More from the year of the Montreal Olympics.
20 - "More, More, More," The Andrea True Connection
19 - "I'm Easy," Keith Carradine
18 - "Let Her In," John Travolta
17 - "This Masquerade," George Benson
16 - "You're My Best Friend," Queen
We begin the second half with Andrea True, who had made a name for herself in New York's adult film industry when she was hired by a Jamaican real estate firm to do a TV commercial. While there, there was attempt to overthrow the government, and True feared she would be unable to leave the island with the money she had made there. So she called a record producer friend of hers to help her write and record a song, which she would finance with her earnings. The result is this disco perennial, which I'm sure soundtracked many a coke-fuelled orgy back then. How do I like it? How do I like it? I like it fine, thanks.
Then it's actor Keith Carradine with the song he wrote for his character to perform in the movie Nashville. Given the number of lovers his character seemed to have in that movie, it's an appropriate title. And a good song, too.
Next is John Travolta, who was a year into playing Vinnie Barbarino on Welcome Back, Kotter when he released this high-voiced, overwrought ballad. It went Top Ten, so good for him, but I'll take "Don't Give Up On Us, Baby" over this.
Jazz guitarist George Benson scored his first hit with this breezy version of a Leon Russell song about a relationship in which the parties are just going through the motions. As easygoing as this sounds, I don't think you can say that about Benson's effort here.
Finishing this set off are Queen with their third American hit, a song bassist John Deacon wrote for his wife. "You make me live," he says of her. Simple, but powerful. It gives soft rock a good name.
15 - "Tear the Roof Off The Sucker," Parliament
14 - "Turn the Beat Around," Vickie Sue Robinson
13 - "You'll Never Find Another Love Like Mine," Lou Rawls
12 - "If You Know What I Mean," Neil Diamond
11 - "You Should Be Dancing," The Bee Gees
This section begins with one of George Clinton's two major groups and their insistent demands for some unknown entity to "give up the funk." It sounded like Parliament had plenty of funk of their own, but still, I wouldn't have denied them.
Then it's Vickie Sue Robinson with her only major hit, a disco smash in which she declares her love for multiple instruments, but makes it clear that what she desires to hear above all is "percussion." Yeah, drummers are pretty cool.
Lou Rawls was a veteran, journeyman singer when he hooked up with Philly Soul producers Kenny Gamble and Leon Huff for this silky strut made even smoother by Lou's velvet pipes. It was by far his biggest hit, reaching #2, and it made sure I'd remember him for more than just the songs he sang in those Garfield specials.
Then it's Neil Diamond with a single off of his Beautiful Noise album, which was produced by The Band's Robbie Robertson. So if you've ever wondered how Neil ended up in The Last Waltz, this is why. The song itself is nothing special as far as I'm concerned, just a mellow reminiscence of times past. But Neil sings it well.
Lastly it's the Bee Gees. Their move to a more disco-oriented sound had already been announced the year before with "Jive Talkin'," but after this propulsive number that practically orders the listener onto the club floor, their was clearly no turning back. Nor, as it turned out, should there have been.
Unlike the college football conference, this Big Ten is actually a Big...Ten.
10 - "Let 'Em In," Wings
This is kind of a silly song, in which Paul asks someone to let in the people who are knocking at his door, which include several of his relatives, the Everly Brothers, and for some reason, Martin Luther. But I don't know, maybe it was the drums, or maybe it was the simplicity of the lyric, but as a kid, I thought this was just the greatest. And I still love it.
9 - "I'll Be Good to You," The Brothers Johnson
George and Louis had their first and biggest hit with this bouncy promise to treat you right. I'm sure this didn't get played much in Canada, because if it had, I know I'd remember it from back then. And I don't.
8 - "Rock and Roll Music," The Beach Boys
This sprightly but safe Chuck Berry cover was the band's first Top Ten single since "Good Vibrations" ten years earlier. It was the first version I'd heard of this song, but it hasn't held on to its sentimental value for me. Oh, and if you're wondering, yes, Brian Wilson did stop playing in the sandbox or whatever he was doing at this time to play keyboards on this record.
7 - "Got to Get You Into My Life," The Beatles
This horn-laden, soul-influenced number originally appeared on the Revolver album in 1966, but wasn't released as a single until a decade later when it was included on a compilation called Rock n' Roll Music. The A-side of this single was originally intended to be "Helter Skelter," but when the label learned that a TV-movie based on the book of that same name about the Manson murders was scheduled to come out around this same time, they flipped the order. A wise choice, whatever the reasoning.
6 - "Get Closer," Seals and Crofts
I really have nothing to say. These guys are boring as fuck, and one of the best things about my switching over to the 80s is not having to think about these guys ever again.
5 - "Don't Go Breaking My Heart," Elton John and Kiki Dee
Sir Elton and his Rocket records signing Dee, whose only other American hit was 1974's "I've Got the Music in Me," went to #1 on both sides of the Atlantic with this duet that was modeled off of Marvin Gaye's duets with Tammi Terrell. By any standard, a terrific piece of pop.
4 - "Afternoon Delight," The Starland Vocal Band
Just in time, I get to cover this terrible, terrible piece of music. I mean, what the hell is this? It's supposed to be a celebration of hot sex in the middle of the day, and yet everything about this song, from the colorless vocals to the blander-than-bland arrangement, sounds more like a decaffeinated coffee commercial jingle than a song to bone by. I can just imagine that when Barry White heard this song and realized that it was meant to serve the same purpose as his music, he turned away, shook his head, and mumbled something about not understanding white people. And I wouldn't have blamed him.
3 - "Moonlight Feels Right," Starbuck
The biggest by far of this Atlanta band's two Top 40 hits, this is another easy listening sex jam, but compared to "Afternoon Delight," it's frickin' "Bolero." Plus, it's hard to muster too much hate for a song with a marimba solo.
2 - "Love is Alive," Gary Wright
This, the second of two #2 1976 singles from this New Jersey rocker, isn't nearly as well-remembered as "Dream Weaver." But that doesn't take away from this solid midtempo ballad. What does is his lack of enunciaton on the verses. He sings the choruses clearly enough, but on the rest of the song, he's almost as hard to understand as the guy from the Kingsmen on "Louie Louie." Still, pretty good, and I'm sure it too inspired a significant amount of van intercourse.
And 35 years ago, all other pop songs bowed to...
1 - "Kiss and Say Goodbye," The Manhattans
New Jersey is represented at the top of this week's list as well, in the form of this soul vocal group who scored their second Top 40 and first Number One after a dozen years of recording. It covers a lot of the 70s soul ballad bases: it's both a breakup song and an adultery song, plus it's got a deep-voiced spoken word opening which is followed by much-higher singing. But it doesn't sound at all contrived. Just smooth and good.
There were two NotCaseys: "Still the One" by Orleans and "(Don't Fear) the Reaper" by Blue Oyster Cult. Plus, there was an original Casey extra from my old buddies 3DN, "One."
Just a couple more excursions into my birth decade to go, folks. Return in six days to see where the Wayback Machine dial spins.
Monday, August 1, 2011
Saturday, July 30, 2011
July 31, 1976 Part One
As I wind down the 70s era of this endeavour, we take one last look at 1976. I was a month away from kindergarten, and Jimmy Carter was three months away from his own life-changing event. And this was the soundtrack:
40 - "Summer," War
39 - "A Little Bit More," Dr. Hook
38 - "C'mon Marianne," Donny Osmond
37 - "Shake Your Booty," KC and the Sunshine Band
36 - "Steppin' Out," Neil Sedaka
35 - "Who'd She Coo," The Ohio Players
34 - "Play That Funky Music," Wild Cherry
33 - "Another Rainy Day in New York City," Chicago
32 - "Take the Money and Run," The Steve Miller Band
31 - "Heaven Must be Missing an Angel," Tavares
We begin with pop-rock. War are in a mellower mood than usual on this leisurely, evocative jam that would qualify as a timeless anthem of the warmest of the seasons were it not for its references to 8-track tapes and CB radio. Wild Cherry came out of Steubenville, Ohio and gifted the world this one everlasting hit about a Caucasian learning the ways of the funk. And Steve Miller and his band scored their first hit since "The Joker" with the tale of lovers Billy Joe and Bobbie Sue, who, having "nothing better to do," decide to rob a rich man in El Paso, Texas, and wind up wanted fugitives. So that's what people did before the Internet.
The middle of the road never fails to be catered to. Dr. Hook entered the "Seals and Crofts wannabes" phase of their career with a promise to keep loving a woman even after "your body's had enough of me." Sounds creepy. Donny Osmond scraped into the Top 40 for the last time this decade as a solo artist with a cover of a 1967 Four Seasons hit. You wouldn't guess from its retro sound that this was a single from an album called Disco Train. Neil Sedaka ended his run of mid-70s hits with this piano boogie in which he offers his services to a young lady married to a rich old man who wants to "get a little action on the side." Neil Sedaka, gigolo. I don't see it. And Chicago are here with a deceptively chipper song about Big Apple precipitation. Radio wasn't too big on this song, but they did find another cut on the same album they felt was more commercial, so they played that instead. And that is how the world was cursed with "If You Leave Me Now."
The rest of this section falls into the disco/funk category. Harry Casey's Vitamin D-rich outfit are here with their famed celebration of wiggling one's butt. Unfortunately, Marge cut Homer off with news of Lisa's addiction to the Corey Hotline before he could demonstrate. The Ohio Players don't have much to say on their outing here; they just want you to do the "hoochie koo." I question why they had to spell it differently in the title. It just seems like cleverness for cleverness' sake. But it brings the funk, so all is forgiven. And Tavares turned one of the cheesiest pickup lines ever into a decent disco single. An accomplishment, I suppose.
30 - "Say You Love Me," Fleetwood Mac
29 - "Something He Can Feel," Aretha Franklin
28 - "I'd Really Love to See You Tonight," England Dan and John Ford Coley
27 - "The Boys are Back in Town," Thin Lizzy
26 - "Sophisticated Lady," Natalie Cole
25 - "I Need to Be in Love," The Carpenters
24 - "Young Hearts Run Free," Candi Staton
23 - "A Fifth of Beethoven," Walter Murphy
22 - "Last Child," Aerosmith
21 - "Baby, I Love Your Way," Peter Frampton
Rock kicks us off again. Fleetwood Mac are here with a Christine McVie-written song about being repeatedly seduced by a smooth-talking Lothario. Judging from her contributions to their catalogue, she seems to have been the most sex-obsessed member of the group. Ireland's Thin Lizzy had their only American hit with this familiar rocker about the titular males who bring action and excitement whenever they come into a certain municipality. Yes, I've heard it a lot, but the guitars never fail to move me. Aerosmith are here with a swampy boogie whose lyrics I don't quite understand, but Steven Tyler does refer to a woman as both "my sweet sassafrassy" and "my hot tail poon tang sweetheart," so all is right with the world. And Peter Frampton appears with the sweet, talk-box-free ballad that I'm sure was responsible for a large percentage of Frampton Comes Alive's monster sales. I imagine there was as much love made to it in the backs of vans back then as their was to "Dream Weaver." But I'll bet the "Dream Weaver" sex was better, on average.
We have three R&B ladies here. Aretha is here with her final 70s hit, a Curtis Mayfield-written sex ballad from the film Sparkle, which featured among its cast both Irene Cara of Fame fame and Phillip Michael "Tubbs" Thomas. Natalie Cole is here again, and for once, she's out of ballad territory, instead bringing us a funk strut about a "hip, slick sister." Definitely a welcome change of pace. And Candi Staton, whose first pop hit was a 1970 cover of Tammy Wynette's "Stand by Your Man," scored her second and last with this disco tune advising youth to explore the possiblities of life while they can. Definitely a top-flight example of the genre.
Easy listening is eternal. Dan Seals, brother of Crofts' buddy Jim, decided that he should form his own boring-ass pop duo, so he hooked up with schoolmate John Ford Coley. It took them awhile, but they finally broke through with this #2 about wanting to get together with an old female friend. Out of the whole Seals family oeuvre, this is clearly the best song. But that doesn't say much. And the Carpenters were losing commercial steam at this point, but Karen was still bringing the golden pipes on this song about keeping hope amid heartbreak. Her natural habitat.
I'll close with Walter Murphy's disco take on the old Ludwig Van. I covered it pretty well in our first '76 visit, but where it was beaten out by "Disco Duck" for the Uneasy Rider on that occasion, this time their are no dancing mallards to be found, and it wins. Congrats, Walter.
Tomorrow: Disco meets porn, a battle of the "Bea" bands, and the least sexy sex song ever.
40 - "Summer," War
39 - "A Little Bit More," Dr. Hook
38 - "C'mon Marianne," Donny Osmond
37 - "Shake Your Booty," KC and the Sunshine Band
36 - "Steppin' Out," Neil Sedaka
35 - "Who'd She Coo," The Ohio Players
34 - "Play That Funky Music," Wild Cherry
33 - "Another Rainy Day in New York City," Chicago
32 - "Take the Money and Run," The Steve Miller Band
31 - "Heaven Must be Missing an Angel," Tavares
We begin with pop-rock. War are in a mellower mood than usual on this leisurely, evocative jam that would qualify as a timeless anthem of the warmest of the seasons were it not for its references to 8-track tapes and CB radio. Wild Cherry came out of Steubenville, Ohio and gifted the world this one everlasting hit about a Caucasian learning the ways of the funk. And Steve Miller and his band scored their first hit since "The Joker" with the tale of lovers Billy Joe and Bobbie Sue, who, having "nothing better to do," decide to rob a rich man in El Paso, Texas, and wind up wanted fugitives. So that's what people did before the Internet.
The middle of the road never fails to be catered to. Dr. Hook entered the "Seals and Crofts wannabes" phase of their career with a promise to keep loving a woman even after "your body's had enough of me." Sounds creepy. Donny Osmond scraped into the Top 40 for the last time this decade as a solo artist with a cover of a 1967 Four Seasons hit. You wouldn't guess from its retro sound that this was a single from an album called Disco Train. Neil Sedaka ended his run of mid-70s hits with this piano boogie in which he offers his services to a young lady married to a rich old man who wants to "get a little action on the side." Neil Sedaka, gigolo. I don't see it. And Chicago are here with a deceptively chipper song about Big Apple precipitation. Radio wasn't too big on this song, but they did find another cut on the same album they felt was more commercial, so they played that instead. And that is how the world was cursed with "If You Leave Me Now."
The rest of this section falls into the disco/funk category. Harry Casey's Vitamin D-rich outfit are here with their famed celebration of wiggling one's butt. Unfortunately, Marge cut Homer off with news of Lisa's addiction to the Corey Hotline before he could demonstrate. The Ohio Players don't have much to say on their outing here; they just want you to do the "hoochie koo." I question why they had to spell it differently in the title. It just seems like cleverness for cleverness' sake. But it brings the funk, so all is forgiven. And Tavares turned one of the cheesiest pickup lines ever into a decent disco single. An accomplishment, I suppose.
30 - "Say You Love Me," Fleetwood Mac
29 - "Something He Can Feel," Aretha Franklin
28 - "I'd Really Love to See You Tonight," England Dan and John Ford Coley
27 - "The Boys are Back in Town," Thin Lizzy
26 - "Sophisticated Lady," Natalie Cole
25 - "I Need to Be in Love," The Carpenters
24 - "Young Hearts Run Free," Candi Staton
23 - "A Fifth of Beethoven," Walter Murphy
22 - "Last Child," Aerosmith
21 - "Baby, I Love Your Way," Peter Frampton
Rock kicks us off again. Fleetwood Mac are here with a Christine McVie-written song about being repeatedly seduced by a smooth-talking Lothario. Judging from her contributions to their catalogue, she seems to have been the most sex-obsessed member of the group. Ireland's Thin Lizzy had their only American hit with this familiar rocker about the titular males who bring action and excitement whenever they come into a certain municipality. Yes, I've heard it a lot, but the guitars never fail to move me. Aerosmith are here with a swampy boogie whose lyrics I don't quite understand, but Steven Tyler does refer to a woman as both "my sweet sassafrassy" and "my hot tail poon tang sweetheart," so all is right with the world. And Peter Frampton appears with the sweet, talk-box-free ballad that I'm sure was responsible for a large percentage of Frampton Comes Alive's monster sales. I imagine there was as much love made to it in the backs of vans back then as their was to "Dream Weaver." But I'll bet the "Dream Weaver" sex was better, on average.
We have three R&B ladies here. Aretha is here with her final 70s hit, a Curtis Mayfield-written sex ballad from the film Sparkle, which featured among its cast both Irene Cara of Fame fame and Phillip Michael "Tubbs" Thomas. Natalie Cole is here again, and for once, she's out of ballad territory, instead bringing us a funk strut about a "hip, slick sister." Definitely a welcome change of pace. And Candi Staton, whose first pop hit was a 1970 cover of Tammy Wynette's "Stand by Your Man," scored her second and last with this disco tune advising youth to explore the possiblities of life while they can. Definitely a top-flight example of the genre.
Easy listening is eternal. Dan Seals, brother of Crofts' buddy Jim, decided that he should form his own boring-ass pop duo, so he hooked up with schoolmate John Ford Coley. It took them awhile, but they finally broke through with this #2 about wanting to get together with an old female friend. Out of the whole Seals family oeuvre, this is clearly the best song. But that doesn't say much. And the Carpenters were losing commercial steam at this point, but Karen was still bringing the golden pipes on this song about keeping hope amid heartbreak. Her natural habitat.
I'll close with Walter Murphy's disco take on the old Ludwig Van. I covered it pretty well in our first '76 visit, but where it was beaten out by "Disco Duck" for the Uneasy Rider on that occasion, this time their are no dancing mallards to be found, and it wins. Congrats, Walter.
Tomorrow: Disco meets porn, a battle of the "Bea" bands, and the least sexy sex song ever.
Monday, July 25, 2011
July 21, 1973 Part Two
The rest of the musical story of a week 38 years ago.
20 - "The Morning After," Maureen McGovern
19 - "Feelin' Stronger Every Day," Chicago
18 - "So Very Hard to Go," Tower of Power
17 - "Touch Me in the Morning," Diana Ross
16 - "Monster Mash," Bobby "Boris" Pickett and the Crypt Kickers
The second half begins with Maureen McGovern's hit version of the theme from The Poseidon Adventure For a brief period afterward, she became the go-to vocalist for love songs from disaster movies. An interesting specialty, to say the least.
Then it's the bandsonification (yeah, I made that word up) of the Windy City with a song about how love makes one feel more vital and capable. I still think the ending is the best part, though. I could listen to that on a loop for hours.
The first time I came across this Tower of Power song, I don't think I gave it a fair hearing, obsessed as I was to connecting it to onetime member and steroid kingpin Victor Conte. This time I paid more attention, and I was rewarded with a very good R&B number about stepping aside for the good of someone you love. Fuck you, BALCO.
Next we have Diana, singing big and bold about an affair doomed to end. Again, I think I dismissed this before, but now I'm ready to declare it a top-of-the-line diva exercise. Which I'm sure was the objective.
Rounding out this bunch is Robert George Pickett's re-release of his 1962 #1 about a mad scientist whose creation doesn't terrorize the countryside, but rather entertains the monster community with his brand new dance craze. Even Dracula approves, in spite of his initial accusations of the whole thing being a ripoff of his Transylvania Twist. The idea of combining golden age horror with teenybopper rock is distinctive enough, but the fact that this reissue came in summer instead of Halloween cements Bobby "Boris'" receipt of this week's Uneasy Rider Award.
15 - "Behind Closed Doors," Charlie Rich
14 - "Money," Pink Floyd
13 - "Right Place Wrong Time," Dr, John
12 - "Long Train Running," The Doobie Brothers
11 - "Diamond Girl," Seals and Crofts
This last pre-Top 10 group begins with country's Silver Fox and his sultry ode to the things he and his lady do when no one's looking. And you know what that is, don't you? I sure do. At least I think so. But I'm too embarrassed to ask.
Then it's Pink Floyd, the prog-rock superstars who didn't get on AM radio too often in the decade, but did score one hit single with this celebration/denouncement of the pursuit of legal tender. Using a cash register as a percussion instrument was particularly inspired.
Next is New Orleans boogie pianist Mac Rebennack and his biggest hit, a song about habitually acting inappropriately for the situation. I didn't hear this song for the first time until well into adulthood. I mainly knew his voice from commercials. It was the same with Leon Redbone.
Then the pre-Michael McDonald Doobies show up with a blues rock locomotive that was originally called "Rosie Pig Moseley." Cool. It asks the question "Without love, where would you be now?" I shudder to think.
Finally we have Seals and Crofts, comparing a woman to a "precious stone." Maybe they did that in the hope of avoiding having to buy her one. I have a feeling those guys are cheap like that. No reason, just a hunch.
Way back when, these were The Ten:
10 - "Natural High," Bloodstone
This Kansas City vocal group had their biggest hit with this ballad about how a woman's love makes them want to "take to the sky." So if I've got this straight, instead of this being about drug-free intoxication, it's about joining the Mile High Club without a plane. Interesting.
9 - "Playground in my Mind," Clint Holmes
The return of the Buffalo-born singer's jaunty hit about flashing back to childhood. Instantly dated. And Casey, I love ya, but I didn't need to hear you try and sing the chorus. Just play 'em.
8 - "Boogie Woogie Bugle Boy," Bette Midler
This song about a jazz musician whose talents come in handy when he's drafted into the army was originally popularized by the Andrews Sisters in an Abbot and Costello movie. Three decades later, a young singer who first gained attention performing in a gay bathhouse in New York City would score her first Top Ten hit with her own version. She went on to a long and successful career, as did the man who accompanied her on piano in that bathhouse, Barry Manilow.
7 - "Smoke on the Water," Deep Purple
The biggest hit for these British hard rockers, with a riff that will not be forgotten as long as people learn electric guitar. But in spite of Homer Simpson's insistence, the line after the one about the gambling house burning down isn't "I am hungry for a candy bar, I think I'll eat a Mounds."
6 - "Give Me Love (Give Me Peace on Earth)," George Harrison
The quiet Beatle's second American charttopper. Like the one that preceded it, "My Sweet Lord," it's a prayer of sorts. It's just as good, with the added bonus of not having any copyright lawsuits attached to it.
5 - "Kodachrome," Paul Simon
Rhymin' Simon is here with my favorite of his, a song connecting his good and bad memories of youth to the camera he used to capture them. And in spite of his having new experiences and a state-of-the-art Nikon to shoot them with, he still desperately wants to hang on to his old Kodachrome. Another Top 20 of the decade contender.
4 - "Shambala," Three Dog Night
You know what? I might actually like this better than "Joy to the World." That's a fun song, but I think you have to be in a certain mood to really want to hear it, whereas "Shambala" seems like it would sound just as good anytime. Either way, this is prime 3DN.
3 - "Yesterday Once More," The Carpenters
I've enjoyed hearing so much Karen and Richard all these weeks, and here we are with the first one of theirs I covered, their tribute to the memories and emotions songs from the past can evoke. Nothing to say but "shoo-bee-doo-lang-lang."
2 - "Will it Go Round in Circles," Billy Preston
I'm determined not to use the nickname I always use when writing about one of Billy's songs as I cover this #1 about melody-free songs, stepless dances, and stories in which the bad guy wins. I'm just going to say that this is top-drawer early 70s funk, and that he had a truly magnificent Afro back in the day. Oh, and did you know he is sometimes referred to as "the fifth Beatle?" Dammit!
And ruling the charts on this occasion was...
1 - "Bad, Bad Leroy Brown," Jim Croce
The biggest hit Croce was around to see, this tale of a man considered to be the toughest and smoothest in Chicago until the day a guy beat the shit out of him for hitting on his wife is a worthy heir to earlier chronicles of suave, violent men like "Stagger Lee" and "Mack the Knife." But I know I had no idea what was going on when I heard it as a child. I just thought those references to King Kong and junkyard dogs were pretty neat.
The NotCaseys this week were "Delta Dawn" by Helen Reddy, "Let's Get it On," by Marvin Gaye, and "Tequila Sunrise" by the Eagles.
The sands in our 70s hourglass are running low, but there's still a few more in there, and we'll watch them flow downward again next week.
20 - "The Morning After," Maureen McGovern
19 - "Feelin' Stronger Every Day," Chicago
18 - "So Very Hard to Go," Tower of Power
17 - "Touch Me in the Morning," Diana Ross
16 - "Monster Mash," Bobby "Boris" Pickett and the Crypt Kickers
The second half begins with Maureen McGovern's hit version of the theme from The Poseidon Adventure For a brief period afterward, she became the go-to vocalist for love songs from disaster movies. An interesting specialty, to say the least.
Then it's the bandsonification (yeah, I made that word up) of the Windy City with a song about how love makes one feel more vital and capable. I still think the ending is the best part, though. I could listen to that on a loop for hours.
The first time I came across this Tower of Power song, I don't think I gave it a fair hearing, obsessed as I was to connecting it to onetime member and steroid kingpin Victor Conte. This time I paid more attention, and I was rewarded with a very good R&B number about stepping aside for the good of someone you love. Fuck you, BALCO.
Next we have Diana, singing big and bold about an affair doomed to end. Again, I think I dismissed this before, but now I'm ready to declare it a top-of-the-line diva exercise. Which I'm sure was the objective.
Rounding out this bunch is Robert George Pickett's re-release of his 1962 #1 about a mad scientist whose creation doesn't terrorize the countryside, but rather entertains the monster community with his brand new dance craze. Even Dracula approves, in spite of his initial accusations of the whole thing being a ripoff of his Transylvania Twist. The idea of combining golden age horror with teenybopper rock is distinctive enough, but the fact that this reissue came in summer instead of Halloween cements Bobby "Boris'" receipt of this week's Uneasy Rider Award.
15 - "Behind Closed Doors," Charlie Rich
14 - "Money," Pink Floyd
13 - "Right Place Wrong Time," Dr, John
12 - "Long Train Running," The Doobie Brothers
11 - "Diamond Girl," Seals and Crofts
This last pre-Top 10 group begins with country's Silver Fox and his sultry ode to the things he and his lady do when no one's looking. And you know what that is, don't you? I sure do. At least I think so. But I'm too embarrassed to ask.
Then it's Pink Floyd, the prog-rock superstars who didn't get on AM radio too often in the decade, but did score one hit single with this celebration/denouncement of the pursuit of legal tender. Using a cash register as a percussion instrument was particularly inspired.
Next is New Orleans boogie pianist Mac Rebennack and his biggest hit, a song about habitually acting inappropriately for the situation. I didn't hear this song for the first time until well into adulthood. I mainly knew his voice from commercials. It was the same with Leon Redbone.
Then the pre-Michael McDonald Doobies show up with a blues rock locomotive that was originally called "Rosie Pig Moseley." Cool. It asks the question "Without love, where would you be now?" I shudder to think.
Finally we have Seals and Crofts, comparing a woman to a "precious stone." Maybe they did that in the hope of avoiding having to buy her one. I have a feeling those guys are cheap like that. No reason, just a hunch.
Way back when, these were The Ten:
10 - "Natural High," Bloodstone
This Kansas City vocal group had their biggest hit with this ballad about how a woman's love makes them want to "take to the sky." So if I've got this straight, instead of this being about drug-free intoxication, it's about joining the Mile High Club without a plane. Interesting.
9 - "Playground in my Mind," Clint Holmes
The return of the Buffalo-born singer's jaunty hit about flashing back to childhood. Instantly dated. And Casey, I love ya, but I didn't need to hear you try and sing the chorus. Just play 'em.
8 - "Boogie Woogie Bugle Boy," Bette Midler
This song about a jazz musician whose talents come in handy when he's drafted into the army was originally popularized by the Andrews Sisters in an Abbot and Costello movie. Three decades later, a young singer who first gained attention performing in a gay bathhouse in New York City would score her first Top Ten hit with her own version. She went on to a long and successful career, as did the man who accompanied her on piano in that bathhouse, Barry Manilow.
7 - "Smoke on the Water," Deep Purple
The biggest hit for these British hard rockers, with a riff that will not be forgotten as long as people learn electric guitar. But in spite of Homer Simpson's insistence, the line after the one about the gambling house burning down isn't "I am hungry for a candy bar, I think I'll eat a Mounds."
6 - "Give Me Love (Give Me Peace on Earth)," George Harrison
The quiet Beatle's second American charttopper. Like the one that preceded it, "My Sweet Lord," it's a prayer of sorts. It's just as good, with the added bonus of not having any copyright lawsuits attached to it.
5 - "Kodachrome," Paul Simon
Rhymin' Simon is here with my favorite of his, a song connecting his good and bad memories of youth to the camera he used to capture them. And in spite of his having new experiences and a state-of-the-art Nikon to shoot them with, he still desperately wants to hang on to his old Kodachrome. Another Top 20 of the decade contender.
4 - "Shambala," Three Dog Night
You know what? I might actually like this better than "Joy to the World." That's a fun song, but I think you have to be in a certain mood to really want to hear it, whereas "Shambala" seems like it would sound just as good anytime. Either way, this is prime 3DN.
3 - "Yesterday Once More," The Carpenters
I've enjoyed hearing so much Karen and Richard all these weeks, and here we are with the first one of theirs I covered, their tribute to the memories and emotions songs from the past can evoke. Nothing to say but "shoo-bee-doo-lang-lang."
2 - "Will it Go Round in Circles," Billy Preston
I'm determined not to use the nickname I always use when writing about one of Billy's songs as I cover this #1 about melody-free songs, stepless dances, and stories in which the bad guy wins. I'm just going to say that this is top-drawer early 70s funk, and that he had a truly magnificent Afro back in the day. Oh, and did you know he is sometimes referred to as "the fifth Beatle?" Dammit!
And ruling the charts on this occasion was...
1 - "Bad, Bad Leroy Brown," Jim Croce
The biggest hit Croce was around to see, this tale of a man considered to be the toughest and smoothest in Chicago until the day a guy beat the shit out of him for hitting on his wife is a worthy heir to earlier chronicles of suave, violent men like "Stagger Lee" and "Mack the Knife." But I know I had no idea what was going on when I heard it as a child. I just thought those references to King Kong and junkyard dogs were pretty neat.
The NotCaseys this week were "Delta Dawn" by Helen Reddy, "Let's Get it On," by Marvin Gaye, and "Tequila Sunrise" by the Eagles.
The sands in our 70s hourglass are running low, but there's still a few more in there, and we'll watch them flow downward again next week.
Sunday, July 24, 2011
July 21, 1973 Part One
Possibly our last trip to the first year I covered here. Ah, memories...
40 - "Frankenstein," The Edgar Winter Group
39 - "Daddy Could Swear, I Declare," Gladys Knight and the Pips
38 - "Angel," Aretha Franklin
37 - "Soul Makossa," Manu Dibango
36 - "I'll Always Love My Mama," The Intruders
35 - "How Can I Tell Her," Lobo
34 - "I'm Gonna Love You Just A Little More Baby," Barry White
33 - "Here I Am (Come and Take Me)," Al Green
32 - "One of a Kind (Love Affair)," The Spinners
31 - "Where Peaceful Waters Flow," Gladys Knight and the Pips
A bucketload of soul/funk/R&B in this group, so let's start with the two songs that don't fall into that category. Edgar Winter and band are back from May with the last gasp of their iconic monster-inspired instrumental. The sax part is underrated.
And Lobo is here again, trying to go all sensitive-guy to cover up the fact that he's a cheating dog. And not one named Boo, either.
We'll divide the R&B into group and solo categories. Gladys K. and her reinforcements are here twice. First, they come with a funky reminiscence of a father who was as loving and caring as you'd want a dad to be, but when angered, was capable of language that could peel the paint of the walls. Then they go into gospel mode on a song in which Gladys promises that when you're down and lonely, she will take you by the hand to a quiet place and "teach you how to smile." That may sound suggestive out of context, but it's just pure beautiful friendship. Lovely. Philly soul footnotes The Intruders reveal themselves to be big ol' mother lovers on a song in which they declare their undying devotion for the woman who "used to clean somebody else's house just to buy me a new pair of shoes." This was a big week for parental appreciation, apparently. And The Spinners are here with a typically smooth jam about the delights of romance. But there are some people who thought they heard lead singer Philippe Wynne sing "you just gotta fuck her," near the end. That's not smooth at all. Hearing the allegedly offending line, I must say, I can't make out what is being said, but I know in my soul that The Spinners would not Trojan horse vulgarity into one of their records. They're not the kind.
Closing this part out are the singletons. Aretha opens her entry here with a spoken word intro about her sister Carolyn calling her over to talk and telling her how badly she needs someone to love. Seems a little odd to be sharing a sister's romantic confessions, but since Carolyn co-wrote the song, I guess it's okay. Cameroonian saxophonist Manu Dibango's example of the African dance genre "makossa" was discovered by prominent New York tastemakers, made its way to radio stations across the U.S.A., and is now regarded by many as one of the first disco hits. Fantastic. Barry White is here with his first hit, which introduced his smooth baritone and loverman rap to a receptive world. Like that kinda gothic opening. And Al Green returns with the song that prompted me to confess my ignorance of his oeuvre all those months ago. Have I learned as much about his work as I'd intended to since then. I can't say that I have. But I know more than I did. And I know he's an absolutely deserving legend.
30 - "Uneasy Rider," Charlie Daniels
29 - "Live and Let Die," Wings
28 - "Satin Sheets," Jeanne Pruett
27 - "If You Want Me to Stay," Sly and the Family Stone
26 - "I Believe in You (You Believe in Me)," Johnnie Taylor
25 - "Doin' it to Death," Fred Wesley and the J.B.s
24 - "Brother Louie," Stories
23 - "Misdemeanor," Foster Sylvers
22 - "Get Down," Gilbert O'Sullivan
21 - "My Love," Paul McCartney and Wings
We start with country. Charlie Daniels is here with the tale of a hippie's run-in with rednecks was on the first BGC chart, and it lives on in the weekly award for the song that most sticks out like a sore thumb on the chart. But no, it doesn't win this week. And Jeanne Pruett had by far her biggest hit with an old-school lament about a woman married to a man who gives her everything who longs to give it all up for the guy she really loves. I used to roll my eyes at songs that sounded like this, but I've grown to appreciate ones that are done really well. And this is one.
Then we rock. Wings are in this section twice, but only once with their leader getting featured billing. First they contribute one of the great Bond themes, with music and lyrics that evoke the proper amounts of action and intrigue. Then they're in ballad mode with a super sincere declaration of love for a woman. Could have been sappy, but it works fine. And "Brother Louie," you'll recall, was Number One that very first week, and I'm happy to say that this time, Casey played the unedited version of the tale of interracial romance. Good song, but still not convinced it's of #1 caliber.
The soul domination continues. Sly and his unrelated Family are back with their last big hit. Fittingly, it's a funky, laid-back song about a funky, laid-back departure. Love it. Johnnie Taylor is here with an atypically tender song about sharing a love that others don't think should be. This is better that 100 "Disco Lady"s. "Doin' it to Death," is a funky strut that's credited to trombonist Fred Wesley and James Brown's backup band, but James himself is present and correct, promising "a funky good time." And he delivers, with no small assistance from Wesley's prominent horn work. And before he joined the rest of his family on smashes like "Boogie Fever," young Foster Sylvers hit the charts with this fun little trifle in which he compares the theft of his heart by a girl to minor offenses like illegal parking or running a red light. It's like a poor-man's Michael Jackson single from that period, but I mean that in a good way.
We close with Gilbert O'Sullivan, who stands alone because I'm certainly not going to call him country, rock, and certainly not soul. I'm still not sure if "Get Down" is about a woman or a dog, but it doesn't really matter. I just find it incredibly odd that this guy of all people was one of the biggest pop stars in the world for a period of 12-18 months. It may be the biggest mystery I've come across in this whole process.
Tomorrow: a rare hit from one of the decade's biggest band's, a faux-physician from Louisiana, and for a few minutes, it's 1941 again.
40 - "Frankenstein," The Edgar Winter Group
39 - "Daddy Could Swear, I Declare," Gladys Knight and the Pips
38 - "Angel," Aretha Franklin
37 - "Soul Makossa," Manu Dibango
36 - "I'll Always Love My Mama," The Intruders
35 - "How Can I Tell Her," Lobo
34 - "I'm Gonna Love You Just A Little More Baby," Barry White
33 - "Here I Am (Come and Take Me)," Al Green
32 - "One of a Kind (Love Affair)," The Spinners
31 - "Where Peaceful Waters Flow," Gladys Knight and the Pips
A bucketload of soul/funk/R&B in this group, so let's start with the two songs that don't fall into that category. Edgar Winter and band are back from May with the last gasp of their iconic monster-inspired instrumental. The sax part is underrated.
And Lobo is here again, trying to go all sensitive-guy to cover up the fact that he's a cheating dog. And not one named Boo, either.
We'll divide the R&B into group and solo categories. Gladys K. and her reinforcements are here twice. First, they come with a funky reminiscence of a father who was as loving and caring as you'd want a dad to be, but when angered, was capable of language that could peel the paint of the walls. Then they go into gospel mode on a song in which Gladys promises that when you're down and lonely, she will take you by the hand to a quiet place and "teach you how to smile." That may sound suggestive out of context, but it's just pure beautiful friendship. Lovely. Philly soul footnotes The Intruders reveal themselves to be big ol' mother lovers on a song in which they declare their undying devotion for the woman who "used to clean somebody else's house just to buy me a new pair of shoes." This was a big week for parental appreciation, apparently. And The Spinners are here with a typically smooth jam about the delights of romance. But there are some people who thought they heard lead singer Philippe Wynne sing "you just gotta fuck her," near the end. That's not smooth at all. Hearing the allegedly offending line, I must say, I can't make out what is being said, but I know in my soul that The Spinners would not Trojan horse vulgarity into one of their records. They're not the kind.
Closing this part out are the singletons. Aretha opens her entry here with a spoken word intro about her sister Carolyn calling her over to talk and telling her how badly she needs someone to love. Seems a little odd to be sharing a sister's romantic confessions, but since Carolyn co-wrote the song, I guess it's okay. Cameroonian saxophonist Manu Dibango's example of the African dance genre "makossa" was discovered by prominent New York tastemakers, made its way to radio stations across the U.S.A., and is now regarded by many as one of the first disco hits. Fantastic. Barry White is here with his first hit, which introduced his smooth baritone and loverman rap to a receptive world. Like that kinda gothic opening. And Al Green returns with the song that prompted me to confess my ignorance of his oeuvre all those months ago. Have I learned as much about his work as I'd intended to since then. I can't say that I have. But I know more than I did. And I know he's an absolutely deserving legend.
30 - "Uneasy Rider," Charlie Daniels
29 - "Live and Let Die," Wings
28 - "Satin Sheets," Jeanne Pruett
27 - "If You Want Me to Stay," Sly and the Family Stone
26 - "I Believe in You (You Believe in Me)," Johnnie Taylor
25 - "Doin' it to Death," Fred Wesley and the J.B.s
24 - "Brother Louie," Stories
23 - "Misdemeanor," Foster Sylvers
22 - "Get Down," Gilbert O'Sullivan
21 - "My Love," Paul McCartney and Wings
We start with country. Charlie Daniels is here with the tale of a hippie's run-in with rednecks was on the first BGC chart, and it lives on in the weekly award for the song that most sticks out like a sore thumb on the chart. But no, it doesn't win this week. And Jeanne Pruett had by far her biggest hit with an old-school lament about a woman married to a man who gives her everything who longs to give it all up for the guy she really loves. I used to roll my eyes at songs that sounded like this, but I've grown to appreciate ones that are done really well. And this is one.
Then we rock. Wings are in this section twice, but only once with their leader getting featured billing. First they contribute one of the great Bond themes, with music and lyrics that evoke the proper amounts of action and intrigue. Then they're in ballad mode with a super sincere declaration of love for a woman. Could have been sappy, but it works fine. And "Brother Louie," you'll recall, was Number One that very first week, and I'm happy to say that this time, Casey played the unedited version of the tale of interracial romance. Good song, but still not convinced it's of #1 caliber.
The soul domination continues. Sly and his unrelated Family are back with their last big hit. Fittingly, it's a funky, laid-back song about a funky, laid-back departure. Love it. Johnnie Taylor is here with an atypically tender song about sharing a love that others don't think should be. This is better that 100 "Disco Lady"s. "Doin' it to Death," is a funky strut that's credited to trombonist Fred Wesley and James Brown's backup band, but James himself is present and correct, promising "a funky good time." And he delivers, with no small assistance from Wesley's prominent horn work. And before he joined the rest of his family on smashes like "Boogie Fever," young Foster Sylvers hit the charts with this fun little trifle in which he compares the theft of his heart by a girl to minor offenses like illegal parking or running a red light. It's like a poor-man's Michael Jackson single from that period, but I mean that in a good way.
We close with Gilbert O'Sullivan, who stands alone because I'm certainly not going to call him country, rock, and certainly not soul. I'm still not sure if "Get Down" is about a woman or a dog, but it doesn't really matter. I just find it incredibly odd that this guy of all people was one of the biggest pop stars in the world for a period of 12-18 months. It may be the biggest mystery I've come across in this whole process.
Tomorrow: a rare hit from one of the decade's biggest band's, a faux-physician from Louisiana, and for a few minutes, it's 1941 again.
Saturday, July 16, 2011
July 14, 1979
Back to the end of the decade and cutoff shows. This week we get a Top 33.
33 - "Weekend," Wet Willie
32 - "Just When I Needed You Most," Randy Vanwarmer
31 - "Lead Me On," Maxine Nightingale
30 - "Up On the Roof," James Taylor
29 - "Love You Inside Out," The Bee Gees
28 - "People of the South Wind," Kansas
27 - "Shadows in the Moonlight," Anne Murray
26 - "The Main Event/Fight," Barbra Streisand
25 - "Getting Closer," Wings
We kick off with rock. Southern rockers Wet Willie had their biggest hit in 1974 with "Keep on Smilin'," but I'm more familiar with this one, in which they declare "you've gotta make the best of life while you're young." And while they try to stay true to their roots with not one but two harmonica solos, the beat, the strings, and the handclaps give this away as a leap onto the disco bandwagon. Kansas are back with one of their non-"Carry On Wayward Son"/"Dust in the Wind" hits. It's an upbeat song in which the singer longs to return to the titular people, but for some reason, he can't. The chorus is a bit hooky, but otherwise, this isn't much. And after going disco on the limp "Goodnight Tonight." Paul and his second band redeemed themselves with this straight-up rocker. It's got some strange lyrics, though. Paul refers to his beloved as "my salamander," and later, he for some reason warns, "Cattle, beware of snipers." These non-sequitirs, combined with a weak field of weirdness, combine to give Sir Paul and company this week's Uneasy Rider.
Then it's the light stuff. Randy Vanwarmer (still laughing at that name) returns to guilt trip a woman about her timing in breaking up with him. There are other ways to stay warm in a van, Randy, so lighten up on the lady. After three hitless years following her smash "Right Back Where We Started From," British singer Maxine Nightingale returned to the American charts with this ballad in which she seems to say, "I know you're not in love with me, but that's okay, I still wanna do it." But not that crassly, of course. James Taylor returns to his habit of slowing down and boring up old soul hits with this somnambulant cover of a 1962 Drifters classic. And Canada's Snowbird is here with a #1 country hit/booty call request. Anne, you minx you. But I still find it hard to differentiate it from Jennifer Warnes' "Right Time of the Night."
This section concludes with two pop acts gone disco. The Bee Gees, of course, had been doing this for years, reaping many #1s, including this one that I still say Feist improved 1000%. Barbra Streisand, on the other hand, was new to the genre when she recorded this theme tune for a movie in which she managed Ryan O'Neal's boxing career. But in the song, "the main event" is apparently "when we make love." If that's the case, Babs, I'm leaving during the undercard.
24 - "Do it or Die," The Atlanta Rhythm Section
23 - "Mama Can't Buy You Love," Elton John
22 - "I Was Made for Lovin' You," Kiss
21 - "Heart of the Night," Poco
20 - "Does Your Mother Know," ABBA
19 - "You Can't Change That," Raydio
18 - "Days Gone Down," Gerry Rafferty
17 - "I Can't Stand it No More," Peter Frampton
16 - "Ain't No Stoppin' Us Now," McFadden and Whitehead
Soft stuff leads off this bunch. The Atlanta Rhythm Section show up with this slow bit of encouragement to live life to the fullest. Sorry boys, I'm not motivated. Poco are back with more bland country rock that I remember but don't really care about one way or the other. And the late Gerry Rafferty had his next-to-last American hit with this warm little number about good times in the past and hope for the future. It isn't "Baker Street," but what is? It'll do.
Yes, we have rockers. Elton John had his first Top Ten in three years with this jaunty bit of funk produced by legendary Philadelphia soul producer Thom Bell. It might be one of his last great singles. The four makeup-adorned New Yorkers who were so popular they had their own Army succumbed to disco with this pulsing track, but it must be said, the grimy sexuality that marked the best of the genre fit Kiss like a glove, so they hardly embarrassed themselves. In fact, it might be my favorite song of theirs. And Peter Frampton had his last hit with this simple rocker about leaving a woman because she doesn't treat him like his mama does (or something like that). After this dropped off the charts, "I Can't Stand it No More" was something most of the public said about his music.
We finish this group with disco and soul. ABBA are here with a song in which the lead vocal is sung not by one of the women, but by Bjorn Ulvaeus. In it, he comes off as a swarthy clubgoer debating whether or not to take home a girl who may not be of age. Creepy, cheesy fun. Ray Parker Jr.'s wacky punsters return with a vaguely stalkerish song that declares that no matter what the object of his obsession does, he loves her and only her. I know who I'm gonna call, Ray, and it ain't the Ghostbusters. And veteran R&B songwriters Gene McFadden and John Whitehead had their biggest hit as recording artists with this lush, optimistic disco production. Take note, Atlanta Rhythm Section. This is how you motivate people with music.
15 - "Dance the Night Away," Van Halen
14 - "When You're in Love with a Beautiful Woman," Dr. Hook
13 - "Good Times," Chic
12 - "We are Family," Sister Sledge
11 - "The Logical Song," Supertramp
This quintet opens with Van Halen's second Top 40 hit, a song that David Lee Roth has claimed was inspired by a woman who ran into a bar the band was playing in with her pants on backwards because she was being chased by police for having sex in a public place. That doesn't enhance my enjoyment of this song at all. But it doesn't deter from it, either. It's good.
Then it's Dr. Hook, who by this time had lost both "The Medicine Show" and their soul. This flaccid disco track is about how awful life is when you're girlfriend is very attractive. The paranoia! The jealousy! You poor bastard. You should have listened to that song "If You Wanna be Happy (For the Rest of Your Life)." Apparently, you'd be much more content if you heeded that song's advice.
Chic show up with the second of their twin disco masterpieces, in which they combine old timey refenences to the jive, the jitterbug, and "the sporting life," with a state-of-the-art funk groove. This song alone is enough to counter a million "disco sucks" arguments.
Sister Sledge return with their bumping ode to blood ties, also produced by Chic's Bernard Edwards and Nile Rodgers. This may have been the best time ever to be on a dance floor.
Lastly we have Supertramp and their song about trying to avoid being dulled by a system that prizes uniformity. I'm not sure if that's getting easier or harder.
Ten tunes that had greatness thrust upon them:
10 - "Gold," John Stewart
First of all, note the "h," those of you who want to make the cheap "Isn't he the guy from The Daily Show?" joke. This John Stewart was a veteran musician whose biggest career highlights were his late-period membership in The Kingston Trio and writing the Monkees hit "Daydream Believer." Then, as he neared 40, he wrote a song in which he noted, possibly with some bitterness, that "there's people out there turning music into gold." Two of those people were Lindsey Buckingham and Stevie Nicks of Fleetwood Mac, and as luck would have it, those two would play guitar and sing backup, respectively, on Stewart's record. The result: a hit at last for Stewart, and a slow-burning rocker that I loved since the moment I heard it. Top 20 of the decade for me, easy.
9 - "Shine a Little Love," Electric Light Orchestra
Like many pop and rock artists at this time (a few of which we've encountered in this very countdown), ELO took a stab at incorporating disco into their sound. But given their natural love of using strings, it was probably an easier transition for them than for others. Anyway, this is the result, and it's pretty damn good. Spacey, just a little funky, and Jeff Lynne's falsetto works almost as well in this context as Barry Gibb's does. Almost.
8 - "I Want You to Want Me," Cheap Trick
This Rockford, Illinois band hadn't yet broken through in their home country in April of 1978, but they had gotten big enough in Japan to sell out the famed Budokan Hall in Tokyo, where they recorded a live album containing a version of this simple yet irresistable rocker. This version, powered in part by the enthusiasm of the Japanese crowd, finally got them an American hit. Sometimes you have to go halfway around the world to get love at home.
7 - "Makin' It," David Naughton
Here's the case for "disco sucks." Almost makes me ashamed to admit I like Dr. Pepper.
6 - "Boogie Wonderland," Earth, Wind and Fire with the Emotions
The funk superstars teamed up with the vocal group consisting of three Hutchinson sisters, for whom EWF leader Maurice White had written the 1978 #1 "Best of My Love," on this floor-filler. The title, of course, instantly dates it, but I doubt your butt would care if you were listening to it right now.
5 - "She Believes in Me," Kenny Rogers
Kenny's song about his songwriting struggles and the woman who endures them, martyrlike, in the name of love, is back. It's still okay.
4 - "Chuck E.'s in Love," Rickie Lee Jones
Rickie Lee returns, playing it cool while singing about the laid-back dude who's got a crush on her. Still not sure how this got to be such a big hit, but I'm oh so glad it did.
3 - "Hot Stuff," Donna Summer
Donna doesn't want to go home alone tonight. And she's not going to, no matter what. This song proves that disco was able to project the urgency of lust as good or better than any musical genre ever invented.
2 - "Ring My Bell," Anita Ward
Ex-schoolteacher Ward was a one hit wonder, but that one hit was this disco classic that topped charts all around the world. The song has many beeps and jangles meant to simulate the sound of bells ringing, as well as "ding dong ding dong" contributions from the backup singers. But a close examinination of both the lyrics and Ward's sultry, girly vocals reveal that this song may not be about campanology, but rather, and I'm sure you'll never believe this but it's true, SEX! Shocked, I am.
And ruling the airwaves 32 years ago was...
1 - "Bad Girls," Donna Summer
On this number, Donna isn't the one on the prowl. Rather, she's describing the lives of others who are similarly inclined. She seems a little judgmental of them, but she also seems to empathize with them. Oh well, who cares, we're all too busy dancing and singing "Toot toot, ah, beep beep." And I believe this is probably the best use of the whistle as a musical instrument in all of the disco era.
The NotCaseys were songs 34 and 35 from this week's chart: "Sad Eyes" by Robert John and "Is She Really Going Out with Him" by Joe Jackson. Casey played two #1s from 1974: Billy Preston's "Nothing from Nothing" and Olivia Newton-John's "I Honestly Love You." And the Long Distance Dedication was "You are the Sunshine of My Life," sent out by a pastor and his wife to a young woman they befriended at the church they just left for another gig.
So anotther one's gone. The 70s continue next week, but the 80s are getting closer all the time. See ya.
33 - "Weekend," Wet Willie
32 - "Just When I Needed You Most," Randy Vanwarmer
31 - "Lead Me On," Maxine Nightingale
30 - "Up On the Roof," James Taylor
29 - "Love You Inside Out," The Bee Gees
28 - "People of the South Wind," Kansas
27 - "Shadows in the Moonlight," Anne Murray
26 - "The Main Event/Fight," Barbra Streisand
25 - "Getting Closer," Wings
We kick off with rock. Southern rockers Wet Willie had their biggest hit in 1974 with "Keep on Smilin'," but I'm more familiar with this one, in which they declare "you've gotta make the best of life while you're young." And while they try to stay true to their roots with not one but two harmonica solos, the beat, the strings, and the handclaps give this away as a leap onto the disco bandwagon. Kansas are back with one of their non-"Carry On Wayward Son"/"Dust in the Wind" hits. It's an upbeat song in which the singer longs to return to the titular people, but for some reason, he can't. The chorus is a bit hooky, but otherwise, this isn't much. And after going disco on the limp "Goodnight Tonight." Paul and his second band redeemed themselves with this straight-up rocker. It's got some strange lyrics, though. Paul refers to his beloved as "my salamander," and later, he for some reason warns, "Cattle, beware of snipers." These non-sequitirs, combined with a weak field of weirdness, combine to give Sir Paul and company this week's Uneasy Rider.
Then it's the light stuff. Randy Vanwarmer (still laughing at that name) returns to guilt trip a woman about her timing in breaking up with him. There are other ways to stay warm in a van, Randy, so lighten up on the lady. After three hitless years following her smash "Right Back Where We Started From," British singer Maxine Nightingale returned to the American charts with this ballad in which she seems to say, "I know you're not in love with me, but that's okay, I still wanna do it." But not that crassly, of course. James Taylor returns to his habit of slowing down and boring up old soul hits with this somnambulant cover of a 1962 Drifters classic. And Canada's Snowbird is here with a #1 country hit/booty call request. Anne, you minx you. But I still find it hard to differentiate it from Jennifer Warnes' "Right Time of the Night."
This section concludes with two pop acts gone disco. The Bee Gees, of course, had been doing this for years, reaping many #1s, including this one that I still say Feist improved 1000%. Barbra Streisand, on the other hand, was new to the genre when she recorded this theme tune for a movie in which she managed Ryan O'Neal's boxing career. But in the song, "the main event" is apparently "when we make love." If that's the case, Babs, I'm leaving during the undercard.
24 - "Do it or Die," The Atlanta Rhythm Section
23 - "Mama Can't Buy You Love," Elton John
22 - "I Was Made for Lovin' You," Kiss
21 - "Heart of the Night," Poco
20 - "Does Your Mother Know," ABBA
19 - "You Can't Change That," Raydio
18 - "Days Gone Down," Gerry Rafferty
17 - "I Can't Stand it No More," Peter Frampton
16 - "Ain't No Stoppin' Us Now," McFadden and Whitehead
Soft stuff leads off this bunch. The Atlanta Rhythm Section show up with this slow bit of encouragement to live life to the fullest. Sorry boys, I'm not motivated. Poco are back with more bland country rock that I remember but don't really care about one way or the other. And the late Gerry Rafferty had his next-to-last American hit with this warm little number about good times in the past and hope for the future. It isn't "Baker Street," but what is? It'll do.
Yes, we have rockers. Elton John had his first Top Ten in three years with this jaunty bit of funk produced by legendary Philadelphia soul producer Thom Bell. It might be one of his last great singles. The four makeup-adorned New Yorkers who were so popular they had their own Army succumbed to disco with this pulsing track, but it must be said, the grimy sexuality that marked the best of the genre fit Kiss like a glove, so they hardly embarrassed themselves. In fact, it might be my favorite song of theirs. And Peter Frampton had his last hit with this simple rocker about leaving a woman because she doesn't treat him like his mama does (or something like that). After this dropped off the charts, "I Can't Stand it No More" was something most of the public said about his music.
We finish this group with disco and soul. ABBA are here with a song in which the lead vocal is sung not by one of the women, but by Bjorn Ulvaeus. In it, he comes off as a swarthy clubgoer debating whether or not to take home a girl who may not be of age. Creepy, cheesy fun. Ray Parker Jr.'s wacky punsters return with a vaguely stalkerish song that declares that no matter what the object of his obsession does, he loves her and only her. I know who I'm gonna call, Ray, and it ain't the Ghostbusters. And veteran R&B songwriters Gene McFadden and John Whitehead had their biggest hit as recording artists with this lush, optimistic disco production. Take note, Atlanta Rhythm Section. This is how you motivate people with music.
15 - "Dance the Night Away," Van Halen
14 - "When You're in Love with a Beautiful Woman," Dr. Hook
13 - "Good Times," Chic
12 - "We are Family," Sister Sledge
11 - "The Logical Song," Supertramp
This quintet opens with Van Halen's second Top 40 hit, a song that David Lee Roth has claimed was inspired by a woman who ran into a bar the band was playing in with her pants on backwards because she was being chased by police for having sex in a public place. That doesn't enhance my enjoyment of this song at all. But it doesn't deter from it, either. It's good.
Then it's Dr. Hook, who by this time had lost both "The Medicine Show" and their soul. This flaccid disco track is about how awful life is when you're girlfriend is very attractive. The paranoia! The jealousy! You poor bastard. You should have listened to that song "If You Wanna be Happy (For the Rest of Your Life)." Apparently, you'd be much more content if you heeded that song's advice.
Chic show up with the second of their twin disco masterpieces, in which they combine old timey refenences to the jive, the jitterbug, and "the sporting life," with a state-of-the-art funk groove. This song alone is enough to counter a million "disco sucks" arguments.
Sister Sledge return with their bumping ode to blood ties, also produced by Chic's Bernard Edwards and Nile Rodgers. This may have been the best time ever to be on a dance floor.
Lastly we have Supertramp and their song about trying to avoid being dulled by a system that prizes uniformity. I'm not sure if that's getting easier or harder.
Ten tunes that had greatness thrust upon them:
10 - "Gold," John Stewart
First of all, note the "h," those of you who want to make the cheap "Isn't he the guy from The Daily Show?" joke. This John Stewart was a veteran musician whose biggest career highlights were his late-period membership in The Kingston Trio and writing the Monkees hit "Daydream Believer." Then, as he neared 40, he wrote a song in which he noted, possibly with some bitterness, that "there's people out there turning music into gold." Two of those people were Lindsey Buckingham and Stevie Nicks of Fleetwood Mac, and as luck would have it, those two would play guitar and sing backup, respectively, on Stewart's record. The result: a hit at last for Stewart, and a slow-burning rocker that I loved since the moment I heard it. Top 20 of the decade for me, easy.
9 - "Shine a Little Love," Electric Light Orchestra
Like many pop and rock artists at this time (a few of which we've encountered in this very countdown), ELO took a stab at incorporating disco into their sound. But given their natural love of using strings, it was probably an easier transition for them than for others. Anyway, this is the result, and it's pretty damn good. Spacey, just a little funky, and Jeff Lynne's falsetto works almost as well in this context as Barry Gibb's does. Almost.
8 - "I Want You to Want Me," Cheap Trick
This Rockford, Illinois band hadn't yet broken through in their home country in April of 1978, but they had gotten big enough in Japan to sell out the famed Budokan Hall in Tokyo, where they recorded a live album containing a version of this simple yet irresistable rocker. This version, powered in part by the enthusiasm of the Japanese crowd, finally got them an American hit. Sometimes you have to go halfway around the world to get love at home.
7 - "Makin' It," David Naughton
Here's the case for "disco sucks." Almost makes me ashamed to admit I like Dr. Pepper.
6 - "Boogie Wonderland," Earth, Wind and Fire with the Emotions
The funk superstars teamed up with the vocal group consisting of three Hutchinson sisters, for whom EWF leader Maurice White had written the 1978 #1 "Best of My Love," on this floor-filler. The title, of course, instantly dates it, but I doubt your butt would care if you were listening to it right now.
5 - "She Believes in Me," Kenny Rogers
Kenny's song about his songwriting struggles and the woman who endures them, martyrlike, in the name of love, is back. It's still okay.
4 - "Chuck E.'s in Love," Rickie Lee Jones
Rickie Lee returns, playing it cool while singing about the laid-back dude who's got a crush on her. Still not sure how this got to be such a big hit, but I'm oh so glad it did.
3 - "Hot Stuff," Donna Summer
Donna doesn't want to go home alone tonight. And she's not going to, no matter what. This song proves that disco was able to project the urgency of lust as good or better than any musical genre ever invented.
2 - "Ring My Bell," Anita Ward
Ex-schoolteacher Ward was a one hit wonder, but that one hit was this disco classic that topped charts all around the world. The song has many beeps and jangles meant to simulate the sound of bells ringing, as well as "ding dong ding dong" contributions from the backup singers. But a close examinination of both the lyrics and Ward's sultry, girly vocals reveal that this song may not be about campanology, but rather, and I'm sure you'll never believe this but it's true, SEX! Shocked, I am.
And ruling the airwaves 32 years ago was...
1 - "Bad Girls," Donna Summer
On this number, Donna isn't the one on the prowl. Rather, she's describing the lives of others who are similarly inclined. She seems a little judgmental of them, but she also seems to empathize with them. Oh well, who cares, we're all too busy dancing and singing "Toot toot, ah, beep beep." And I believe this is probably the best use of the whistle as a musical instrument in all of the disco era.
The NotCaseys were songs 34 and 35 from this week's chart: "Sad Eyes" by Robert John and "Is She Really Going Out with Him" by Joe Jackson. Casey played two #1s from 1974: Billy Preston's "Nothing from Nothing" and Olivia Newton-John's "I Honestly Love You." And the Long Distance Dedication was "You are the Sunshine of My Life," sent out by a pastor and his wife to a young woman they befriended at the church they just left for another gig.
So anotther one's gone. The 70s continue next week, but the 80s are getting closer all the time. See ya.
Sunday, July 10, 2011
July 8, 1972 Part Two
Concluding 1972. In July. Yes, I can do that.
20 - "Alone Again (Naturally)," Gilbert O' Sullivan
19 - "Where is the Love," Roberta Flack and Donny Hathaway
18 - "I Wanna Be Where You Are," Michael Jackson
17 - "Take it Easy," The Eagles
16 - "School's Out," Alice Cooper
This bunch begins with Gilbert O'Sullivan's hugely successful depiction of a man who feels abandoned by the world around him, and even God. So he's decided to kill himself. And by the end of the song, we're given no comforting assurance that he changed his mind. I've said it before, and I'll say it again: 1972 must have been the most depressing summer ever.
Next are Roberta Flack and Donny Hathaway, singing out their frustrations over lovers who won't leave their current partners for them. Again, not a happy song, but coming right after that downer Gil, it sounds postively sprightly.
Then it's young Michael with a jazzy little gem about a guy who now realizes he was wrong to leave his beloved. And despite his youth, you believe his passion. The kid had it right from the womb.
The Eagles had their first hit with this country song about scolds, girls in Ford trucks, and lovers who won't blow covers and possess love sweet enough to save a life. Glenn Frey co-wrote it with fellow California easy rocker Jackson Browne. It's a nice little nugget, with little hint of the pretentions to come. The time when they could still lighten up was starting to run out.
Last in this set are Alice Cooper (it was still the original band at this point, not just the former Vincent Furnier, going by that name), with the song that surely got its annual bump in airplay a couple weeks ago. If you try to listen with fresh ears, you can hear the menace that people probably sensed upon its intial release. But of course, Alice is a cartoon character now. Nothing wrong with that, but sometimes one needs a reminder that this guy was once considered genuinely threatening.
15 - "Layla," Derek and the Dominos
14 - "Too Young," Donny Osmond
13 - "How Do You Do," Mouth and MacNeal
12 - "Brandy (You're a Fine Girl)," The Looking Glass
11 - "Nice to Be With You," Gallery
We begin this group with the band that was really just Eric Clapton and some of his friends, with the song known for three things: the iconic opening guitar riff, the epic piano breakdown at the end (cut off on this version), and the fact that it was written about Patti Boyd, who was then married to Clapton's friend George Harrison. Not much more to say about it. Good song, and much better in this version than that unplugged one from the 90s that got played to death.
Then it's the child cover machine from Utah, this time taking on Nat King Cole. Can't blame Donny, he sings it all right. But the arrangement is much too bombastic for my taste. The song would have been better served if they'd toned it down for once.
Next are Dutch male-female duo of Mouth and MacNeal (shockingly, neither's real name) with their only American hit, a song about a couple that decides the best way to rescue their relationship is to literally reintroduce themselves to each other. The structure of the song is quite interesting: the verses are blues-rock, then the choruses open with a kind of classical violin sound and then morph into almost a German oompah band thing. Oddly cool.
Ah, "Brandy," we meet again. If you go back here, you'll discover the depth of my distaste for this song, and my suggestions on how it could have been improved. I have nothing more to add. The lest time I spend thinking about that song, the better.
This quintet concludes with Gallery and their song that I thought I hated, but it's growing on me. The singer's even pretty good for a poor man's Neil Diamond. I think I confused it with "Precious and Few," which, for the record, still sucks.
And now, the ten pillars that held up pop this particular week:
10 - "If Loving You is Wrong, I Don't Want to Be Right," Luther Ingram
Soul music and adultery: Two great tastes that taste great together. This is definitely a challenger for "Me and Mrs. Jones"' place on top of that particular heap.
9 - "I Need You," America
But I don't need you, America. Not on this slab of raw boredom.
8 - "Daddy, Don't You Walk So Fast," Wayne Newton
The Vegas icon with his biggest pop hit, a melodrama about a guy whose stopped from leaving his wife by the cries of his daughter. Too overwrought to provoke genuine tears. But I bet Wayne kills this live.
7 - "Rocket Man," Elton John
One of Elton's standards, a ballad that re-imagines astronauts as blue collar wage slaves who don't know how they get to space, they just do their jobs and miss their wives and decry the lack of good intergalactic child care. Genius.
6 - "Troglodyte (Cave Man)," The Jimmy Castor Bunch
These funk jesters return with their "history lesson" about how the earliest men found mates. Almost certainly inaccurate, because science has yet to prove the existence of Bertha Butt or her sisters. But fun nonetheless.
5 - "The Candy Man," Sammy Davis Jr.
Sammy's back, swingin' and paying tribute to the magical powers of the confectioner. I don't know about you, but I could go for a groovy lemon pie right about now.
4 - "Too Late to Turn Back Now," Cornelius Brothers and Sister Rose
This smooth little love song was the biggest hit for Carter, Eddie and Rose Cornelius. I don't feel passionate about it either way. Sorry.
3 - "Song Sung Blue," Neil Diamond
Neil's not-so-sad tribute to sad songs. Although, contrary to his assertion here, I've never known any gardens that grew one.
2 - "Outa-Space," Billy Preston
The Fifth Beatle gets cosmic. I haven't been able to come up with much to say about it the first couple times it's come up, and the streak continues.
And the song that rocked more worlds than any other 39 years ago was...
1 - "Lean on Me," Bill Withers
Good old Bill and his warm, timeless assurance of rock-solid friendship, no matter what the future brings. The immediate future would bring tons and tons of airplay for Gilbert O.'s glorified suicide note, so I suspect this song was leaned on pretty hard in the months that followed.
The NotCaseys this week were "You Dont Mess Around with Jim" by Jim Croce, "It's Too Late" by Carole King, and "Popcorn" by Hot Butter.
Back with more Me Decade madness next week.
20 - "Alone Again (Naturally)," Gilbert O' Sullivan
19 - "Where is the Love," Roberta Flack and Donny Hathaway
18 - "I Wanna Be Where You Are," Michael Jackson
17 - "Take it Easy," The Eagles
16 - "School's Out," Alice Cooper
This bunch begins with Gilbert O'Sullivan's hugely successful depiction of a man who feels abandoned by the world around him, and even God. So he's decided to kill himself. And by the end of the song, we're given no comforting assurance that he changed his mind. I've said it before, and I'll say it again: 1972 must have been the most depressing summer ever.
Next are Roberta Flack and Donny Hathaway, singing out their frustrations over lovers who won't leave their current partners for them. Again, not a happy song, but coming right after that downer Gil, it sounds postively sprightly.
Then it's young Michael with a jazzy little gem about a guy who now realizes he was wrong to leave his beloved. And despite his youth, you believe his passion. The kid had it right from the womb.
The Eagles had their first hit with this country song about scolds, girls in Ford trucks, and lovers who won't blow covers and possess love sweet enough to save a life. Glenn Frey co-wrote it with fellow California easy rocker Jackson Browne. It's a nice little nugget, with little hint of the pretentions to come. The time when they could still lighten up was starting to run out.
Last in this set are Alice Cooper (it was still the original band at this point, not just the former Vincent Furnier, going by that name), with the song that surely got its annual bump in airplay a couple weeks ago. If you try to listen with fresh ears, you can hear the menace that people probably sensed upon its intial release. But of course, Alice is a cartoon character now. Nothing wrong with that, but sometimes one needs a reminder that this guy was once considered genuinely threatening.
15 - "Layla," Derek and the Dominos
14 - "Too Young," Donny Osmond
13 - "How Do You Do," Mouth and MacNeal
12 - "Brandy (You're a Fine Girl)," The Looking Glass
11 - "Nice to Be With You," Gallery
We begin this group with the band that was really just Eric Clapton and some of his friends, with the song known for three things: the iconic opening guitar riff, the epic piano breakdown at the end (cut off on this version), and the fact that it was written about Patti Boyd, who was then married to Clapton's friend George Harrison. Not much more to say about it. Good song, and much better in this version than that unplugged one from the 90s that got played to death.
Then it's the child cover machine from Utah, this time taking on Nat King Cole. Can't blame Donny, he sings it all right. But the arrangement is much too bombastic for my taste. The song would have been better served if they'd toned it down for once.
Next are Dutch male-female duo of Mouth and MacNeal (shockingly, neither's real name) with their only American hit, a song about a couple that decides the best way to rescue their relationship is to literally reintroduce themselves to each other. The structure of the song is quite interesting: the verses are blues-rock, then the choruses open with a kind of classical violin sound and then morph into almost a German oompah band thing. Oddly cool.
Ah, "Brandy," we meet again. If you go back here, you'll discover the depth of my distaste for this song, and my suggestions on how it could have been improved. I have nothing more to add. The lest time I spend thinking about that song, the better.
This quintet concludes with Gallery and their song that I thought I hated, but it's growing on me. The singer's even pretty good for a poor man's Neil Diamond. I think I confused it with "Precious and Few," which, for the record, still sucks.
And now, the ten pillars that held up pop this particular week:
10 - "If Loving You is Wrong, I Don't Want to Be Right," Luther Ingram
Soul music and adultery: Two great tastes that taste great together. This is definitely a challenger for "Me and Mrs. Jones"' place on top of that particular heap.
9 - "I Need You," America
But I don't need you, America. Not on this slab of raw boredom.
8 - "Daddy, Don't You Walk So Fast," Wayne Newton
The Vegas icon with his biggest pop hit, a melodrama about a guy whose stopped from leaving his wife by the cries of his daughter. Too overwrought to provoke genuine tears. But I bet Wayne kills this live.
7 - "Rocket Man," Elton John
One of Elton's standards, a ballad that re-imagines astronauts as blue collar wage slaves who don't know how they get to space, they just do their jobs and miss their wives and decry the lack of good intergalactic child care. Genius.
6 - "Troglodyte (Cave Man)," The Jimmy Castor Bunch
These funk jesters return with their "history lesson" about how the earliest men found mates. Almost certainly inaccurate, because science has yet to prove the existence of Bertha Butt or her sisters. But fun nonetheless.
5 - "The Candy Man," Sammy Davis Jr.
Sammy's back, swingin' and paying tribute to the magical powers of the confectioner. I don't know about you, but I could go for a groovy lemon pie right about now.
4 - "Too Late to Turn Back Now," Cornelius Brothers and Sister Rose
This smooth little love song was the biggest hit for Carter, Eddie and Rose Cornelius. I don't feel passionate about it either way. Sorry.
3 - "Song Sung Blue," Neil Diamond
Neil's not-so-sad tribute to sad songs. Although, contrary to his assertion here, I've never known any gardens that grew one.
2 - "Outa-Space," Billy Preston
The Fifth Beatle gets cosmic. I haven't been able to come up with much to say about it the first couple times it's come up, and the streak continues.
And the song that rocked more worlds than any other 39 years ago was...
1 - "Lean on Me," Bill Withers
Good old Bill and his warm, timeless assurance of rock-solid friendship, no matter what the future brings. The immediate future would bring tons and tons of airplay for Gilbert O.'s glorified suicide note, so I suspect this song was leaned on pretty hard in the months that followed.
The NotCaseys this week were "You Dont Mess Around with Jim" by Jim Croce, "It's Too Late" by Carole King, and "Popcorn" by Hot Butter.
Back with more Me Decade madness next week.
July 8, 1972 Part One
And now we go back to' 72. It's only been a month, but enough has changed that I'm doing the usual two parts. So let us go back to a time just before Tom Eagleton became the biggest joke of a VP nominee in U.S. presidential election history (pre-Palin, of course).
40 - "Hold Your Head Up," Argent
39 - "Hold Her Tight," The Osmonds
38 - "Mary Had a Little Lamb/Little Woman Love," Wings
37 - "Superwoman," Stevie Wonder
36 - "Sealed with a Kiss," Bobby Vinton
35 - "The Happiest Girl in the Whole U.S.A.," Donna Fargo
34 - "Coconut," Harry Nilsson
33 - "Long Cool Woman (In a Black Dress)," The Hollies
32 - "How Can I Be Sure," David Cassidy
31 - "People Make the World Go Round," The Stylistics
This week we start with rock. Ex-Zopmbie Rod Argent is the first of many returnees from our first visit to '72 last year with his band's exhortation for one to keep looking proudly ahead. Paul McCartney, reportedly in response to the controversy caused by his new band's first single "Give Ireland Back to the Irish," followed it up with a straight version of the children's nursery rhyme. A lot of American radio stations chose to play the flip side, "Little Woman Love," but Casey went ahead and played the A. Which is good for Paul and co., because despite a couple solid challengers, they take down this week's Uneasy Rider. And the Hollies return with their tale about danger and romance during Prohibition. It has it all. Has it all!
As usual, the soft parade runs through this section. The Osmonds try their hardest to rock on "Hold Her Tight," but you can just tell the wholesomeness that's been bred into them is holding them back. Still waiting for "Crazy Horses," though. Bobby Vinton's pointless take on Bryan Hyland's song about teenage love threatened by the summer break is another blast from BGC's past. As is Donna Fargo's moony ode to her idyllic life as a housewife to a really, really, really great guy. I do think she's setting herself up for future heartbreak. Harry Nilsson is here with one of those songs that fell just short of the Uneasy Rider, the reggaeish novelty that warned a generation of the dangers of drinking lime and coconut simultaneously. You'll only just have to...drink them both together again. And David Cassidy was at the height of his teen idol powers when he released this cover of a 1967 Top Ten by The Young Rascals. It was also around this time that he was the subject of a Rolling Stone cover story in which he shockingly tried to reject his wholesome TV image, and even more shockingly was photographed apparently nude, because the top of his pubic hair was visible. Wonder what Reuben Kincaid thought of that?
We close with soul. Stevie Wonder is here with a song about trying to love a woman whose ambitions have overwhelmed her love for him. It's good, but it loses something without the second half of the piece, "Where Were You When I Needed You." And the Stylistics had one of their lesser hits with a song that reminds us that things happen in the world because people make them happen. Even the things that suck. Sad but true.
30 - "Living in a House Divided," Cher
29 - "Sylvia's Mother," Dr. Hook and the Medicine Show
28 - "Day by Day," The Godspell Cast
27 - "I've Been Lonely for So Long, Frederick Knight
26 - "All the King's Horses," Aretha Franklin
25 - "I'll Take You There," The Staple Singers
24 - "Oh Girl," The Chi-Lites
23 - "(Last Night)I Didn't Get To Sleep at All," The 5th Dimension
22 - "Conquistador," Procol Harum
21 - "Amazing Grace," The Pipes and Drums and the Military Band of the Royal Scots Dragoon Guards
We start with the people who make it easy on our tender ears. Cher is back from last time (not the first time) with a song about a once-happy couple who are now "the king and queen of emptiness." I wonder how autobiographical that was at the time. The musical Godspell, another theatrical retelling of the story of Jesus hot on the heels of Jesus Christ Superstar, produced a hit single with this gentle song about taking one's faith one day at a time. I don't know who was in this particular cast, but I do know that the show's 1972-73 Toronto run featured Gilda Radner and four future SCTV cast members. Marilyn, Billy and the others return with their tune about not being able to turn in due to loneliness. Marilyn McCoo's voice is growing on me, I must admit. And those Scottish pipers, drummers, and other assorted musicians return with their surprising hit hymn. But no Uneasy Rider repeat for them.
Just two bits o' rock here. Dr. Hook and cohorts return with their heartbreaking attempt to reach out to an old lover one last time. That Mrs. Avery, what a bitch. And after not being heard from much since 1967's "A Whiter Shade of Pale," British prog-rockers Procol Harum returned briefly to the charts with this elaborate tale of knights and swords and such, enhanced by the backing of the Edmonton Symphony Orchestra. That was probably the first time many people outside of Canada had heard of Edmonton. But, thanks to that Gretzky kid, it wouldn't be the last.
Again, soul closes the show. Frederick Knight is back with his unjustly forgotten tale of deep, deep loneliness. Been there and back, Fred. Aretha is here with this chart's second spin on a nursery rhyme. In lesser hands, the Humpty Dumpty metaphor for a breakup, in which a wall of happiness and love comes crumbling down, would seem strained. But Aretha sold me. And lastly, The Staples family returns with their lovely promise to take you to a place of truth and joy, as do the Chi-Lites, who beg their lover not to leave at this time, lest their pain increase 100%.
Tomorrow: suicidal depression, youthful elation, and my archenemy song returns.
40 - "Hold Your Head Up," Argent
39 - "Hold Her Tight," The Osmonds
38 - "Mary Had a Little Lamb/Little Woman Love," Wings
37 - "Superwoman," Stevie Wonder
36 - "Sealed with a Kiss," Bobby Vinton
35 - "The Happiest Girl in the Whole U.S.A.," Donna Fargo
34 - "Coconut," Harry Nilsson
33 - "Long Cool Woman (In a Black Dress)," The Hollies
32 - "How Can I Be Sure," David Cassidy
31 - "People Make the World Go Round," The Stylistics
This week we start with rock. Ex-Zopmbie Rod Argent is the first of many returnees from our first visit to '72 last year with his band's exhortation for one to keep looking proudly ahead. Paul McCartney, reportedly in response to the controversy caused by his new band's first single "Give Ireland Back to the Irish," followed it up with a straight version of the children's nursery rhyme. A lot of American radio stations chose to play the flip side, "Little Woman Love," but Casey went ahead and played the A. Which is good for Paul and co., because despite a couple solid challengers, they take down this week's Uneasy Rider. And the Hollies return with their tale about danger and romance during Prohibition. It has it all. Has it all!
As usual, the soft parade runs through this section. The Osmonds try their hardest to rock on "Hold Her Tight," but you can just tell the wholesomeness that's been bred into them is holding them back. Still waiting for "Crazy Horses," though. Bobby Vinton's pointless take on Bryan Hyland's song about teenage love threatened by the summer break is another blast from BGC's past. As is Donna Fargo's moony ode to her idyllic life as a housewife to a really, really, really great guy. I do think she's setting herself up for future heartbreak. Harry Nilsson is here with one of those songs that fell just short of the Uneasy Rider, the reggaeish novelty that warned a generation of the dangers of drinking lime and coconut simultaneously. You'll only just have to...drink them both together again. And David Cassidy was at the height of his teen idol powers when he released this cover of a 1967 Top Ten by The Young Rascals. It was also around this time that he was the subject of a Rolling Stone cover story in which he shockingly tried to reject his wholesome TV image, and even more shockingly was photographed apparently nude, because the top of his pubic hair was visible. Wonder what Reuben Kincaid thought of that?
We close with soul. Stevie Wonder is here with a song about trying to love a woman whose ambitions have overwhelmed her love for him. It's good, but it loses something without the second half of the piece, "Where Were You When I Needed You." And the Stylistics had one of their lesser hits with a song that reminds us that things happen in the world because people make them happen. Even the things that suck. Sad but true.
30 - "Living in a House Divided," Cher
29 - "Sylvia's Mother," Dr. Hook and the Medicine Show
28 - "Day by Day," The Godspell Cast
27 - "I've Been Lonely for So Long, Frederick Knight
26 - "All the King's Horses," Aretha Franklin
25 - "I'll Take You There," The Staple Singers
24 - "Oh Girl," The Chi-Lites
23 - "(Last Night)I Didn't Get To Sleep at All," The 5th Dimension
22 - "Conquistador," Procol Harum
21 - "Amazing Grace," The Pipes and Drums and the Military Band of the Royal Scots Dragoon Guards
We start with the people who make it easy on our tender ears. Cher is back from last time (not the first time) with a song about a once-happy couple who are now "the king and queen of emptiness." I wonder how autobiographical that was at the time. The musical Godspell, another theatrical retelling of the story of Jesus hot on the heels of Jesus Christ Superstar, produced a hit single with this gentle song about taking one's faith one day at a time. I don't know who was in this particular cast, but I do know that the show's 1972-73 Toronto run featured Gilda Radner and four future SCTV cast members. Marilyn, Billy and the others return with their tune about not being able to turn in due to loneliness. Marilyn McCoo's voice is growing on me, I must admit. And those Scottish pipers, drummers, and other assorted musicians return with their surprising hit hymn. But no Uneasy Rider repeat for them.
Just two bits o' rock here. Dr. Hook and cohorts return with their heartbreaking attempt to reach out to an old lover one last time. That Mrs. Avery, what a bitch. And after not being heard from much since 1967's "A Whiter Shade of Pale," British prog-rockers Procol Harum returned briefly to the charts with this elaborate tale of knights and swords and such, enhanced by the backing of the Edmonton Symphony Orchestra. That was probably the first time many people outside of Canada had heard of Edmonton. But, thanks to that Gretzky kid, it wouldn't be the last.
Again, soul closes the show. Frederick Knight is back with his unjustly forgotten tale of deep, deep loneliness. Been there and back, Fred. Aretha is here with this chart's second spin on a nursery rhyme. In lesser hands, the Humpty Dumpty metaphor for a breakup, in which a wall of happiness and love comes crumbling down, would seem strained. But Aretha sold me. And lastly, The Staples family returns with their lovely promise to take you to a place of truth and joy, as do the Chi-Lites, who beg their lover not to leave at this time, lest their pain increase 100%.
Tomorrow: suicidal depression, youthful elation, and my archenemy song returns.
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