June 1997. Britain’s longest-running libel case wrapped up, with McDonalds winning a £40,000 judgment against two environmentalists. It’s nice to know that large corporations can sometimes win in the legal system, isn’t it? Let’s see how the Britis public ruled on the popular music of the day.
40 - “Love Shine a Light,” Katrina and the Waves
The architects of “Walking on Sunshine” had pretty much faded into obscurity when the band stumbled into representing Britain in Eurovision and giving the U.K. its first win in sixteen years. It’s peppy, optimistic, and sounds like it was written for a soft drink commercial. In other words, it was an unbeatable Eurovision proposition.
39 - “Ministry of Love,” Hysteric Ego
This comes from a British DJ named Robert White, and is apparently an example of “hard house.” So it’s bleepy-bloop with bigger beats. For dancing, and maybe a video game soundtrack. I don’t understand how it works in any other contexts. It may, I just don’t understand how.
38 - “What Kind of Man Would I Be,” Mint Condition
A Minnesota funk group with a very good ballad about trying not to cheat when you really, really want to. More raw than its peers of the time.
37 - “Help Me Make It,” Huff + Puff
Not sure who these people are, but this is a house track mainly notable for thoroughly sampling the Gladys Knight and the Pips version of “Help Me Make it Through the Night.” So this was the background music for ravers still looking to hook up at 3 am, I gather. Well, retroactive good luck to them.
36 - “Something About You,” New Edition
The second Brit hit from the boy band’s super-reunion (featuring both the once-deposed Bobby Brown and his replacement Johnny Gill) was this piece of what the spoken intro describes as “country-western funk folk.” Not sure that quite works, but it does effectively sample Edie Brickell and New Bohemians “What I Am,” the hooks and verses are terrific, and both Ralph Tresvant’s lead and the harmony vocals are on point. This is much better than I ever would have imagined. A lost classic.
35 - “6 Underground,” Sneaker Pimps
The biggest hit for this Hartlepool trip-hop outfit was this dreamily catchy pop song. It carries you away on a cloud of catatonic delirium. But in a good way.
34 - “Wonderful Tonight,” Damage
Another British boy band, this one having their biggest hit with a cover of Eric Clapton’s 1978 ode to the beauty of his wife. The song adapts well to the R&B ballad style, and everyone involved seems to make the right choices. If you like this sort of thing, I think you’ll be pleased.
33 - “Waltz Away Dreaming,” Toby Bourke and George Michael
Irishman Bourke was signed to a label Michael founded, and the two collaborated on this ballad about mourning a woman one loved. It’s emotional but not sappy. A good song to be sad to.
32 - “Ti Amo,” Gina G
The Aussie’s fourth hit is Latin-tinged dance pop that is essentially an inferior rewrite of “La Isla Bonita.” No need for it.
31 - “I Don’t Want To,” Toni Braxton
The Baltimore native’s fourth Top Ten hit here was this ballad about lacking motivation after a breakup. Pretty much the same song as “Breathe Again,” but I actually like this better.
30 - “The End is the Beginning is the End,” Smashing Pumpkins
The second and last U.K. Top Ten for the Chicago alt-rockers was this track from the now-infamous film Batman and Robin. Yeah, the one with George Clooney in a Bat-suit with nipples and Arnold Schwarzenegger making terrible ice puns as Mr. Freeze. As for the song, it’s Billy Corgan’s general hard rock with dark meataphoric lyrics, but something about the production makes me feel that he listened a lot to U2’s hit from the previous Bat-film, “Hold Me, Thrill Me, Kiss Me, Kill Me,” while writing this. It’s okay, but not among their best work.
29 - “Hole in My Soul,” Aerosmith
The ‘smith show up with one of their screamy, tough-sounding nineties power ballads. Unfortunately, they didn’t have Alicia Silverstone to do their videos anymore, as she was now off making can’t-miss career moves like playing Batgirl, so the chart returns diminished. Which is probably why they were okay going full-on Diane Warren-soggy the next year on that Armageddon song.
28 - “I Believe I Can Fly,” R. Kelly
Fortunately for the rest of us, you can’t. And hopefully you’ll soon be a permanently grounded jailbird.
27 - “You Might Need Somebody,” Shola Ama
The first hit for this Londoner was this cover of a 1981 Randy Crawford hit. Breezy jazz-soul, which I’m guessing is pretty close to the original. I like Ms. Ama’s voice quite a bit, so I’ll forgive her if this cover is inessential.
26 - “Strange,” Wet Wet Wet
The drenched Scotsmen had another hit with this lite-funk shuffle about confusion. I am completely certain about how mediocre it is.
25 - “Never, Never Gonna Give You Up,” Lisa Stansfield
The Rochdale lady’s last hit was this cover of one of Barry White’s best. The female perspective and Stansfield’s sexy delivery make it worth a listen.
24 - “Whatever,” En Vogue
The penultimate hit for Oakland’s funky divas was this danceable tune about romantic desperation. Between this and New Edition, uptempo R&B is having a strong showing so far this week. Very very good.
23 - “Lovefool,” The Cardigans
The biggest hit from the pride of Jongkoping, Sweden was this sultry dance-rocker about the joy of romance which broke out when it was included on the soundtrack to the Leonardo DiCaprio/Claire Danes version of Romeo + Juliet. Nina Persson exudes sunshine, even while she’s crying and begging. Irresistible.
22 - “Paranoid Android,” Radiohead
The lead single from the legendary OK Computer, and the track that started the Oxfordshire quintet on the way from the back line of Britpop’s starting eleven to their eventual status as one of the All-Time Important Bands. A six-and-a-half minute mini-epic apparently inspired by a bad experience Thom Yorke had in an L.A. nightclub, it has multiple sections and tempos that reflect moods of benusement, anger, nihilism, and resignation, and evocative lyrics about unborn chickens, Gucci piggies, and networking yuppies. Every bit the masterpiece it has been built up to be.
21 - “Not Where it’s At,” Del Amitri
The Scottish band’s twelfth Top 40 was this jangle-rocker about not being cool enough to win the girl of your dreams. Their usual pleasurable pop distraction. An underrated singles band.
In Part Two: a foul smell, a thrill ride, and the ultimate in popera.
Friday, June 28, 2019
Friday, June 21, 2019
...And as Years Go By: CT50 June 8, 1974
June of 1974. The big event of the month in Canada was when Soviet ballet dancer Mikhail Baryshnikov defected to the West in Toronto. He then joined the Winnipeg Ballet, and would later star in the 1985 film White Nights. So without him, perhaps the world would have been denied hearing about that awesome dream Lionel Richie had. But Baryshnikov and his belly-fire would not have heard “Say You, Say Me” at this time. He may have heard some, or all, of the following:
Bonus Track: 57 - “(I’m A) Yo-Yo Man,” Rick Cunha
Californian Cunha first earned recognition as a member of the 60s country-rock band Hearts and Flowers, then went solo. The closest thing he had to a hit was this folksy tale of a young man who is inspired to hit the road performing yo-yo tricks to make a living when such a performer comes to his small town. It has kind of a Roger Millerish charm to it that I enjoy. Later, Cunha would play the song for Tommy Smothers of the Smothers Brothers, and Tommy would use it to introduce yo-yo tricks into the duo’s act, which has led to Smothers Brothers-branded yo-yos and a popular yo-yo instructional video. Edna Krabappel would not be impressed.
50 - “Can You Handle It,” Graham Central Station
The band formed by ex-Family Stone bassist Graham hit the Top 50 on both sides of the border with this midtempo funk track telling a woman that her breaking his heart only made him stronger. Sly Stone’s influence is definitely felt, but in a welcome, organic way.
45 - “The Same Love that Made Me Laugh,” Bill Withers
Another dual Top 50 soul track, this one from the grittily smooth product of Slab Fork, West Virginia. Lowdown Blues about a woman who done Bill wrong. His usual amazingness. I recently saw quite a bit of Mr. Withers in Black Godfather, a Netflix documentary about the man who discovered him, pioneering African-American music executive Clarence Avant. I highly recommend it.
41 - “Time to Cry” Don Goodwin (CanCon!)
Goodwin was from Aspen, Colorado, but he was discovered in Las Vegas by Paul Anka, who produced his debut album and provided all the material (hence the CanCon qualification) Some of it was purpose-written, like Goodwin’s debut “This is Your Song,” but others were covers of old Anka hits such as this one from 1959. The production is big and dramatic, but Goodwin just coasts through it. He’s like Terry Jacks without the substance.
40 - “One Chain Don’t Make No Prison,” The Four Tops
This came one spot short of being the Tops’ last U.S. Top 40 of the decade, but it scrapped up to #38 here. It’s a terrific marriage of harder funk and the usual Stubbs vocal heroics, as he presents his case to his lover that he deserves another chance. Find this and love it.
36 - “La Grange,” ZZ Top
The Houston boogie-rock trio scored their first significant hit with this chugging ode to the Texas brothel that inspired a Broadway musical and a Burt Reynolds/Dolly Parton film. It’s another song that peaked at #41 in the States, but due to some extenuating circumstances where show staff had to estimate chart positions instead of being able to wait for the actual chart data, it was once played on American Top 40. But here, it got the honour for real.
35 - “Chameleon,” Herbie Hancock
This three-minute edit of the centrepiece of Chicago jazzman’s commercial breakthrough Head Hunters got to #42 at home, but did better here. It’s right up there with any bigger hit funk instrumental of the period. An example of the ability to incorporate the modern in to the traditional that he would demonstrate a decade later with “Rockit.”
34 - “Another Park, Another Sunday,” The Doobie Brothers
This one did reach the Top 40 in America, but I haven’t covered it yet. It’s a gently rolling song about a lonely traveller. Nice enough, but it contained the line “the radio just seems to bring me down,” which station programmers somehow thought listeners would take to heart. Seems silly to me. But its B-side, “Black Water,” would eventually get its own push and perform much better.
29 - “Werewolf,” The Five Man Electrical Band (CanCon!)
The final domestic hit for the Ottawa band behind “Signs” about a father who has to have a dinner bell melted down into a silver bullet to put down his lycanthrope son Billy, over the objections of his wife, who seems to be okay with the idea of her husband getting mauled. Silly, B-movie fun, and a clear Canuck Uneasy Rider.
25 - “Son of Sagittarius,” Eddie Kendricks
Another AT40 hit that eluded me until now was this astrological funker from the ex-Temptation. An artifact from the days when “What’s your sign?” was the hot new pickup line. Aquarius here, in case you were wondering.
24 - “Just as Bad as You,” Shawne Jackson (CanCon!)
Toronto soul singer Jackson had spent over a decade on the local scene when she scored a deal with the magazine-affiliated Playboy Records label and scored her biggest hit with this hard-swinging female empowerment anthem. Canadian R&B hasn’t been traditionally spotlighted, but it did exist, and this shows that it could sound as good as any.
16 - “Teen Angel,” Wednesday (CanCon!)
The Oshawa, Ontario outfit followed up their #2 smash “Last Kiss” with another cover of a teenage tragedy tune, this time Mark Dinning’s 1960 hit. Although this is kind of a sequel, as it seems to indicate that the boyfriend of the girl who died in the original perished in a similar car-stalled-on-the-railroad-tracks fashion. That twist at least makes it interesting, if not necessarily worthwhile.
10 - “Oh Very Young,” Cat Stevens
The former Steven Giorigiou and future Yusuf Islam had a cross-border Top Ten with this typical folkie about wonderingly what mark the youth of the day will leave on the world. As he did then, and as I feel most people have always whether they would admit it or not, I stand in a place of cautious optimism.
9 - “The Entertainer,” Marvin Hamlisch
New Yorker adapts Scott Joplin rag for a Newman/Redford film, wins Oscars, becomes 70s celebrity, is pretty much forgotten now. But the song remains, and remains wonderful.
8 - “You Make Me Feel Brand New,” Stylistics
Triple Top Five Philly love soul. Classy, non-embarrassing mushiness.
7 - “I Won’t Last a Day Without You,” Carpenters
We were the only Triple Crown nation to make this Top Ten. I approve. This may be too much of an endorsement of codependency, but Karen makes that seem healthy, for three minutes at least.
6 - “Help Me,” Joni Mitchell (CanCon!)
The Saskatoon product’s only North American Top Ten was this jazzy commitment to being non-committal. Timeless standout pop.
5 - “I’ve Been Searchin’ So Long,” Chicago
Not one of their great ballads, and Cetera starts to get whiny here, but still, there’s enough here to easily crush “If You Leave Me Now.”
4 - “Sundown,” Gordon Lightfoot (CanCon!)
The second domestic and only U.S. #1 for good ol’ Gord of Orillia, Ontario. It’s the closest he came to blues. And it may have been written about the woman who injected the fatal speedballs into John Belushi. You’d better take care, indeed.
3 - “The Streak,” Ray Stevens
Yeah, we’ve been dealing with this one a lot lately. Sadly, it will not add the OMUSURT title to its Triple Crown. Did you see what happened? Well, if you go back a few entries, you too will be able to say “Yeah, Ah did,”
2 - “Midnight at the Oasis,” Maria Muldaur
The New Yorker’s famous effort to make desert intercourse sexy. A good try, but I still don’t think cactus could ever be my friend in that situation.
1 - “Band on the Run,” Paul McCartney and Wings
Macca and company thrillingly escape the jailer man and Sailor Sam, but they also escaped a Triple Crown, because Britain judged them unworthy. Like a certain undertaker, I draw a heavy sigh.
There’s the latest. Next time, back to Britain. See you soon.
Bonus Track: 57 - “(I’m A) Yo-Yo Man,” Rick Cunha
Californian Cunha first earned recognition as a member of the 60s country-rock band Hearts and Flowers, then went solo. The closest thing he had to a hit was this folksy tale of a young man who is inspired to hit the road performing yo-yo tricks to make a living when such a performer comes to his small town. It has kind of a Roger Millerish charm to it that I enjoy. Later, Cunha would play the song for Tommy Smothers of the Smothers Brothers, and Tommy would use it to introduce yo-yo tricks into the duo’s act, which has led to Smothers Brothers-branded yo-yos and a popular yo-yo instructional video. Edna Krabappel would not be impressed.
50 - “Can You Handle It,” Graham Central Station
The band formed by ex-Family Stone bassist Graham hit the Top 50 on both sides of the border with this midtempo funk track telling a woman that her breaking his heart only made him stronger. Sly Stone’s influence is definitely felt, but in a welcome, organic way.
45 - “The Same Love that Made Me Laugh,” Bill Withers
Another dual Top 50 soul track, this one from the grittily smooth product of Slab Fork, West Virginia. Lowdown Blues about a woman who done Bill wrong. His usual amazingness. I recently saw quite a bit of Mr. Withers in Black Godfather, a Netflix documentary about the man who discovered him, pioneering African-American music executive Clarence Avant. I highly recommend it.
41 - “Time to Cry” Don Goodwin (CanCon!)
Goodwin was from Aspen, Colorado, but he was discovered in Las Vegas by Paul Anka, who produced his debut album and provided all the material (hence the CanCon qualification) Some of it was purpose-written, like Goodwin’s debut “This is Your Song,” but others were covers of old Anka hits such as this one from 1959. The production is big and dramatic, but Goodwin just coasts through it. He’s like Terry Jacks without the substance.
40 - “One Chain Don’t Make No Prison,” The Four Tops
This came one spot short of being the Tops’ last U.S. Top 40 of the decade, but it scrapped up to #38 here. It’s a terrific marriage of harder funk and the usual Stubbs vocal heroics, as he presents his case to his lover that he deserves another chance. Find this and love it.
36 - “La Grange,” ZZ Top
The Houston boogie-rock trio scored their first significant hit with this chugging ode to the Texas brothel that inspired a Broadway musical and a Burt Reynolds/Dolly Parton film. It’s another song that peaked at #41 in the States, but due to some extenuating circumstances where show staff had to estimate chart positions instead of being able to wait for the actual chart data, it was once played on American Top 40. But here, it got the honour for real.
35 - “Chameleon,” Herbie Hancock
This three-minute edit of the centrepiece of Chicago jazzman’s commercial breakthrough Head Hunters got to #42 at home, but did better here. It’s right up there with any bigger hit funk instrumental of the period. An example of the ability to incorporate the modern in to the traditional that he would demonstrate a decade later with “Rockit.”
34 - “Another Park, Another Sunday,” The Doobie Brothers
This one did reach the Top 40 in America, but I haven’t covered it yet. It’s a gently rolling song about a lonely traveller. Nice enough, but it contained the line “the radio just seems to bring me down,” which station programmers somehow thought listeners would take to heart. Seems silly to me. But its B-side, “Black Water,” would eventually get its own push and perform much better.
29 - “Werewolf,” The Five Man Electrical Band (CanCon!)
The final domestic hit for the Ottawa band behind “Signs” about a father who has to have a dinner bell melted down into a silver bullet to put down his lycanthrope son Billy, over the objections of his wife, who seems to be okay with the idea of her husband getting mauled. Silly, B-movie fun, and a clear Canuck Uneasy Rider.
25 - “Son of Sagittarius,” Eddie Kendricks
Another AT40 hit that eluded me until now was this astrological funker from the ex-Temptation. An artifact from the days when “What’s your sign?” was the hot new pickup line. Aquarius here, in case you were wondering.
24 - “Just as Bad as You,” Shawne Jackson (CanCon!)
Toronto soul singer Jackson had spent over a decade on the local scene when she scored a deal with the magazine-affiliated Playboy Records label and scored her biggest hit with this hard-swinging female empowerment anthem. Canadian R&B hasn’t been traditionally spotlighted, but it did exist, and this shows that it could sound as good as any.
16 - “Teen Angel,” Wednesday (CanCon!)
The Oshawa, Ontario outfit followed up their #2 smash “Last Kiss” with another cover of a teenage tragedy tune, this time Mark Dinning’s 1960 hit. Although this is kind of a sequel, as it seems to indicate that the boyfriend of the girl who died in the original perished in a similar car-stalled-on-the-railroad-tracks fashion. That twist at least makes it interesting, if not necessarily worthwhile.
10 - “Oh Very Young,” Cat Stevens
The former Steven Giorigiou and future Yusuf Islam had a cross-border Top Ten with this typical folkie about wonderingly what mark the youth of the day will leave on the world. As he did then, and as I feel most people have always whether they would admit it or not, I stand in a place of cautious optimism.
9 - “The Entertainer,” Marvin Hamlisch
New Yorker adapts Scott Joplin rag for a Newman/Redford film, wins Oscars, becomes 70s celebrity, is pretty much forgotten now. But the song remains, and remains wonderful.
8 - “You Make Me Feel Brand New,” Stylistics
Triple Top Five Philly love soul. Classy, non-embarrassing mushiness.
7 - “I Won’t Last a Day Without You,” Carpenters
We were the only Triple Crown nation to make this Top Ten. I approve. This may be too much of an endorsement of codependency, but Karen makes that seem healthy, for three minutes at least.
6 - “Help Me,” Joni Mitchell (CanCon!)
The Saskatoon product’s only North American Top Ten was this jazzy commitment to being non-committal. Timeless standout pop.
5 - “I’ve Been Searchin’ So Long,” Chicago
Not one of their great ballads, and Cetera starts to get whiny here, but still, there’s enough here to easily crush “If You Leave Me Now.”
4 - “Sundown,” Gordon Lightfoot (CanCon!)
The second domestic and only U.S. #1 for good ol’ Gord of Orillia, Ontario. It’s the closest he came to blues. And it may have been written about the woman who injected the fatal speedballs into John Belushi. You’d better take care, indeed.
3 - “The Streak,” Ray Stevens
Yeah, we’ve been dealing with this one a lot lately. Sadly, it will not add the OMUSURT title to its Triple Crown. Did you see what happened? Well, if you go back a few entries, you too will be able to say “Yeah, Ah did,”
2 - “Midnight at the Oasis,” Maria Muldaur
The New Yorker’s famous effort to make desert intercourse sexy. A good try, but I still don’t think cactus could ever be my friend in that situation.
1 - “Band on the Run,” Paul McCartney and Wings
Macca and company thrillingly escape the jailer man and Sailor Sam, but they also escaped a Triple Crown, because Britain judged them unworthy. Like a certain undertaker, I draw a heavy sigh.
There’s the latest. Next time, back to Britain. See you soon.
Wednesday, June 12, 2019
AOMA: UKT40 June 3, 1978 Part Two
Remainder.
20 - “A Bi Ni Bi,” Izhar Cohen and Alphabeta
We are still in Eurovision season, and this song was Israel’s first winner. It’s disco-pop cheese whose verses are sung in English, while the chorus is “I love you” in Hebrew Pig Latin. On the better end of the competition’s earworms.
19 - “It Makes You Feel Like Dancin’,” Rose Royce
The fifth hit for the L.A, soul outfit was this superior disco-funk floor-filler. Big, thick, rump-shaking awesomeness. These guys could certainly hold their own in a funk-off with Earth, Wind and Fire. They would have to go though a car wash many times to get the stank off this,
18 - “Do It Do It Again,” Raffaella Carra
A native of Bologna, Carra was a popular sex symbol of Italian film, television and music throughout the 60s and 70s. Her one English hit was this disco-rhumba about chasing romance. A forgettable song sung adequately, and yet it brought me enjoyment because it brought to mind an idyllic, imaginary Rome where everyone is beautiful and they either drive convertible Ferraris or ride Vespas. I never realized that this appealed to me so much until recently. Writing this does more than exercise my typing fingers.
17 - “Ole Ola (Mulher Brasiliera),” Rod Stewart and the Scottish World Cup Squad ‘78
The second song we’ve encountered celebrating this year’s lone British representatives in the World Cup sees the team itself and their most famous fan. It’s a samba that contains the usual essentials: boasts of greatness, promises of victory, a recitation of the players’ names, a couple snatches of commentary describing triumphant moments. And it’s based on the song “Brazilian Woman” by Brazilian Jorge Ben Jor, in spite of the fact that the tournament was being played in Argentina. Anyway, Stewart sounds as awkward as you’d imagine doing a Latin dance number. And as I mentioned when I covered “Ally’s Tartan Army,” the Scots crashed out in the first round, though they finished on a high note, and proved that “Holland without Cruyff just ain’t the same,” by beating the eventual runners-up 3-2 in their last game.
16 - “Too Much Too Little Too Late,” Johnny Mathis and Deneice Williams
The veteran crooner and the soul up-and-comer struck gold with this sophisticated breakup duet. Top Five here, Top Ten in Canada, and #1 in America. I think Britain’s splitting of the difference was the right call.
15 - “(I’m Always Touched by Your) Presence Dear,” Blondie
The New Yorkers’ second hit here was this punk-meets-the Brill Building number about having a metaphysical connection with a lover, Debbie’s presence surely touched a lot of people in a lot of different ways, and I’m sure it still does. Hey Hollywood, if you’re looking for the next musical biopic subject, look this way. A great subject, a tumultuous time, and killer tunes. Plus Debbie has claimed that she was almost picked up by Ted Bundy once. As long as you don’t do something dumb like cast Taylor Swift, I’m there.
14 - “Jack and Jill,” Raydio
The biggest British hit for Ray Parker Jr.’s band was this funk-popper that claims Jack didn’t fall of the hill, he ran because Jill froze him and his pail of water out. Catchy tune, but I’m betting that Jill was getting better loving from Huey Lewis. No, I will not forget that lawsuit. Don’t like it? Who ya gonna call?
13 - “Hi Tension,” Hi Tension
The first of two hits for this North London band was this bit of flat disco-funk. They’re playing it, but they don’t sound like they’re feeling it. Not much electricity generated here.
12 - “Oh Carol,” Smokie
Here they are again, with this pub rocker about a hot girl. I’m sure there were (and maybe still are) people in Britain whose musical diet consists mostly of this and consists mostly of these guys and Status Quo. I imagine them as nice, boring people.
11 - “Come to Me,” Ruby Winters
The second and last hit here for the Cincinnati soul singer born Ruby Forehand was this sultry “I’m here if and when you need me, wink wink” ballad. Professional soul by an craftswoman. It would probably serve the same function as Colt .45 used to for Billy Dee Williams, only less creepily.
10 - “Ca Plane Pour Moi,” Plastic Bertrand
Plastic Bertrand was technically Belgian Roger Jouret, but his one big hit was actually performed by Dutchman Lou Deprijck. It’s infectious punk-pop, driven by guitar and saxophone, and featuring French lyrics about random things like cats, Chinese hair, and the singer’s desire for you to not touch his planet. And in the one English lyric, he claims to be “the king of the divan.” It was a hit all over Europe, and was so irresistible that it crashed through the language barrier into the U.S. Top Fifty. A classic. Strangely, I heard this after hearing a song that employed the identical backing track: “Jet Boy, Jet Girl,” a sexually frank tune by British band Elton Motello, many times on Toronto’s CFNY.
Even though the title of the Bertrand version translates to “It slides for me,” it’s nowhere near as dirty.
9 - “What a Waste,” Ian Dury and the Blockheads
The first hit for the irreverent Middlesex native and his band was this soul-punk track that posits that no matter what you choose to do with your life, you’re always going to question it at some point. He’s right, you know. But he says it much better than most.
8 - “More than a Woman,” Tavares
The fourth and final Top Ten for these Rhode Islanders was this cut from the Saturday Night Fever soundtrack that was a cover of the Bee Gees song that debuted on that same LP. These guys do it better than the Gibbs. No mean feat.
7 - “Because the Night,” The Patti Smith Group
The punk priestess’ poppiest moment was this fierce version of a Springsteen composition about lust and need in the dead of night. North America did good by getting it to #13, but the Brits heroically made it a Top Five. One of the great rock moments of the 70s, period.
6 - “You’re the One that I Want,” John Travolta and Olivia Newton-John
In the case of the climactic Grease duet, it was Canada who kept it one little chart position from the Triple Crown. I guess we didn’t feel Danny Zuko shaped up well enough, and to our glowing hearts we felt we must be true.
5 - “Love is in the Air,” John Paul Young
And it smells like disco cheese. And bizarrely, it was co-produce by George Young, who also was behind the boards for multiple albums by his brothers Malcolm and Angus’ band AC/DC. But no, John Paul is no relation. He was born in Scotland. But I’d love to hear what his take on “Whole Lotta Rosie” or “Big Balls” would sound like.
4 - “If I Can’t Have You,” Yvonne Elliman
More Gibb SNF magic, sung by the underrated Hawaiian. This is a British Triple Crown lock that really offends me. It doesn’t matter how I try, I’m still pissed off that they hoarded their jewel.
3 - “Night Fever,” The Bee Gees
This was the only one of their Fever hits to capture the Triple Crown, with Britain of course being the one to not give their assent. And when you listen closely, it really is the best overall song. The best tune, the funkiest groove, the most complete record. But it gets overwhelmed by the power of the chorus and bass line of “Staying Alive” in the collective memory.
2 - “The Boy From New York City,” Darts
The second of three #2s for the Brighton doo-wop outfit was this cover of the Ad-Libs 1965 ode to a girl’s tall, well-dressed, metropolitan boyfriend. I think they do quite well with it. Definitely better than the Manhattan Transfer did.
1 - “Rivers of Babylon/Brown Girl in the Ring,” Boney M
The M’s only non-Christmas #1 here was a double-sided, with the A being a cover of a reggae song incorporating Bible verses about Israelites lamenting their exile, and the B being a version of a song that accompanies a traditional Caribbean children’s game. I like both sides, but because I’ve heard it less, I find the B to be the sugar in the plum.
Next time it’s back to Canada. Join me in Raptorland then.
20 - “A Bi Ni Bi,” Izhar Cohen and Alphabeta
We are still in Eurovision season, and this song was Israel’s first winner. It’s disco-pop cheese whose verses are sung in English, while the chorus is “I love you” in Hebrew Pig Latin. On the better end of the competition’s earworms.
19 - “It Makes You Feel Like Dancin’,” Rose Royce
The fifth hit for the L.A, soul outfit was this superior disco-funk floor-filler. Big, thick, rump-shaking awesomeness. These guys could certainly hold their own in a funk-off with Earth, Wind and Fire. They would have to go though a car wash many times to get the stank off this,
18 - “Do It Do It Again,” Raffaella Carra
A native of Bologna, Carra was a popular sex symbol of Italian film, television and music throughout the 60s and 70s. Her one English hit was this disco-rhumba about chasing romance. A forgettable song sung adequately, and yet it brought me enjoyment because it brought to mind an idyllic, imaginary Rome where everyone is beautiful and they either drive convertible Ferraris or ride Vespas. I never realized that this appealed to me so much until recently. Writing this does more than exercise my typing fingers.
17 - “Ole Ola (Mulher Brasiliera),” Rod Stewart and the Scottish World Cup Squad ‘78
The second song we’ve encountered celebrating this year’s lone British representatives in the World Cup sees the team itself and their most famous fan. It’s a samba that contains the usual essentials: boasts of greatness, promises of victory, a recitation of the players’ names, a couple snatches of commentary describing triumphant moments. And it’s based on the song “Brazilian Woman” by Brazilian Jorge Ben Jor, in spite of the fact that the tournament was being played in Argentina. Anyway, Stewart sounds as awkward as you’d imagine doing a Latin dance number. And as I mentioned when I covered “Ally’s Tartan Army,” the Scots crashed out in the first round, though they finished on a high note, and proved that “Holland without Cruyff just ain’t the same,” by beating the eventual runners-up 3-2 in their last game.
16 - “Too Much Too Little Too Late,” Johnny Mathis and Deneice Williams
The veteran crooner and the soul up-and-comer struck gold with this sophisticated breakup duet. Top Five here, Top Ten in Canada, and #1 in America. I think Britain’s splitting of the difference was the right call.
15 - “(I’m Always Touched by Your) Presence Dear,” Blondie
The New Yorkers’ second hit here was this punk-meets-the Brill Building number about having a metaphysical connection with a lover, Debbie’s presence surely touched a lot of people in a lot of different ways, and I’m sure it still does. Hey Hollywood, if you’re looking for the next musical biopic subject, look this way. A great subject, a tumultuous time, and killer tunes. Plus Debbie has claimed that she was almost picked up by Ted Bundy once. As long as you don’t do something dumb like cast Taylor Swift, I’m there.
14 - “Jack and Jill,” Raydio
The biggest British hit for Ray Parker Jr.’s band was this funk-popper that claims Jack didn’t fall of the hill, he ran because Jill froze him and his pail of water out. Catchy tune, but I’m betting that Jill was getting better loving from Huey Lewis. No, I will not forget that lawsuit. Don’t like it? Who ya gonna call?
13 - “Hi Tension,” Hi Tension
The first of two hits for this North London band was this bit of flat disco-funk. They’re playing it, but they don’t sound like they’re feeling it. Not much electricity generated here.
12 - “Oh Carol,” Smokie
Here they are again, with this pub rocker about a hot girl. I’m sure there were (and maybe still are) people in Britain whose musical diet consists mostly of this and consists mostly of these guys and Status Quo. I imagine them as nice, boring people.
11 - “Come to Me,” Ruby Winters
The second and last hit here for the Cincinnati soul singer born Ruby Forehand was this sultry “I’m here if and when you need me, wink wink” ballad. Professional soul by an craftswoman. It would probably serve the same function as Colt .45 used to for Billy Dee Williams, only less creepily.
10 - “Ca Plane Pour Moi,” Plastic Bertrand
Plastic Bertrand was technically Belgian Roger Jouret, but his one big hit was actually performed by Dutchman Lou Deprijck. It’s infectious punk-pop, driven by guitar and saxophone, and featuring French lyrics about random things like cats, Chinese hair, and the singer’s desire for you to not touch his planet. And in the one English lyric, he claims to be “the king of the divan.” It was a hit all over Europe, and was so irresistible that it crashed through the language barrier into the U.S. Top Fifty. A classic. Strangely, I heard this after hearing a song that employed the identical backing track: “Jet Boy, Jet Girl,” a sexually frank tune by British band Elton Motello, many times on Toronto’s CFNY.
Even though the title of the Bertrand version translates to “It slides for me,” it’s nowhere near as dirty.
9 - “What a Waste,” Ian Dury and the Blockheads
The first hit for the irreverent Middlesex native and his band was this soul-punk track that posits that no matter what you choose to do with your life, you’re always going to question it at some point. He’s right, you know. But he says it much better than most.
8 - “More than a Woman,” Tavares
The fourth and final Top Ten for these Rhode Islanders was this cut from the Saturday Night Fever soundtrack that was a cover of the Bee Gees song that debuted on that same LP. These guys do it better than the Gibbs. No mean feat.
7 - “Because the Night,” The Patti Smith Group
The punk priestess’ poppiest moment was this fierce version of a Springsteen composition about lust and need in the dead of night. North America did good by getting it to #13, but the Brits heroically made it a Top Five. One of the great rock moments of the 70s, period.
6 - “You’re the One that I Want,” John Travolta and Olivia Newton-John
In the case of the climactic Grease duet, it was Canada who kept it one little chart position from the Triple Crown. I guess we didn’t feel Danny Zuko shaped up well enough, and to our glowing hearts we felt we must be true.
5 - “Love is in the Air,” John Paul Young
And it smells like disco cheese. And bizarrely, it was co-produce by George Young, who also was behind the boards for multiple albums by his brothers Malcolm and Angus’ band AC/DC. But no, John Paul is no relation. He was born in Scotland. But I’d love to hear what his take on “Whole Lotta Rosie” or “Big Balls” would sound like.
4 - “If I Can’t Have You,” Yvonne Elliman
More Gibb SNF magic, sung by the underrated Hawaiian. This is a British Triple Crown lock that really offends me. It doesn’t matter how I try, I’m still pissed off that they hoarded their jewel.
3 - “Night Fever,” The Bee Gees
This was the only one of their Fever hits to capture the Triple Crown, with Britain of course being the one to not give their assent. And when you listen closely, it really is the best overall song. The best tune, the funkiest groove, the most complete record. But it gets overwhelmed by the power of the chorus and bass line of “Staying Alive” in the collective memory.
2 - “The Boy From New York City,” Darts
The second of three #2s for the Brighton doo-wop outfit was this cover of the Ad-Libs 1965 ode to a girl’s tall, well-dressed, metropolitan boyfriend. I think they do quite well with it. Definitely better than the Manhattan Transfer did.
1 - “Rivers of Babylon/Brown Girl in the Ring,” Boney M
The M’s only non-Christmas #1 here was a double-sided, with the A being a cover of a reggae song incorporating Bible verses about Israelites lamenting their exile, and the B being a version of a song that accompanies a traditional Caribbean children’s game. I like both sides, but because I’ve heard it less, I find the B to be the sugar in the plum.
Next time it’s back to Canada. Join me in Raptorland then.
Thursday, June 6, 2019
AOMA: UKT40 June 3, 1978 Part One
June 1978. The Queen knights Freddie Laker, who helped pioneer discount transatlantic air travel. Laker Airlines would go bankrupt four years later. A high-profile entrepreneur meets the Queen and then everything goes downhill. Some might be hoping history will soon repeat itself. Meanwhile, these were the high flyers on the British music scene.
40 - “Up Against the Wall,” The Tom Robinson Band
The London band’s third and final hit was this blast of punk about the unrest and unease felt by much of British youth at the time. The genuine sound of an awakening. It may not have led to a revolution, but for these three-and-a-half minutes, you can pretend it did.
39 - “Matchstalk Men and Matchstalk Cats and Dogs,” Brian and Michael
Our second look at this gentle folk tune about an artist who painted working class Manchester. Cheesy, but hard to dislike.
38 - “Rosalie,” Thin Lizzy
The Lizz’s sixth hit was this rocker about a girl who loves music and doesn’t take shit. Great to rock out to while imagining this lady while lamenting that should she exist, she’s way out of your league
37 - “Beautiful Lover,” Brotherhood of Man
The last Top 40 for the fraternity de fromage was this disco/schlager number about an allegedly passionate affair in Brazil. The performance doesn’t convey that at all. I would describe it as “DRABBA.”
36 - “Making Up Again,” Goldie
Not to be confused with the 90s trip-hop artist, this Newcastle band was formed by Dave Black, a former guitarist with David Bowie’s Spiders From Mars. Their only hit was this pop-rock trifle about a hot and cold relationship. I expected more from Black’s pedigree than watered-down Smokie. Ziggy would not approve.
35 - “Angels with Dirty Faces,” Sham 69
The Hersham boys’ first hit was this punk track that continues on the genre’s dominant themes of youth alienation and rebellion. The spirited performance and shoutalong chorus put it in the top quarter of its class.
34 - “(Don’t Fear) The Reaper,” Blue Oyster Cult
The dark classic about the seductive power of death finally cracked the British Top Twenty two years after it was a North American Top Ten. The Reaper was persistent, and finally convinced the U.K. to become like they are. All our times do come.
33 - “She’s So Modern,” The Boomtown Rats
The Dubliners’ third hit was this speedy rocker about the young women of the day and their cunningly flirty ways. Loud, wild , inconsequential fun.
32 - “Miss You,” The Rolling Stones
The disco-rocker about Mick avoiding temptation in New York missed the Triple Crown by two places here. What’s the matter with you, Britain?
31 - “Loving You Has Made Me Bananas,” Guy Marks
Philadelphia native Mario Scarpa was a popular nightclub and television performer in the 50s and 60s, with an act incorporating music, comedy, and impressions. This 1968 single became an unlikely hit here ten years later. It’s an odd record that parodies the sort of live-from-a-hotel-ballroom broadcasts of performances by big band crooners that were staples of 30s and 40s radio. The introduction of the song is deadpanly silly, and the song itself is passionately sung nonsense about scarves, matches, and iodine. Wonderfully surreal. This is the stuff that cries out for an Uneasy Rider.
30 - “Let’s All Chant,” The Michael Zager Band
The New Jersey native’s group’s biggest hit would be just as great a parody of disco as “Loving You Has Made Me Bananas” is of jazz-pop cheese, but it seems clear that all those “ooh-ah, ooh-ah!”s and “Work your body”s were deadly serious. It was a bigger hit over here, going Top Ten, but it lingers on anywhere people are looking fondly back at the days of leisure suits and cocaine.
29 - “Never Let Her Slip Away,” Andrew Gold
Our second look at the charming love lark by the guy behind “Lonely Boy” and “Thank You for Being a Friend.” This is how you capture romantic happiness sincerely and without smarm. It’s hard to do. This should be in the syllabus of any pop songwriting course.
28 - “It Sure Brings Out the Love in Your Eyes,” David Soul
Hutch’s last hit in his future adopted homeland was this disco ballad about suspecting your lover still has a thing for her ex. The production and arrangement seem like deliberate imitations of Gibb brothers creations, particularly “If I Can’t Have You.” Unfortunately, the only Soul on this record is in the artist credit on the label.
27 - “Annie’s Song,” James Galway
Belfast-born flautist Galway has performed with symphony orchestras, interpreted songs from The Wall in Berlin with Roger Waters, and played on the scores for the Lord of the Rings films. His one big single was this instrumental cover of John Denver’s 1974 Triple Crown winner. It just sounds like the original track with Denver’s vocals subbed out for flute. It’s not an improvement. Just Muzak with a pedigree.
26 - “Pump it Up,” Elvis Costello
EC’s third hit was this slamming, danceable rock tidal wave about consuming, rapacious lust. It could be used as a fight song, a headbanger (registering a 4 on the ‘Ometer), or a noise to crawl into for a sulk. It’s his crowning achievement.
25 - “The Day the World Turned Day-Glo,” X-Ray Spex
Led by dynamic and striking frontwoman Poly Styrene, the Kent-born daughter of a Scottish mother and a Somali father, this band contributed much in their brief heyday, including the idea that a saxophone could be punk. The first of their three Top 40s was this roaring vision of society transforming into a brightly coloured synthetic nightmare. Angry, scary, and wonderful. The only sad thing this brings to mind is the fact that their greatest and most famous single, the consumerism-as-S&M howl “Oh Bondage! Up Yours!” didn’t even chart.
24 - “On a Little Street in Singapore,” The Manhattan Transfer
The jazz vocal combo’s fifth hit was this version of a 40s song about finding love in Asia. You can hear the modern production, but otherwise it’s not far removed from the objects of Guy Marks’ satirization. I like that track more and more all the time.
23 - “Automatic Lover,” Dee D. Jackson
Oxford native Deirdre Cozier had her first and biggest hit with this bit of sci-fi disco about having sex with a robot. Well, that is what it’s about. Hey, I didn’t write it. It’s like a straight-faced version of “I Lost My Heart to a Starship Trooper,” which, of course, makes it funnier.
22 - “Davy’s on the Road Again,” Manfred Mann’s Earth Band
The Earth Band’s second and last Top Ten was this cover of a song by The Band about a heartbroken drifter. A fine tune given a good go, but I anticipate even better things from the original.
21 - “Nice n’ Sleazy,” The Stranglers
The fifth hit for the Surrey punks was this lusty, synthesizer-decorated slow burner. Of the bands in this wave of the genre, these guys were the most skeevy-sounding. They had a niche, and they filled it impeccably.
In Part Two: football, French, and flying objects.
40 - “Up Against the Wall,” The Tom Robinson Band
The London band’s third and final hit was this blast of punk about the unrest and unease felt by much of British youth at the time. The genuine sound of an awakening. It may not have led to a revolution, but for these three-and-a-half minutes, you can pretend it did.
39 - “Matchstalk Men and Matchstalk Cats and Dogs,” Brian and Michael
Our second look at this gentle folk tune about an artist who painted working class Manchester. Cheesy, but hard to dislike.
38 - “Rosalie,” Thin Lizzy
The Lizz’s sixth hit was this rocker about a girl who loves music and doesn’t take shit. Great to rock out to while imagining this lady while lamenting that should she exist, she’s way out of your league
37 - “Beautiful Lover,” Brotherhood of Man
The last Top 40 for the fraternity de fromage was this disco/schlager number about an allegedly passionate affair in Brazil. The performance doesn’t convey that at all. I would describe it as “DRABBA.”
36 - “Making Up Again,” Goldie
Not to be confused with the 90s trip-hop artist, this Newcastle band was formed by Dave Black, a former guitarist with David Bowie’s Spiders From Mars. Their only hit was this pop-rock trifle about a hot and cold relationship. I expected more from Black’s pedigree than watered-down Smokie. Ziggy would not approve.
35 - “Angels with Dirty Faces,” Sham 69
The Hersham boys’ first hit was this punk track that continues on the genre’s dominant themes of youth alienation and rebellion. The spirited performance and shoutalong chorus put it in the top quarter of its class.
34 - “(Don’t Fear) The Reaper,” Blue Oyster Cult
The dark classic about the seductive power of death finally cracked the British Top Twenty two years after it was a North American Top Ten. The Reaper was persistent, and finally convinced the U.K. to become like they are. All our times do come.
33 - “She’s So Modern,” The Boomtown Rats
The Dubliners’ third hit was this speedy rocker about the young women of the day and their cunningly flirty ways. Loud, wild , inconsequential fun.
32 - “Miss You,” The Rolling Stones
The disco-rocker about Mick avoiding temptation in New York missed the Triple Crown by two places here. What’s the matter with you, Britain?
31 - “Loving You Has Made Me Bananas,” Guy Marks
Philadelphia native Mario Scarpa was a popular nightclub and television performer in the 50s and 60s, with an act incorporating music, comedy, and impressions. This 1968 single became an unlikely hit here ten years later. It’s an odd record that parodies the sort of live-from-a-hotel-ballroom broadcasts of performances by big band crooners that were staples of 30s and 40s radio. The introduction of the song is deadpanly silly, and the song itself is passionately sung nonsense about scarves, matches, and iodine. Wonderfully surreal. This is the stuff that cries out for an Uneasy Rider.
30 - “Let’s All Chant,” The Michael Zager Band
The New Jersey native’s group’s biggest hit would be just as great a parody of disco as “Loving You Has Made Me Bananas” is of jazz-pop cheese, but it seems clear that all those “ooh-ah, ooh-ah!”s and “Work your body”s were deadly serious. It was a bigger hit over here, going Top Ten, but it lingers on anywhere people are looking fondly back at the days of leisure suits and cocaine.
29 - “Never Let Her Slip Away,” Andrew Gold
Our second look at the charming love lark by the guy behind “Lonely Boy” and “Thank You for Being a Friend.” This is how you capture romantic happiness sincerely and without smarm. It’s hard to do. This should be in the syllabus of any pop songwriting course.
28 - “It Sure Brings Out the Love in Your Eyes,” David Soul
Hutch’s last hit in his future adopted homeland was this disco ballad about suspecting your lover still has a thing for her ex. The production and arrangement seem like deliberate imitations of Gibb brothers creations, particularly “If I Can’t Have You.” Unfortunately, the only Soul on this record is in the artist credit on the label.
27 - “Annie’s Song,” James Galway
Belfast-born flautist Galway has performed with symphony orchestras, interpreted songs from The Wall in Berlin with Roger Waters, and played on the scores for the Lord of the Rings films. His one big single was this instrumental cover of John Denver’s 1974 Triple Crown winner. It just sounds like the original track with Denver’s vocals subbed out for flute. It’s not an improvement. Just Muzak with a pedigree.
26 - “Pump it Up,” Elvis Costello
EC’s third hit was this slamming, danceable rock tidal wave about consuming, rapacious lust. It could be used as a fight song, a headbanger (registering a 4 on the ‘Ometer), or a noise to crawl into for a sulk. It’s his crowning achievement.
25 - “The Day the World Turned Day-Glo,” X-Ray Spex
Led by dynamic and striking frontwoman Poly Styrene, the Kent-born daughter of a Scottish mother and a Somali father, this band contributed much in their brief heyday, including the idea that a saxophone could be punk. The first of their three Top 40s was this roaring vision of society transforming into a brightly coloured synthetic nightmare. Angry, scary, and wonderful. The only sad thing this brings to mind is the fact that their greatest and most famous single, the consumerism-as-S&M howl “Oh Bondage! Up Yours!” didn’t even chart.
24 - “On a Little Street in Singapore,” The Manhattan Transfer
The jazz vocal combo’s fifth hit was this version of a 40s song about finding love in Asia. You can hear the modern production, but otherwise it’s not far removed from the objects of Guy Marks’ satirization. I like that track more and more all the time.
23 - “Automatic Lover,” Dee D. Jackson
Oxford native Deirdre Cozier had her first and biggest hit with this bit of sci-fi disco about having sex with a robot. Well, that is what it’s about. Hey, I didn’t write it. It’s like a straight-faced version of “I Lost My Heart to a Starship Trooper,” which, of course, makes it funnier.
22 - “Davy’s on the Road Again,” Manfred Mann’s Earth Band
The Earth Band’s second and last Top Ten was this cover of a song by The Band about a heartbroken drifter. A fine tune given a good go, but I anticipate even better things from the original.
21 - “Nice n’ Sleazy,” The Stranglers
The fifth hit for the Surrey punks was this lusty, synthesizer-decorated slow burner. Of the bands in this wave of the genre, these guys were the most skeevy-sounding. They had a niche, and they filled it impeccably.
In Part Two: football, French, and flying objects.
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