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.
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