(Pictured: the hairy dudes of Pablo Cruise.)
I have to admit that it’s been damn hard coming up with stuff to write about this month, October or no October. But because I don’t want a Friday to go by without posting something, let’s try this: a selection of songs that were sitting at #40 on the Billboard Hot 100 on this date, or a date to close to it, in years gone by. We’ll cover 1964 through 1986 because that is how we roll.
Week of 10/24/64: “You Really Got Me”/Kinks. I am probably wrong about this, but I suspect that “You Really Got Me” might contain one of the first iconic guitar riffs in rock history. What would be some earlier ones? In 1964 alone, the Beatles did “I Wanna Hold Your Hand” and “A Hard Day’s Night.” Earlier than that, “Jailhouse Rock,” maybe. But I can’t think of any others just now.
Week of 10/23/65: “Dawn of Correction”/Spokesmen. It’s easy to characterize this as the reactionary response to Barry McGuire’s “Eve of Destruction”—and it gives the game away in its first lines, “The western world has a common dedication / To keep free people from Red domination”—but it makes some valid points, too. Voter registration was up, the Peace Corps was making a difference, the United Nations was a vehicle for hope.
Week of 10/22/66: “Rain on the Roof”/Lovin’ Spoonful. The world of 1966 was neither sweet nor simple, but sweet, simple songs like this make it seem as though it must have been. (Compared to 2016, in which America is going collectively mad in slow motion, it almost certainly was.)
Week of 10/23/71: “I’m Comin’ Home”/Tommy James. In which Tommy James hooks his pop music mastery to his growing religiosity and I’ll be damned (see what I did there?) if it doesn’t sound just great.
Week of 10/21/72: “From the Beginning”/Emerson Lake & Palmer. Their only Top 40 hit, because “Lucky Man” stalled out at #48.
Week of 10/19/74: “When Will I See You Again”/Three Degrees. This song is so beautiful that at certain moments (which often occur in the fall of the year) I can barely stand to listen to it.
Week of 10/21/78: “Don’t Want to Live Without It”/Pablo Cruise. This was a great radio song from a band that knew how to make them, even if the public didn’t always buy them in large amounts.
Week of 10/20/79: “Rainbow Connection”/Kermit (Jim Henson). During the first autumn of the 1970s, Henson was on the singles chart as a Sesame Street character, Ernie, doing the intolerable “Rubber Duckie.” During the last autumn of the 70s, he was back as a more versatile and enduring character, Kermit the Frog, and a far better song.
Week of 10/25/80: “Never Be the Same”/Christopher Cross. I occasionally annoyed my college radio colleagues by wanting to play certain records I liked that were straight-up pop radio cheese. Like “Never Be the Same.”
Week of 10/17/81: “Burnin’ for You”/Blue Oyster Cult. Although “Burnin’ for You” never got higher than #40, it has been a classic-rock radio essential for 35 years now. The album Fire of Unknown Origin got a lot of play on our college radio station, especially the bizarro track “Joan Crawford,” with a video containing a great deal of fked-up Catholic schoolgirl imagery.
Week of 10/23/82: “Get Closer”/Linda Ronstadt. I am pretty sure that I hadn’t heard this song in over 30 years before I listened it while writing this post. It’s far, far better than I remember. (And in the video, Linda is just smokin’ hot.)
Week of 10/18/86: “The Way It Is”/Bruce Hornsby and the Range. There had never been anything that sounded quite like this, with that rippling, rolling, powerful piano. When I got to the elevator-music station early in 1987, we had a version of it with all the vocals edited out.
The link in the last paragraph goes to a blog post by Len O’Kelly, who came to the elevator-music station, KRVR in Davenport, Iowa, shortly before all of us got sacked in a format change. It captures the essence of the place extremely well. If you enjoy the pondwater you find at this blog, odds are pretty good that you’ll like Len’s blog, too.
We own the first six seasons of M*A*S*H on DVD, but that hasn’t stopped us from developing a new dinner-hour habit these last few weeks: watching M*A*S*H repeats on MeTV. They’re edited (MeTV’s own edits, it looks like, and not the familiar syndication versions) and the commercial breaks are interminable, but as something you can turn on and pay attention to with half an ear while eating dinner and discussing the day with your spouse, you can’t beat ’em.
M*A*S*H was so omnipresent on TV for so long, 11 seasons on the air and an eternal life in syndication, that it takes some effort to imagine it as a new show, back there in the fall of 1972. That fall, Gunsmoke, Bonanza, and Mission Impossible were still on the air, and Dean Martin and Julie Andrews starred in variety shows. Most of the new fall premieres that year quickly vanished from history. Who remembers Anna and the King or The Sandy Duncan Show—which bracketed M*A*S*H on Sunday nights that first season—or The Little People, or Banyon, which premiered on other networks? Three new shows that fall would earn the status of television classic: M*A*S*H, The Waltons, and The Bob Newhart Show; The Rookies had a successful run for several years, and Kung Fu would become a cult favorite. I haven’t done the research to determine what sort of batting average that is, but it strikes me as decent.
M*A*S*H is based on the 1970 Robert Altman film, and when the series begins, its Altmanesque roots are perceptible. The M*A*S*H pilot, about a fundraising raffle to send the surgeons’ houseboy to college in America, is remarkably vulgar for 1972 (and on Sunday night to boot), as if the new frankness of the movies at the dawn of the 70s was finally making inroads into TV. M*A*S*H would never again be so gleefully transgressive, however, and whatever Altman influence the show had at first quickly faded.
At the beginning of Season 3, a new group of writers came aboard, and while they continued to sand off the show’s rougher edges, they also added a character that felt like a retroactive nod to Altman: Captain Calvin Spalding, played by Loudon Wainwright III.
The Spalding character, seen in three episodes, was another surgeon at the 4077th, but his main dramatic function was to sing songs that commented on the action of the episodes in which he appeared. “North Korean Blues” is seen and heard in the episode “Rainbow Bridge.” The episode “There Is Nothing Like a Nurse,” in which all female personnel are evacuated from the unit, features an untitled song containing the refrain, “I wonder if they miss us / Now wouldn’t that be funny / Now that we’re without them / We can hardly stand ourselves.” That same episode is framed by “Unrequited to the Nth Degree,” which would appear on a Wainwright album in 1975. “There Is Nothing Like a Nurse” ends with Spalding, Hawkeye, Trapper, and other members of the cast singing the song while dancing across the compound. For his last appearance, in the episode “Big Mac,” Wainwright wrote “Five Gold Stars” on demand, in two hours. (In 2008, he told an interviewer that the experience taught him he could be “a songslinger for hire.”)
Wainwright has told various interviewers over the years that he doesn’t know why he was never called back for further appearances (but he appreciates the royalty checks that continue to come his way). It strikes me that the Spalding character wouldn’t have been a good fit with the less jaded tone of the series after Harry Morgan and Mike Farrell replaced McLean Stevenson and Wayne Rogers for Season 4—and maybe that’s what executive producers Gene Reynolds and Larry Gelbart thought, too.
The end of Season 3 marks the point after which M*A*S*H is never the same. The first two Morgan/Farrell seasons, with Larry Linville still in the cast as Frank Burns, are fine. But in Season 6, with David Ogden Stiers joining the cast as Yoko Ono, I start losing interest, and in the final seasons, when the show is frequently drowning in sanctimony, I can’t watch at all.
MeTV is somewhere in the fourth season now, so we’ll be watching at dinnertime for a while yet.
(Rebooted from a 2012 post at Popdose, but largely new.)
(Pictured: A still from The Partridge Family shows Laurie wearing a chastity belt, apparently.)
We recently passed the anniversary of the debut of The Partridge Family in 1970. In 2010, I wrote a 40th anniversary tribute for Popdose. Here’s a reboot.
In September 1970, I was 10 years old, with the taste of a 10-year-old kid. And so my first favorite songs were light and happy and catchy and easy to sing. And that made me, and people like me, the prime target for The Partridge Family. For many boys of the ’70s, Shirley Jones would become their first MILF, and for many girls, David Cassidy would be their first celebrity love.
Years later, much of the music featured on the show still sounds mighty good, because many of their songs were written by the biggest cats in pop. The Partridge Family’s recordings were made by the group of Los Angeles session musicians known as the Wrecking Crew. Most of the voices were provided by the Ron Hicklin Singers, heard on hundreds of hit songs, movie soundtracks, TV themes, commercials, and radio jingles.
In honor of the anniversary, here’s one fan’s top five Partridge Family songs. Turn up your speakers until you can smell the polyester.
(Pictured: L to R, Ian McLagen, Rod Stewart, Ronnie Lane, and Kenney Jones onstage, circa 1971.)
On October 2, 1971, Rod Stewart’s “Maggie May” hit #1 on the Hot 100, and Every Picture Tells a Story reached the top of the Billboard 200 album chart, nudging Carole King’s Tapestry to #2 after 15 weeks. It was the cream of a remarkable crop of albums. Also in the Top 10 during October 1971: Every Good Boy Deserves Favour by the Moody Blues, the Shaft soundtrack, Paul and Linda’s Ram, Who’s Next, The Carpenters, Black Sabbath’s Master of Reality, Sound Magazine by the Partridge Family (the latter three back-to back-to-back for the week of October 2 and damn, do I love the 70s), Teaser and the Firecat by Cat Stevens, Santana III, and John Lennon’s Imagine, which would take over the #1 slot on October 30.
On a gray and rainy morning not long ago, Every Picture Tells a Story was a very good companion on a long car trip. You can listen to it yourself while I’m ranking the tracks.
8. “That’s All Right”/”Amazing Grace.” Elvis owns “That’s All Right” and nobody else should mess with it. Rod’s “Amazing Grace,” which is not listed on the album jacket, is lovely, though.
7. “I Know I’m Losing You.” This thing rocks like crazy and you can hear how much Rod is into it, whooping and yelling as the band burns the joint down. I’m ranking it here because it doesn’t fit the intimate, unplugged vibe of the rest of the album.
6. “Seems Like a Long Time.” This is a beautiful song that ranks here because other stuff has to rank higher.
5. “Every Picture Tells a Story.” The hilariously rockin’ tale of a young world traveler who’s seen some wild shit, man: “I was arrested for inciting a peaceful riot / When all I wanted was a cup of tea.”
4. “Reason to Believe.” There was never anything else that sounded like this, with its piano chords tolling out the years like church bells; the violin, credited to London jazz musician Dick Powell, gives it a seriousness that few other AM radio hits could match.
3. “Maggie May.” Here’s how much this song means in my life: I have no children, but any daughter of mine would have been named Maggie May.
2 “Tomorrow Is a Long Time.” Elvis put this Bob Dylan song on the Spinout soundtrack in 1966 (although it’s not in the movie); Dylan
himself didn’t release a version of it until 2010, and that was released a live performance of it from 1963 in 1971. (Corrected thanks to commenter David; I misread a source.) Rod’s version is breathtaking; Powell’s violin is magnificent.
1. “Mandolin Wind.” This song has everything that’s great about Rod Stewart’s first four albums in five-and-a-half minutes. The best of those albums were an English take on what the Band was doing at about the same time, which was Americana before the term existed. On “Mandolin Wind,” Rod’s singing is sensitive and heartfelt and even funny. (“I ain’t got much but what I’ve got is yours / Except of course my steel guitar.”) The band is similarly sensitive, but they rock the hell out of it at the end. Oddly, the identity of the mandolin player on “Mandolin Wind” is unclear. Ray Jackson of Lindisfarne claimed to be the guy; he played on “Maggie May” too, but Rod, having forgotten his name, credited him only as “the mandolin player in Lindisfarne. The name slips my mind.”
Several years ago, I put together a mix tape to help a young friend appreciate the genius of the early Rod. (She knew him only as a People magazine bon vivant, Great American Songbook plunderer, and impregnator of supermodels.) The tape wasn’t necessary, though. All she really needed to hear was Every Picture Tells a Story.
She doesn’t come around as often as I would like, because we do not always get what we want.
(She is one of those who has taught me that lesson.)
But she’s always with me, even when I’m not with her.
She was there when dreams came true, and when nightmares became real.
She’s in the music I love the most, and in nearly every word I have ever written here.
Hello, October. I have missed you, and seeing you again is everything.