Yes, it's been a while since I updated this. There have been some major happenings in the Gloveheadverse that have caused this delay. Good happenings, I can assure you. But now, at last, I shall pick up my excavation in 1975.
Feb. 1, 1975
38 - "Ding Dong, Ding Dong," George Harrison
This song was released at the end of 1974, and its lyrical refrain of "Ring out the old, ring in the new" gave it a natural New Year's Eve feel. George was having throat problems at the time he recorded the vocal for this, and you can hear it. Still, decent song.
40 - "Happy People," The Temptations
The Temps are backed by The Commodores on this buoyant slab of joyful funk noise that was co-written by Lionel Richie. It will improve your mood, guaranteed.
March 1, 1975
34 - "I've Been This Way Before," Neil Diamond
Your basic Neil ballad about being positive and determined and stuff. He sings it well enough, but personally, I'm more intrigued by the B-side, something called "Reggae Strut."
37 - "I Get Lifted," George McCrae
The only other pop Top 40 for the man who topped the chart the year before with "Rock Your Baby" was this hard-grooving sex-funk jam. This has to have been sampled by hip-hop artists dozens of times. I can't recall any examples, but come on, this one's just asking for it.
May 10, 1975
31 - "Rainy Day People," Gordon Lightfoot
Ol' Gordie had another hit with this folk-popper about loyal, considerate souls that are good to have in your life. Warm, familiar, nice.
July 12, 1975
26 - "Every Time You Touch Me (I Get High)," Charlie Rich
The Silver Fox's final pop Top 40 was this sultry country-soul ballad about the intoxication physical contact with the right partner can cause. The depth of his attraction is palpable. A terrific chart curtain call.
28 - "Slippery When Wet," The Commodores
The second pop hit for the pride of Tuskeegee, Alabama, was this funk jam about making sure you treat your lady right to prevent her from stepping out on you. Not quire "Brick House," but still good.
31- "It's All Down to Goodnight Vienna," Ringo Starr
One of Ringo's last Top 40s was this rocker with odd lyrics about Arabs dancing through Zion and butchers with needles. It was written by John Lennon, who also played piano and did the "1-2-3-4" count-in. That explains a lot, except what Vienna has to do with anything.
32 - "Disco Queen," Hot Chocolate
The British group's second American hit was this slick dance-funk stomper about a lady who isn't all that interested in the men who gather round her when she/s on the floor, becaues "music is her lover." I'm not sure if there's a name for that particular orientation, but who am I to judge?
34 - "Mornin' Beautiful," Tony Orlando and Dawn
Tony O. and co. picked up another hit with this peppy sapfest about waking up next to the one you love. Okay, as romantic cheese goes.
35 - "Spirit of the Boogie," Kool and The Gang
Their fourth Top 40 single feels vocals and lyrics that are quite similar to those of "Jungle Boogie." But that's okay, because "for the boogie, there is no beginning, and there is no end." So there's nothing else to do but ride the rhythm.
38 - "Just a Little Bit of You," Michael Jackson
MJ's final solo Top 40 for Motown was this disco tune on which he declares that his woman's love is his health care plan. Seriously, he says that he no longer contracts colds or flu since he's found her. Not sure this is a replacement for universal access to medical attention, but good song nonetheless. Also, this is where he starts to sound less like "little Michael," and more like the guy who would conquer the world a few years later.
40 - "Sweet Emotion," Aerosmith
The Top 40 breakthrough for these Boston rockers was this bluesy grinder on which Steven Tyler sings about women gyrating their backsides, doing the "backstage boogie," and the "rabbit test" which used to be the way to determine whether or not a woman was pregnant. Pretty much a comprehensive introduction to what the band is about musically and lyrically.
Oct. 18, 1975
25 - "You," George Harrison
More from George. This is a Motown-styled declaration of love that he originally wrote five years earlier for Ronnie Spector. His voice had recovered quite a bit by this time, and he sounds very happy about it.
28 - "Born to Run," Bruce Springsteen
After two highly-acclaimed but low-selling albums, this New Jersey singer-songwriter was given an extensive budget for his third in the hopes that it would facilitate a commercial breakthrough. The title track to the album was this mini-epic about a "scared and lonely rider" looking to escape to something better with his beloved "Wendy" by his side. The production has a Phil Spectorish "Wall of Sound," feel, and Bruce's vocals convey the appropriate desperation. An instant attention-grabber which, although it would only hit #23, would provide much of the momentum that would lead to the famous week where he was on the covers of both Time and Newsweek. Brilliant, classic, superlative.
30 - "Rockin' All Over the World," John Fogerty
Fogerty's first solo hit under his own name was this raw, simple rocker about, well, rockin'. Not a lot of effort expended, but still cool.
34 - "Sweet Sticky Thing," The Ohio Players
Hailing from Dayton (whose college basketball team just missed the Final Four this weekend), the Players picked up another hit with this funk ballad about a lady they want for their own. Sweet indeed, and it does remain in the mind, so I guess sticky applies too.
35 - "There Goes Another Love Song," The Outlaws
From Tampa, these southern rockers picked up the first of their two Top 40s with this number about how hearing certain songs can comfort a person when their away from a loved one. I think that's it. Nice, but not much more.
39 - "Just Too Many People," Melissa Manchester
This MOR star picked up her second hit with this song about relationship problems or something. Sorry, it's not interesting enough for me to care.
40 - "The Agony and the Ecstasy," Smokey Robinson
Smokey's third solo Top 40 was this ballad about the ups and downs on the journey to romance. Smooth, sexy, Smokey
Jan. 10, 1976
33- "Hurricane," Bob Dylan
One of Dylan's most famous 70s songs is this eight-minute-plus (broken up into two parts on the 45) protest song that tells the tale of Rubin "Hurricane" Carter, a professional middleweight boxer who was convicted for the murders of three people during a robbery at a Paterson, New Jersey bar in 1966. In the song, Dylan affirms his belief in the claims of Carter and his supporters that Carter was innocent, and that his conviction was the result of racism and false testimony. Dylan's anger at this injustice is palpable, and the jagged, anguished squeals of Scarlet Rivera's violin further punctuate the expression of rage at a corrupt system. The song helped Carter become a cause celebre, and nine years later, Carter's conviction would be permanently overturned. He then moved to Toronto, and has since been active in helping other wrongfully convicted people prove their innocence.
35 - "Let's Live Together," The Road Apples
This Massachussetts band were horseshit. Wait, no, they were just named after horseshit. But their one major hit was this nice little pop-soul love song. They really did undervalue themselves.
Feb. 14, 1976
17 - "Grow Some Funk of Your Own/I Feel Like a Bullet (In the Gun of Robert Ford)," Elton John
A double-sided single featuring two tracks from Sir Elton's Rock of the Westies LP. The former song is a rocker about being thwarted in an attempt to pick up a Mexican lady by her rather large boyfriend. The latter is a ballad on which lyricist Bernie Taupin compares his behaviour during his first marriage to that of the man who assassinated Jesse James by shooting him from behind. Suffice it to say, he's not happy with himself. Although these days, when people hear the name "Robert Ford," they think of a different man, one that no wants to see anywhere near a gun.
June 5, 1976
16 - "Love in the Shadows," Neil Sedaka
The Neilster's penultimate solo Top 40 was this disco number about having secret trysts with a lover in alleys and dark hallways. A big ol' lump of 70s cheese that sounds like it should soundtrack a big production number from a bad variety show, with lots of dancers and a big elaborate set. Pretty much everything the Juul Haalmeyer Dancers sent up on SCTV.
28 - "Young Blood," Bad Company
The fifth Top 40 for these Brit rockers was a cover of a bluesy strut about admiring the charms of a passing lady that was originally a hit for The Coasters in 1957. Okay, but both the original and a version I've heard by The Beatles are better.
29 - "Rock and Roll Love Letter," The Bay City Rollers
The third American hit by these Scots heartthrobs was a catchy pop rocker about rockin' and bein' in love and stuff. Although it has to be clarified that they're singing "Gonna keep on rock and rollin' till my genes explode." If you picture a different spelling, it has a whole 'nother meaning. Although maybe that was intentional.
35 - "Crazy On You," Heart
The first Top 40 for this Seattle band was this rocker on which Ann Wilson declares her intention to seek refuge from the stress and strife of the outside world by making mad passionate love to her partner of choice. I envy the person who got to provide her such comfort at the time. She was pretty damn hot back in '76.
36 - "Love Really Hurts Without You," Billy Ocean
Eight years before his big 80s run, Ocean scored his first American hit with this peppy tune that sounds a lot like 60s Motown. It's just really well done, and I prefer it greatly to all of his "Mutt" Lange-produced stuff.
37 - "Union Man," The Cate Brothers
The only hit for Arkansas siblings Earl and Ernie Cate was this disco-funk number about the hardships and rewards of working in a unionized place of employment. North American political forces haven't been kind to the labour movement in the 38 years since this song came out, and myself, I think that's a shame. I could go on, but you don't come here for politics, you come to hear my opinions about the music. And in this case...meh.
38 - "It's Over," Boz Scaggs
The man with one of rock's alltime coolest names scored his first Top 40 with some smooth breakup soul. Okay, but his next few hits were bigger for a reason.
40 - "Still Crazy After All These Years," Paul Simon
Although it only got this high on the pop charts, this title track from Simon's third released solo album is one of his most familiar numbers. It's a wistful rumination on negotiating through the world as one ages. This is a topic he has revisited numerous times since, but he's rarely done it better.
Sept 25, 1976
35 - "Superstar," Paul Davis
The second of this forgotten pop star's eight Top 40s was this somewhat cheesy MOR tribute to some of the hitmakers of the day. It namedrops Elton John, Stevie Wonder, Linda Ronstadt (of whom he sings "Girl, you're looking thinner than you used to be") and Joni Mitchell. Somehow I think those mentions were what got it most of its airplay.
36 - "Sunrise," Eric Carmen
If you've been paying attention to this space for any length of time, you've probably noticed that I have little but disdain for Mr. Carmen's post-Raspberries output. But you know what? This song has a very upbeat, Beach Boys-y feel to it, and I daresay I actually enjoy it. So that's one, EC. It still doesn't nearly make up for "All By Myself."
In Part Four: the rest of this decade's untold stories.
Wednesday, April 2, 2014
Sunday, February 16, 2014
Uncovered 70s- Part Two
At last, the second part of our 70s clean-up job.
June 24, 1972
35 - "Immigration Man," Graham Nash and David Crosby
In addition to their work with Stills and Young, these two recorded several albums as a duo. The only Top 40 hit these collaborations produced was this ode to the hassles that customs agents can put one through while travelling. Doesn't sound much different to the stuff they did with S&Y. But that's not a bad thing.
Nov.18, 1972
38 - "Dialogue (Parts I and II)," Chicago
One of the band's more interesting singles, this song (over seven minutes long in its full version), this song is sung by two characters. The first, played by Terry Kath, asks his acquaintance if he's worried about the problems in the world, such as war, poverty, and repression. The other man, voiced by Peter Cetera, says that he doesn't pay attention to such things, and as far as he's aware, "everything is fine." At the end of part one, this denial of the harsh realities of life by Cetera wears Kath down to the point where he seems to agree that ignorance and apathy are the way to go. But then in part two, the two of them are singing together about how they actually can change the world. All in all, the first part is much more interesting and fleshed-out, but I guess the second part was necessary to make it clear to listeners that not caring isn't the ideal. It's a cool listen.
Jan. 20, 1973
40 - "I'll Be Your Shelter (In Time of Storm)," Luther Ingram
This Tennessee native's only other pop Top 40 (which followed his #3 smash "(If Loving You is Wrong) I Don't Want to Be Right)") was a soulful pledge of support along the same lines as Bill Withers' "Lean On Me." Ingram's voice is suitably reassuring. This does the trick.
March 24, 1973
33 - "Give Me Your Love," Barbara Mason
Philadelphia R&B singer Mason had two pop Top 40s in the 60s, then two more in the 70s. The first of the latter was this cooing, sexy plea for affection/pledge of dedication. The heavy breathing at the end might not work in other hands, but Barbara pulls it off.
35 - "Hello Hooray," Alice Cooper
Written by a Canadian named Rolf Kempf, this song about the excitement of performance (I think that's it) was first recorded by Judy Collins in 1968, then taken into the Top 40 as the second single from Alice's only #1 LP, Billion Dollar Babies. A great vehicle for Alice's theatrical side.
37 - "Good Morning Heartache," Diana Ross
In 1972, Diana Ross made her film acting debut portraying jazz legend Billie Holiday in the movie Lady Sings the Blues. Her performance earned her an Oscar nomination, and the soundtrack album featuring her versions of many Holiday standards went to #1, and she cracked the pop singles chart with this cover of a ballad about loneliness that Billie first recorded in 1946. Ross basically sings it in her own voice without trying too hard to imitate the original, which is for the best, because she just doesn't have that same rich, world-weary tone. I'll take Billie on this every day of the week, but Miss Ross does well in her own way, and if her doing this introduced people to the brilliance of one of the all-time greats, all the better.
May 19, 1973
33 - "Superfly Meets Shaft," John and Ernest
John Free and Ernest Smith made their only major impact on pop with this "break-in" record (produced by the inventor and master of the form himself, Dickie Goodman) about the former blaxploitation icon going missing, a crisis that causes the President to turn to the one and only "black private dick who's a sex machine to all the chicks." The title songs to both characters' movies are employed, as well as other top R&B hits of the day by James Brown, The Temptations, The Spinners, and others. The story doesn't really go anywhere. By the end, Superfly is still on the loose, while Shaft and the President seem to be developing a surprising bond. Basically, the sort of silly, disposable fun most of these kind of "songs" provide.
34 - "Teddy Bear Song," Barbara Fairchild
Arkansas-born country singer Fairchild had several country hits between 1969 and 1976, but her only major pop hit with this odd number about wishing one was a stuffed animal on a store shelf because that seems preferable to a human existence filled with mistakes and heartbreak. Kind of existential for country. Fairchild's voice is solid yet unremarkable, but I have to say I like this one.
38 - "Hearts of Stone," The Blue Ridge Rangers
The second single by this "band" (actually John Fogerty's first solo album, on which he sang and played all the instruments) was this cover of a 1954 hit by the doo-wop group Otis Williams and The Charms. This is a chugging country take on a song about the dangers of caring for those with less-than-caring natures. Anything Fogerty does is usually worth a listen, and this is no exception.
June 30, 1973
40 - "Time to Get Down," The O'Jays
The third pop hit for these Canton, Ohio soulsters was this danceable request to stop a-fussin' and a-feudin' and get to the lovin'. Simple solid seventies soul
Nov. 3, 1973
38 - "Check it Out," Tavares
The first hit for these five Massachusetts brothers was this ballad on which they offer "a strong hand to guide you through the night." I guess that would be a good thing, if that's what you're into. Bu all in all, a good opening to a nice little career.
Feb. 9, 1974
38 - "I Shall Sing," Art Garfunkel
The second hit for Artie G. sans Simon was this jaunty cover of a Van Morrison song about declaring loudly and proudly that one's voice will be heard. Probably my favorite of the solo stuff of his that I've heard to date.
May 25, 1974
38 - "Save the Last Dance for Me," The DeFranco Family featuring Tony DeFranco
The last major hit for this family band out of Port Colborne, Ontario was this cover of a 1958 hit by The Drifters about a guy who hopes that his lady friend remembers who she came with after cutting rugs with other patrons of a particular gathering. Reportedly, the song's co-writer, Doc Pomus, wrote it on his wedding day, which took place while he was in a wheelchair due to polio. It makes much more sense when you know that, don't you think?
39 - "(We're Gonna) Rock Around the Clock," Bill Haley and His Comets
One of the first major rock n' roll hits, this classic about a non-stop party scraped back into the Top 40 twenty years after its original release thanks to its use in both the hit film American Graffiti and the then-new TV sitcom Happy Days. Put your glad rags on and enjoy.
40 - "Daybreak," Nilsson
Harry's final Top 40 was this sunny pop song from a film called Son of Dracula, in which Nilsson himself played the title role and Ringo Starr played his advisor. Not surprisingly, the tune is about an aversion to sunlight. Very good song. The movie is apparenly much less so.
Aug. 31, 1974
31 - "Don't Change Horses (In The Middle of the Stream)," Tower of Power
The third and last Top 40 for this horn-driven Oakland outfit was this funk-soul tune that uses an old cliche about staying the course to convince his lover to stay with him. The "giddy-up"s and "Hi-ho Silver!"s are a little cheesy, but they work. My favorite of their major hits. But their best single, for my money, is "What is Hip."
37 - "Sugar Baby Love," The Rubettes
In spite of their name, this English vocal group were made up of four men. Their only major American hit was attempt to cross doo-wop with glam rock. It didn't turn out too sweet to my ears.
Oct. 12, 1974
26 - "Give it to the People," The Righteous Brothers
The RiBros. follow-up to "Rock and Roll Heaven" had them continuing in a celestial vein, as it's about how the two of them "made a deal with the angel of music" to allow them to perform for crowds all around the world. Not quite as cornball as their previous single, but still, nothing special.
29 - "Straight Shootin' Woman," Steppenwolf
This band's last hit found them in a bluesier mode than their harder, bigger hits. And the lyrics are incredibly suggestive, making reference to female anatomy in lines like "these Hollywood women, they pack a pistol between their toes," and "she keeps her cylinder greased and loaded." Kind of like a bawdy R&B number from the 40s that somehow snuck onto 1974 radio.
31 - "Kings of the Party," Brownsville Station
The Michiganders behind "Smokin' in the Boys' Room" managed one more Top 40 with this hard rock boogie about how fun it is to play live. Like its predecessor, it has a spoken word opening, but this one goes on for over a minute. Dumb fun party music.
35 - "Devotion," Earth, Wind and Fire
The band's second pop hit was this ballad about how music can soothe your soul and even provide "deliverance from the fruits of evil." A lot to ask from a song, but I wouldn't bet agains EWF providing it.
37 - "Higher Plane," Kool and the Gang
The band's fourth pop Top 40 is just high-powered funk positivity. More goodness from the time when they wouldn't have dreamed of doing pap like "Cherish."
39 - "Papa Don't Take No Mess (Part 1)," James Brown
JB's final pop Top 40 of this decade was another slick funk strut about, well, a papa, who, apparently has a low tolerance for, um, mess. He will drink and gamble occasionally, though. And while he doesn't swear, but he believes in corporal punishment for childhood wrongdoing. But he's a softie at heart. All in all, sounds like a decent enough fella, and if James likes him, that's good enough for me.
Nov. 23, 1974
25 - "Touch Me," Fancy
After scoring a hit with a lascivious cover of The Troggs' "Wild Thing," this British band changed singers, replacing a former Penthouse Pet with a musical-theatre actress. But their ensuing second hit was still a pretty sexually suggestive hard-rocker. The new girl's rasp hits all my chick-rock sweet spots. Like it a lot.
30 - "La La Peace Song," Al Wilson
The third of four Top 40s for Mississippi soul man Wilson (best known for the #1 "Show and Tell") was this tune about all the bad that was going on in the world (war, injustice, hijackings), and wondering why we can't all just get along. About in the middle of the pack among this type of song.
36 - "Three Ring Circus," Blue Magic
On their biggest hit "Sideshow," this Philly soul band imagined an exhibition of lonely people. On their only other pop Top 40, they continue the travelling showbiz theme on a ballad about someone going through life trying to make people happy through his own tears. I think that's it. Anyway, if "carny soul" is a genre, these guys are the masters.
39 - "Let's Straighten it Out," Latimore
The biggest pop hit by this R&B singer (first name Benjamin) is this spare groover about a man wanting to learn what the problem is in his relationship and begin the process of fixing it. He's got a smooth speaking voice (there's a long spoken intro), and his singing voice has a cool, unique quality. Another cool discovery.
In Part III:' 75, '76, and maybe even a little '77
June 24, 1972
35 - "Immigration Man," Graham Nash and David Crosby
In addition to their work with Stills and Young, these two recorded several albums as a duo. The only Top 40 hit these collaborations produced was this ode to the hassles that customs agents can put one through while travelling. Doesn't sound much different to the stuff they did with S&Y. But that's not a bad thing.
Nov.18, 1972
38 - "Dialogue (Parts I and II)," Chicago
One of the band's more interesting singles, this song (over seven minutes long in its full version), this song is sung by two characters. The first, played by Terry Kath, asks his acquaintance if he's worried about the problems in the world, such as war, poverty, and repression. The other man, voiced by Peter Cetera, says that he doesn't pay attention to such things, and as far as he's aware, "everything is fine." At the end of part one, this denial of the harsh realities of life by Cetera wears Kath down to the point where he seems to agree that ignorance and apathy are the way to go. But then in part two, the two of them are singing together about how they actually can change the world. All in all, the first part is much more interesting and fleshed-out, but I guess the second part was necessary to make it clear to listeners that not caring isn't the ideal. It's a cool listen.
Jan. 20, 1973
40 - "I'll Be Your Shelter (In Time of Storm)," Luther Ingram
This Tennessee native's only other pop Top 40 (which followed his #3 smash "(If Loving You is Wrong) I Don't Want to Be Right)") was a soulful pledge of support along the same lines as Bill Withers' "Lean On Me." Ingram's voice is suitably reassuring. This does the trick.
March 24, 1973
33 - "Give Me Your Love," Barbara Mason
Philadelphia R&B singer Mason had two pop Top 40s in the 60s, then two more in the 70s. The first of the latter was this cooing, sexy plea for affection/pledge of dedication. The heavy breathing at the end might not work in other hands, but Barbara pulls it off.
35 - "Hello Hooray," Alice Cooper
Written by a Canadian named Rolf Kempf, this song about the excitement of performance (I think that's it) was first recorded by Judy Collins in 1968, then taken into the Top 40 as the second single from Alice's only #1 LP, Billion Dollar Babies. A great vehicle for Alice's theatrical side.
37 - "Good Morning Heartache," Diana Ross
In 1972, Diana Ross made her film acting debut portraying jazz legend Billie Holiday in the movie Lady Sings the Blues. Her performance earned her an Oscar nomination, and the soundtrack album featuring her versions of many Holiday standards went to #1, and she cracked the pop singles chart with this cover of a ballad about loneliness that Billie first recorded in 1946. Ross basically sings it in her own voice without trying too hard to imitate the original, which is for the best, because she just doesn't have that same rich, world-weary tone. I'll take Billie on this every day of the week, but Miss Ross does well in her own way, and if her doing this introduced people to the brilliance of one of the all-time greats, all the better.
May 19, 1973
33 - "Superfly Meets Shaft," John and Ernest
John Free and Ernest Smith made their only major impact on pop with this "break-in" record (produced by the inventor and master of the form himself, Dickie Goodman) about the former blaxploitation icon going missing, a crisis that causes the President to turn to the one and only "black private dick who's a sex machine to all the chicks." The title songs to both characters' movies are employed, as well as other top R&B hits of the day by James Brown, The Temptations, The Spinners, and others. The story doesn't really go anywhere. By the end, Superfly is still on the loose, while Shaft and the President seem to be developing a surprising bond. Basically, the sort of silly, disposable fun most of these kind of "songs" provide.
34 - "Teddy Bear Song," Barbara Fairchild
Arkansas-born country singer Fairchild had several country hits between 1969 and 1976, but her only major pop hit with this odd number about wishing one was a stuffed animal on a store shelf because that seems preferable to a human existence filled with mistakes and heartbreak. Kind of existential for country. Fairchild's voice is solid yet unremarkable, but I have to say I like this one.
38 - "Hearts of Stone," The Blue Ridge Rangers
The second single by this "band" (actually John Fogerty's first solo album, on which he sang and played all the instruments) was this cover of a 1954 hit by the doo-wop group Otis Williams and The Charms. This is a chugging country take on a song about the dangers of caring for those with less-than-caring natures. Anything Fogerty does is usually worth a listen, and this is no exception.
June 30, 1973
40 - "Time to Get Down," The O'Jays
The third pop hit for these Canton, Ohio soulsters was this danceable request to stop a-fussin' and a-feudin' and get to the lovin'. Simple solid seventies soul
Nov. 3, 1973
38 - "Check it Out," Tavares
The first hit for these five Massachusetts brothers was this ballad on which they offer "a strong hand to guide you through the night." I guess that would be a good thing, if that's what you're into. Bu all in all, a good opening to a nice little career.
Feb. 9, 1974
38 - "I Shall Sing," Art Garfunkel
The second hit for Artie G. sans Simon was this jaunty cover of a Van Morrison song about declaring loudly and proudly that one's voice will be heard. Probably my favorite of the solo stuff of his that I've heard to date.
May 25, 1974
38 - "Save the Last Dance for Me," The DeFranco Family featuring Tony DeFranco
The last major hit for this family band out of Port Colborne, Ontario was this cover of a 1958 hit by The Drifters about a guy who hopes that his lady friend remembers who she came with after cutting rugs with other patrons of a particular gathering. Reportedly, the song's co-writer, Doc Pomus, wrote it on his wedding day, which took place while he was in a wheelchair due to polio. It makes much more sense when you know that, don't you think?
39 - "(We're Gonna) Rock Around the Clock," Bill Haley and His Comets
One of the first major rock n' roll hits, this classic about a non-stop party scraped back into the Top 40 twenty years after its original release thanks to its use in both the hit film American Graffiti and the then-new TV sitcom Happy Days. Put your glad rags on and enjoy.
40 - "Daybreak," Nilsson
Harry's final Top 40 was this sunny pop song from a film called Son of Dracula, in which Nilsson himself played the title role and Ringo Starr played his advisor. Not surprisingly, the tune is about an aversion to sunlight. Very good song. The movie is apparenly much less so.
Aug. 31, 1974
31 - "Don't Change Horses (In The Middle of the Stream)," Tower of Power
The third and last Top 40 for this horn-driven Oakland outfit was this funk-soul tune that uses an old cliche about staying the course to convince his lover to stay with him. The "giddy-up"s and "Hi-ho Silver!"s are a little cheesy, but they work. My favorite of their major hits. But their best single, for my money, is "What is Hip."
37 - "Sugar Baby Love," The Rubettes
In spite of their name, this English vocal group were made up of four men. Their only major American hit was attempt to cross doo-wop with glam rock. It didn't turn out too sweet to my ears.
Oct. 12, 1974
26 - "Give it to the People," The Righteous Brothers
The RiBros. follow-up to "Rock and Roll Heaven" had them continuing in a celestial vein, as it's about how the two of them "made a deal with the angel of music" to allow them to perform for crowds all around the world. Not quite as cornball as their previous single, but still, nothing special.
29 - "Straight Shootin' Woman," Steppenwolf
This band's last hit found them in a bluesier mode than their harder, bigger hits. And the lyrics are incredibly suggestive, making reference to female anatomy in lines like "these Hollywood women, they pack a pistol between their toes," and "she keeps her cylinder greased and loaded." Kind of like a bawdy R&B number from the 40s that somehow snuck onto 1974 radio.
31 - "Kings of the Party," Brownsville Station
The Michiganders behind "Smokin' in the Boys' Room" managed one more Top 40 with this hard rock boogie about how fun it is to play live. Like its predecessor, it has a spoken word opening, but this one goes on for over a minute. Dumb fun party music.
35 - "Devotion," Earth, Wind and Fire
The band's second pop hit was this ballad about how music can soothe your soul and even provide "deliverance from the fruits of evil." A lot to ask from a song, but I wouldn't bet agains EWF providing it.
37 - "Higher Plane," Kool and the Gang
The band's fourth pop Top 40 is just high-powered funk positivity. More goodness from the time when they wouldn't have dreamed of doing pap like "Cherish."
39 - "Papa Don't Take No Mess (Part 1)," James Brown
JB's final pop Top 40 of this decade was another slick funk strut about, well, a papa, who, apparently has a low tolerance for, um, mess. He will drink and gamble occasionally, though. And while he doesn't swear, but he believes in corporal punishment for childhood wrongdoing. But he's a softie at heart. All in all, sounds like a decent enough fella, and if James likes him, that's good enough for me.
Nov. 23, 1974
25 - "Touch Me," Fancy
After scoring a hit with a lascivious cover of The Troggs' "Wild Thing," this British band changed singers, replacing a former Penthouse Pet with a musical-theatre actress. But their ensuing second hit was still a pretty sexually suggestive hard-rocker. The new girl's rasp hits all my chick-rock sweet spots. Like it a lot.
30 - "La La Peace Song," Al Wilson
The third of four Top 40s for Mississippi soul man Wilson (best known for the #1 "Show and Tell") was this tune about all the bad that was going on in the world (war, injustice, hijackings), and wondering why we can't all just get along. About in the middle of the pack among this type of song.
36 - "Three Ring Circus," Blue Magic
On their biggest hit "Sideshow," this Philly soul band imagined an exhibition of lonely people. On their only other pop Top 40, they continue the travelling showbiz theme on a ballad about someone going through life trying to make people happy through his own tears. I think that's it. Anyway, if "carny soul" is a genre, these guys are the masters.
39 - "Let's Straighten it Out," Latimore
The biggest pop hit by this R&B singer (first name Benjamin) is this spare groover about a man wanting to learn what the problem is in his relationship and begin the process of fixing it. He's got a smooth speaking voice (there's a long spoken intro), and his singing voice has a cool, unique quality. Another cool discovery.
In Part III:' 75, '76, and maybe even a little '77
Thursday, January 30, 2014
Uncovered 70s - Part One
So in between my 60s adventure and my new direction, I've decided to look at songs from the past year or so's 70's throwback shows that I never covered on previous go-rounds. There were more than I expected. This well is deeper than I thought, which is why the uncovered 80s stuff will have to wait a bit. For now, let's just dive in to this decade, starting in 1970-71.
Dec. 12, 1970
31 - "Let's Work Together," Canned Heat
The fourth and last Top 40 for these L.A. blues rockers was this cover of a 1969 hit by soul singer Wilbert Harrison. A catchy chugger about cooperation. Fun for every boy, girl, woman, and man.
33 - "Only Love Can Break Your Heart," Neil Young
The rock icon's first solo hit was this acoustic ballad about loneliness. Simple and beautiful, and perfect for a good cry. And Neil's been in the news lately for his activism regarding the Alberta oil sands. He's still speaking out. Good for him.
37 - "Heed the Call," Kenny Rogers and the First Edition
Kenny's last Top 40 with this band was an okay bit of gospel-pop about the spiritual power of music. Not bad, but they had better stuff.
May 15, 1971
37 - "Booty Butt," The Ray Charles Orchestra
Brother Ray's last pop hit was this old-school R&B instrumental. I'm sure both booties and butts have shook plenty to it. Cool party music, and that closing horn blast was a nice touch,
40 - "The Battle Hymn of Lt. Calley," C Company featuring Terry Nelson
Nelson, an Alabama disc jockey, had only one hit, but it was a controversial one. Set to the tune of the Civil war anthem "The Battle Hymn of the Republic," Nelson sings from the point of view of William Calley, a U.S.Army lieutenant who had recently been convicted for his role in the 1968 killings of over 300 Vietnamese civilians in the village of My Lai. Nelson portrays Calley as a heroic figure for fighting in the war while hundreds of thousands of antiwar protesters were "helping our defeat," and portrays his actions as that of a dutiful soldier in a strange land, trying to follow orders while unable to tell enemy combatants from innocents. While Calley was far from the only soldier involved, and certainly not the highest ranking one, he would be the only one convicted of the murders. He was sentenced to life in prison, but thanks in part to the intervention of Presiden Richard Nixon, he would only serve three-and-a-half years of house arrest. The song's veneration of Calley definitely made me uncomfortable, but it would certainly seem that he took a disproportionate amonnt of public blame for the massacre. All in all, an intriguing artifact of the time.
June 12, 1971
26 - "Funky Nassau (Part 1)," The Beginning of the End
Led by brothers Frank, Ray, and Roy Munnings, this Bahamian band scored their only major international success with this celebration of the soulfulness of their hometown. It is indeed funky. Solid island party music.
27 - "She's Not Just Another Woman," 8th Day
This song was actually by the band 100 Proof (Aged In Soul), but because they had another hit climbing the charts at the time, and their record label wanted to avoid competition, it was released under a different name. Decent R&B tribute to a special lady who makes the singer's existence worthwhile. Like it.
30 - "Don't Pull Your Love," Hamilton, Joe Frank and Reynolds
The only Top 40 hit by the original lineup of Dan Hamilton, Joe Frank Carollo, and Tommy Reynolds was this big, "please don't leave me" ballad that is quite reminiscent of much of what Elvis was recording during this time period. The singer even sounds like The King. It's better than I remembered, and much better than any of the stuff without Reynolds.
31 - "That's the Way I've Always Heard it Should Be," Carly Simon
The daughter of one of the founders of publishing giant Simon and Schuster, this New York native scored her first hit with this evocative ballad about a young woman's struggle with the idea of marrying her boyfriend. She recalls the distant relationship her parents had, and sings of how her married friends seem dissatisfied with their lives. And she also fears that marriage will restrain her, to the point that "I'll never learn to just be me first, by myself." But at the end of the song, she does commit to matrimony, although the listener isn't at all sure why. A beautifully performed, brilliantly realized emotional journey.
33 - "Never Can Say Goodbye," Isaac Hayes
Hayes' second Top 40 single was a cover of a recent Jackson 5 hit. If you've been reading this blog for a while, you'll know how much I love this song in both its original and Gloria Gaynor versions. I wasn't aware of this one, and I wondered if there was room in my heart for a third take on this song. Turns out there is. Hayes puts his own smooth, funky spin on it. Same song, three different but equally rewarding listens. You gotta love that.
34 - "Albert Flasher," The Guess Who
Burton Cummings and company picked up their tenth Top 40 with this midtempo piano boogie about...owning workshops, and uh, fixing diesels, and some guy who makes moonbeams. And I have no idea if Albert was an actual flasher or that was his name. Nonsensical, but catchy.
37 - "Puppet Man," Tom Jones
The follow-up to Jones' biggest American hit, "She's a Lady," was this soul number on which he volunteers to be "your personal marionette," promises to "crack a jack till the crack of dawn," and says "if you want to see me do my thing, baby, pull my string." Interesting offer. But Tom does this sort of thing well, and I enjoy the high notes from the backing singers. And on a related note, my recent viewing of the movie American Hustle has given me a new appreciation for "Delilah."
July 31, 1971
9 - "Sooner or Later," The Grass Roots
The band's third and last Top Ten is this poppy warning to a woman that one of these days, she will succumb to her love for the guy who's singing. Okay, but Creedless, so meh.
15 - "Here Comes That Rainy Day Feeling Again," The Fortunes
From Birmingham, England, this band scored two American hits in 1965, including the Top Ten "You've Got Your Troubles." Six years later, they picked up one more U.S. hit with this deceptively bouncy number about loneliness. The singer reminds me of Frankie Valli at certain points. Just average to these ears.
17 - "I Don't Want to Do Wrong," Gladys Knight and The Pips
Another soul nugget from GK&tPs. On this one, Gladys begs her old lover for forgiveness because she found a new guy after he was away for just a bit too long. Me, I think she was entirely justified. If he didn't know enough to do whatever he could to someone like her, she was right to move on. No apologies necessary.
23 - "Double Barrel," Dave and Ansell Collins
First of all, these two Jamaicans aren't brothers (Dave's last name is Barker). The two have had long careers separately, but their biggest success came together with this single, a spare reggae groove over which Barker declares, among other things, that "I am the magnificent!" It hit #1 in the U.K., and was one of the tracks that paved the way for reggae to become a worldwide phenomenon.
24 - "Get it On," Chase
This nine-man jazz-pop group had their only major hit with this horn-heavy ode to making love in the a.m. hours. Raucous fun. Unfortunately, the band's founder and namesake, Bill Chase, would die in a plane crash just three years later.
32 - "Moonshadow," Cat Stevens
Stevens' second American hit was this acoustic ballad on which he sees the bright side of losing various limbs, organs and appendages. Now that's optimism. I have to say, this is the most appealing of his more hippy-dippy tunes to me.
33 - "Summer Sand," Dawn
Tony Orlando and co.'s fouth Top 40 was this pop number about fleeting romances during the hotter months. Probably in the middle of my list of their hits, but certainly one on which they sound more "of their time" than they often did.
35 - "Chicago," Graham Nash
The British quarter of CSNY had his only solo hit with this rock song about the injustices going on in America at the time. The main point of reference is the "Chicago Eight," a group of activists who were arrested and tried for their actions during the 1968 Democratic National Convention. The minor organ chords seem to indicate that the struggle against such inequities is unwinnable, but Nash's chorus of "We can change the world" seems to indicate the opposite, or at least that it's worth a try. A terrific call to (figurative) arms.
38 - "Wild Horses," The Rolling Stones
The Stones' follow-up to the #1 "Brown Sugar" was this beautiful acoustic ballad about a relationship that's had its ups and downs, but is still one that Mick seems to want to hang onto. Just a great rock love song.
39 - "Love Means (You Never Have to Say You're Sorry)," Sounds of Sunshine
Apparently these guys were three brothers from L.A., and their only hit, this square sleeping pill built on a phrase popularized by the movie Love Story, didn't get any higher than this. And it was lucky to do even that. Boring boring boring.
Oct. 23, 1971
40 - "I'm Comin' Home," Tommy James
The first solo hit by the Shondells frontman was this country rocker about his desire to return to "my father's mansion." I'm not sure if theres a religious meaning to that, but a very good tune regardless.
Dec. 4, 1971
32 - "Hey Girl"/"I Knew You When," Donny Osmond
Donny's third solo Top ten was a double-sided affair. Both songs are covers of 60's hits about wanting a lady to come back. The former was originally recorded by Freddie Scott, the latter by Billy Joe Royal. Donny sings both well, and I prefer both by a large margin to "Go Away Little Girl."
37 - "An American Trilogy," Mickey Newbury
Houston-born Newbury found most of his musical success as a songwriter, but he did manage one hit as an artist with this arrangement of three traditional songs: "Dixie" (as in "I wish I was in..."), "The Battle Hymn of The Republic," and the folk spiritual "All My Trials." I'm not sure what statement he was trying to make about America with this, but it is compelling. Later, Elvis Presley would not only record it, but also make it a staple of his live performances. Seems about right.
38 - "Behind Blue Eyes," The Who
The second single from Who' s Next was this ballad about a lonely, angry man who still seeks comfort and redemption from the people he blames for his plight. I think that's it. A brilliant track from a classic album.
39 - "I'm a Greedy Man (Part 1)," James Brown
Another one from Brother James. Over the usual reliable funk groove, he asks you to "pick up on this," advises "don't leave the homework undone," and insists his name isn't Jody. What does it all mean? Who cares, just dance.
40 - "Your Move," Yes
The first American hit for these English prog rockers was a shortened version of the album track "I've Seen All Good People." It's a primarily acoustic number, with lyrics that seem to use chess metaphors ("Move me onto any black square,") as statements about how to get ahead in life. A classic rock staple, but always worth a listen.
In Part Two: 1972-1974
Dec. 12, 1970
31 - "Let's Work Together," Canned Heat
The fourth and last Top 40 for these L.A. blues rockers was this cover of a 1969 hit by soul singer Wilbert Harrison. A catchy chugger about cooperation. Fun for every boy, girl, woman, and man.
33 - "Only Love Can Break Your Heart," Neil Young
The rock icon's first solo hit was this acoustic ballad about loneliness. Simple and beautiful, and perfect for a good cry. And Neil's been in the news lately for his activism regarding the Alberta oil sands. He's still speaking out. Good for him.
37 - "Heed the Call," Kenny Rogers and the First Edition
Kenny's last Top 40 with this band was an okay bit of gospel-pop about the spiritual power of music. Not bad, but they had better stuff.
May 15, 1971
37 - "Booty Butt," The Ray Charles Orchestra
Brother Ray's last pop hit was this old-school R&B instrumental. I'm sure both booties and butts have shook plenty to it. Cool party music, and that closing horn blast was a nice touch,
40 - "The Battle Hymn of Lt. Calley," C Company featuring Terry Nelson
Nelson, an Alabama disc jockey, had only one hit, but it was a controversial one. Set to the tune of the Civil war anthem "The Battle Hymn of the Republic," Nelson sings from the point of view of William Calley, a U.S.Army lieutenant who had recently been convicted for his role in the 1968 killings of over 300 Vietnamese civilians in the village of My Lai. Nelson portrays Calley as a heroic figure for fighting in the war while hundreds of thousands of antiwar protesters were "helping our defeat," and portrays his actions as that of a dutiful soldier in a strange land, trying to follow orders while unable to tell enemy combatants from innocents. While Calley was far from the only soldier involved, and certainly not the highest ranking one, he would be the only one convicted of the murders. He was sentenced to life in prison, but thanks in part to the intervention of Presiden Richard Nixon, he would only serve three-and-a-half years of house arrest. The song's veneration of Calley definitely made me uncomfortable, but it would certainly seem that he took a disproportionate amonnt of public blame for the massacre. All in all, an intriguing artifact of the time.
June 12, 1971
26 - "Funky Nassau (Part 1)," The Beginning of the End
Led by brothers Frank, Ray, and Roy Munnings, this Bahamian band scored their only major international success with this celebration of the soulfulness of their hometown. It is indeed funky. Solid island party music.
27 - "She's Not Just Another Woman," 8th Day
This song was actually by the band 100 Proof (Aged In Soul), but because they had another hit climbing the charts at the time, and their record label wanted to avoid competition, it was released under a different name. Decent R&B tribute to a special lady who makes the singer's existence worthwhile. Like it.
30 - "Don't Pull Your Love," Hamilton, Joe Frank and Reynolds
The only Top 40 hit by the original lineup of Dan Hamilton, Joe Frank Carollo, and Tommy Reynolds was this big, "please don't leave me" ballad that is quite reminiscent of much of what Elvis was recording during this time period. The singer even sounds like The King. It's better than I remembered, and much better than any of the stuff without Reynolds.
31 - "That's the Way I've Always Heard it Should Be," Carly Simon
The daughter of one of the founders of publishing giant Simon and Schuster, this New York native scored her first hit with this evocative ballad about a young woman's struggle with the idea of marrying her boyfriend. She recalls the distant relationship her parents had, and sings of how her married friends seem dissatisfied with their lives. And she also fears that marriage will restrain her, to the point that "I'll never learn to just be me first, by myself." But at the end of the song, she does commit to matrimony, although the listener isn't at all sure why. A beautifully performed, brilliantly realized emotional journey.
33 - "Never Can Say Goodbye," Isaac Hayes
Hayes' second Top 40 single was a cover of a recent Jackson 5 hit. If you've been reading this blog for a while, you'll know how much I love this song in both its original and Gloria Gaynor versions. I wasn't aware of this one, and I wondered if there was room in my heart for a third take on this song. Turns out there is. Hayes puts his own smooth, funky spin on it. Same song, three different but equally rewarding listens. You gotta love that.
34 - "Albert Flasher," The Guess Who
Burton Cummings and company picked up their tenth Top 40 with this midtempo piano boogie about...owning workshops, and uh, fixing diesels, and some guy who makes moonbeams. And I have no idea if Albert was an actual flasher or that was his name. Nonsensical, but catchy.
37 - "Puppet Man," Tom Jones
The follow-up to Jones' biggest American hit, "She's a Lady," was this soul number on which he volunteers to be "your personal marionette," promises to "crack a jack till the crack of dawn," and says "if you want to see me do my thing, baby, pull my string." Interesting offer. But Tom does this sort of thing well, and I enjoy the high notes from the backing singers. And on a related note, my recent viewing of the movie American Hustle has given me a new appreciation for "Delilah."
July 31, 1971
9 - "Sooner or Later," The Grass Roots
The band's third and last Top Ten is this poppy warning to a woman that one of these days, she will succumb to her love for the guy who's singing. Okay, but Creedless, so meh.
15 - "Here Comes That Rainy Day Feeling Again," The Fortunes
From Birmingham, England, this band scored two American hits in 1965, including the Top Ten "You've Got Your Troubles." Six years later, they picked up one more U.S. hit with this deceptively bouncy number about loneliness. The singer reminds me of Frankie Valli at certain points. Just average to these ears.
17 - "I Don't Want to Do Wrong," Gladys Knight and The Pips
Another soul nugget from GK&tPs. On this one, Gladys begs her old lover for forgiveness because she found a new guy after he was away for just a bit too long. Me, I think she was entirely justified. If he didn't know enough to do whatever he could to someone like her, she was right to move on. No apologies necessary.
23 - "Double Barrel," Dave and Ansell Collins
First of all, these two Jamaicans aren't brothers (Dave's last name is Barker). The two have had long careers separately, but their biggest success came together with this single, a spare reggae groove over which Barker declares, among other things, that "I am the magnificent!" It hit #1 in the U.K., and was one of the tracks that paved the way for reggae to become a worldwide phenomenon.
24 - "Get it On," Chase
This nine-man jazz-pop group had their only major hit with this horn-heavy ode to making love in the a.m. hours. Raucous fun. Unfortunately, the band's founder and namesake, Bill Chase, would die in a plane crash just three years later.
32 - "Moonshadow," Cat Stevens
Stevens' second American hit was this acoustic ballad on which he sees the bright side of losing various limbs, organs and appendages. Now that's optimism. I have to say, this is the most appealing of his more hippy-dippy tunes to me.
33 - "Summer Sand," Dawn
Tony Orlando and co.'s fouth Top 40 was this pop number about fleeting romances during the hotter months. Probably in the middle of my list of their hits, but certainly one on which they sound more "of their time" than they often did.
35 - "Chicago," Graham Nash
The British quarter of CSNY had his only solo hit with this rock song about the injustices going on in America at the time. The main point of reference is the "Chicago Eight," a group of activists who were arrested and tried for their actions during the 1968 Democratic National Convention. The minor organ chords seem to indicate that the struggle against such inequities is unwinnable, but Nash's chorus of "We can change the world" seems to indicate the opposite, or at least that it's worth a try. A terrific call to (figurative) arms.
38 - "Wild Horses," The Rolling Stones
The Stones' follow-up to the #1 "Brown Sugar" was this beautiful acoustic ballad about a relationship that's had its ups and downs, but is still one that Mick seems to want to hang onto. Just a great rock love song.
39 - "Love Means (You Never Have to Say You're Sorry)," Sounds of Sunshine
Apparently these guys were three brothers from L.A., and their only hit, this square sleeping pill built on a phrase popularized by the movie Love Story, didn't get any higher than this. And it was lucky to do even that. Boring boring boring.
Oct. 23, 1971
40 - "I'm Comin' Home," Tommy James
The first solo hit by the Shondells frontman was this country rocker about his desire to return to "my father's mansion." I'm not sure if theres a religious meaning to that, but a very good tune regardless.
Dec. 4, 1971
32 - "Hey Girl"/"I Knew You When," Donny Osmond
Donny's third solo Top ten was a double-sided affair. Both songs are covers of 60's hits about wanting a lady to come back. The former was originally recorded by Freddie Scott, the latter by Billy Joe Royal. Donny sings both well, and I prefer both by a large margin to "Go Away Little Girl."
37 - "An American Trilogy," Mickey Newbury
Houston-born Newbury found most of his musical success as a songwriter, but he did manage one hit as an artist with this arrangement of three traditional songs: "Dixie" (as in "I wish I was in..."), "The Battle Hymn of The Republic," and the folk spiritual "All My Trials." I'm not sure what statement he was trying to make about America with this, but it is compelling. Later, Elvis Presley would not only record it, but also make it a staple of his live performances. Seems about right.
38 - "Behind Blue Eyes," The Who
The second single from Who' s Next was this ballad about a lonely, angry man who still seeks comfort and redemption from the people he blames for his plight. I think that's it. A brilliant track from a classic album.
39 - "I'm a Greedy Man (Part 1)," James Brown
Another one from Brother James. Over the usual reliable funk groove, he asks you to "pick up on this," advises "don't leave the homework undone," and insists his name isn't Jody. What does it all mean? Who cares, just dance.
40 - "Your Move," Yes
The first American hit for these English prog rockers was a shortened version of the album track "I've Seen All Good People." It's a primarily acoustic number, with lyrics that seem to use chess metaphors ("Move me onto any black square,") as statements about how to get ahead in life. A classic rock staple, but always worth a listen.
In Part Two: 1972-1974
Sunday, January 12, 2014
November 29, 1969 Part Two
And here ends '69
20 - "Going in Circles," The Friends of Distinction
This two-man, two woman vocal group contained former members of Ray Charles' backing band, and were managed by legendary NFL running back Jim Brown. Their first hit, a vocal cover of trumpeter Hugh Masekela's "Grazing in the Grass," has gotten new attention recently from its use in the Anchorman movies. Their second hit was this ballad about being in love to the point of disorientation. It's decent orchestral soul, and probably the best of their three top 40s. Sorry, Mr. Burgundy.
19 - "Sugar, Sugar," The Archies
The second and biggest hit by the animated pride of Riverdale High on which Archibald Andrews (voiced by Cuff Link Ron Dante) woos a lady by making candy metaphors and coining the immortal line "I just can't believe the loveliness of loving you." Like most bubblegum, it wasn't built to last, but it's just catchy enough that it's remained in our consciousness ever since.
18 - "Holly Holy," Neil Diamond
Diamond's third Top Ten was this gospellish song about hope and faith. I appreciate the passion he puts into it, but it doesn't really do much for me.
17 - "I Can't Get Next to You," The Temptations
Five years after scoring their first pop #1 with "My Girl," the Temps got their second with this percussive track about how they can perform many impressive feats, but getting close to the object of their desire isn't one of them. One of Motown's ten best hits, easily.
16 - "Suspicious Minds," Elvis Presley
For a good portion of this decade, Elvis was regarded by many as a jokey sellout, making cheesy movie musicals for an ever-dwindling fan base. But after getting back to his roots to success and acclaim on what would become known as the "'68 Comeback Special," Presley rededicated himself to only performing songs he truly believed in, and one of those songs, this drama-rocker about a relationship at risk of falling apart due to mistrust, would become his first #1 in seven years. It's the sound of Elvis bringing the energy and soul he gave to the classics of his youth and combining it with a more reflective, adult wisdom. Nothing less than classic.
15 - "Cherry Hill Park," Billy Joe Royal
Royal's last Top 40 hit was this tale of "Mary Hill," a young lady who used to, shall we say, entertain various gentlemen on a daily basis at the titular public space until the fateful day she married a rich suitor and began playing "a one-man game." Let us take a moment to weep for the young men of Cherry Hill Park...That's long enough. Anyway, it's an okay if dubious song, and Royal would have a brief comeback in the late-80s as a country singer.
14 - "Baby I'm For Real," The Originals
Formed in 1966, this Motown group had sang backup on several of the label hits before picking up a hit of their own with this lush ballad of devotion written by Marvin Gaye and his wife Anna. Sweet, classy, romantic, good.
13 - "Backfield in Motion," Mel and Tim
Originally from Mississippi, Melvin Hardin and Hubert Timothy McPherson scored their first and biggest hit with this cheeky comparison of a lover's betrayals to penalties occurred during an American football game. The stadium sounds were a nice touch. Good fun novelty funk.
12 - "Baby It's You," Smith
This L.A. band had their only major hit with their sultry rock cover of a 1961 Burt Bacharach co-composition that had been a hit for The Shirelles. Singer Gayle McCormick's vocals are the standout aspect of the track, as she reveals herself to be a cross between Dusty Springfield and Janis Joplin. The band didn't do much after this, and McCormick didn't have any hits herself, but I might have to dig around to try and hear more of that voice.
11 - "Someday We'll Be Together," Diana Ross and The Supremes
Ironic title, that. This, of course, was the final hit for Diana with the group that made her famous, And it's another great performance from all involved. And not only would it be the group's 12th and last #1, it was the last American charttopper of the whole decade. That just seems so perfect as to have been preordained.
FFS, Glovehead, finish this already!
10 - "Eli's Comin'," Three Dog Night
3DN's reign of hitmaking began the previous year, and they picked up their third Top Ten with this stark pop-rock warning to a girl that she had better "hide (her) heart" from the nefarious Eli. What this Eli might do isn't specified, but it's clearly not good. Good song by Laura Nyro, terrific performance by my former nemeses, just wonderful all around.
9 - "Down on the Corner/Fortunate Son," Creedence Clearwater Revival
Well, I seem to have stumbled upon a bit of history here. Apparently, this was the first week that Billboard began counting songs that appeared on the same 45 as one entry instead of two. The week before this, A-side "Down on the Corner" was at #21, and B-side "Fortunate Son" was at #14. A week later, the two sides were combined, and here they are. Now to the music. The former is toe-tappin' swamp funk about a fictional busking jug band called "Willy and the Poor Boys." The latter is a snarling takedown of privileged people who would send those economically beneath them to fight wars on their behalf without incurring any of the cost, financial or otherwise, themselves. Both are classics and among the best moments this band had to offer
8 - "Yester-Me, Yester-You, Yesterday," Stevie Wonder
Stevie closed out the decade with this sad recollection of dreams that didn't come true. The usual effortless brilliance.
7 - "Leaving on a Jet Plane," Peter, Paul and Mary
The folk trio's last hit, and only #1, was this song about the heartbreak of temporary separation that would be the first major success for its songwriter, one John Denver. It's fine, but nothing too great to these ears. Everyone involved had better stuff.
6 - "Smile a Little Smile for Me," The Flying Machine
This British band had their only major success with this gentle, folky plea to a girl named Rosemarie to cheer up after a breakup. A minor charmer.
5 - "Na Na Hey Hey Kiss Him Goodbye, " Steam
This funk-pop "dump that zero and get with a hero" number was recorded as a throwaway B-side studio musicians who didn't want to be associated with it, so they credited it to water vapor. So of course it became a #1 hit, and it's chorus is now sung to taunt losers or others who are forced to step down in disgrace. And honestly, I don't see what was so embarrassing about it. It's well-written, the drum part is cool, there's xylophone on it. What's not to love?
4 - "Take a Letter, Maria," R.B. Greaves
Robert Bertram Aloysius Greaves III was born on a military base in Guyana in 1943, grew up on an Indian reservation, and was the nephew of Sam Cooke. His first and biggest hit was this Latin-flavored tale of a man who discovers that his wife has been cheating on him, so he dictates a letter of separation to his secretary. And when he's finished, he decides, for the heck of it, to ask that secretary out for dinner. An interesting take on the adultery song.
3 - "Wedding Bell Blues," The 5th Dimension
The Dimension's second and last #1 was this jaunty number on which the singer makes the case for matrimony to her beloved, the apparently commitmentphobic Bill. Another Laura Nyro gem, with an impassioned lead vocal from Marilyn McCoo. Solid radio pop.
2 - "And When I Die," Blood, Sweat and Tears
And we have a Laura Nyro hat trick in this week's Top Ten, in the form of the third #2 hit of '69 by these New York-based jazz-rockers fronted by Canadian David Clayton Thomas. The lyrics seem to be a philosophical look at life and death, and the music is an odd fusion of blues, jazz, gospel, and Broadway. Whatever it is, it's distinctive, and I like it.
And at the top at the tail end of the 1960s, we find...
1 - "Come Together/Something," The Beatles
Another single affected by the change. The week before, these songs were at #7 and #3, respectively, but together, they found themselves at the top seven days later. The former is a slow-grooving, Lennon-sung rocker that describes a strange character who has "joo-joo eyeball," "toe-jam football," "walrus gumboot" and "feet down below his knee." And that's just a partial description. Weird, wild stuff. And on the other side is s sweet, simple love song written and sung by George Harrison. Sumptuous, uncomplicated beauty. Two more brilliant pieces of music.
Okay, so there's the end of my 60s adventure. What next, you ask? Well, soon I am going to put together another set of entries about uncovered 70s and 80s hits. And after that? All I will say is that my journey through popular music isn't ending anytime soon. You'll just have to wait for the exact details.
20 - "Going in Circles," The Friends of Distinction
This two-man, two woman vocal group contained former members of Ray Charles' backing band, and were managed by legendary NFL running back Jim Brown. Their first hit, a vocal cover of trumpeter Hugh Masekela's "Grazing in the Grass," has gotten new attention recently from its use in the Anchorman movies. Their second hit was this ballad about being in love to the point of disorientation. It's decent orchestral soul, and probably the best of their three top 40s. Sorry, Mr. Burgundy.
19 - "Sugar, Sugar," The Archies
The second and biggest hit by the animated pride of Riverdale High on which Archibald Andrews (voiced by Cuff Link Ron Dante) woos a lady by making candy metaphors and coining the immortal line "I just can't believe the loveliness of loving you." Like most bubblegum, it wasn't built to last, but it's just catchy enough that it's remained in our consciousness ever since.
18 - "Holly Holy," Neil Diamond
Diamond's third Top Ten was this gospellish song about hope and faith. I appreciate the passion he puts into it, but it doesn't really do much for me.
17 - "I Can't Get Next to You," The Temptations
Five years after scoring their first pop #1 with "My Girl," the Temps got their second with this percussive track about how they can perform many impressive feats, but getting close to the object of their desire isn't one of them. One of Motown's ten best hits, easily.
16 - "Suspicious Minds," Elvis Presley
For a good portion of this decade, Elvis was regarded by many as a jokey sellout, making cheesy movie musicals for an ever-dwindling fan base. But after getting back to his roots to success and acclaim on what would become known as the "'68 Comeback Special," Presley rededicated himself to only performing songs he truly believed in, and one of those songs, this drama-rocker about a relationship at risk of falling apart due to mistrust, would become his first #1 in seven years. It's the sound of Elvis bringing the energy and soul he gave to the classics of his youth and combining it with a more reflective, adult wisdom. Nothing less than classic.
15 - "Cherry Hill Park," Billy Joe Royal
Royal's last Top 40 hit was this tale of "Mary Hill," a young lady who used to, shall we say, entertain various gentlemen on a daily basis at the titular public space until the fateful day she married a rich suitor and began playing "a one-man game." Let us take a moment to weep for the young men of Cherry Hill Park...That's long enough. Anyway, it's an okay if dubious song, and Royal would have a brief comeback in the late-80s as a country singer.
14 - "Baby I'm For Real," The Originals
Formed in 1966, this Motown group had sang backup on several of the label hits before picking up a hit of their own with this lush ballad of devotion written by Marvin Gaye and his wife Anna. Sweet, classy, romantic, good.
13 - "Backfield in Motion," Mel and Tim
Originally from Mississippi, Melvin Hardin and Hubert Timothy McPherson scored their first and biggest hit with this cheeky comparison of a lover's betrayals to penalties occurred during an American football game. The stadium sounds were a nice touch. Good fun novelty funk.
12 - "Baby It's You," Smith
This L.A. band had their only major hit with their sultry rock cover of a 1961 Burt Bacharach co-composition that had been a hit for The Shirelles. Singer Gayle McCormick's vocals are the standout aspect of the track, as she reveals herself to be a cross between Dusty Springfield and Janis Joplin. The band didn't do much after this, and McCormick didn't have any hits herself, but I might have to dig around to try and hear more of that voice.
11 - "Someday We'll Be Together," Diana Ross and The Supremes
Ironic title, that. This, of course, was the final hit for Diana with the group that made her famous, And it's another great performance from all involved. And not only would it be the group's 12th and last #1, it was the last American charttopper of the whole decade. That just seems so perfect as to have been preordained.
FFS, Glovehead, finish this already!
10 - "Eli's Comin'," Three Dog Night
3DN's reign of hitmaking began the previous year, and they picked up their third Top Ten with this stark pop-rock warning to a girl that she had better "hide (her) heart" from the nefarious Eli. What this Eli might do isn't specified, but it's clearly not good. Good song by Laura Nyro, terrific performance by my former nemeses, just wonderful all around.
9 - "Down on the Corner/Fortunate Son," Creedence Clearwater Revival
Well, I seem to have stumbled upon a bit of history here. Apparently, this was the first week that Billboard began counting songs that appeared on the same 45 as one entry instead of two. The week before this, A-side "Down on the Corner" was at #21, and B-side "Fortunate Son" was at #14. A week later, the two sides were combined, and here they are. Now to the music. The former is toe-tappin' swamp funk about a fictional busking jug band called "Willy and the Poor Boys." The latter is a snarling takedown of privileged people who would send those economically beneath them to fight wars on their behalf without incurring any of the cost, financial or otherwise, themselves. Both are classics and among the best moments this band had to offer
8 - "Yester-Me, Yester-You, Yesterday," Stevie Wonder
Stevie closed out the decade with this sad recollection of dreams that didn't come true. The usual effortless brilliance.
7 - "Leaving on a Jet Plane," Peter, Paul and Mary
The folk trio's last hit, and only #1, was this song about the heartbreak of temporary separation that would be the first major success for its songwriter, one John Denver. It's fine, but nothing too great to these ears. Everyone involved had better stuff.
6 - "Smile a Little Smile for Me," The Flying Machine
This British band had their only major success with this gentle, folky plea to a girl named Rosemarie to cheer up after a breakup. A minor charmer.
5 - "Na Na Hey Hey Kiss Him Goodbye, " Steam
This funk-pop "dump that zero and get with a hero" number was recorded as a throwaway B-side studio musicians who didn't want to be associated with it, so they credited it to water vapor. So of course it became a #1 hit, and it's chorus is now sung to taunt losers or others who are forced to step down in disgrace. And honestly, I don't see what was so embarrassing about it. It's well-written, the drum part is cool, there's xylophone on it. What's not to love?
4 - "Take a Letter, Maria," R.B. Greaves
Robert Bertram Aloysius Greaves III was born on a military base in Guyana in 1943, grew up on an Indian reservation, and was the nephew of Sam Cooke. His first and biggest hit was this Latin-flavored tale of a man who discovers that his wife has been cheating on him, so he dictates a letter of separation to his secretary. And when he's finished, he decides, for the heck of it, to ask that secretary out for dinner. An interesting take on the adultery song.
3 - "Wedding Bell Blues," The 5th Dimension
The Dimension's second and last #1 was this jaunty number on which the singer makes the case for matrimony to her beloved, the apparently commitmentphobic Bill. Another Laura Nyro gem, with an impassioned lead vocal from Marilyn McCoo. Solid radio pop.
2 - "And When I Die," Blood, Sweat and Tears
And we have a Laura Nyro hat trick in this week's Top Ten, in the form of the third #2 hit of '69 by these New York-based jazz-rockers fronted by Canadian David Clayton Thomas. The lyrics seem to be a philosophical look at life and death, and the music is an odd fusion of blues, jazz, gospel, and Broadway. Whatever it is, it's distinctive, and I like it.
And at the top at the tail end of the 1960s, we find...
1 - "Come Together/Something," The Beatles
Another single affected by the change. The week before, these songs were at #7 and #3, respectively, but together, they found themselves at the top seven days later. The former is a slow-grooving, Lennon-sung rocker that describes a strange character who has "joo-joo eyeball," "toe-jam football," "walrus gumboot" and "feet down below his knee." And that's just a partial description. Weird, wild stuff. And on the other side is s sweet, simple love song written and sung by George Harrison. Sumptuous, uncomplicated beauty. Two more brilliant pieces of music.
Okay, so there's the end of my 60s adventure. What next, you ask? Well, soon I am going to put together another set of entries about uncovered 70s and 80s hits. And after that? All I will say is that my journey through popular music isn't ending anytime soon. You'll just have to wait for the exact details.
Thursday, January 2, 2014
November 29, 1969 Part One
First of all, Happy 2014 everyone. And what better way to start a new year than by going back to late 1969. Shortly before the date of this chart, Apollo 12, the second manned mission to the moon, returned to Earth. Those guys kind of get a raw deal, if you think about it. Apollo 11 was the first to land on the moon, of course, so obviously Neil and Buzz got tons of adulation, And Apollo 13 nearly was a disaster, so those guys became heroes and had a movie made about them. But nobody ever talks about Apollo 12. I wonder if those guys feel slighted. Anyway, back on earth, there was music playing, and it went a little something like this:
40 - "Brand New Me," Dusty Springfield
Earlier in this year, Ms. Springfield released Dusty in Memphis, a gritty soul record that produced the classic "Son of a Preacher Man," and is widely considered a classic. For her next album, she took on a different style of soul, traveling to Philadelphia to record with the team of Kenny Gamble and Leon Huff. One of the results of this collaboration was this lush number about how a new lover has changed everything for the better. Pretty good, but it would be her last American solo hit. I'm glad The Pet Shop Boys managed to get that voice back on the radio eighteen years later.
39 - "Let a Man Come In and Do the Popcorn, Part One," James Brown
Apparently, there was a popular dance called "The Popcorn" during this year, and it inspired Brother James to use that word in the titles of five 1969 singles: "The Popcorn," "Mother Popcorn (You Got to Have a Mother for Me)," "Lowdown Popcorn," and parts one and two of this song. Basically, this one is your basic JB funk number about dancing and admiring a woman in "a brand new mini-dress." All I can say is, come right on in, James.
38 - "Evil Woman (Don't Play Your Games With Me)," Crow
These Minneapolis blues-rockers had their only hit with this horn-drenched number about denying the parentage of the title lady's child. Or, as they put it, "You will bear someone else's fertile seed." Thanks for clarifying. To me, it sounds kind of like a slightly darker Blood, Sweat and Tears, and apparently that darkness attracted Black Sabbath enough to make them record it for one of their firs singles. I might check that out sometime, but for now, this version's cool enough.
37 - "Midnight Cowboy," Ferrante and Teicher
Pianists Arthur Ferrante and Louis Teicher met as children while studying at New York's prestigious Julliard School of Music. They became friends, and eventually began performing together, recording dozens of albums between 1952 and 1988. Their commercial peak was the 60s, during which they scored four Top Ten versions of movie songs, the last being their take on John Barry's instrumental theme from the Jon Voight/Dustin Hoffman male-prostitution film that became the first X-rated movie to win the Best Picture Academy Award. It's a cool tune, these guys do fine with it, and the movie's awesome. Nothing more to sa...excuse me. Hey, you next door, quiet down, I'm typin' here!
36 - "Make Your Own Kind of Music," "Mama" Cass Elliot
Originally from the Baltimore/Washington D.C. area, the woman born Ellen Naomi Cohen would go to New York after high school where she would eventually sing with a couple of folk groups before winding up in the popular pop quartet The Mamas and The Papas. By 1969, however, the group's fortunes were waning, and although she remained with them until their 1971 breakup, Elliot began making solo records. Her second and last true solo Top 40 was this this gentle, beautiful folk-pop number about being yourself no matter what anyone else says. I think Mama Cass is fantastic, and one of the coolest and most talented people to come out of the 60s. And for the last time, she did not choke to death on a ham sandwich!
35 - "Groovy Grubworm," Harlow Wilcox and The Oakies
Oklahoma native Wilcox was primarily a session guitarist, but he did manage one hit of his own with this country-fried instrumental pickfest. Good for when you're in the mood for chugging, twangy music.
34 - "I Guess the Lord Must Be in New York City," Nilsson
The Brooklyn-born son of Swedish circus performers, Nilsson's first successes came as a songwriter, although his first couple of albums as a recording artist won him a couple of famous fans: John Lennon and Paul McCartney. In 1969, his recording of Fred Neil's "Everybody's Talkin'," was used prominently in Midnight Cowboy, and it then became his first major hit. But Nilsson himself had written his own song for that spot in the film, and although it wasn't used, this number about finding a place to belong in The Big Apple became his second Top 40 hit. Truth be told, it sounds quite a bit like "Everybody's Talkin'," and even though it's a nice song, I think the right choice was made.
33 - "Reuben James," Kenny Rogers and The First Edition
Kenny's first success came with this band that also included a few of his fellow castoffs from the clean-cut folk chorus The New Christy Minstrels. The band's fourth hit was this number about a black man who adopts an orphaned white child. Decent song, and a more accurate predictor of Rogers' country future than, say "Just Dropped In."
32 - "Heaven Knows," The Grass Roots
This group's last hit of the decade was this peppy pop love song. Nothing groundbreaking, and Creed had left by this time. But still worth a listen.
31 - "Up On Cripple Creek," The Band
This group of four Canadians and Arkansas native Levon Helm formed in 1960 as The Hawks, the backing band for Toronto-based American rockabilly singer Ronnie Hawkins. After leaving Hawkins in 1964, they would go on to back up Bob Dylan on tour and on record, and would eventually start recording their own songs under their famously minimalist moniker. The first, and biggest, of their mere two Top 40 hits was this rollicking blues rocker about a trucker's affection for Bessie, his Lake Charles, Louisiana-based lover. She definitely sounds like quite a woman. Love this song, and these guys had much more influence on music than their chart output would indicate.
30 - "These Eyes," Junior Walker and The All-Stars
Saxman Walker and co. picked up another hit with this cover of the American breakthrough of Canada's The Guess Who. They convey the hearbreak of the original well, but it's not really necessary. But I'm glad I heard it.
29 - "Friendship Train," Gladys Knight and The Pips
Gladys and the boys were about halfway through their Motown run when they hit with this conscious soul about how people need to come together to overcome the evil and corruption of the world. One of the earlier examples of what would be a major subgenre at the turn of the decade, and a very good one. Special recognition to the guitars and horns.
28 - "Is That All There Is," Peggy Lee
Another child of Scandinavian immigrants, Norma Egstrom moved to Los Angeles from North Dakota, where she was discovered by legendary bandleader Benny Goodman. She was a frequent presence on the pop charts during the 40s and 50s, but she hadn't had a major hit since "Fever" in 1958. But then, out of nowhere, she returned to the charts with what would become arguably her best known song. Written by Jerry Lieber and Mike Stoller, it features Lee, in her smoky rasp, delivering spoken-word reminiscences of watching her childhood home catch fire, seeing a circus, and falling in love for the first time, and describing how underwhelmed she was by the experiences. Then in the last verse, she anticipates the listener wondering if life has been so disappointing, why doesn't she just "end it all," and responds by saying that she knows that even death won't meet her expectations. But in the choruses, she declares that even though some of the highly anticipated milestones of life aren't all their cracked up to be, there is still joy to be found in drinking and dancing. Kind of old-fashioned for the time, but subversive and sassy enough to be cool and modern. A strange, wonderful song, and this week's Uneasy Rider.
27 - "Tracy," The Cuff Links
Originally, this was just a single recorded by singer Ron Dante with a group of studio musicians, then slapped with a band name on release. After it became a hit, there was a full album, and a touring band was put together, but not much happened after that. The song itself is flimsy fluff, and not all that memorable. But later on this chart, we will hear from Ron Dante again.
26 - "Mind, Body and Soul," The Flaming Ember
The first of three Top 40s by these Detroit soul-rockers was this decent midtempo love ballad. The singer sounds like a poor man's Levi Stubbs, which is nice. And that's about it.
25 - "Raindrops Keep Fallin' on My Head," B.J. Thomas
Oklahoman Thomas had hit the top 40 five times since 1966 when he was given the opportunity (after both Ray Stevens and Bob Dylan reportedly turned it down) to record this Bacharach/David composition for the film Butch Cassidy and The Sundance Kid. It's a cool little pop song about staying positive in all kinds of literal and figurative weather. It went to #1 and won an Oscar. And it's easily my favorite thing B.J. ever did.
24 - "Eleanor Rigby," Aretha Franklin
Aretha cracked the Top 20 by taking the hit Beatles tale of loneliness to church. Goshdarn gospel goodness. You have to listen to this if you've never heard it. And if not, listen to it again.
23 - "Try a Little Kindness," Glen Campbell
During the first half of the 60s, Arkansas native Campbell was part of the legendary session band The Wrecking Crew, and was even a member of The Beach Boys for a brief period. But the second half of the decade was when he started having solo success on both the pop and country charts with songs like this call to be more helpful and less judgmental. He has better known songs from this period, but I think this one is pretty damn good as well.
22 - "Undun," The Guess Who
This Winnipeg group were known as Chad Allan and The Expressions until their record company released their 1965 single "Shakin' All Over" and credited it to "Guess Who?" in hopes that radio DJs might think it was by one of the popular British "beat groups" of the day. The song became a hit in both Canada and the U.S., and the band's new name stuck. Four years later, they returned to the American charts (without Chad Allan) with three Top 40 hits in 1969. The last of these was this jazzy number that guitarist Randy Bachman reportedly wrote about a girl who dropped acid during a party he was at and then fell into a coma because of it. Never knew that, but it makes sense ("When I found what she was headed for, it was too late."). It's just cool, well-written, wonderfully performed, and it has a flute solo! What more do you need?
21 - "Suite: Judy Blue Eyes," Crosby, Stills and Nash
David Crosby had left The Byrds and Stephen Stills was without a band after the breakup of Buffalo Springfield when the two started jamming and writing together in 1968. Later that year, Englishman Graham Nash left The Hollies to join them, and the trio was soon signed and recording an album. Their second hit was this folky number that Stills wrote about the dissolution of his relationship with Judy Collins. And as the title suggest, it's a multipart composition, one that lasts seven-and-a-half minutes in its full version. The single was shorter, of course, but I didn't bother tracking that version down. The song ought to be heard in its entirety, right up to the "Doo doo doo doo"s and Stills singing in Spanish for some reason.
In Part Two: sweetener, a football-based double entendre, and a song to taunt conquered opponents with.
40 - "Brand New Me," Dusty Springfield
Earlier in this year, Ms. Springfield released Dusty in Memphis, a gritty soul record that produced the classic "Son of a Preacher Man," and is widely considered a classic. For her next album, she took on a different style of soul, traveling to Philadelphia to record with the team of Kenny Gamble and Leon Huff. One of the results of this collaboration was this lush number about how a new lover has changed everything for the better. Pretty good, but it would be her last American solo hit. I'm glad The Pet Shop Boys managed to get that voice back on the radio eighteen years later.
39 - "Let a Man Come In and Do the Popcorn, Part One," James Brown
Apparently, there was a popular dance called "The Popcorn" during this year, and it inspired Brother James to use that word in the titles of five 1969 singles: "The Popcorn," "Mother Popcorn (You Got to Have a Mother for Me)," "Lowdown Popcorn," and parts one and two of this song. Basically, this one is your basic JB funk number about dancing and admiring a woman in "a brand new mini-dress." All I can say is, come right on in, James.
38 - "Evil Woman (Don't Play Your Games With Me)," Crow
These Minneapolis blues-rockers had their only hit with this horn-drenched number about denying the parentage of the title lady's child. Or, as they put it, "You will bear someone else's fertile seed." Thanks for clarifying. To me, it sounds kind of like a slightly darker Blood, Sweat and Tears, and apparently that darkness attracted Black Sabbath enough to make them record it for one of their firs singles. I might check that out sometime, but for now, this version's cool enough.
37 - "Midnight Cowboy," Ferrante and Teicher
Pianists Arthur Ferrante and Louis Teicher met as children while studying at New York's prestigious Julliard School of Music. They became friends, and eventually began performing together, recording dozens of albums between 1952 and 1988. Their commercial peak was the 60s, during which they scored four Top Ten versions of movie songs, the last being their take on John Barry's instrumental theme from the Jon Voight/Dustin Hoffman male-prostitution film that became the first X-rated movie to win the Best Picture Academy Award. It's a cool tune, these guys do fine with it, and the movie's awesome. Nothing more to sa...excuse me. Hey, you next door, quiet down, I'm typin' here!
36 - "Make Your Own Kind of Music," "Mama" Cass Elliot
Originally from the Baltimore/Washington D.C. area, the woman born Ellen Naomi Cohen would go to New York after high school where she would eventually sing with a couple of folk groups before winding up in the popular pop quartet The Mamas and The Papas. By 1969, however, the group's fortunes were waning, and although she remained with them until their 1971 breakup, Elliot began making solo records. Her second and last true solo Top 40 was this this gentle, beautiful folk-pop number about being yourself no matter what anyone else says. I think Mama Cass is fantastic, and one of the coolest and most talented people to come out of the 60s. And for the last time, she did not choke to death on a ham sandwich!
35 - "Groovy Grubworm," Harlow Wilcox and The Oakies
Oklahoma native Wilcox was primarily a session guitarist, but he did manage one hit of his own with this country-fried instrumental pickfest. Good for when you're in the mood for chugging, twangy music.
34 - "I Guess the Lord Must Be in New York City," Nilsson
The Brooklyn-born son of Swedish circus performers, Nilsson's first successes came as a songwriter, although his first couple of albums as a recording artist won him a couple of famous fans: John Lennon and Paul McCartney. In 1969, his recording of Fred Neil's "Everybody's Talkin'," was used prominently in Midnight Cowboy, and it then became his first major hit. But Nilsson himself had written his own song for that spot in the film, and although it wasn't used, this number about finding a place to belong in The Big Apple became his second Top 40 hit. Truth be told, it sounds quite a bit like "Everybody's Talkin'," and even though it's a nice song, I think the right choice was made.
33 - "Reuben James," Kenny Rogers and The First Edition
Kenny's first success came with this band that also included a few of his fellow castoffs from the clean-cut folk chorus The New Christy Minstrels. The band's fourth hit was this number about a black man who adopts an orphaned white child. Decent song, and a more accurate predictor of Rogers' country future than, say "Just Dropped In."
32 - "Heaven Knows," The Grass Roots
This group's last hit of the decade was this peppy pop love song. Nothing groundbreaking, and Creed had left by this time. But still worth a listen.
31 - "Up On Cripple Creek," The Band
This group of four Canadians and Arkansas native Levon Helm formed in 1960 as The Hawks, the backing band for Toronto-based American rockabilly singer Ronnie Hawkins. After leaving Hawkins in 1964, they would go on to back up Bob Dylan on tour and on record, and would eventually start recording their own songs under their famously minimalist moniker. The first, and biggest, of their mere two Top 40 hits was this rollicking blues rocker about a trucker's affection for Bessie, his Lake Charles, Louisiana-based lover. She definitely sounds like quite a woman. Love this song, and these guys had much more influence on music than their chart output would indicate.
30 - "These Eyes," Junior Walker and The All-Stars
Saxman Walker and co. picked up another hit with this cover of the American breakthrough of Canada's The Guess Who. They convey the hearbreak of the original well, but it's not really necessary. But I'm glad I heard it.
29 - "Friendship Train," Gladys Knight and The Pips
Gladys and the boys were about halfway through their Motown run when they hit with this conscious soul about how people need to come together to overcome the evil and corruption of the world. One of the earlier examples of what would be a major subgenre at the turn of the decade, and a very good one. Special recognition to the guitars and horns.
28 - "Is That All There Is," Peggy Lee
Another child of Scandinavian immigrants, Norma Egstrom moved to Los Angeles from North Dakota, where she was discovered by legendary bandleader Benny Goodman. She was a frequent presence on the pop charts during the 40s and 50s, but she hadn't had a major hit since "Fever" in 1958. But then, out of nowhere, she returned to the charts with what would become arguably her best known song. Written by Jerry Lieber and Mike Stoller, it features Lee, in her smoky rasp, delivering spoken-word reminiscences of watching her childhood home catch fire, seeing a circus, and falling in love for the first time, and describing how underwhelmed she was by the experiences. Then in the last verse, she anticipates the listener wondering if life has been so disappointing, why doesn't she just "end it all," and responds by saying that she knows that even death won't meet her expectations. But in the choruses, she declares that even though some of the highly anticipated milestones of life aren't all their cracked up to be, there is still joy to be found in drinking and dancing. Kind of old-fashioned for the time, but subversive and sassy enough to be cool and modern. A strange, wonderful song, and this week's Uneasy Rider.
27 - "Tracy," The Cuff Links
Originally, this was just a single recorded by singer Ron Dante with a group of studio musicians, then slapped with a band name on release. After it became a hit, there was a full album, and a touring band was put together, but not much happened after that. The song itself is flimsy fluff, and not all that memorable. But later on this chart, we will hear from Ron Dante again.
26 - "Mind, Body and Soul," The Flaming Ember
The first of three Top 40s by these Detroit soul-rockers was this decent midtempo love ballad. The singer sounds like a poor man's Levi Stubbs, which is nice. And that's about it.
25 - "Raindrops Keep Fallin' on My Head," B.J. Thomas
Oklahoman Thomas had hit the top 40 five times since 1966 when he was given the opportunity (after both Ray Stevens and Bob Dylan reportedly turned it down) to record this Bacharach/David composition for the film Butch Cassidy and The Sundance Kid. It's a cool little pop song about staying positive in all kinds of literal and figurative weather. It went to #1 and won an Oscar. And it's easily my favorite thing B.J. ever did.
24 - "Eleanor Rigby," Aretha Franklin
Aretha cracked the Top 20 by taking the hit Beatles tale of loneliness to church. Goshdarn gospel goodness. You have to listen to this if you've never heard it. And if not, listen to it again.
23 - "Try a Little Kindness," Glen Campbell
During the first half of the 60s, Arkansas native Campbell was part of the legendary session band The Wrecking Crew, and was even a member of The Beach Boys for a brief period. But the second half of the decade was when he started having solo success on both the pop and country charts with songs like this call to be more helpful and less judgmental. He has better known songs from this period, but I think this one is pretty damn good as well.
22 - "Undun," The Guess Who
This Winnipeg group were known as Chad Allan and The Expressions until their record company released their 1965 single "Shakin' All Over" and credited it to "Guess Who?" in hopes that radio DJs might think it was by one of the popular British "beat groups" of the day. The song became a hit in both Canada and the U.S., and the band's new name stuck. Four years later, they returned to the American charts (without Chad Allan) with three Top 40 hits in 1969. The last of these was this jazzy number that guitarist Randy Bachman reportedly wrote about a girl who dropped acid during a party he was at and then fell into a coma because of it. Never knew that, but it makes sense ("When I found what she was headed for, it was too late."). It's just cool, well-written, wonderfully performed, and it has a flute solo! What more do you need?
21 - "Suite: Judy Blue Eyes," Crosby, Stills and Nash
David Crosby had left The Byrds and Stephen Stills was without a band after the breakup of Buffalo Springfield when the two started jamming and writing together in 1968. Later that year, Englishman Graham Nash left The Hollies to join them, and the trio was soon signed and recording an album. Their second hit was this folky number that Stills wrote about the dissolution of his relationship with Judy Collins. And as the title suggest, it's a multipart composition, one that lasts seven-and-a-half minutes in its full version. The single was shorter, of course, but I didn't bother tracking that version down. The song ought to be heard in its entirety, right up to the "Doo doo doo doo"s and Stills singing in Spanish for some reason.
In Part Two: sweetener, a football-based double entendre, and a song to taunt conquered opponents with.
Monday, December 16, 2013
November 9,1968 Part Two
So okay, it's been a while. Been busy. In a good way. But I haven't forgotten my obligations. So better late than never, here's the rest of 1968.
20 - "Say it Loud - I'm Black and I'm Proud (Part 1)," James Brown
Brother James' rallying cry to his fellow African-Americans to stand up for themselves against oppression. "We'd rather die on our feet than keep living on our knees," he declares. The chorus of children that back him up on the refrain adds to the power of the statement. A genuinely important song.
19 - "Revolution," The Beatles
One of the band's hardest-rock songs was this number on which John Lennon gives his assessment of the growing youth political movements of the day. He was kind of cynical of them, feeling they were more about "destruction" than real meaningful change, and didn't really have workable alternatives to the systems they were fighting against ("we'd all love to see your plan"). His opinion seemed to be "it's gonna be all right." Of course, later he'd change his tune somewhat and become more politically active himself, to the point where the FBI tried to have him deported from America. Regardless, this is a great song, and it became historic nineteen years later when Nike made it the first Beatles song to be used in a television commercial.
18 - "Abraham, Martin and John," Dion
Dion DiMucci's first hit in four years was this mournful tribute to the cut-short lives of American heroes Lincoln, King, and Kennedy, with a sad coda about the death that year of Robert Kennedy. Heartfelt and poignant, and was especially meaningful recently when the world marked the 50th anniversary of JFK's assassination.
17 - "Hey, Western Union Man," Jerry Butler
Chicago-raised Butler was a member of Impressions in their early days, but left in the early 60s to begin a prolific solo career. One of his better hits was this funky plea to the titular messenger to send a telegram to his beloved. Sweet soul goodness.
16 - "Girl Watcher," The O'Kaysions
The lone hit for these Californians was this flimsy soul-popper about...um, watching girls. For me, if I need to hear a song like this, I'll put on Dean Martin's "Standing on the Corner."
15 - "Harper Valley P.T.A.," Jeannie C. Riley
The début single, and only pop hit, for this Texas-born country singer was quite a doozy. It tells the tale of Mrs. Johnson, a widow whose teen daughter who, one day, brings home a note from the local Parent Teacher Association. The note expresses the opinion of that distinguished body that Mrs. Johnson's choice of attire and active social life make her an unsuitable mother. Luckily, the PTA just happened to be meeting that afternoon, so the widow Johnson attends the meeting in her miniskirt and proceeds to expose the various booze and sex-related skeletons in the closets of the board's members. "This is just a little Peyton Place, and you're all Harper Valley hypocrites," she concluded on the day he "socked it to" them. A companion of sorts to "Ode to Billie Joe" in the pop crossover female story song category.
14 - "Suzie Q," Creedence Clearwater Revival
This quartet originated in San Francisco, but their swampy sound caused many to think they were from the American South. This tone was set by their first hit, a bluesy cover of a 1957 Dale Hawkins rockabilly hit. The lyrics are a basic expression of lust for the titular lady, but they go with the groove, and that's all that matters. A solid start to a short but brilliant run.
13 - "Sweet Blindness," The 5th Dimension
This quintet's sixth Top 40 was this ragtimey ode to getting drunk with friends. Like a few of their hits, it was written by Laura Nyro, a singer-songwriter who had more success with other people's versions of her song than her own recordings. I always thought I should look up her records sometime. Hopefully I'll get around to it.
12 - "Piece of My Heart," Big Brother and the Holding Company
Born and raised in Port Arthur, Texas, Janis Lyn Joplin would relocate to San Francisco, where she hooked up with an up and coming local psychedelic rock group. Her bluesy rasp elevated the band's popularity, which peaked with their smash hit second album, Cheap Thrills, and its main single, a cover of an R&B hit from the previous year by Aretha Franklin's sister Erma. Haven't heard that version, but on this one, Janis is in full-throated form, declaring her loyalty to a man who doesn't always reciprocate that courtesy. Just a classic, plain and simple. And arguably the best showcase her voice ever got.
11 - "Over You," Gary Puckett and the Union Gap
Originally from Yakima, Washington, Puckett formed this band in San Diego, California. Onstage, they dressed up as soldiers from the Union Army during the Civil War, although their name actually came from a town near Yakima. Between late 1967 and the summer of '69, they scored six Top 40 singles, including this one about not being able to recover from a breakup. It's kind of bland, like all of their hits. But not a bad song, really. Nothing to unleash anything close to Association levels of vitriol over.
The Top Ten admits to using crack cocaine, but only once, in one of its drunken stupors.
10 - "Midnight Confessions," The Grass Roots
The biggest hit for this L.A. band was this song about secretly lusting after a woman who is married to another man. I like the almost Gothic organ on the verses. Plus, Creed Bratton plays on this one, which is awesome. He's probably the thing I miss most about The Office.
9 - "Fire," The Crazy World of Arthur Brown
From Leeds, England, Brown first attracted attention for his outrageous stage performances, during which he wore face paint and a literally flaming helmet. His band's only major hit was this dark, organ-driven psychedelic horror piece which Brown opens by screaming "I am the God of Hellfire!" It's a great song, and Brown's act is said to have influenced many later musicians who brought outrageous theatrics to their concerts, from Alice Cooper to Kiss to George Clinton.
8 - "Elenore," The Turtles
The next-to-last of this band's nine Top 40 hits was this peppy pop number that the band wrote as kind of a parody of sunny, earlier hits like "Happy Together." The lyrics are deliberately sappy ("Gee, I think you're swell!"), and it is one of the rare hits to use the term "et cetera." But it all works. It might be their best single.
7 - "Magic Carpet Ride," Steppenwolf
Formed in Toronto, this band broke through earlier in the year with the motorcycle anthem "Born to Be Wild." They followed it up with their other major lasting hit, this driving rocker on which John Kay invites a girl to travel with him using a mode of transportation from Arabian myth. It is, indeed, quite a trip.
6 - "White Room," Cream
After making his reputation as "God" during his stints in The Yardbirds and John Mayall's Bluesbreakers, Eric Clapton teamed with fellow Londoners Jack Bruce and Ginger Baker and formed a new band. They would have three American hits, including two Top Tens, the second of which being this cool rocker with the sort of inscrutable lyrics common in rock at the time: "tired starlings," "silver horses," shadows running from themselves and all that. But it's aged quite well. Still a great listen.
5 - "Hold Me Tight," Johnny Nash
A Houston-born singer who'd scored his first Top 40 at 17 with "A Very Special Love," in 1957, Nash also co-owned a record label, and in 1968, while traveling in Jamaica, he signed a young musician to his first American recording contract. While there, he himself recorded this breezy reggae number that became his first pop Top Ten. Nash would continue recording in that genre, eventually topping the charts in 1972 with "I Can See Clearly Now." Great voice, good song.
4 - "Little Green Apples," O.C. Smith
Born in 1932, Smith had spent much of his career to this point as a journeyman singer, with his most notable gig being a four-year stint singing with Count Basie and his orchestra. Earlier in 1968, he had hit #40 with "The Son of Hickory Holler's Tramp." His follow-up was this tender love song that declares that if his idyllic relationship with his isn't love, then God didn't create a lot of the good things in life, such as the titular fruit, Dr. Seuss., puppy dogs, and rain in Indianapolis. It went all the way to #2. It's kind of cheesy and sappy, but damn if it doesn't work. And apparently, Robbie Williams and Kelly Clarkson just put out a cover of it. Think I might have to check that out.
3 - " Love Child," The Supremes
The group's penultimate #1 is arguably their best. On it, Diana Ross tells her boyfriend she won't sleep with him because of the danger of it resulting in an unwanted pregnancy ("We'll only end up hatin' the child we may be creatin'") She goes on to tell her own said tale of being born "illegitimate," and the pain, poverty and shame that accompanied it. Affecting, realistic, and just so powerful. Too bad the other Supremes didn't actually sing on it; they were replaced for the recording by Motown session group The Andantes.
2 - "Those Were the Days," Mary Hopkin
Welsh folksinger Hopkin was just 18 when she signed to The Beatles' Apple Records label, but she sounded much older and more world-weary on her first and biggest hit. Set to the tune of a Russian love song from the 20s, it tells the tale of a woman reflecting on her youth with her friends and all the dreams that never came true. The kind of song that seems perfect for group sing-alongs at 2 am in a bar, with everyone enthusiastically swinging their beer mugs to and fro.
And at #1 way back then was:
1 - "Hey Jude," The Beatles
Clocking in at over 7 minutes, this is one of the longest songs ever to hit #1. And what a song it is. Written by Paul McCartney to help comfort John Lennon's son Julian during his parents' breakup. it's the ultimate cheer-up tune, talking about making sad songs better and not carrying the world upon one's shoulders. And then that long, almost cathartic series of "Na na na na"s.. Just greatness. Nine weeks at #1 almost seems like too little.
Next time: 1969. And you won't wait as long as you did this time. I promise.
20 - "Say it Loud - I'm Black and I'm Proud (Part 1)," James Brown
Brother James' rallying cry to his fellow African-Americans to stand up for themselves against oppression. "We'd rather die on our feet than keep living on our knees," he declares. The chorus of children that back him up on the refrain adds to the power of the statement. A genuinely important song.
19 - "Revolution," The Beatles
One of the band's hardest-rock songs was this number on which John Lennon gives his assessment of the growing youth political movements of the day. He was kind of cynical of them, feeling they were more about "destruction" than real meaningful change, and didn't really have workable alternatives to the systems they were fighting against ("we'd all love to see your plan"). His opinion seemed to be "it's gonna be all right." Of course, later he'd change his tune somewhat and become more politically active himself, to the point where the FBI tried to have him deported from America. Regardless, this is a great song, and it became historic nineteen years later when Nike made it the first Beatles song to be used in a television commercial.
18 - "Abraham, Martin and John," Dion
Dion DiMucci's first hit in four years was this mournful tribute to the cut-short lives of American heroes Lincoln, King, and Kennedy, with a sad coda about the death that year of Robert Kennedy. Heartfelt and poignant, and was especially meaningful recently when the world marked the 50th anniversary of JFK's assassination.
17 - "Hey, Western Union Man," Jerry Butler
Chicago-raised Butler was a member of Impressions in their early days, but left in the early 60s to begin a prolific solo career. One of his better hits was this funky plea to the titular messenger to send a telegram to his beloved. Sweet soul goodness.
16 - "Girl Watcher," The O'Kaysions
The lone hit for these Californians was this flimsy soul-popper about...um, watching girls. For me, if I need to hear a song like this, I'll put on Dean Martin's "Standing on the Corner."
15 - "Harper Valley P.T.A.," Jeannie C. Riley
The début single, and only pop hit, for this Texas-born country singer was quite a doozy. It tells the tale of Mrs. Johnson, a widow whose teen daughter who, one day, brings home a note from the local Parent Teacher Association. The note expresses the opinion of that distinguished body that Mrs. Johnson's choice of attire and active social life make her an unsuitable mother. Luckily, the PTA just happened to be meeting that afternoon, so the widow Johnson attends the meeting in her miniskirt and proceeds to expose the various booze and sex-related skeletons in the closets of the board's members. "This is just a little Peyton Place, and you're all Harper Valley hypocrites," she concluded on the day he "socked it to" them. A companion of sorts to "Ode to Billie Joe" in the pop crossover female story song category.
14 - "Suzie Q," Creedence Clearwater Revival
This quartet originated in San Francisco, but their swampy sound caused many to think they were from the American South. This tone was set by their first hit, a bluesy cover of a 1957 Dale Hawkins rockabilly hit. The lyrics are a basic expression of lust for the titular lady, but they go with the groove, and that's all that matters. A solid start to a short but brilliant run.
13 - "Sweet Blindness," The 5th Dimension
This quintet's sixth Top 40 was this ragtimey ode to getting drunk with friends. Like a few of their hits, it was written by Laura Nyro, a singer-songwriter who had more success with other people's versions of her song than her own recordings. I always thought I should look up her records sometime. Hopefully I'll get around to it.
12 - "Piece of My Heart," Big Brother and the Holding Company
Born and raised in Port Arthur, Texas, Janis Lyn Joplin would relocate to San Francisco, where she hooked up with an up and coming local psychedelic rock group. Her bluesy rasp elevated the band's popularity, which peaked with their smash hit second album, Cheap Thrills, and its main single, a cover of an R&B hit from the previous year by Aretha Franklin's sister Erma. Haven't heard that version, but on this one, Janis is in full-throated form, declaring her loyalty to a man who doesn't always reciprocate that courtesy. Just a classic, plain and simple. And arguably the best showcase her voice ever got.
11 - "Over You," Gary Puckett and the Union Gap
Originally from Yakima, Washington, Puckett formed this band in San Diego, California. Onstage, they dressed up as soldiers from the Union Army during the Civil War, although their name actually came from a town near Yakima. Between late 1967 and the summer of '69, they scored six Top 40 singles, including this one about not being able to recover from a breakup. It's kind of bland, like all of their hits. But not a bad song, really. Nothing to unleash anything close to Association levels of vitriol over.
The Top Ten admits to using crack cocaine, but only once, in one of its drunken stupors.
10 - "Midnight Confessions," The Grass Roots
The biggest hit for this L.A. band was this song about secretly lusting after a woman who is married to another man. I like the almost Gothic organ on the verses. Plus, Creed Bratton plays on this one, which is awesome. He's probably the thing I miss most about The Office.
9 - "Fire," The Crazy World of Arthur Brown
From Leeds, England, Brown first attracted attention for his outrageous stage performances, during which he wore face paint and a literally flaming helmet. His band's only major hit was this dark, organ-driven psychedelic horror piece which Brown opens by screaming "I am the God of Hellfire!" It's a great song, and Brown's act is said to have influenced many later musicians who brought outrageous theatrics to their concerts, from Alice Cooper to Kiss to George Clinton.
8 - "Elenore," The Turtles
The next-to-last of this band's nine Top 40 hits was this peppy pop number that the band wrote as kind of a parody of sunny, earlier hits like "Happy Together." The lyrics are deliberately sappy ("Gee, I think you're swell!"), and it is one of the rare hits to use the term "et cetera." But it all works. It might be their best single.
7 - "Magic Carpet Ride," Steppenwolf
Formed in Toronto, this band broke through earlier in the year with the motorcycle anthem "Born to Be Wild." They followed it up with their other major lasting hit, this driving rocker on which John Kay invites a girl to travel with him using a mode of transportation from Arabian myth. It is, indeed, quite a trip.
6 - "White Room," Cream
After making his reputation as "God" during his stints in The Yardbirds and John Mayall's Bluesbreakers, Eric Clapton teamed with fellow Londoners Jack Bruce and Ginger Baker and formed a new band. They would have three American hits, including two Top Tens, the second of which being this cool rocker with the sort of inscrutable lyrics common in rock at the time: "tired starlings," "silver horses," shadows running from themselves and all that. But it's aged quite well. Still a great listen.
5 - "Hold Me Tight," Johnny Nash
A Houston-born singer who'd scored his first Top 40 at 17 with "A Very Special Love," in 1957, Nash also co-owned a record label, and in 1968, while traveling in Jamaica, he signed a young musician to his first American recording contract. While there, he himself recorded this breezy reggae number that became his first pop Top Ten. Nash would continue recording in that genre, eventually topping the charts in 1972 with "I Can See Clearly Now." Great voice, good song.
4 - "Little Green Apples," O.C. Smith
Born in 1932, Smith had spent much of his career to this point as a journeyman singer, with his most notable gig being a four-year stint singing with Count Basie and his orchestra. Earlier in 1968, he had hit #40 with "The Son of Hickory Holler's Tramp." His follow-up was this tender love song that declares that if his idyllic relationship with his isn't love, then God didn't create a lot of the good things in life, such as the titular fruit, Dr. Seuss., puppy dogs, and rain in Indianapolis. It went all the way to #2. It's kind of cheesy and sappy, but damn if it doesn't work. And apparently, Robbie Williams and Kelly Clarkson just put out a cover of it. Think I might have to check that out.
3 - " Love Child," The Supremes
The group's penultimate #1 is arguably their best. On it, Diana Ross tells her boyfriend she won't sleep with him because of the danger of it resulting in an unwanted pregnancy ("We'll only end up hatin' the child we may be creatin'") She goes on to tell her own said tale of being born "illegitimate," and the pain, poverty and shame that accompanied it. Affecting, realistic, and just so powerful. Too bad the other Supremes didn't actually sing on it; they were replaced for the recording by Motown session group The Andantes.
2 - "Those Were the Days," Mary Hopkin
Welsh folksinger Hopkin was just 18 when she signed to The Beatles' Apple Records label, but she sounded much older and more world-weary on her first and biggest hit. Set to the tune of a Russian love song from the 20s, it tells the tale of a woman reflecting on her youth with her friends and all the dreams that never came true. The kind of song that seems perfect for group sing-alongs at 2 am in a bar, with everyone enthusiastically swinging their beer mugs to and fro.
And at #1 way back then was:
1 - "Hey Jude," The Beatles
Clocking in at over 7 minutes, this is one of the longest songs ever to hit #1. And what a song it is. Written by Paul McCartney to help comfort John Lennon's son Julian during his parents' breakup. it's the ultimate cheer-up tune, talking about making sad songs better and not carrying the world upon one's shoulders. And then that long, almost cathartic series of "Na na na na"s.. Just greatness. Nine weeks at #1 almost seems like too little.
Next time: 1969. And you won't wait as long as you did this time. I promise.
Wednesday, November 20, 2013
November 9, 1968 Part One
This time we're near the end of one of the most tumultuous years of the 20th Century. Four days before the date of this chart, an eventful (to say the least) American presidential election campaign ended with Richard Nixon finally attaining the office he had nearly won eight years earlier. Meanwhile, this was the music the country's radio listeners and record-buyers voted for.
40 - "Little Arrows," Leapy Lee
Born Graham Pulleybank, this English country-pop singer had his only American hit with this cute little novelty about getting hit by Cupid's weaponry and falling in love. Catchy, but disposable.
39 - "In-A-Gadda-Da-Vida," Iron Butterfly
This San Diego band are considered one of the forebears of heavy metal, thanks in large part to this song, whose title reportedly was lead singer Doug Ingle's substance-assistant mangling of the phrase "In the Garden of Eden." The original version ran over 17 minutes, in order to make room for long drum, guitar, and organ solos, the latter of which caused the First Church of Springfield's organist to collapse in exhaustion. It was shorted to 3 minutes for the single, and although it only reached #30, it became a rock standard. I'm sure Marge and Homer Simpson aren't the only couple that used to make out to this hymn.
38 - "Take Me for a Little While," Vanilla Fudge
This four-piece band from Long Island had broken through the year before with a hard rock cover of The Supremes' "You Keep Me Hangin' On." Their albums sold well throughout the rest of the 60s, but they only managed one more Top 40 hit, this power-ballad plea for temporary comfort. It just didn't do much for me.
37 - "Always Together," The Dells
This Illinois vocal group formed in 1952, had their first national R&B hit in 1956, and were an intermittent presence on the soul charts up until 1992 Tis, their third of eight pop Top 40s, is a passionate ballad of long-term commitment. Very, very good
36 - "Chewy Chewy," The Ohio Express
The most prolific group produced by the bubblegum machine known as Super K Productions, these guys mainly consisted of producers Jerry Kasanetz and Jeffrey Katz and singer Joey Levine. Their second-biggest hit was also the most similar to their biggest, "Yummy Yummy Yummy," in that it compared a girl to sugary-sweet confections. It's well-crafted pop, but overindulgence might affect your mental health the way too much candy can affect your dental health. But it does gain the Express this week's Uneasy Rider.
35 - "For Once in My Life," Stevie Wonder
Still not out of his teens, Stevie scored his seventh Top Ten with this one of the rare hits he didn't write. But that doesn't affect his passion on lines like "For once I can say, this is mine, you can't take it." A triumphant cry of joy at finding love at last, and one of Stevie's best performances.
34 - "Quick Joey Small (Run Joey Run)," The Kasanetz-Katz Singing Orchestral Circus
More from Super K, this time in the form of a an amalgamation of some of their groups, including the Ohio Express, The Music Explosion, and The 1910 Fruitgum Company. This combo's only hit was a respectably gritty garage-rocker about the title character's escape from prison to reunite with his "sweet Mary Jane." Fun singalong stuff, and much less depressing than that David Geddes song.
33 - "Lalena," Donovan
One of the Scottish folkie's last American hits was this flowery ballad that's apparently some kind of statement about the plight of women, but just comes off melodramatic and cheesy to these ears. And for that, Mr. Leitch, I can blame ya.
32 - "Chained," Marvin Gaye
Another hit for Marvin. Powerhouse soul about being extremely attached to a woman's love. Not much more to say. Just greatness.
31 - "My Special Angel," The Vogues
These singers from Turtle Creek, Pennsylvania broke through in 1965 with "Five O' Clock World," a cool little pop song about getting through the work day. But by the time they scored their third and last Top Ten with this crushingly cubic cover of Bobby Helms' hit 1957 ballad, they had descended to near-Association-level depths of uncoolness. Ugh.
30 - "Time Has Come Today," The Chambers Brothers
Mississippi siblings Lester, Joe, Willie, and George Chambers moved to Los Angeles in the 50s, where they began performing as a gospel band. In the mid--60s, they added drummer Brian Keegan and began playing around the L.A. folk scene. Then they began to take on a more rock sound, and this would result in their biggest hit, this hard-driving number with lyrics about changing rules and souls becoming "pyschedelicized." Not sure what it all means, but those "tick-tocking" drums help to make it an enduring classic, and one that it often used in media to epitomize the late 1960s.
29 - "All Along the Watchtower," The Jimi Hendrix Experience
Another song often employed as "late 60s" shorthand is this, the only Top 40 hit for James Marshall Hendrix, a Seattle native who, after stints backing up Little Richard and The Isley Brothers, formed a trio in England with Brits Noel Redding and Mitch Mitchell and began on the road to becoming one of the icons of rock guitar. The group's biggest pop success was this cover of a Bob Dylan song from the previous year with lyrics about jokers, thieves, and wine-drinking businessmen. This has become the definitive version of the song, even to Dylan. A breathtaking combination of two geniuses.
28 - "I've Gotta Get a Message to You," The Bee Gees
We've heard plenty from the Brothers Gibb here at BGC, particularly in their 70s incarnations as pop balladeers and disco kings. But here's our first look at their folkish 60s origins, in the form of their first U.S. Top Ten. this song is about a man about to be executed for the murder of his wife's lover begging the prison chaplain to pass along some final words to her. Barry conveys the man's desperation quite well in the choruses, but for some reason, I find it fun to sing along with him. Strange.
27 - "Bang-Shang-a-Lang," The Archies
The adventures of Riverdale, USA teens Archie Andrews, "Jughead" Jones, Reggie Mantle, Betty Cooper, Veronica Lodge, and their friends had been documented in comic books for over a quarter-century when they were given a new outlet as a Saturday morning cartoon. In the show, the gang formed a garage band that performed songs performed by studio musicians, and some of them ended up gaining radio play. The first of these was this catchy bit of okay pop-rock onomatopoeia. The "band" would score three more Top 40s, most notably the #1 "Sugar Sugar."
26 - "Hi-Heel Sneakers," Jose Feliciano
From Puerto Rico, Feliciano, in spite of being blind from birth, taught himself to play the acoustic guitar, and earlier in the year he had broken through with a Top Five cover of The Doors' "Light My Fire." His follow-up single was another remake, this time of a 1963 Tommy Tucker hit that requests that a woman don a red dress, a "wig hat," and the unusual title footwear. Feliciano's version is loose and fun, with a cool harmonica solo. He continues to record and perform to this day, but his only other hit would come in 1970 with the holiday perennial "Feliz Navidad."
25 - "Court of Love," The Unifics
This Washington soul group scored two pop Top 40s, the first being this ballad on which a man details the heartbreaking crimes of his ex to a judge and jury. Ther female foreman announces at the end that the defendant has been found guilty. Does this indicate a happy ending beyond mere justice? I'd like to think so.
24 - "Keep On Lovin' Me Honey," Marvin Gaye and Tammi Terrell
Marvin and Tammi's penultimate Top 40 was this passionate plea for continued affection. What can I say except that these two were magic together?
23 - "Fool for You," The Impressions
These Chicago soulsters, fronted by the legendary Curtis Mayfield, were a frequent presence on the pop and soul charts throughout the decade. This record was a horn-driven declaration of Mayfield's dedication to a woman who's no good for him. The man was one of the genre's kings, no doubt about it, and here's proof.
22 - "Shape of Things to Come," Max Frost and The Troopers
The second fictional band we've come across this time around was created for the movie Wild in the Streets, in which rock singer Max Frost and his band inspire a movement to lower the voting age to 14, which eventually results in Frost becoming president and making everyone over 35 take LSD. Ah, the 60s. This film was also one of Richard Pryor's first movie roles. As for the song, it's an okay tune about change and revolution and stuff. The singer sounds kind of like Eric Burdon. I imagine the movie is much more interesting than the song.
21 - "Who's Making Love," Johnnie Taylor
The first major hit for Memphis soul man Taylor was this funky warning to men that while they're stepping out on their ladies, the women are frequently occupied as well. Listening back, I found the bassline on this remarkably similar to the one John Deacon played on Queen's "Another One Bites the Dust." Maybe it wasn't Chic he was ripping off after all.
In Part Two: pride, mourning, and flying floormats.
40 - "Little Arrows," Leapy Lee
Born Graham Pulleybank, this English country-pop singer had his only American hit with this cute little novelty about getting hit by Cupid's weaponry and falling in love. Catchy, but disposable.
39 - "In-A-Gadda-Da-Vida," Iron Butterfly
This San Diego band are considered one of the forebears of heavy metal, thanks in large part to this song, whose title reportedly was lead singer Doug Ingle's substance-assistant mangling of the phrase "In the Garden of Eden." The original version ran over 17 minutes, in order to make room for long drum, guitar, and organ solos, the latter of which caused the First Church of Springfield's organist to collapse in exhaustion. It was shorted to 3 minutes for the single, and although it only reached #30, it became a rock standard. I'm sure Marge and Homer Simpson aren't the only couple that used to make out to this hymn.
38 - "Take Me for a Little While," Vanilla Fudge
This four-piece band from Long Island had broken through the year before with a hard rock cover of The Supremes' "You Keep Me Hangin' On." Their albums sold well throughout the rest of the 60s, but they only managed one more Top 40 hit, this power-ballad plea for temporary comfort. It just didn't do much for me.
37 - "Always Together," The Dells
This Illinois vocal group formed in 1952, had their first national R&B hit in 1956, and were an intermittent presence on the soul charts up until 1992 Tis, their third of eight pop Top 40s, is a passionate ballad of long-term commitment. Very, very good
36 - "Chewy Chewy," The Ohio Express
The most prolific group produced by the bubblegum machine known as Super K Productions, these guys mainly consisted of producers Jerry Kasanetz and Jeffrey Katz and singer Joey Levine. Their second-biggest hit was also the most similar to their biggest, "Yummy Yummy Yummy," in that it compared a girl to sugary-sweet confections. It's well-crafted pop, but overindulgence might affect your mental health the way too much candy can affect your dental health. But it does gain the Express this week's Uneasy Rider.
35 - "For Once in My Life," Stevie Wonder
Still not out of his teens, Stevie scored his seventh Top Ten with this one of the rare hits he didn't write. But that doesn't affect his passion on lines like "For once I can say, this is mine, you can't take it." A triumphant cry of joy at finding love at last, and one of Stevie's best performances.
34 - "Quick Joey Small (Run Joey Run)," The Kasanetz-Katz Singing Orchestral Circus
More from Super K, this time in the form of a an amalgamation of some of their groups, including the Ohio Express, The Music Explosion, and The 1910 Fruitgum Company. This combo's only hit was a respectably gritty garage-rocker about the title character's escape from prison to reunite with his "sweet Mary Jane." Fun singalong stuff, and much less depressing than that David Geddes song.
33 - "Lalena," Donovan
One of the Scottish folkie's last American hits was this flowery ballad that's apparently some kind of statement about the plight of women, but just comes off melodramatic and cheesy to these ears. And for that, Mr. Leitch, I can blame ya.
32 - "Chained," Marvin Gaye
Another hit for Marvin. Powerhouse soul about being extremely attached to a woman's love. Not much more to say. Just greatness.
31 - "My Special Angel," The Vogues
These singers from Turtle Creek, Pennsylvania broke through in 1965 with "Five O' Clock World," a cool little pop song about getting through the work day. But by the time they scored their third and last Top Ten with this crushingly cubic cover of Bobby Helms' hit 1957 ballad, they had descended to near-Association-level depths of uncoolness. Ugh.
30 - "Time Has Come Today," The Chambers Brothers
Mississippi siblings Lester, Joe, Willie, and George Chambers moved to Los Angeles in the 50s, where they began performing as a gospel band. In the mid--60s, they added drummer Brian Keegan and began playing around the L.A. folk scene. Then they began to take on a more rock sound, and this would result in their biggest hit, this hard-driving number with lyrics about changing rules and souls becoming "pyschedelicized." Not sure what it all means, but those "tick-tocking" drums help to make it an enduring classic, and one that it often used in media to epitomize the late 1960s.
29 - "All Along the Watchtower," The Jimi Hendrix Experience
Another song often employed as "late 60s" shorthand is this, the only Top 40 hit for James Marshall Hendrix, a Seattle native who, after stints backing up Little Richard and The Isley Brothers, formed a trio in England with Brits Noel Redding and Mitch Mitchell and began on the road to becoming one of the icons of rock guitar. The group's biggest pop success was this cover of a Bob Dylan song from the previous year with lyrics about jokers, thieves, and wine-drinking businessmen. This has become the definitive version of the song, even to Dylan. A breathtaking combination of two geniuses.
28 - "I've Gotta Get a Message to You," The Bee Gees
We've heard plenty from the Brothers Gibb here at BGC, particularly in their 70s incarnations as pop balladeers and disco kings. But here's our first look at their folkish 60s origins, in the form of their first U.S. Top Ten. this song is about a man about to be executed for the murder of his wife's lover begging the prison chaplain to pass along some final words to her. Barry conveys the man's desperation quite well in the choruses, but for some reason, I find it fun to sing along with him. Strange.
27 - "Bang-Shang-a-Lang," The Archies
The adventures of Riverdale, USA teens Archie Andrews, "Jughead" Jones, Reggie Mantle, Betty Cooper, Veronica Lodge, and their friends had been documented in comic books for over a quarter-century when they were given a new outlet as a Saturday morning cartoon. In the show, the gang formed a garage band that performed songs performed by studio musicians, and some of them ended up gaining radio play. The first of these was this catchy bit of okay pop-rock onomatopoeia. The "band" would score three more Top 40s, most notably the #1 "Sugar Sugar."
26 - "Hi-Heel Sneakers," Jose Feliciano
From Puerto Rico, Feliciano, in spite of being blind from birth, taught himself to play the acoustic guitar, and earlier in the year he had broken through with a Top Five cover of The Doors' "Light My Fire." His follow-up single was another remake, this time of a 1963 Tommy Tucker hit that requests that a woman don a red dress, a "wig hat," and the unusual title footwear. Feliciano's version is loose and fun, with a cool harmonica solo. He continues to record and perform to this day, but his only other hit would come in 1970 with the holiday perennial "Feliz Navidad."
25 - "Court of Love," The Unifics
This Washington soul group scored two pop Top 40s, the first being this ballad on which a man details the heartbreaking crimes of his ex to a judge and jury. Ther female foreman announces at the end that the defendant has been found guilty. Does this indicate a happy ending beyond mere justice? I'd like to think so.
24 - "Keep On Lovin' Me Honey," Marvin Gaye and Tammi Terrell
Marvin and Tammi's penultimate Top 40 was this passionate plea for continued affection. What can I say except that these two were magic together?
23 - "Fool for You," The Impressions
These Chicago soulsters, fronted by the legendary Curtis Mayfield, were a frequent presence on the pop and soul charts throughout the decade. This record was a horn-driven declaration of Mayfield's dedication to a woman who's no good for him. The man was one of the genre's kings, no doubt about it, and here's proof.
22 - "Shape of Things to Come," Max Frost and The Troopers
The second fictional band we've come across this time around was created for the movie Wild in the Streets, in which rock singer Max Frost and his band inspire a movement to lower the voting age to 14, which eventually results in Frost becoming president and making everyone over 35 take LSD. Ah, the 60s. This film was also one of Richard Pryor's first movie roles. As for the song, it's an okay tune about change and revolution and stuff. The singer sounds kind of like Eric Burdon. I imagine the movie is much more interesting than the song.
21 - "Who's Making Love," Johnnie Taylor
The first major hit for Memphis soul man Taylor was this funky warning to men that while they're stepping out on their ladies, the women are frequently occupied as well. Listening back, I found the bassline on this remarkably similar to the one John Deacon played on Queen's "Another One Bites the Dust." Maybe it wasn't Chic he was ripping off after all.
In Part Two: pride, mourning, and flying floormats.
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