It was 40 years ago this week. Feel old, kids?
Marilyn McCoo and
Billy Davis Jr., “You Don’t Have to Be a Star (To Be in My Show),” #1, 1/8/77
This one kind of came out of nowhere. McCoo and Davis had been members of The Fifth
Dimension from the beginning, but by 1975 they’d seen the handwriting on the
wall (the group’s last top 30 hit was 1972’s “If I Could Reach You”), and the
couple (they’d married in 1969 – their hit “Wedding Bell Blues” from that year,
which featured pleas from a woman to her lover “Bill” to marry her was merely
serendipitous) split to form a duo.
Their first single, “I Hope We Get to Love in Time,” from the album of
the same name, was a flop, but this one hit #1 – and it would be their only top
10 hit. It also won a Grammy for Best
R&B Duo or Group performance. The video is from Soul
Train – although I’m wondering why the director decided to show more of the
dancers than the singers.
Burton Cummings, “Stand Tall,” #10, 1/8/77
Another example of a breakaway from a group for temporary
greener pastures. Cummings had been the
lead singer for The Guess Who since 1968, and the primary songwriter since
1970, when Randy Bachman left the band.
(I should say that, while it wasn’t the happiest breakup at the time,
Bachman and Cummings have long since mended their fences and have worked
together frequently since then.) By
1976, Cummings decided his musical vision didn’t mesh with that of
then-guitarist Dominic Troiano and broke up the band. (Bass player Jim Kale discovered the
following year no one had ever registered the band’s name and promptly did so –
he’s toured with various configurations since then, but Cummings and Bachman
have only infrequently participated.)
Anyway, Cummings promptly knocked out this self-consoling solo hit,
hitting the top 10 in the United States and his native Canada. Cummings’ eponymous first solo album is best
known for both this and a lounge-lizard version of Bachman’s “You Ain’t Seen
Nothin’ Yet” – fortunately, Bachman had a good sense of humor (and probably
appreciated the royalties). Cummings apparently went to the Steve Perry Academy of Overemotional Lipsyncing for this one.
Alice Cooper, “I Never Cry,” #12, 1/8/77
From Cooper’s liner notes of his 2001 hits set Mascara and Monsters: “An alcoholic confession. I had managed to drink away most of my
emotions. Sitting there, I realized I
couldn’t remember the last time that I had cried.” Alice Cooper’s (Vince Furnier is his real
name; he took the name of his band as his own stage name after they broke up in
1975) alcohol issues were pretty fierce and it took him a long time to get rid
of them (he has been sober for over three decades); this was the first of a
trilogy of sorts that involved getting sober and his wife, Sheryl. It was also the second of four top 15 hits
that went the ballad route, which alienated some of his hardcore fans, but got
him a lot more radio airplay.
Electric Light Orchestra, “Livin’ Thing,” #13, 1/8/77
First single from their sixth studio album, A New World Record. This was the first of their platinum albums,
and it established a pattern for the next few – 16 of their next 17 singles in
the United States would hit the top 40, even though their previous five albums
contained only three top 40 hits. A
bright, chipper pop song with time changes throughout, this was named the #1 “Guilty
Pleasure” single by the pop music magazine Q
in 2006.
The Bar-Kays, “Shake Your Rump to the Funk,” #23, 1/8/77
This band got off to as poor a start as possible after their
beginnings as Memphis session musicians – most of them were in the same plan as
Otis Redding that crashed into Lake Monona in Madison, WI in late 1967. Four of the six band members died, while one
survived the crash and another was not in the plane – bass player James
Alexander. By 1977, he was the only
original member left, when they notched this hit, their second and last top 40
entry (the first was 1967’s “Soul Finger”).
It was also heard in the films Superbad
and Head of State. The band still performs occasionally (with
Alexander still on bass); they’ll be in Bethesda, MD in February.
George Harrison, “This Song,” #25, 1/8/77
This was a chipper response to Harrison’s legal issues after
his 1970 smash “My Sweet Lord” was ruled to have been a unconscious plagiarism
of the 1960s Chiffons hit “He’s So Fine.”
(Long story short, Harrison didn’t pay nearly as much as he was originally
ordered to – it didn’t help that ex-Harrison manager Allen Klein tried to
switch sides in the middle and buy the rights to “He’s So Fine” for
himself. Harrison eventually wound up
with the rights to the song.) Anyway,
Harrison notes here “This Song” is his own composition, with no help from
anyone else (“This song has nothing bright about it” references “He’s So Fine”’s
publisher, Bright Tunes). Billy Preston
plays piano and organ, and Monty Python’s Eric Idle is the one who says in the
middle “Could be ‘Sugar Pie Honey Bunch’”/”No, sounds more like ‘Rescue Me’.” In this music video, look for Rolling Stone Ron
Wood doing some of Idle’s lines, heavily made up.
Al Green, “Keep Me Cryin’,” #37, 1/8/77
Thirteenth top 40 hit from Green – although it would be his
last for 11 years (until he and Annie Lennox remade “Put a Little Love in Your
Heart” for the Scrooged
soundtrack). The music world had changed
a bit since Green placed four songs in the top five between 1971 and 1972 – and
so had Green. Following the 1974
incident where his married girlfriend, Mary Woodson White, assaulted him by
pouring boiling grits on him and then killed herself, Green focused more on the
ministry, becoming an ordained pastor at the Full Gospel Tabernacle in Memphis
(where he still preaches today). He was
still performing secular music at that time, as shown here (although there were
certainly spiritual overtones), but his sales and airplay slipped (in fairness,
Hi Records, based in Memphis, was a pretty small company, and couldn’t match
the distribution and promotion of the major labels). He eventually moved for the most part into
primarily religious music starting in 1980.
Lynyrd Skynyrd, “Free Bird” [live], #38, 1/8/77
Considering this song had been a top 20 hit for Skynyrd just
a little over two years before, and the live version runs over 13 minutes in
its entirety (it was cut to 4:55 for the single), this seems as likely a chart
candidate as any. But it’s such a powerful
live version – arguably an improvement from the studio version, with the
addition of wunderkind guitarist Steve Gaines – that its release seemed almost
inevitable. The full-length version
still remains a staple of classic rock stations today (and not just because it
gives the disc jockey a chance for a bathroom break). Play it pretty for Atlanta.
Dickey Lee, “9,999,999 Tears,” #52, 1/8/77
This was Lee’s last song to hit the pop charts (he’d notched
a top 10 hit in 1962 with the death ballad “Patches,” and followed up with “I
Saw Linda Yesterday,” which still gets airplay on oldies stations), and it’s at
least got a catchy chorus, even though it’s a breakup song. Lee was mostly a cover artist during his
years on the country charts – his only country #1 was a remake of Austin
Roberts’ death ballad “Rocky” – but he did write “She Thinks I Still Care” for
George Jones in the 1960s. He continued
hitting the country charts until 1982.
It appears he’s now retired, at age 80.
Bay City Rollers, “Yesterday’s Hero,” #54, 1/8/77
Ah, fame is fleeting.
And despite the Bay City Rollers’ awareness of this fact – or perhaps
because of it – this rocker only hit the middle of the charts. From their album “Dedication” (again ironic,
as founding member Alan Longmuir bailed on the band just before the recording
of this album, and his replacement Ian Mitchell was bounced not long after its
release), which was produced by Jimmy Ienner (who also produced all four
Raspberries albums and two Three Dog Night albums), this song was written by
Harry Vanda and George Young (who started out in Australia as part of The
Easybeats and wound up managing Young’s brothers as part of AC/DC).
Funky Kings, “Slow Dancing,” #61, 1/8/77
Odd band name; there’s very little funky about this
song. The band was an odd amalgam – Jack
Tempchin had cowritten a couple of Eagles songs with Glenn Frey (“Peaceful Easy
Feeling” and “Already Gone”), and Jules Shear would later write “All Through
the Night” and “If She Knew What She Wants,” which became hits for Cyndi Lauper
and The Bangles, respectively. Add Richard
Stekol (who had been in the rock band Honk), and guitarist Greg Leisz (who’s played
with every band from John Stewart to Jackson Browne), along with funk rhythm
section Bill Bodine and Frank Cotinola, and you have – well, a one-album act
(they broke up after Arista rejected their second album). Tempchin was fortunate enough to have this
song repurposed – Johnny Rivers would turn it into a top 10 hit (under the
title “Swayin’ to the Music (Slow Dancin’)” later in the year.
Robert Palmer, “Man Smart, Woman Smarter,“ #63, 1/8/77
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