls on...
39 - "Lizzie and the Rainman," Tanya Tucker
Raised in Arizona, Tucker was only 14 when she had her first country hit with "Delta Dawn," one year before Helen Reddy would take it to the top of the pop charts. Over the next three years, she would have several big country hits, including three #1s. Her fourth C&W charttopper, however, would become her first and only pop Top 40. It's a story song, inspired by a 1956 Burt Lancaster/Katherine Hepburn film called The Rainmaker, about a man who comes to a drought-stricked town in West Texas promising that he can bring rain if the town pays him one hundred dollars. The townsfolk seem prepared to believe him, except for one woman, Lizzie Cooper, who calls the man a liar and a con artist. The rainmaker then takes Lizzie aside, and it is implied that not only does he seduce her, but he actually does make it rain. I'm not sure if that's how the movie turns out, but as for the song, I quite like it. It has the same vibe as my favorite Reddy and Cher tale tunes, plus Tucker's voice had a world-weary rasp even at seventeen. Good stuff.
Okay, now let's finish the '85 business.
20 - "Would I Lie to You," Eurythmics
19 -"Just a Gigolo/I Ain't Got Nobody," David Lee Roth
18 - "The Neverending Story," Limahl
17 - "Raspberry Beret," Prince and the Revolution
16 - "The Search is Over," Survivor
The second half begins with Eurythmics last American Top 10, a strutting, R&B-inflected hard rocker in which Annie Lennox declares her intention to leave her lover. Not one of my favorites of theirs, but Annie sings the hell out of it, so it's certainly admirable.
Diamond Dave returns from last time with his jazzy medley about a lonely Lothario. He really was, and I suppose still is, one of mainstream rock's most fun characters.
Next is Limahl , back singing about a tale that has no conclusion. And yet the song does have an ending. Is that ironic? Maybe. But the song is meh.
Then it's Prince and company with a sunny pop song about a boy's "first time," which he shared witha girl in a distinctive hat that came into the store where he was working "through the out door." A song that never fails to make me smile. And probably Wendy and Lisa's best backing-vocal performance.
This section closes with Survivor and their overwrought power ballad about discovering that the love of one's life was always in front of you. Not that good, but somehow, it sold. Really, nothing they did other than "Eye of the Tiger" matters. Speaking of which, Manny Pacquiao came out to that song Saturday night for his fight with Timothy Bradley. Can you believe that decision. This is why no one takes boxing seriously anymore.
15 - "A View to a Kill," Duran Duran
14 - "Smuggler's Blues," Glenn Frey
13 - "Smooth Operator," Sade
12 - "Sussudio," Phil Collins
11 - "Angel," Madonna
This bunch is led off by Duran Duran's second and last American Number One, which was also the theme song to Roger Moore's last James Bond film. I must admit, I've never seen an entire Bond film, but in my opinion, this is the best Bond theme. It's big, it's bold, it's got dramatic flourishes, the lyrics speak of intrigue and violence and lust. What more do you need? For me, it's between this and "Live and Let Die," and this takes it.
Next is Glenn Frey, back from last time with his tune about the ins and outs of the narcotics trade. Again, its the closest thing to a song I like he ever did on his own.
Then Sade returns with her silky lounge-popper about what the kids these days call a "player." This is kind of the outside view of the character from "Just a Gigolo." Play them back to back and you kind of get the full story.
While working with a drum machine in the studio one day, Phil Collins was trying to figure out a word to use for one part of a song, and until he came up with one, he made up the nonsensical word "sussudio" as a placeholder. But he found that no other word seemed to fit as well, so "Sussudio" became the name of the girl that's been on his mind all the time. It's catchy, horn-heavy pop with a big beat, so of course it was a massive hit. The only question is, is a weird title alone enough to merit an Uneasy Rider? I've decided that yes, it is. Congrats, Phil.
This bunch is closed out by Madonna and a nice little dance pop number about a guy she likes. Reminds me a bit of "Lucky Star," only not as good. One of her less-memorable early hits.
When the Top Ten awakens, the world will tremble.
10 - "Walking on Sunshine," Katrina and the Waves
Vitamin D in pop form. You don't always feel like it, but it's good for you.
9 - "Fresh," Kool and the Gang
This is neither exciting nor inviting to me. Play "Hollywood Swinging" instead.
8 - "Don't You (Forget About Me)," Simple Minds
I won't, Jim Kerr. But Chrissie Hynde did. Shame about that, really.
7 - "In My House," The Mary Jane Girls
Sure, you ladies say you'll "keep me happy and so satisified." That's nice. But my question is, do you actually have any "mary jane"? You know what I mean. But I'm sure if you didn't, your buddy Rick knew where to get some.
6 - "Things Can Only Get Better," Howard Jones
Can they, Howard? Can they? This song is so uplifting and positive I want to believe you, but sometimes it's difficult.
5 - "Heaven," Bryan Adams
This song probably gets played a lot in Hell, I'm guessing.
4 - "Suddenly," Billy Ocean
"You wake up, and suddenly, you're in love." Does it really happen like that, Billy? Another thing I'd like to be true but still aren't convinced about.
3 - "Axel F.," Harold Faltermayer
Hey Eddie, when's Beverly Hills Cop IV coming out? You know you're going to do it. Nothing else you've done lately that doesn't involve talking donkeys has set the world on fire, so you know you're going to be tempted to go back to this well someday. Or are you going to try Norbit 2 first?
2 - "Everything She Wants," Wham
George Michael should have gotten the respect and cred then that Justin Timberlake gets now. Discuss.
And at Number 1 twenty-seven years ago was...
1 - "Everybody Wants to Rule the World," Tears for Fears
Now this, I don't think is true. We want control over more of our lives than we actually have, but ruling the world? I think the only people who want that are assholes like Donald Trump. Anyway, good song.
The NotCaseys this week were "I Wonder if I Take You Home," by Lisa Lisa and Cult Jam with Full Force, "Centerfield" by John Fogerty, "What About Love" by Heart, and "People are People" by Depeche Mode. And there were two LDDs. In the first, a teenage girl dedicated Chicago's "Hard to Say I'm Sorry," to the troubled boy her parents adopted and later gave up because she couldn't get along with him. And later, a Filipino university student dedicated Foreigner's "Waiting for a Girl Like You," to the classmate he's in love with but can't screw up the courage to talk to.
Thank you for allowing me onto your screens. Back next week.
Sunday, June 10, 2012
June 8, 1985 Part One
This week we're going back to a time when I had just a few days left before I finished Grade 8. High school awaited. I looked forward to it. Was I justified in doing so? Well...sort of. Anyway, here's the popular music of the time.
40 - "Just as I Am," Air Supply
39 - "Cannonball," Supertramp
38 - "Lucky in Love," Mick Jagger
37 - "Glory Days," Bruce Springsteen
36 - "Crazy in the Night (Barking at Airplanes)," Kim Carnes,
35 - "Invisible," Alison Moyet
34 - "Getcha Back," The Beach Boys
33 - "Sentimental Street," Night Ranger
32 - "Rhythm of the Night," DeBarge
31 - "Everytime You Go Away," Paul Young
We'll start with bands from outside the United States. Australian softies Air Supply are here with what would be their final significant American hit, a power ballad that hearkened back to their '80-'82 commercial heyday. Had it come out then, it would have surely cracked the Top 5, but at this time, it could only barely eke into the Top Twenty. Maybe they should have hooked up with Jim Steinman again. And progsters Supertramp had their last Top 40 hit, and only one without original member Roger Hodgson, with this synth-and-horn-laded pop song in which Rick Davies snarls about how stupid he was to be betrayed by someone. Who that was, one can only speculate.
Now we go to the male solo singers. Mick Jagger had his second hit on his own with an okay rock tune about how he has terrible luck at gambling, but when it comes to the ladies, he's golden. That's nice. The Boss is here with the fifth hit single from Born in the U.S.A., a singalong pub-rocker about people who aren't happy with their current lives, so all they want to talk about are the triumphs and happy memories of their youths. Yet another well-realized portrait of working-class existence from the master. And Paul Young comes back around from our first '85 visit with his smash Hall & Oates-penned breakup lament. It has never taken a piece of me with it.
Two female soloists are in this mix. Kim Carnes had what would be her final Top 40 hit (I'm sensing a theme here) with this synth-pop number about being gripped by fear and paranoia in the late evening hours. There's something kind of cheesy about having a group of male singers repeat what she sang in the opening verse as the song's chorus, but it somehow works. It's probably her best non-"Bette Davis Eyes" hit. And Alison Moyet returns from last time with her lone American hit. It remains a classy bit of Brit blue-eyed soul, and just might make my Top 100 of the decade. I keep mentioning that, don't I? Will I ever come through and present you with such a list? Stay tuned...
This section closes with American groups. The Beach Boys are here with one of their rare 80s hits. This one actually isn't too bad. It's nothing special, but it has a nice retro feel that makes it somewhat pleasant. Honestly, I wish I could say that it was the band's last Top 40 hit, but unfortunately, "Kokomo" exists. Good lord, that song is awful. But I've heard good things about the new record they just put out. Brian Wilson's on it, so that's encouraging. I may have to check it out. Night Ranger had their second and last Top Ten with this ballad in which Jack Blades worries about a woman going through a wild period in her life. So basically, it's "Sister Christian 2," complete with the usual diminshing returns most sequels bring. And DeBarge are back and feeling the beat and such. I have no more to say about that.
30 - "Tough All Over," John Cafferty and the Beaver Brown Band
29 - "We are the World," USA for Africa
28 - "The Goonies "R" Good Enough," Cyndi Lauper
27 - "Some Like it Hot," The Power Station
26 - "You Give Good Love," Whitney Houston
25 - "Voices Carry," 'Til Tuesday
24 - "One Lonely Night," REO Speedwagon
23 - "One Night in Bangkok," Murray Head
22 - "Crazy for You," Madonna
21 - "Say You're Wrong," Julian Lennon
Half of this bunch is occupied by groups. John Cafferty and the band he named after a paint shade had their first non-Eddie and the Cruisers-related hit with this song about working-class struggles. Yes, the lyrics reflect Cafferty's ambitions to be the next Springsteen, but for some reason, his vocals and the song's sound seem to ape Jackson Browne. The song is much less than the sum of its stolen parts. The music industry All-Stars of USA for Aftica return, on their way down with their charity smash. It's still better as a concept than a recording. The Power Station are back again asking you how you're going to multiply. Um, I have a calculator, duh. Unless you mean something completely different, in which case, I don't know. Boston's 'Til Tuesday had their first and biggest hit with this atmospheric synth-rocker about being in a relationship where your partner wants to control you and prevent you from speaking your mind. "He wants me," singer Aimee Mann says, "if he can keep me in line." Dark, evocative, and catchy. Terrific 80s pop. Mann has gone on to have a distinguished and acclaimed solo career, but this still might be her best moment. And REO Speedwagon are back with a song that shines mainly in comparison to "Can't Fight This Feeling." But really, they are one of the most mediocre popular bands ever.
Then we have the female solo singers. Cyndi Lauper had her fifth Top Ten hit with this bouncy pop number about learning to be satisified. The title comes from its inclusion in the now classic kiddie adventure film The Goonies. I'm probably one of the few people from my generation who hasn't seen that movie. However, I have seen the video, which was the last gasp of Cyndi's connection with the WWF, featuring as it did several wrestlers, including Roddy Piper, Andre the Giant, and the Iron Sheik. Before introducing the song, Casey even talked about how Cyndi's adventures in the grappling game had helped forge what came to be known as "The Rock n' Wrestling Connection." That was a strange time, let me tell you. Whitney Houston made her chart debut with this simple pop-soul ballad about finally finding "the one." It reached #3, which seems impressive, but then became less so after her next seven singles all went to #1. Still, I think this is her best hit. There's just a simple beauty to her singing here, without some of the showy fireworks she'd display later. And Madonna's back again, singing about being gaga over someone. It's okay.
We close the first half with two returning solo men. Murray Head is back with his hit about preferring watching chess matches to sightseeing and sex. Nerd. And Julian Lennon still insists that you don't really love him. I leave up to you the amount of energy you want to expend convincing him otherwise.
Tomorrow: a strange hat, a strange name, and music to spy by.
40 - "Just as I Am," Air Supply
39 - "Cannonball," Supertramp
38 - "Lucky in Love," Mick Jagger
37 - "Glory Days," Bruce Springsteen
36 - "Crazy in the Night (Barking at Airplanes)," Kim Carnes,
35 - "Invisible," Alison Moyet
34 - "Getcha Back," The Beach Boys
33 - "Sentimental Street," Night Ranger
32 - "Rhythm of the Night," DeBarge
31 - "Everytime You Go Away," Paul Young
We'll start with bands from outside the United States. Australian softies Air Supply are here with what would be their final significant American hit, a power ballad that hearkened back to their '80-'82 commercial heyday. Had it come out then, it would have surely cracked the Top 5, but at this time, it could only barely eke into the Top Twenty. Maybe they should have hooked up with Jim Steinman again. And progsters Supertramp had their last Top 40 hit, and only one without original member Roger Hodgson, with this synth-and-horn-laded pop song in which Rick Davies snarls about how stupid he was to be betrayed by someone. Who that was, one can only speculate.
Now we go to the male solo singers. Mick Jagger had his second hit on his own with an okay rock tune about how he has terrible luck at gambling, but when it comes to the ladies, he's golden. That's nice. The Boss is here with the fifth hit single from Born in the U.S.A., a singalong pub-rocker about people who aren't happy with their current lives, so all they want to talk about are the triumphs and happy memories of their youths. Yet another well-realized portrait of working-class existence from the master. And Paul Young comes back around from our first '85 visit with his smash Hall & Oates-penned breakup lament. It has never taken a piece of me with it.
Two female soloists are in this mix. Kim Carnes had what would be her final Top 40 hit (I'm sensing a theme here) with this synth-pop number about being gripped by fear and paranoia in the late evening hours. There's something kind of cheesy about having a group of male singers repeat what she sang in the opening verse as the song's chorus, but it somehow works. It's probably her best non-"Bette Davis Eyes" hit. And Alison Moyet returns from last time with her lone American hit. It remains a classy bit of Brit blue-eyed soul, and just might make my Top 100 of the decade. I keep mentioning that, don't I? Will I ever come through and present you with such a list? Stay tuned...
This section closes with American groups. The Beach Boys are here with one of their rare 80s hits. This one actually isn't too bad. It's nothing special, but it has a nice retro feel that makes it somewhat pleasant. Honestly, I wish I could say that it was the band's last Top 40 hit, but unfortunately, "Kokomo" exists. Good lord, that song is awful. But I've heard good things about the new record they just put out. Brian Wilson's on it, so that's encouraging. I may have to check it out. Night Ranger had their second and last Top Ten with this ballad in which Jack Blades worries about a woman going through a wild period in her life. So basically, it's "Sister Christian 2," complete with the usual diminshing returns most sequels bring. And DeBarge are back and feeling the beat and such. I have no more to say about that.
30 - "Tough All Over," John Cafferty and the Beaver Brown Band
29 - "We are the World," USA for Africa
28 - "The Goonies "R" Good Enough," Cyndi Lauper
27 - "Some Like it Hot," The Power Station
26 - "You Give Good Love," Whitney Houston
25 - "Voices Carry," 'Til Tuesday
24 - "One Lonely Night," REO Speedwagon
23 - "One Night in Bangkok," Murray Head
22 - "Crazy for You," Madonna
21 - "Say You're Wrong," Julian Lennon
Half of this bunch is occupied by groups. John Cafferty and the band he named after a paint shade had their first non-Eddie and the Cruisers-related hit with this song about working-class struggles. Yes, the lyrics reflect Cafferty's ambitions to be the next Springsteen, but for some reason, his vocals and the song's sound seem to ape Jackson Browne. The song is much less than the sum of its stolen parts. The music industry All-Stars of USA for Aftica return, on their way down with their charity smash. It's still better as a concept than a recording. The Power Station are back again asking you how you're going to multiply. Um, I have a calculator, duh. Unless you mean something completely different, in which case, I don't know. Boston's 'Til Tuesday had their first and biggest hit with this atmospheric synth-rocker about being in a relationship where your partner wants to control you and prevent you from speaking your mind. "He wants me," singer Aimee Mann says, "if he can keep me in line." Dark, evocative, and catchy. Terrific 80s pop. Mann has gone on to have a distinguished and acclaimed solo career, but this still might be her best moment. And REO Speedwagon are back with a song that shines mainly in comparison to "Can't Fight This Feeling." But really, they are one of the most mediocre popular bands ever.
Then we have the female solo singers. Cyndi Lauper had her fifth Top Ten hit with this bouncy pop number about learning to be satisified. The title comes from its inclusion in the now classic kiddie adventure film The Goonies. I'm probably one of the few people from my generation who hasn't seen that movie. However, I have seen the video, which was the last gasp of Cyndi's connection with the WWF, featuring as it did several wrestlers, including Roddy Piper, Andre the Giant, and the Iron Sheik. Before introducing the song, Casey even talked about how Cyndi's adventures in the grappling game had helped forge what came to be known as "The Rock n' Wrestling Connection." That was a strange time, let me tell you. Whitney Houston made her chart debut with this simple pop-soul ballad about finally finding "the one." It reached #3, which seems impressive, but then became less so after her next seven singles all went to #1. Still, I think this is her best hit. There's just a simple beauty to her singing here, without some of the showy fireworks she'd display later. And Madonna's back again, singing about being gaga over someone. It's okay.
We close the first half with two returning solo men. Murray Head is back with his hit about preferring watching chess matches to sightseeing and sex. Nerd. And Julian Lennon still insists that you don't really love him. I leave up to you the amount of energy you want to expend convincing him otherwise.
Tomorrow: a strange hat, a strange name, and music to spy by.
Tuesday, June 5, 2012
June 6, 1981
Okay, now we take our brief journey back to June 1981. Here's 40-11, with the newbies in bold.
40 - "Elvira," The Oak Ridge Boys
39 - "I Can Take Care of Myself," Billy and the Beaters
38 - "Time," The Alan Parsons Project
37 - "Modern Girl," Sheena Easton
36 - "You Better You Bet," The Who
35 - "Say What," Jesse Winchester
34 - "Fool in Love with You," Jim Photoglo
33 - "Find Your Way Back," Jefferson Starship
32 - "Still Right Here in My Heart," The Pure Prairie League
31 - "Kiss on My List," Daryl Hall and John Oates
30 - "Say You'll Be Mine," Christopher Cross
29 - "Winning," Santana
28 - "Ai No Corrida," Quincy Jones
27 - "Nobody Wins," Elton John
26 - "I Missed Again," Phil Collins
25 - "Morning Train (9 to 5)," Sheena Easton
24 - "Is it You," Lee Ritenour
23 - "Since I Don't Have You," Don McLean
22 - "Jessie's Girl," Rick Springfield
21 - "The Waiting," Tom Petty and the Heartbreakers
20 - "The One that You Love," Air Supply
19 - "You Make My Dreams," Daryl Hall and John Oates
18 - "Angel of the Morning," Juice Newton
17 - "Watching the Wheels," John Lennon
16 - "What are We Doing in Love," Dottie West with Kenny Rogers
15 - "Too Much Time on My Hands," Styx
14 - "This Little Girl," Gary U.S. Bonds
13 - "I Love You," The Climax Blues Band
12 - "How 'Bout Us," Champaign
11 - "All Those Years Ago," George Harrison
Since there are only eight songs here that I have yet to cover, I'll do them individually, in descending order.
Yes, that is indeed Billy Vera and the Beaters, making a very brief appearance on the chart four years before Family Ties lifted them out of obscurity. This very minor first hit is a pub-rocker about a man with money contemplating a relationship with a known golddigger, and ultimately deciding that she's worth the presumably-high material cost. Actually, I find it pretty catchy and fun. It makes me happier about their eventual success.
The Who had their last U.S. Top Twenty hit with this spirited rocker about a hot relationship with a woman who welcomes Roger Daltrey "with open arms and open legs," as long as he tells her he loves her. He's pretty happy with the relationship, even if the dog sometimes interrupts the proceedings. I think I've pretty much caught the meaning. Anyway, I think this holds up pretty well against a lot of the band's earlier hits.
I'm often pretty harsh when it comes to Jefferson Starship, so I tried to go into listening to "Find Your Way Back" with open ears. And actually, I don't mind this so much. It's just big, overproduced 80s rock over which Mickey Thomas sings about trying to win his lover back. I'll take this a thousand times over those awful 70s ballads and everything they did after "We Built This City."
Our old friend Chris Cross, whose rise to superstardom, even as brief as that superstardom was, still baffles me, is here with the fourth single from his self-titled, five-times-platinum debut album. (Five million Americans actually spent their hard-earned money on a Christopher Cross album. That really happened.) This is just okay lite-rock about Chris trying to get laid. He tried to put an edge on his voice for this one, and there's actually a nice guitar solo. Honestly, it's probably his best hit. That doesn't say much, but still, better than I ever expected from him.
Superproducer Quincy Jones had his second hit as an artist with this decent bit of disco about what love does to you. The title means "bullfight of love," but there aren't really any references to that sport in the lyrics. Actually, the most interesting thinreag about this is the fact that the singer on this record is a guy who went by the name of "Dune."
Genesis drummer Phil Collins appears this week with his first U.S. solo single. It's horn-heavy pop-rock about striking out in the game of love. This and its follow-up, "In The Air Tonight," are pretty much what I would consider the best moments of his solo career. They just don't seem quite as calculated and slick.
Don "American Pie" McLean had one of his last hits with this sleepy cover of a 1959 doo-wop ballad by The Skyliners. He tries for the retro arrangement, but he's severely lacking in passion. His falsetto is all right though. Still, Guns n' Roses did it way better 13 years later.
Last among the BGC newcomers is the third and last hit from the last album John Lennon released during his life. It's a soulish ballad in which he responds to the people who wondered why he took five years off from the music business to stay home and help take care of his son Sean. "Surely you're not happy now," he imagines them saying, "You no longer play the game." But Lennon insists that he was perfectly content "no longer riding on the merry-go-round." It's a cool little song, and my favorite off of Double Fantasy. But there's an unitended sad edge to it, given what happened after he decided to return to the business.
Well, that takes care of the new stuff. The only thing I'll mention is that for #12, Champaign's "How 'Bout Us," Casey played a 1975 version by the group's former incarnation as The Water Brothers Band. I wasn't any more impressed.
In France, the Top Ten's the Top Ten, only they call it "Le Top Ten."
10 - "Sweetheart," Franke and the Knockouts
Boring pop from the poor man's Toto. And put an "i" in your first name son. You look silly and pretnetious.
9 - "America," Neil Diamond
The Neilster celebrates immigration and the Pledge of Allegiance. I wonder how many thousands of times it'll be played at various events this election year.
8 - "Just the Two of Us," Grover Washington, Jr. with Bill Withers
Not one of my favorite songs, but it serves its purpose, and you can never be against hearing Bill Withers sing.
7 - "A Woman Needs Love," Ray Parker Jr. and Raydio
But Ray didn't need a band after this.
6 - "Living Inside Myself," Gino Vannelli
The Montrealer is heartbroken. Okay, but I still like "Black Cars," "I Just Wanna Stop," and even "People Gotta Move" much better.
5 - "Take It on the Run," REO Speedwagon
Someone told two friends that Kevin Cronin's girlfriend was cheating on him. Then they told two friends, and they told two friends, and so on, and so on....
4 - "Sukiyaki," A Taste of Honey
A song about heartbreak named after a food. Because all those Japanese words sound the same, right? So I suppose there'd be no problem if the Japanese had decided that hey, we can't remember a long and complicated English title like "I Wanna Hold Your Hand," so let's just call the song "Fish and Chips."
3 - "Medley," Stars on 45
Dutch disco + The Beatles - the actual Beatles = Gold.
2 - "Being With You," Smokey Robinson
Love Smokey usually, but this is just completely flavorless.
And at #1 31 years ago was...
1 - "Bette Davis Eyes," Kim Carnes
I can't say enough how great this is. The gold standard of early 80s uptempo radio pop. It was huge, and it more that deserved to be.
This week's NotCaseys were "Boy from New York City" by The Manhattan Transfer, "The Breakup Song" by The Greg Kihn Band, "In the Air Tonight" by Phil Collins, and "Queen of Hearts" by Juice Newton. Casey played three Number One hits from the mid-'60s: "Lightnin' Strikes" by Lou Christie, "These Boots are Made for Walkin'" by Nancy Sinatra, and "The Ballad of the Green Berets" by Staff Sgt. Barry Sadler. And there were two LDDs. In the first, a 10-year-old girl who used to smoke and drink (!) dedicated Andrew Gold's "Thank You for Being a Friend" to the boy who help her break those bad habits. And later, a woman aske Casey to play John Paul Young's "Love is in the Air," because it makes her happy, and she wanted to dedicate it to anyone who needs cheering up. How sweet.
I think next week will be more normal, but I can't promise anything. You'll have to come back in a few days and see.
40 - "Elvira," The Oak Ridge Boys
39 - "I Can Take Care of Myself," Billy and the Beaters
38 - "Time," The Alan Parsons Project
37 - "Modern Girl," Sheena Easton
36 - "You Better You Bet," The Who
35 - "Say What," Jesse Winchester
34 - "Fool in Love with You," Jim Photoglo
33 - "Find Your Way Back," Jefferson Starship
32 - "Still Right Here in My Heart," The Pure Prairie League
31 - "Kiss on My List," Daryl Hall and John Oates
30 - "Say You'll Be Mine," Christopher Cross
29 - "Winning," Santana
28 - "Ai No Corrida," Quincy Jones
27 - "Nobody Wins," Elton John
26 - "I Missed Again," Phil Collins
25 - "Morning Train (9 to 5)," Sheena Easton
24 - "Is it You," Lee Ritenour
23 - "Since I Don't Have You," Don McLean
22 - "Jessie's Girl," Rick Springfield
21 - "The Waiting," Tom Petty and the Heartbreakers
20 - "The One that You Love," Air Supply
19 - "You Make My Dreams," Daryl Hall and John Oates
18 - "Angel of the Morning," Juice Newton
17 - "Watching the Wheels," John Lennon
16 - "What are We Doing in Love," Dottie West with Kenny Rogers
15 - "Too Much Time on My Hands," Styx
14 - "This Little Girl," Gary U.S. Bonds
13 - "I Love You," The Climax Blues Band
12 - "How 'Bout Us," Champaign
11 - "All Those Years Ago," George Harrison
Since there are only eight songs here that I have yet to cover, I'll do them individually, in descending order.
Yes, that is indeed Billy Vera and the Beaters, making a very brief appearance on the chart four years before Family Ties lifted them out of obscurity. This very minor first hit is a pub-rocker about a man with money contemplating a relationship with a known golddigger, and ultimately deciding that she's worth the presumably-high material cost. Actually, I find it pretty catchy and fun. It makes me happier about their eventual success.
The Who had their last U.S. Top Twenty hit with this spirited rocker about a hot relationship with a woman who welcomes Roger Daltrey "with open arms and open legs," as long as he tells her he loves her. He's pretty happy with the relationship, even if the dog sometimes interrupts the proceedings. I think I've pretty much caught the meaning. Anyway, I think this holds up pretty well against a lot of the band's earlier hits.
I'm often pretty harsh when it comes to Jefferson Starship, so I tried to go into listening to "Find Your Way Back" with open ears. And actually, I don't mind this so much. It's just big, overproduced 80s rock over which Mickey Thomas sings about trying to win his lover back. I'll take this a thousand times over those awful 70s ballads and everything they did after "We Built This City."
Our old friend Chris Cross, whose rise to superstardom, even as brief as that superstardom was, still baffles me, is here with the fourth single from his self-titled, five-times-platinum debut album. (Five million Americans actually spent their hard-earned money on a Christopher Cross album. That really happened.) This is just okay lite-rock about Chris trying to get laid. He tried to put an edge on his voice for this one, and there's actually a nice guitar solo. Honestly, it's probably his best hit. That doesn't say much, but still, better than I ever expected from him.
Superproducer Quincy Jones had his second hit as an artist with this decent bit of disco about what love does to you. The title means "bullfight of love," but there aren't really any references to that sport in the lyrics. Actually, the most interesting thinreag about this is the fact that the singer on this record is a guy who went by the name of "Dune."
Genesis drummer Phil Collins appears this week with his first U.S. solo single. It's horn-heavy pop-rock about striking out in the game of love. This and its follow-up, "In The Air Tonight," are pretty much what I would consider the best moments of his solo career. They just don't seem quite as calculated and slick.
Don "American Pie" McLean had one of his last hits with this sleepy cover of a 1959 doo-wop ballad by The Skyliners. He tries for the retro arrangement, but he's severely lacking in passion. His falsetto is all right though. Still, Guns n' Roses did it way better 13 years later.
Last among the BGC newcomers is the third and last hit from the last album John Lennon released during his life. It's a soulish ballad in which he responds to the people who wondered why he took five years off from the music business to stay home and help take care of his son Sean. "Surely you're not happy now," he imagines them saying, "You no longer play the game." But Lennon insists that he was perfectly content "no longer riding on the merry-go-round." It's a cool little song, and my favorite off of Double Fantasy. But there's an unitended sad edge to it, given what happened after he decided to return to the business.
Well, that takes care of the new stuff. The only thing I'll mention is that for #12, Champaign's "How 'Bout Us," Casey played a 1975 version by the group's former incarnation as The Water Brothers Band. I wasn't any more impressed.
In France, the Top Ten's the Top Ten, only they call it "Le Top Ten."
10 - "Sweetheart," Franke and the Knockouts
Boring pop from the poor man's Toto. And put an "i" in your first name son. You look silly and pretnetious.
9 - "America," Neil Diamond
The Neilster celebrates immigration and the Pledge of Allegiance. I wonder how many thousands of times it'll be played at various events this election year.
8 - "Just the Two of Us," Grover Washington, Jr. with Bill Withers
Not one of my favorite songs, but it serves its purpose, and you can never be against hearing Bill Withers sing.
7 - "A Woman Needs Love," Ray Parker Jr. and Raydio
But Ray didn't need a band after this.
6 - "Living Inside Myself," Gino Vannelli
The Montrealer is heartbroken. Okay, but I still like "Black Cars," "I Just Wanna Stop," and even "People Gotta Move" much better.
5 - "Take It on the Run," REO Speedwagon
Someone told two friends that Kevin Cronin's girlfriend was cheating on him. Then they told two friends, and they told two friends, and so on, and so on....
4 - "Sukiyaki," A Taste of Honey
A song about heartbreak named after a food. Because all those Japanese words sound the same, right? So I suppose there'd be no problem if the Japanese had decided that hey, we can't remember a long and complicated English title like "I Wanna Hold Your Hand," so let's just call the song "Fish and Chips."
3 - "Medley," Stars on 45
Dutch disco + The Beatles - the actual Beatles = Gold.
2 - "Being With You," Smokey Robinson
Love Smokey usually, but this is just completely flavorless.
And at #1 31 years ago was...
1 - "Bette Davis Eyes," Kim Carnes
I can't say enough how great this is. The gold standard of early 80s uptempo radio pop. It was huge, and it more that deserved to be.
This week's NotCaseys were "Boy from New York City" by The Manhattan Transfer, "The Breakup Song" by The Greg Kihn Band, "In the Air Tonight" by Phil Collins, and "Queen of Hearts" by Juice Newton. Casey played three Number One hits from the mid-'60s: "Lightnin' Strikes" by Lou Christie, "These Boots are Made for Walkin'" by Nancy Sinatra, and "The Ballad of the Green Berets" by Staff Sgt. Barry Sadler. And there were two LDDs. In the first, a 10-year-old girl who used to smoke and drink (!) dedicated Andrew Gold's "Thank You for Being a Friend" to the boy who help her break those bad habits. And later, a woman aske Casey to play John Paul Young's "Love is in the Air," because it makes her happy, and she wanted to dedicate it to anyone who needs cheering up. How sweet.
I think next week will be more normal, but I can't promise anything. You'll have to come back in a few days and see.
Monday, June 4, 2012
May 29, 1971 Part Two
Concluding.
20 - "Toast and Marmalade for Tea," Tin Tin
19 - "Treat Her Like a Lady," Cornelius Brothers and Sister Rose
18 - "I'll Meet You Halfway," The Partridge Family
17 - "Stay Awhile," The Bells
16 - "Here Comes the Sun," Richie Havens
The second half opens with Tin Tin, two Australians-turned-Brits who were guided through the music industry by their friend Maurice Gibb. This, their sole major hit, is a neat little folk ballad with lyrics that make little sense but somehow sound perfect for the purpose. Both Gibb's production and the harmony vocals are more than a little reminiscent of the Bee Gees, and the distorted keyboard sounds were a happy accident that adds weird charm to the proceedings. Another cool little discovery I've made doing this.
The three Cornelius siblings of Florida had their first hit with this gospelish testimony about the proper way to act with women. Basically, be kind and loving, and don't be mean. Not exactly groundbreaking advice, but you can't beat the delivery.
Next are TV's The Partridge Family with what would be their third and final Top Ten hit. David Cassidy sings about a lover he's separated from by circumstances over midtempo lite-pop. Not one of their better efforts. It's only enjoyable when you picture David, Shirley, Laurie, and the rest mock-performing it in one of those identical-looking lounges they were almost always booked in. Good times.
Then it's Canada's Bells, back from our last '71 excursion with their extremely creepy-sounding sex ballad. It's the musical equivalent of the least sexy softcore porn film you can think of. Cringe-inducing.
This section closes with Richie Havens, the folk guitarist who had the distinction of being the very first performer on stage at Woodstock. His only Top 40 hit was this cover of a track from The Beatles' Abbey Road album. The original is one of my favorite Beatles songs, but I like the spin Havens puts on it. His version is more outright celebration of the sun's arrival, as opposed to George Harrison and co.'s more wistful observation.
15 - "I Don't Know How to Love Him," Helen Reddy
14 - "Superstar," Murray Head with the Trinidad Singers
13 - "If," Bread
12 - "Love Her Madly," The Doors
11 - "Rainy Days and Mondays," The Carpenters
This bunch is led off by this week's second would-be Mary Magdalene. This would be Helen Reddy's first hit, and would be more successful on the charts than Yvonne Eliiman's version.
To my ears, Reddy sings it better technically, and the production is more commercial. But I think Elliman acts the song better. I just don't buy Helen as an ex-prostitute sexually conflicted by her feelings for the Son of God. But she would go on to have way better moments, as I've mentioned once or twice in the past.
Next is the second track on this week's chart from the actual Jesus Christ Superstar album, Murray Head's version of the title number. It comes near the end of the piece, and represents the ghost of Judas Iscariot questioning the particulars of Christ's stay on Earth, from the timing ("If you'd come today you could have reached the whole nation/Isreal in 4 B.C. had no mass communication") to the way his life concluded ("Did you mean to die like that? Was it a mistake? Or did you know your messy death would be a record-breaker?"). Unlike "I Don't Know How to Love Him," which could have passed for a love song with no connection to Jesus, "Superstar" sticks out as something completely different than typical pop fare. Which of course means it's this week's Uneasy Rider.
Bread are back with the one ballad of theirs that actually works for me. And yes, that echoey guitar has a lot to do with that.
Then it's The Doors with their next-to-last pop hit, a catchy rocker about being abandoned by your sweetheart. Not sure what "seven horses seem to be on the mark" means though. Oh, and a few weeks from now, Jim Morrison would be dead.
This quintet is rounded out by The Carpenters and arguably the best of their big hits. Karen just captures the loneliness and sadness of a bad day so perfectly. Run and find the one who loves you. If you've got one, of course. If not, don't worry, you've got Karen.
First rule of the Top Ten is, don't talk about the Top Ten.
10 - "Chick-a-Boom (Don't Ya Jes' Love It)," Daddy Dewdrop
Dick Monda returns from last time with this odd novelty about chasing a scantily-clad lady through a weird house. I still enjoy the silliness, plus the good Daddy sounds a bit like Dr. John.
9 - "Me and You and a Dog Named Boo," Lobo
Roland Kent LaVoie began his career as a one-named MOR machine with this gentle tune about travelling across the country with companions both human and canine. Not much to it, but there doesn't have to be to make it his best by far.
8 - "Sweet and Innocent," Donny Osmond
The first solo single by the youngest of Utah's finest was bit of bouncy bubblegum in which young Donald is pursued by a girl too young and naive for him. He was 14 at the time. Good judgement not getting involved with that, Donny. Anyway, this is way better than what he would follow it, the inexplicably huge "Go Away Little Girl."
7 - "Bridge Over Troubled Water," Aretha Franklin
The Queen of Soul takes on Simon and Garfunkel. She takes it to church and makes it sound like it came from there in the first place. How can it not be great?
6 - "Put Your Hand in the Hand," Ocean
Canadian folk-poppers sing earnestly about Jesus. Not interesting like "Superstar," and not stirring like Aretha. I'm not a believer.
5 - "It Don't Come Easy," Ringo Starr
The funny Beatle's first American hit was this catchy pop tune he co-wrote with George Harrison about how nothing worthwhile comes without sweat and struggle. Just irresistable and loveable. Easily his best solo hit.
4 - "Want Ads," The Honey Cone
This L.A. girl group topped the charts with this funky strut about a woman so disatisfied with her current man that she plans to place a classified advertisement in the newspaper to try and get a new one. "Experience in love preferred, but will accept a young trainee," it would apparently read. Nowaday, the song might be called "Craigslist." Or maybe even "Kijiji."
3 - "Never Can Say Goodbye," The Jackson 5
The brothers from Gary, Indiana return with what I insist is their best ballad. I've grown to love it pretty much equally as I do Gloria Gaynor's version. Gloria makes you dance to her hearbreak. Michael and company just let you soak it up.
2 - "Joy to the World," Three Dog Night
3DN had their biggest hit singing about a drunken bullfrog and loving the ladies. Outstandingly goofy. And I must say that all in all, these guys have grown on me.
And topping the charts 41 years ago was...
1 - "Brown Sugar," The Rolling Stones
Mick, Keith and the lads scored their fifth American #1, a grimy, sludgy bit of debauchery. In the verses, Mr. Jagger tells three tales of strongly-implied sexual adventures: the first involving a slave master and his female charges aboard a 19th century ship bound for New Orleans; the second, the relationship between a rich lady and her houseboy; and the third, his own experiences with an older lady who was once a "tent show queen." And on the choruses, he asks, the immortal question "Brown sugar, how come you taste so good." It may not be as explicit as some of today's songs, but make no mistake, this song is so dirty it shoulc have been sold in a plain brown wrapper. And some of the stuff in the lyrics wouldn't be tolerated today (A white man singing "Just like a black girl should?" Yeah, that'd fly). But it's old, and the Stones are even older, so it's considered a perfectly acceptable classic rock staple.
Just one NotCasey here: Jean Knight's "Mr. Big Stuff." Casey himself played "Running Scared" by Roy Orbison, :"Jamie" by Eddie Holland, and "Ode to Billie Joe" by Bobbie Gentry as extras. And there was also a vintage ad break. The first commercial was for Certs ("Two! Two! Two mints in one!") on which a Karen Carpenter soundalike sang about making sure your breath is fresh so "he'll kiss you again." And after it was an ad for a compilation LP of 20 hit songs. I don't remember if they said it was from K-Tel, or if it was before their time.
Tomorrow: A very brief look at this week in 1981.
20 - "Toast and Marmalade for Tea," Tin Tin
19 - "Treat Her Like a Lady," Cornelius Brothers and Sister Rose
18 - "I'll Meet You Halfway," The Partridge Family
17 - "Stay Awhile," The Bells
16 - "Here Comes the Sun," Richie Havens
The second half opens with Tin Tin, two Australians-turned-Brits who were guided through the music industry by their friend Maurice Gibb. This, their sole major hit, is a neat little folk ballad with lyrics that make little sense but somehow sound perfect for the purpose. Both Gibb's production and the harmony vocals are more than a little reminiscent of the Bee Gees, and the distorted keyboard sounds were a happy accident that adds weird charm to the proceedings. Another cool little discovery I've made doing this.
The three Cornelius siblings of Florida had their first hit with this gospelish testimony about the proper way to act with women. Basically, be kind and loving, and don't be mean. Not exactly groundbreaking advice, but you can't beat the delivery.
Next are TV's The Partridge Family with what would be their third and final Top Ten hit. David Cassidy sings about a lover he's separated from by circumstances over midtempo lite-pop. Not one of their better efforts. It's only enjoyable when you picture David, Shirley, Laurie, and the rest mock-performing it in one of those identical-looking lounges they were almost always booked in. Good times.
Then it's Canada's Bells, back from our last '71 excursion with their extremely creepy-sounding sex ballad. It's the musical equivalent of the least sexy softcore porn film you can think of. Cringe-inducing.
This section closes with Richie Havens, the folk guitarist who had the distinction of being the very first performer on stage at Woodstock. His only Top 40 hit was this cover of a track from The Beatles' Abbey Road album. The original is one of my favorite Beatles songs, but I like the spin Havens puts on it. His version is more outright celebration of the sun's arrival, as opposed to George Harrison and co.'s more wistful observation.
15 - "I Don't Know How to Love Him," Helen Reddy
14 - "Superstar," Murray Head with the Trinidad Singers
13 - "If," Bread
12 - "Love Her Madly," The Doors
11 - "Rainy Days and Mondays," The Carpenters
This bunch is led off by this week's second would-be Mary Magdalene. This would be Helen Reddy's first hit, and would be more successful on the charts than Yvonne Eliiman's version.
To my ears, Reddy sings it better technically, and the production is more commercial. But I think Elliman acts the song better. I just don't buy Helen as an ex-prostitute sexually conflicted by her feelings for the Son of God. But she would go on to have way better moments, as I've mentioned once or twice in the past.
Next is the second track on this week's chart from the actual Jesus Christ Superstar album, Murray Head's version of the title number. It comes near the end of the piece, and represents the ghost of Judas Iscariot questioning the particulars of Christ's stay on Earth, from the timing ("If you'd come today you could have reached the whole nation/Isreal in 4 B.C. had no mass communication") to the way his life concluded ("Did you mean to die like that? Was it a mistake? Or did you know your messy death would be a record-breaker?"). Unlike "I Don't Know How to Love Him," which could have passed for a love song with no connection to Jesus, "Superstar" sticks out as something completely different than typical pop fare. Which of course means it's this week's Uneasy Rider.
Bread are back with the one ballad of theirs that actually works for me. And yes, that echoey guitar has a lot to do with that.
Then it's The Doors with their next-to-last pop hit, a catchy rocker about being abandoned by your sweetheart. Not sure what "seven horses seem to be on the mark" means though. Oh, and a few weeks from now, Jim Morrison would be dead.
This quintet is rounded out by The Carpenters and arguably the best of their big hits. Karen just captures the loneliness and sadness of a bad day so perfectly. Run and find the one who loves you. If you've got one, of course. If not, don't worry, you've got Karen.
First rule of the Top Ten is, don't talk about the Top Ten.
10 - "Chick-a-Boom (Don't Ya Jes' Love It)," Daddy Dewdrop
Dick Monda returns from last time with this odd novelty about chasing a scantily-clad lady through a weird house. I still enjoy the silliness, plus the good Daddy sounds a bit like Dr. John.
9 - "Me and You and a Dog Named Boo," Lobo
Roland Kent LaVoie began his career as a one-named MOR machine with this gentle tune about travelling across the country with companions both human and canine. Not much to it, but there doesn't have to be to make it his best by far.
8 - "Sweet and Innocent," Donny Osmond
The first solo single by the youngest of Utah's finest was bit of bouncy bubblegum in which young Donald is pursued by a girl too young and naive for him. He was 14 at the time. Good judgement not getting involved with that, Donny. Anyway, this is way better than what he would follow it, the inexplicably huge "Go Away Little Girl."
7 - "Bridge Over Troubled Water," Aretha Franklin
The Queen of Soul takes on Simon and Garfunkel. She takes it to church and makes it sound like it came from there in the first place. How can it not be great?
6 - "Put Your Hand in the Hand," Ocean
Canadian folk-poppers sing earnestly about Jesus. Not interesting like "Superstar," and not stirring like Aretha. I'm not a believer.
5 - "It Don't Come Easy," Ringo Starr
The funny Beatle's first American hit was this catchy pop tune he co-wrote with George Harrison about how nothing worthwhile comes without sweat and struggle. Just irresistable and loveable. Easily his best solo hit.
4 - "Want Ads," The Honey Cone
This L.A. girl group topped the charts with this funky strut about a woman so disatisfied with her current man that she plans to place a classified advertisement in the newspaper to try and get a new one. "Experience in love preferred, but will accept a young trainee," it would apparently read. Nowaday, the song might be called "Craigslist." Or maybe even "Kijiji."
3 - "Never Can Say Goodbye," The Jackson 5
The brothers from Gary, Indiana return with what I insist is their best ballad. I've grown to love it pretty much equally as I do Gloria Gaynor's version. Gloria makes you dance to her hearbreak. Michael and company just let you soak it up.
2 - "Joy to the World," Three Dog Night
3DN had their biggest hit singing about a drunken bullfrog and loving the ladies. Outstandingly goofy. And I must say that all in all, these guys have grown on me.
And topping the charts 41 years ago was...
1 - "Brown Sugar," The Rolling Stones
Mick, Keith and the lads scored their fifth American #1, a grimy, sludgy bit of debauchery. In the verses, Mr. Jagger tells three tales of strongly-implied sexual adventures: the first involving a slave master and his female charges aboard a 19th century ship bound for New Orleans; the second, the relationship between a rich lady and her houseboy; and the third, his own experiences with an older lady who was once a "tent show queen." And on the choruses, he asks, the immortal question "Brown sugar, how come you taste so good." It may not be as explicit as some of today's songs, but make no mistake, this song is so dirty it shoulc have been sold in a plain brown wrapper. And some of the stuff in the lyrics wouldn't be tolerated today (A white man singing "Just like a black girl should?" Yeah, that'd fly). But it's old, and the Stones are even older, so it's considered a perfectly acceptable classic rock staple.
Just one NotCasey here: Jean Knight's "Mr. Big Stuff." Casey himself played "Running Scared" by Roy Orbison, :"Jamie" by Eddie Holland, and "Ode to Billie Joe" by Bobbie Gentry as extras. And there was also a vintage ad break. The first commercial was for Certs ("Two! Two! Two mints in one!") on which a Karen Carpenter soundalike sang about making sure your breath is fresh so "he'll kiss you again." And after it was an ad for a compilation LP of 20 hit songs. I don't remember if they said it was from K-Tel, or if it was before their time.
Tomorrow: A very brief look at this week in 1981.
Saturday, June 2, 2012
May 29, 1971 Part One
Okay, here's the thing. I promised that I'd do this one soon after my last entries. But factors conspired to make me decide to delay it. First, I had kind of a busy week. Then, I learned that this weekend's 80s show was from June of 1981, and it had a lot of overlap with both the last 1981 show I covered and the very first 80s lookback I did almost a year ago. So what's happening this weekend is a two-part 70s piece, then a brief look at this weeks 80s show. Got it? Awesome. Now lets go way back to a time when I was in my fifth month on Earth.
40 - "Lowdown," Chicago
39 - "Double Lovin'," The Osmonds
38 - "Indian Reservation," The Raiders
37 - "Power to the People," John Lennon and the Plastic Ono Band
36 - "What's Going On," Marvin Gaye
35 - "I Don't Know How to Love Him," Yvonne Elliman
34 - "Me and My Arrow," Nilsson
33 - "Cool Aid," Paul Humphrey and his Cool Aid Chemists
32 - "When You're Hot, You're Hot," Jerry Reed
31 - "The Drum," Bobby Sherman
We begin with some easy stuff. Chicago had one of their lesser early hits with this song about their disappointment over either losing a friend or the state of their country. Not sure which, but it rocks a bit, by their standards, so I like it. Utah's Osmond boys followed up the smash "One Bad Apple" with another Jackson 5-lite number in which they say they're going to increase their affections twofold to the point where "you'll be beggin' and cryin' for more." There's something a little...um...kinky about some of the lyrics, but surely those nice Mormons weren't implying anything of the kind. Right? Yvonne Elliman had her first it with the original version of this song about Mary Magdalene's conflicted feelings for Jesus Christ, from the album version of Jesus Christ Superstar that preceded all of the stage versions. Elliman's rich voice conveys things nicely, but still, when I want to hear her, I will always reach for "If I Can't Have You." Harry Nilsson is here with this simple, jaunty song from an concept album about a boy with a round head who lives in a town where everyone else has pointed heads. And apparently, "Arrow" is the name of the boy's dog. Anyway, I had heard about this song for a long time, and upon finally hearing it, I was charmed, and curious to see the animated film that was made of the story. And Bobby Sherman had one of his last hits with this bit of fluffy, produced bubblegum about the fleeting nature of love. Not much to it. Lisa was right to laugh at you, Marge.
Next we have some politically-minded hits. The Raiders (formerly Paul Revere and the...) had their biggest hit with this #1 cover of a song first recorded in 1959. Over a dark pop-rock arrangement, singer Mark Lindsay (himself part Cherokee) intones lyrics about how America's natives had their land, language and way of life taken away by white people. But apparently a lot of white people enjoyed hearing about that, because this record would become one of the biggest sellers in the history of the group's record label. I'm still not sure about the song though. To me, it sounds a little too gimmicky to be truly sincere. John Lennon and company are here from a past '71 recap with their anthem of populist revoulution. I imagine it was sound good accompanied by some banging pots and pans right now. And also back from that time is Marvin Gaye with his classic bit of socially conscious soul silk. Right on, indeed.
We finish with the other two songs. Drummer Paul Humphrey and his band had their only hit with this okay little funk instrumental that doesn't at all remind me of antropomorphic drink pitchers smashing through walls. Later, he would join Lawrence Welk's orchestra for the last six years of the man's TV show. Interesting. And country star Jerry Reed had his last pop hit with this bit of redneck funk about the time Jerry and two friends had their illegal crap game broken up by the police, and when he tried to get lenience from the judge, who was a friend of his, the judge let the others off with a fine and gave Jerry 90 days in jail. Just silly, catchy fun.
30 - "Timothy," The Buoys
29 - "Reach Out I'll Be There," Diana Ross
28 - "I Love You For All Seasons," The Fuzz
27 - "Nathan Jones," The Supremes
26 - "(For God's Sake) Give More Power to the People," The Chi-Lites
25 - "I Don't Blame You at All," Smokey Robinson and the Miracles
24 - "Right on the Tip of My Tongue," Brenda and the Tabulations
23 - "Woodstock," Matthews' Southern Comfort
22 - "Don't Knock My Love (Part I)," Wilson Pickett
21 - "It's Too Late," Carole King
R&B is huge in this section, but we'll start with the three songs here that don't fit that description. The Buoys are back with one of the Uneasy Rider Hall of Famers, the rock song about cannibalism written by Rupert "The Pina Colada Song" Holmes. If you like eating your best friend, and getting caught in the rain...Englishman Iain Matthews, ex of folk stars Fairport Convention, began his solo career recording under an alcohol-centric pseudonym, and the one hit he had during this time was this extremely limp and lightweight cover of Joni Mitchell's tribute to the famed 1969 Upstate New York music and art fair. Really, it's so bland and uninteresting, it's the complete opposite of what Woodstock was. Stick to the Joni and Crosby, Stills, Nash and Young versions. And songwriting legend Carole King had her biggest hit as an artist with this classic about a couple who suddenly realize they must part because "something inside has died." This helped launch the Tapestry album to mega-success, and deservedly so.
Next we have the Motown artists. Diana Ross is here, giving a Four Tops 60s hit the same big ballad treatment she gave to "Ain't No Moyd untain High Enough." This one wasn't as successful, and with good reason. It seems forced. Her old group The Supremes did better with this spirited kiss-off to a lover who took a little too long going off on his own to "get his head together" or whatever they did in the 70s. Possibly their best post-Diana moment. And Smokey and the Miracles return with the final record on which they combined their talents. Still sounds too "Tears of a Clown"-lite to me.
We finish with non-Motown soul. The Fuzz return from our long-ago last visit to '71 with this still-inconsequential ballad. Chicago's Chi-Lites had their first pop hit with this funky protest tune about greed and injustice among people who have a disproportionate amount of power and influence in society. Thankfully, we're long past the days when that was the reality, am I right? Philadelphian Brenda Payton and her backup singers had their second and last pop hit with this sweet little ballad about not being able to tell someone you love them. A decent song, but definitely an awesome group name. And Wilson Pickett had his next-to-last pop hit with this funky request for a disinterested lover to let him move on to someone who might appreciate his talents more. Or as he puts it, "If you don't need it, don't waste it/Somebody else might wanna taste it." The man had a way with words, no doubt.
Tomorrow (I'm pretty sure): bread and fruit preserves, more Andrew Lloyd Webber, and one of the raunchiest songs ever to hit #1.
40 - "Lowdown," Chicago
39 - "Double Lovin'," The Osmonds
38 - "Indian Reservation," The Raiders
37 - "Power to the People," John Lennon and the Plastic Ono Band
36 - "What's Going On," Marvin Gaye
35 - "I Don't Know How to Love Him," Yvonne Elliman
34 - "Me and My Arrow," Nilsson
33 - "Cool Aid," Paul Humphrey and his Cool Aid Chemists
32 - "When You're Hot, You're Hot," Jerry Reed
31 - "The Drum," Bobby Sherman
We begin with some easy stuff. Chicago had one of their lesser early hits with this song about their disappointment over either losing a friend or the state of their country. Not sure which, but it rocks a bit, by their standards, so I like it. Utah's Osmond boys followed up the smash "One Bad Apple" with another Jackson 5-lite number in which they say they're going to increase their affections twofold to the point where "you'll be beggin' and cryin' for more." There's something a little...um...kinky about some of the lyrics, but surely those nice Mormons weren't implying anything of the kind. Right? Yvonne Elliman had her first it with the original version of this song about Mary Magdalene's conflicted feelings for Jesus Christ, from the album version of Jesus Christ Superstar that preceded all of the stage versions. Elliman's rich voice conveys things nicely, but still, when I want to hear her, I will always reach for "If I Can't Have You." Harry Nilsson is here with this simple, jaunty song from an concept album about a boy with a round head who lives in a town where everyone else has pointed heads. And apparently, "Arrow" is the name of the boy's dog. Anyway, I had heard about this song for a long time, and upon finally hearing it, I was charmed, and curious to see the animated film that was made of the story. And Bobby Sherman had one of his last hits with this bit of fluffy, produced bubblegum about the fleeting nature of love. Not much to it. Lisa was right to laugh at you, Marge.
Next we have some politically-minded hits. The Raiders (formerly Paul Revere and the...) had their biggest hit with this #1 cover of a song first recorded in 1959. Over a dark pop-rock arrangement, singer Mark Lindsay (himself part Cherokee) intones lyrics about how America's natives had their land, language and way of life taken away by white people. But apparently a lot of white people enjoyed hearing about that, because this record would become one of the biggest sellers in the history of the group's record label. I'm still not sure about the song though. To me, it sounds a little too gimmicky to be truly sincere. John Lennon and company are here from a past '71 recap with their anthem of populist revoulution. I imagine it was sound good accompanied by some banging pots and pans right now. And also back from that time is Marvin Gaye with his classic bit of socially conscious soul silk. Right on, indeed.
We finish with the other two songs. Drummer Paul Humphrey and his band had their only hit with this okay little funk instrumental that doesn't at all remind me of antropomorphic drink pitchers smashing through walls. Later, he would join Lawrence Welk's orchestra for the last six years of the man's TV show. Interesting. And country star Jerry Reed had his last pop hit with this bit of redneck funk about the time Jerry and two friends had their illegal crap game broken up by the police, and when he tried to get lenience from the judge, who was a friend of his, the judge let the others off with a fine and gave Jerry 90 days in jail. Just silly, catchy fun.
30 - "Timothy," The Buoys
29 - "Reach Out I'll Be There," Diana Ross
28 - "I Love You For All Seasons," The Fuzz
27 - "Nathan Jones," The Supremes
26 - "(For God's Sake) Give More Power to the People," The Chi-Lites
25 - "I Don't Blame You at All," Smokey Robinson and the Miracles
24 - "Right on the Tip of My Tongue," Brenda and the Tabulations
23 - "Woodstock," Matthews' Southern Comfort
22 - "Don't Knock My Love (Part I)," Wilson Pickett
21 - "It's Too Late," Carole King
R&B is huge in this section, but we'll start with the three songs here that don't fit that description. The Buoys are back with one of the Uneasy Rider Hall of Famers, the rock song about cannibalism written by Rupert "The Pina Colada Song" Holmes. If you like eating your best friend, and getting caught in the rain...Englishman Iain Matthews, ex of folk stars Fairport Convention, began his solo career recording under an alcohol-centric pseudonym, and the one hit he had during this time was this extremely limp and lightweight cover of Joni Mitchell's tribute to the famed 1969 Upstate New York music and art fair. Really, it's so bland and uninteresting, it's the complete opposite of what Woodstock was. Stick to the Joni and Crosby, Stills, Nash and Young versions. And songwriting legend Carole King had her biggest hit as an artist with this classic about a couple who suddenly realize they must part because "something inside has died." This helped launch the Tapestry album to mega-success, and deservedly so.
Next we have the Motown artists. Diana Ross is here, giving a Four Tops 60s hit the same big ballad treatment she gave to "Ain't No Moyd untain High Enough." This one wasn't as successful, and with good reason. It seems forced. Her old group The Supremes did better with this spirited kiss-off to a lover who took a little too long going off on his own to "get his head together" or whatever they did in the 70s. Possibly their best post-Diana moment. And Smokey and the Miracles return with the final record on which they combined their talents. Still sounds too "Tears of a Clown"-lite to me.
We finish with non-Motown soul. The Fuzz return from our long-ago last visit to '71 with this still-inconsequential ballad. Chicago's Chi-Lites had their first pop hit with this funky protest tune about greed and injustice among people who have a disproportionate amount of power and influence in society. Thankfully, we're long past the days when that was the reality, am I right? Philadelphian Brenda Payton and her backup singers had their second and last pop hit with this sweet little ballad about not being able to tell someone you love them. A decent song, but definitely an awesome group name. And Wilson Pickett had his next-to-last pop hit with this funky request for a disinterested lover to let him move on to someone who might appreciate his talents more. Or as he puts it, "If you don't need it, don't waste it/Somebody else might wanna taste it." The man had a way with words, no doubt.
Tomorrow (I'm pretty sure): bread and fruit preserves, more Andrew Lloyd Webber, and one of the raunchiest songs ever to hit #1.
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