(Pictured: For two centuries, southern Illinois has sometimes been referred to as “Egypt.” To find out what that has to do with anything, read on.)
Fifty years ago, Martha and the Vandellas released “Dancing in the Street.” It first charted in August 1964 and reached #2 on the Hot 100 for the week of October 17, tucked in behind “Do Wah Diddy Diddy” by Manfred Mann. But it was #1 in many places, according to ARSA: New York, Philadelphia, Detroit, Pittsburgh, Atlanta, and Washington among them. It was widely recognized at the time as an emblem of the new consciousness of young people, especially young African Americans. Today’s it’s considered one of the pivotal recordings of the 60s, and is the subject of a pretty good new book.
But as we continue our monthly look back at 1964 as it was heard on WOKY in Milwaukee, we find that “Dancing in the Street” did not make #1 there. Neither did it reach #2. “Dancing in the Street” never appears on a WOKY chart, not even for a week. I’d love to know why.
Also not appearing on the WOKY survey, at least for the week of October 10, 1964: the Beatles. It’s the second Fab-free week in a row; “Matchbox” and “Slow Down” appeared on the September 26 survey but were gone on October 3. Such a thing isn’t unprecedented: the Beatles were absent from the WOKY surveys dated June 27 and July 4 as well—the first weeks without the Beatles since “I Want to Hold Your Hand” debuted on the survey January 11. The Billboard Hot 100, always a bit behind the street, shows “Matchbox” at #18 and “Slow Down” at #25 for the week of October 10. “A Hard Day’s Night,” which departed the WOKY survey after the week of September 19, falls to #50 from #24. But that’s all for the Beatles, unless you count George Martin and His Orchestra with “I Should Have Known Better,” from the American soundtrack of A Hard Day’s Night, which is bubbling under at #111.
The British Invasion continues, however. At WOKY, Manfred Mann, Chad & Jeremy (“A Summer Song”), and the Honeycombs (“Have I the Right”) are all in the Top 10; the Nashville Teens (“Tobacco Road”), Billy J. Kramer & the Dakotas, the Dave Clark Five, and Peter & Gordon are farther down the survey. On the Hot 100, “House of the Rising Sun” is still in the Top 20, and Gerry & the Pacemakers (“I Like It”) are at #41. “You Really Got Me” by the Kinks moves from #81 to #60, and the Zombies are at #101 with “She’s Not There.” Herman’s Hermits and Cilla Black are bubbling under, too.
Since July, the WOKY survey has been topped by a series of timeless classics: “Memphis,” “Rag Doll,” “A Hard Day’s Night,” “Where Did Our Love Go,” “House of the Rising Sun,” and “Oh Pretty Woman.” But during the entire month of October, the #1 song in Milwaukee was not quite so titanic: “Last Kiss” by J. Frank Wilson and the Cavaliers. Only “I Want to Hold Your Hand” stayed longer at #1 to this point in 1964 (five weeks) and only the double whammy of the Beatles’ “I Feel Fine” and “She’s a Woman” would equal its four weeks, later in the year.
All of this is introductory to what we really want to talk about: five other records on the WOKY survey that tell us something interesting 50 years later.
(Our 1984 series will continue with one last post after this brief detour.)
Once a month since April, we have been tracking the Beatles and the British Invasion as it appeared on the Billboard Hot 100 against the weekly surveys of a representative local radio station, WOKY in Milwaukee. But entirely apart from chart numbers, Beatlemania was at an unequaled pitch in Milwaukee as September began, for on the 4th, the Fabs played a show at what was known then as the Milwaukee Arena.
On the Hot 100 dated September 5, there are four Beatles songs in the Top 40: the former #1 “A Hard Day’s Night’ at #8, “And I Love Her” at #12, “Ain’t She Sweet” at #30, and “I’ll Cry Instead” at #34. All are headed down the chart except for “And I Love Her.” Another Beatle ballad, “If I Fell,” is at #53 and rising in its 6th week on; “Matchbox” and “Slow Down” debut at #81 and #99 respectively, and “I’m Happy Just to Dance With You” bubbles under at #112. The George Martin Orchestra provides a bit of additional Beatle flavor with an instrumental version of “This Boy” (officially titled “Ringo’s Theme”) at #55. At WOKY, “A Hard Day’s Night” tumbles from #3 to #13; “And I Love Her” falls from #12 to #22. “Matchbox” and “Slow Down” debut together at #29.
Other British invaders were leaving their mark with iconic records 50 years ago this week: the Animals’ “House of the Rising Sun” hit #1 at WOKY the preceding week and held for the week of September 5, its first week atop the Hot 100. “Because” by the Dave Clark Five was at #5 in Milwaukee. Chad and Jeremy’s beautiful “A Summer Song” moved to #17 from #27, well ahead of its Hot 100 pace, and Manfred Mann’s “Do Wah Diddy Diddy” debuted at #20 (and at #58 on the Hot 100).
On the subject of icons, the reign of the Supremes had begun with “Where Did Our Love Go,” which sat at #2 on both charts after topping the Hot 100 the previous week. The wistful “Under the Boardwalk” by the Drifters held at #4. The single hottest record at WOKY was “Oh Pretty Woman” by Roy Orbison, jetting to #10 from #32 the previous week. It took a similarly mighty leap on the Hot 100, to #27 from #52. Debuting at WOKY was another new Detroit group, the Four Tops, with “Baby I Need Your Loving.”
On the flip, five more songs from the WOKY chart, less iconic but still noteworthy.
(First in a series of posts about 1984.)
The Billboard chart dated September 1, 1984, is pretty fabulous, loaded with iconic 80s stars and memorable 80s hits. Just look at the Top 10:
1. “What’s Love Got to Do With It”/Tina Turner
2. “Missing You”/John Waite
3. “Stuck on You”/Lionel Richie
4. “Ghostbusters”/Ray Parker Jr.
5. “When Doves Cry”/Prince
6. “She Bop”/Cyndi Lauper
7. “Sunglasses at Night”/Corey Hart
8. “Let’s Go Crazy”/Prince
9. “If This Is It”/Huey Lewis and the News
10. “If Ever You’re in My Arms Again”/Peabo Bryson
If you turn on your local good-times/great-oldies radio station, it won’t be long before you hear something from 1984. A friend of mine considers it Top 40’s best year in the 80s. It’s hard to argue that it isn’t one of the best of all time. Also in the Top 40 during this same week: “Drive” by the Cars, “Dancing in the Dark” by Bruce Springsteen, Chicago’s “Hard Habit to Break,” Stevie Wonder’s “I Just Called to Say I Love You,” and “Lucky Star” by Madonna, none of which have been off the radio since.
Those and other records on this chart remain highly evocative of their times even after 30 years.
(Above: Kris Kristofferson, singer, songwriter, actor, and more handsome than anybody.)
It seems like an easy way to calculate the year’s top hits based on chart performance: give 100 points to the #1 song each week, 99 to #2, 98 to #3, and so on all the way down to the #100 song, which gets only one point. Over the course of a year, the song with the most points is the top song of the year. It’s generally a fine system that balances chart peak with longevity, but it’s one that can get badly fubar’d by a record with an extremely long chart life. I do not know for certain whether that kind of fubaring is what happened to Billboard magazine when calculating their top hits of 1973, but something weird certainly did.
1. “Tie a Yellow Ribbon ‘Round the Ole Oak Tree”/Tony Orlando & Dawn
2. “Why Me”/Kris Kristofferson
3. “Bad Bad Leroy Brown”/Jim Croce
4. “Killing Me Softly With His Song”/Roberta Flack
5. “Let’s Get It On”/Marvin Gaye
6. “My Love”/Paul McCartney & Wings
7. “Crocodile Rock”/Elton John
8. “Will It Go Round in Circles”/Billy Preston
9. “You’re So Vain”/Carly Simon
10. “Touch Me in the Morning”/Diana Ross
One of those things is not like the others.
(Pictured: Grand Funk, whose “Some Kind of Wonderful” was #6 for all of 1975, equaling the year-end position of “The Locomotion” in 1974. You want trivia, you got it.)
The second half of the American Top 40 year-end countdown for 1975 was officially scheduled for the week of January 3, 1976. Like the first part, it was a special four-hour show. A station running it back then would have had to find an extra hour for it. Not until 1978 would the show go to four hours regularly.
If your local AT40 affiliate repeated the 1975 countdown today, it could be cut up strangely. When Premiere Radio Networks sends four-hour 70s shows to affiliates today, the first hour contains no national commercials, so stations are not obligated to run it. If an affiliate airs the show in a three-hour window, they pick it up at the beginning of the second hour, and the first hour goes unheard. So if a station with a three-hour window were rebroadcasting the eight-hour Top 100 of 1975 show over two weeks, they’d have started the countdown at #88 (the beginning of hour #2) and carried it through to #51, then picked it up again the next week at #36 (the beginning of hour #6).
I made some observations about the first half of this show in an earlier post. Here are a few thoughts about the second half:
(Pictured: 70s revelers see in a new year, while geeky teenagers stay home and listen to the countdown.)
American Top 40‘s year-end countdowns varied in length between 1970 and 1973—the top 80 in 1970 and 1972, the top 40 in 1971 and 1973—but by 1974, Casey and company had settled on the top 100, broadcast in two parts, eight hours in all, over two weekends around Christmas and New Year’s. I have been listening to the year-end countdown from 1975 lately, and it might be my favorite edition of AT40 ever. It’s almost all killer and no filler. The crazed variety that made Top 40 radio so much fun in the 70s is clearly evident, and clunkers are few. In addition, although one of the strengths of AT40 in any given week is the balance between Casey and the music, the 1975 countdown seems especially well-constructed: anecdotes are brief, mostly recaps of a record’s chart performance or a quick bit of trivia about the artist’s career, and then it’s back to the hits. There are no lengthy stories or extras to slow the show’s momentum.
A few other observations:
—The survey year covered November to November, so a few key hits from the preceding year would always appear, and some from late in the current year would be missing. Casey reminds the audience of this repeatedly—I lost count after he mentioned it a half-dozen times.
—In compiling the top 100, Billboard listed several ties for year-end positions: “You Ain’t Seen Nothin’ Yet” by BTO and “Third Rate Romance” by the Amazing Rhythm Aces at #97, “Never Can Say Goodbye” by Gloria Gaynor and “Cut the Cake” by AWB at #71, and others. This strikes me weird, and it makes me wonder about the methodology used to compile the chart. If there had been a tie for #1, I am guessing they would have found a way to resolve it, but maybe not.
—And how is it that “You Ain’t Seen Nothin’ Yet,” which hit #1, comes in well behind other songs, some of which failed to make the top 10 at all?
—When playing John Denver’s “I’m Sorry” and “Calypso,” the two-sided hit from that summer, Casey notes a survey taken among Miss USA contestants in 1975. They were asked to pick the “best man in the world.” The winner, with eight votes: Henry Kissinger. (Dear sweet naïve days of the 1970s, we miss you so.) In second place, with three votes: then-president Gerald Ford. In third place, with two votes each, a tie: Billy Graham and John Denver.
—At one point in the countdown, Casey remarks that 250 different songs made the Top 40 in 1975. The top 100 therefore represents 40 percent of the year’s radio music—a larger percentage than I would have guessed.
—At #63, Casey introduces “Only Women” by Alice Cooper by saying that it’s a change from Cooper’s usual brand of outrageousness, mock executions and so forth. Casey calls the song “a touching tribute to women.” And that is a monumental misreading of Cooper’s intentions. The song’s actual title is “Only Women Bleed,” but when it was issued as a single, Cooper’s record label titled it “Only Women,” and that’s how it was known during its run on the radio. By 1975 standards, it’s pretty graphic in its description of the life of an abused wife (“slaps you once in a while and you live in love and pain”, “black eyes all of the time . . . come watch me bleed”). It has the feel of a ballad, but Cooper’s delivery is more creepy than touching, and in fact, “Only Women Bleed” is as much a horror show as “Welcome to My Nightmare,” “I Love the Dead,” or Cooper’s other transgressive songs. Casey was not alone in misreading it: in 1975, almost everybody really really really wanted to believe it was about something other than it is.
I’ll have more about the 1975 year-end countdown in a future installment, probably.