Twenty additional.
20 - “Soul City Walk,” Archie Bell and the Drells
The last of three British hits for these Texans was this disco-funk accompaniment to a dance that can be performed solo, but is best done in a line of people. This is nice, but it’s also sad that their classic 1968 American charttopper, “Tighten Up,” didn’t even chart here. It probably would have if someone had thought to reissue it during the height of Northern Soul.
19 - “Misty Blue,” Dorothy Moore
The Mississippian’s wonderful cover of a 60s country hit went to #3 in the States, #5 here, and #7 in Canada. 3-5-7. I call that a “Magnum.” It won’t blow your head clean off, but it packs a wallop.
18 - “You’re My Everything,” Lee Garrett
Best known for co-writing several songs with Stevie Wonder (most notably “Signed, Sealed, Delivered, I’m Yours”) Garrett managed one hit with this superior disco track about his devotion to his beloved. More proof that it was possible to adapt to the four-on-the-floor beat and maintain soul authenticity.
17 - “I Love to Boogie,” T. Rex
Bolan and co.’s last Top 40 was a glam strut featuring suggestively nonsensical lyrics. Up to the standards of their bigger hits, but their moment was over. They had enough goodwill to hang around, but they were still of a past too recent to inspire nostalgia.
16 - “The Continental,” Maureen McGovern
The Ohio singer’s U.S. #1 version of the 1972 Best Song Oscar winner “The Morning After” didn’t even chart here. What did for her, strangely enough, was a cover the very first Best Song Oscar winner, a tune sung by Ginger Rogers in her second film with Fred Astaire, 1934’s The Gay Divorcée. It’s arranged and sung in the style of that era, and even opens with the sound of a popping champagne cork. Recreations of numbers from old movie musicals were apparently another of the many strange boomlets I’ve come across while exploring British pop.
15 - “Show Me the Way,” Peter Framptonr
The feather-haired guitar star unleashes the talk box and comes alive on this Triple Top Ten about searching for direction, and possibly, in the last verse, wanting to have sex with someone while their asleep. Don’t do that last one, Pete, or you may be shown the way to your cell.
14 - “A Little Bit More,” Dr, Hook
More possible rapeyness from the New Jerseyites, as they promise/threaten to continue to “love” someone even after “your body’s had enough of me.” Consent clearly wasn’t a common consideration in the 70s.
13 - “Jolene,” Dolly Parton
Country’s impact over here continues with the Tennessee songbird’s urgent plea to a local beauty not to steal her man. If you keep in mind that the woman singing this song has certain, er, assets that might give her a fighting chance to prevent spouse-theft, it’s an even more impressive bit of musical character work. Certainly her defining moment.
12 - “Forever and Ever/My Friend the Wind,” Demis Roussos
These were the two lead tracks on The Roussos Phemomenon, which would become the only EP to top the singles charts during the 70s. The first is easy listening love cheese. The second is more, but it has synthesizers and mentions regions of his native Greece. Both feature his otherworldly high voice, which just repels me. He can sing, but not in a way I want to hear.
11 - “Kiss and Say Goodbye,” The Manhattans
One of the greatest breakup songs ever. The Americans should be proud that they were the only ones among us to give it a #1. They deserved it, even if they practiced false advertising by being from Jersey City. That’s not even a borough.
10 - “Silly Love Songs,” Wings
Paul’s response to critics who felt his songs were too sappy was denied the Triple Crown by one place at home. I’m disappointed. This is catchy and sharp, and those factory noises at the beginning were a deft satirical touch. What’s wrong with this? Nothing.
9 - “Combine Harvester,” The Wurzels
The “Scrumpy and Western” creators from the rural West Country went to #1 with this comical plea to a woman to combine their lands and lives, set to the tune of Melanie’s “Brand New Key.” Entertaining whimsy.
8 - “The Boys are Back in Town,” Thin Lizzy
The Lizz’s signature tune, a gritty guitar shuffle about drinking and lusting and fighting which was eventually appropriated by the Toy Story film franchise. That hasn’t dulled its illicit thrills or its standing as one of the great guitar records of all time.
7 - “Leader of the Pack,” The Shangri-Las
After stalling at #11 here after it was banned by the BBC during its original 1964 run, the New York girl group’s tragedy about the death of a biker boyfriend reached the Top Ten twice in the 70s, in 1972 and now. It would not, and could not, be denied. One of pop’s greatest mini-operas.
6 - “Heart on My Sleeve,” Gallagher and Lyle
Scots’ Benny Gallagher and Graham Lyle first found success in the band McGuinness Flint before going out on their own and picking up two Top Tens this year, the first being this soft-rocker about being emotionally open. The musical restraint contradicts the lyrical content. Mediocre mush.
5 - “Tonight’s the Night,” Rod Stewart
Rodney’s seduction ballad was held this high here, blocking the Triple Crown. It’s not quite rapey, but I would call it “sweatily squicky.” It may very well be all right, but there’s a chance that in one way or another, it won’t.
4 - “Let’s Stick Together,” Bryan Ferry
Ferry’s biggest solo hit was this cover of Wilbert Harrison’s 1962 number about trying to keep a marriage intact. Interestingly, it’s the same tune as Harrison’s more frequently covered “Let’s Work Together, but with different lyrics. Ferry does his usual very good impression of a soul singer, and even though we know he’s more champagne bucket than gut bucket, it’s a worthy track.
3 - “Young Hearts Run Free,” Candi Staton
The Alabama native’s biggest hit was this disco plea to youth to explore the possibilities of life instead of boxing yourself in early on. One of the genre’s great early anthems, helped along by Staton’s Gladys Knight-adjacent voice.
2 - “You Just Might See Me Cry,” Our Kid
These Liverpool teens were discovered on the TV show New Faces, then scored a #2 with this chirpy, disposable pop love song. Then they disappeared from the scene. They’re like the anti-Hanson. In an mmmbop they were gone.
1 - “You to Me are Everything,” The Real Thing
The Scouse soulsters’ only charttopper was this respectable love jam in the Barry White mold. They come off as credible practitioners of the genre, not wannabes following a playbook. Apparently, flamboyant ukulelean Tiny Tim once covered this. I’m not sure I want to look that up.
We’re staying in Britain a little longer. Meet you there.
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