It Took A Frenchman . . .

May 21st, 2013

At the end of 1965, 1966 and again 1967, when Billboard magazine calculated which records had earned places in each of those years’ annual Top 40, there was something missing: An instrumental.

And that was a rarity. Joel Whitburn’s book, A Century of Pop Music, lists the top records of each year from 1900 through 1999 (a Top 30 in 1900 and a Top 40 from then on), and during the sixty-five years from 1900 through 1964, there were only six years when the year’s top records had not included at least one instrumental, and none of those years were consecutive.

But then came those three years in a row: 1965 through 1967. And that stretch without a big instrumental hit actually covered most of 1964, too. In December 1963, a surf rock band from Hollywood called the Marketts got their single “Out of Limits” into the Billboard Hot 100. It moved up the chart and peaked during the first week of February 1964 at No. 3. Its performance made it the No. 37 single for 1964, and it was the last instrumental single to do well enough to make the year-end Top 40 for four years.

So what might have happened in February 1964 that altered the character of the music business here in the United States?  Silly question, right?

Now, I can’t trace a straight line between the success of the Beatles and the two waves of the British Invasion from February 1964 onward to the dearth of instrumentals in the year-end charts, but there was certainly less room in those year-end charts – reflecting less time available on radio stations as well as less attention from retail outlets and record buyers – for American music of all types. What I mean is that I can’t cite causation, but it’s one hell of a correlation.

For example, the Top 40 for 1964 in A Century of Pop Music lists thirteen records by British groups while the Top 40 for 1963 in the same book lists none (although one artist each from Belgium and Japan is listed: The Singing Nun for “Dominique” and Kyu Sakamoto for “Sukiyaki”).

And it’s not like the earlier top-selling instrumentals were all middle-of-the-road stuff that would have been crowded out by newer genres: Yes, “Washington Square” by the Village Stompers, the No. 28 record of 1963, had been folksy and decidedly unedgy, but right behind it, at No. 29, had been the Surfaris’ “Wipe Out.”  I imagine it’s fair to say that most pre-Beatles instrumental hits were decidedly MOR, but some were not. I think of Booker T & the MG’s “Green Onions,” No. 38 for the year of 1962, and of the Tornadoes’ “Telstar,” which was the No. 6 single that year. (And I also think of David Rose’s “The Stripper,” which wasn’t rock or R&B, of course, but certainly shook its stuff someplace other than the middle of the road and wound up as the No. 18 record for the year.)

Whatever the reason, for those three years – 1965, 1966 and 1967 – instrumentals failed to crack the list of the top records of the year. And it took a Frenchman to end the drought, with the first bit of instrumental rain falling during the first week of 1968, when Paul Mauriat’s “Love is Blue” entered the Billboard Hot 100 at No. 99. By the second week of February, the record was at No. 1, and it stayed there for five weeks. By the time 1968 closed its books, “Love is Blue” was the No. 3 record of the year (trailing the Beatles’ “Hey Jude” and Marvin Gaye’s “I Heard It Through The Grapevine”).

And forty-five years later, it’s still a beautiful record:

Afternote: I should note that four other instrumentals did well enough in the charts in 1968 to make the Billboard Top 40 for the year. “Grazing in the Grass” by Hugh Masekela went to No. 1 and wound up at No. 13 for the year. Three other instrumentals peaked at No. 2 and made the Top 40 for 1968:  “The Horse” by Cliff Nobles and Co. was No. 19 for the year; “Classical Gas” by Mason Williams wound up at No. 24 for the year; and “The Good, The Bad & The Ugly” by the Hugo Montenegro Orchestra ended up at No. 27 for the year.

Saturday Single No. 342

May 18th, 2013

I know it’s Saturday, but I’m going to talk a bit about Sundays past, which used to start here with bacon. Nearly every week, Sunday morning would find the Texas Gal frying a pound of bacon to start the day. I’d slap some Miracle Whip (and sometimes a slice or two of Swiss cheese) on a couple of slices of bread and have myself a mega-sandwich, while the Texas Gal took her bacon neat.

As I noted a while back, however, the two of us became involved a little more than a year ago in the activities of the St. Cloud Unitarian Universalist Fellowship. That has made our Sunday mornings a fair amount busier, as we now leave the house about 10 o’clock and rarely get home until sometime after noon. Bacon has been left for the other six days of the week, if we happen to think of it. And we often haven’t thought of it at all.

But earlier this week, the Texas Gal pulled a pound of the stuff out of the freezer, and today was Bacon Saturday. I had my sandwich, she nibbled pieces from a green bowl, and even the catboys Cubbie Cooper and Clarence got to have a few crumbles (a major treat for both of them). And as I ate my sandwich, I wondered about songs with “bacon” in their titles.

I have only five in the collection. One of them, Taj Mahal’s 1969 version of “Bacon Fat,” showed up here on a Saturday some time ago, so we’re down to four. One of those four is a 1975 version of the same tune by Jesse Ed Davis, so we’ll skip that. Peter Yarrow’s “Beans, Bacon And Gravy,” also from 1975, doesn’t really resonate with me, so we’ll pass that by, too. And “Bacon in the Skillet,” a 2005 track by Chatham County Line, is a nice fiddle workout, but it’s not much more than that, so we’re left with one.

And that last tune with “bacon” in its title turns out to be about a different type of bacon: “Sir Francis Bacon At The Net” is a track from the Cowboy Junkies’ 2010 album Renmin Park. The album was named, says All Music Guide, after the park in Zhengzhou, China, where Junkies’ guitarist and songwriter Michael Timmons spent much of his time while adopting two children from China. As to the song, it’s about . . . well, beyond the recurring sounds of a tennis match in China (in the Renmin Park of the album’s title, I imagine), I’m not entirely sure what it’s about:

Merciless nature, human and mother walk this land
Each through the arm of the other
Their tithe they count in millions
In a Land that loves its villains

So calculating it parses a man
Between the hand that held the dream
And the sword being held by the hand
Their golden frames hang gleaming
Tangled bones of their crimes bleaching
Their golden frames hang gleaming
Bleaching bones of their crimes tangling

There he stands a mere mist of a thing
Waiting his turn to challenge the King
He counts his time in centuries
He lives on the smallest of mercies
He counts his time in centuries

As the map is unrolled the dagger comes out
And that which was certain will now end in doubt
Thank you Sir Francis Bacon
Another piece of advice not taken
Thank you Sir Francis Bacon
Another piece of advice not taken

Whatever it’s about, I like it a lot, and it’s today’s Saturday Single.

‘Beauty In That Rainbow In The Sky . . .’

May 17th, 2013

So, about “Tomorrow Is A Long Time” . . .

As I noted yesterday, and as was the case for a couple of other sturdy songs I’ve written about in the past ten days or so, it was Glenn Yarbrough’s 1967 album, For Emily, Whenever I May Find Her, that introduced me to “Tomorrow,” which I’ve long thought to be one of Bob Dylan’s most beautiful songs.

The first released version of the song was recorded by Ian & Sylvia for their 1964 album, Four Strong Winds. Regular reader David Leander noted in a comment yesterday that “at one point Dylan told them he’d written it for them to record, but I think he told anybody that might record one of his songs that he’d written it for them.” I’ve read in a number of places that the song was inspired by Dylan’s early 1960s relationship with Suze Rotolo (the young woman shown with Dylan on the cover of The Freewheelin’ Bob Dylan), but that doesn’t mean that he might not have had Ian & Sylvia – or Judy Collins (from her Fifth Album in 1965) or someone else or no other performer at all – in mind when he wrote the song.

As I also noted yesterday, Dylan has officially released two versions of the song: The first recorded, a demo, was officially released in 2010 as part of the ninth volume of Dylan’s ongoing Bootleg Series, and – according to Wikipedia – has been available as a bootleg for years. The second version he recorded, a live 1963 performance of the song in New York City, was released in 1972 as a track on Dylan’s second greatest hits album. Wikipedia also notes that a “studio version of the song, an outtake from the June 1970 sessions for New Morning, has also been bootlegged.”

The first Dylan version I heard of “Tomorrow Is A Long Time” was on that second greatest hits package. (The only video I can find at YouTube with that 1963 live version is from an episode of The Walking Dead. Zombies and a love song don’t match well for me.) By that time, of course, I’d absorbed the Yarbrough version from his For Emily album:

Over the years, “Tomorrow Is A Long Time” has been a generally popular song for covers. Second Hand Songs lists a total of thirty-one English-language versions, and more (I didn’t bother to count) are listed at Amazon. I imagine that iTunes and other similar sites would have more yet. As is generally the case, the list of folks and groups who’ve covered the song include the unsurprising and the surprising alike: Among the first category are the Brothers Four, the We Five, the Kingston Trio, Linda Mason, Chris Hillman, Bud & Travis, the Silkie, the Earl Scruggs Revue and Sandy Denny. Less expected (or even unknown in these parts) are Hipcity Cruz, Deborah Cooperman, Barb Jungr, Sebastian Cabot, Magna Carta and Danielle Howell.

I’ve heard at most bits and pieces of those covers in the above paragraph, but over the years, I’ve listened to many other covers of the song, and I’ve tracked down even more in just the past couple of days. One version that’s been mentioned here at least twice in the past six years is the version by Elvis Presley that showed up in his 1966 movie Spinout. Regular reader Porky noted yesterday that Elvis “supposedly learned it from Odetta’s version,” which was on the 1965 album, Odetta Sings Dylan. I like Elvis’ version more than I used to, but the austere dignity which Odetta brought to her music doesn’t seem to work for the song.

I was surprised to find the name of Hamilton Camp among those who’d covered “Tomorrow Is A Long Time.” Camp, a mid-1960s folkie, released the song on his 1964 album Paths of Victory. That album is likely better known for the original version of his own song, “Get Together,” which became a No. 5 hit for the Youngbloods in 1969 (after being a No. 31 hit for the We Five in 1965).

Another, far more recent name that surprised me was that of the country-folk group Nickel Creek, which put the song on its 2005 album, Why Should the Fire Die? I enjoyed the group’s self-titled debut in 2000, but wasn’t at all pleased with the follow-up, This Side, in 2002. I may have to give the group another try.

The most enjoyable version of “Tomorrow Is A Long Time” that I came across this week came from a one-off album from 1973. Several blogs have featured the album Refuge by the duo calling itself Heaven & Earth, and one of my favorite blogs, hippy-djkit, calls the album a “psych folk funk beauty from the early 70’s featuring the gorgeous voices of Jo D. Andrews & Pat Gefell.” There are a couple of other notable covers on the album, specifically takes on Stephen Stills’ “To A Flame” and the Elton John/Bernie Taupin classic, “60 Years On,” but the best thing on the album – and maybe the prettiest version I’ve ever heard – is Heaven & Earth’s take on “Tomorrow Is A Long Time.”

‘Beauty In The Silver, Singin’ River . . .’

May 16th, 2013

We – that is, Odd and Pop and I – are going to continue with our Glenn Yarbrough fixation for a little longer, looking at the origins of yet another track from Yarbrough’s 1967 album, For Emily, Whenever I May Find Her. Today’s tune is, I would guess, the most familiar on the album (although Paul Simon’s title song might challenge for the title): Bob Dylan’s “Tomorrow Is A Long Time.”

Dylan first recorded the song as a demo in 1962, but the first version he released was a 1963 performance at New York City’s Town Hall that came out on his second greatest hits album in 1972. The demo he recorded in 1962 is, I think, the version that was released a couple of years ago as part of The Bootleg Series, Vol. 9: The Witmark Demos. I’ll dig into that tomorrow.

For now, I’m going to leave you with one of the many covers of “Tomorrow Is A Long Time.” This one is a 1966 version by the Aquamen, a group about which I know nothing. The Dylan tune was the B-side of their “Line and Track” single on the Hiback label, and it’s the only release listed for the band at Discogs. Along with a less-than-assured vocal, I hear a little bit of garage rock (is that a Farfisa? I think it is), a little bit of the Byrds, a little bit of the We Five and a little bit of Hal Blaine, all of which combined makes for an interesting concept. Enjoy!

I’ll have some more versions of the tune tomorrow . . . which actually doesn’t seem such a long time right now.

‘Perhaps You Just Been Bought . . .’

May 14th, 2013

A week ago, while discussing Glenn Yarbrough’s cover of “The French Girl,” a song first recorded by its writers, Ian Tyson and Sylvia Fricker, I noted that Yarbrough, specifically on his 1967 album, For Emily, Whenever I May Find Her, did me a major favor. Yarbrough, I wrote, “introduced me, in those days when I was not listening to pop and rock, to the work of some of the finest folk and folk-rock songwriters of the day. The songwriter credits on Yarbrough’s For Emily album alone contain some impressive names: Paul Simon, Buffy Sainte-Marie, Stephen Stills, Phil Ochs [and] Bob Dylan.”

And I wondered for a moment which cover on Yarbrough’s album might be the least likely. The tune that came to mind right away was “Everybody’s Wrong,” a Stephen Stills’ song that was on the first album by the Buffalo Springfield, a self-titled release from 1967. I’ve got the Springfield version, though I admit I haven’t paid much attention to the track since I got the LP during the mid-1990s.

The song is “one of Buffalo Springfield’s (and Stephen Stills’) lost early masterpieces,” says Matthew Greenwald at All Music Guide. Greenwald calls the song, “a minor folk-rock tour de force containing many classic elements of the form, yet maintaining a wholly original approach.” He goes on to say that in the song, “Stills captures emotions of confusion and uncertainty without sounding overly downcast – slightly lost and confused (and maybe a little depressed) at the state of things, yet very strong of constitution at the same. All this is not too far removed from Bob Dylan’s songs of the mid-’60s, yet ‘Everybody’s Wrong’ is by no means an imitation.”

Pretty high praise. I wondered what AMG had to say, if anything, about Yarbrough’s version, so I went looking. After generally dissing the entire album’s production as not doing justice to either Yarbrough’s voice or the songs, Richie Unterberger writes, “the clash of orchestration, country-ish folk-rock, and raga-tinged guitar on ‘Everybody’s Wrong’ rank(s) as the LP’s oddest venture.”

As I dug, I recalled another review of the For Emily album – I cannot lay my hands on it this morning – that said something to the effect that Yarbrough’s covering “Everybody’s Wrong” was the most eccentric choice on an album full of eccentric choices.

Well, maybe.

I know that my affection for Glenn Yarbrough’s catalog is itself eccentric. My pal jb of The Hits Just Keep On Comin’ noted during a crate-digging session a few years ago that I am the only Yarbrough enthusiast he knows, and he knows many people who love many types of music. But as is clear to any music lover of any age, it is the music we listen to during our teen years that stays with us most vividly for the rest of our lives. And I spent many quiet afternoons and evenings during my mid-teen years absorbing the sounds of Yarbrough’s For Emily and The Lonely Things, so it’s no wonder that his music, especially those two albums, has come along with me through the years.

Anyway, here’s Yarbrough’s version of Stills’ “Everybody’s Wrong.”

Saturday Single No. 341

May 11th, 2013

It’s not something we planned, but there we were yesterday afternoon, the Texas Gal and I, walking through the house where I grew up on Kilian Boulevard.

We’d been looking for a garage sale just a few doors down, and when we’d seen nothing going on out front, we’d headed back up the alley. There was no sign of a sale, but at the very end of the alley, we saw the current owner of my old house sitting in a lawn chair, watching two of his children as they played on a trampoline.

He looked at us as I stopped the car. The Texas Gal whispered “What are you doing?” as I lowered the window on her side of the car and leaned over and asked, “You still have the piano in the dining room?” Surprised, he nodded. “Good,” I said. “That used to be my piano when I was a kid.”

“You lived here?”

I nodded, and he said, “You want to see the place?”

The Texas Gal started to say “No,” but I nodded again and said, “Let me pull around and park.” I put our 2007 Versa in the spot where my dad used to park his 1952 Ford, and we walked up the driveway.

Sadly, I don’t remember the man’s name. He and his wife have owned the house for a few years. The family that Mom sold it to in 2004 rented it out for a while when the economy went bad in 2008 or so, and then the current owners picked up the place. As we stood in the back yard, he asked me, “Are you the one who kept all those detailed notes? About when things were bought and where things came from?”

I laughed. “No,” I said, “That was my dad. I hope they’ve been handy.”

“Oh, yeah,” he said as we headed toward the house. He told us his wife – a nurse who works odd hours – was sleeping upstairs with the baby, so we couldn’t go up there, and he and their two other children led us into their home.

I showed him how the small mud room and the small pantry had been combined into a back porch when my folks remodeled the kitchen in 1960 or so, and he nodded. He asked if the linoleum – a pattern of blue and gold snowflakes on a flecked gold and white background – came from that time. I said yes, and the little girl told me, “Mom and Dad don’t really like it.”

I laughed. “It’s old-fashioned,” I said.

He asked about the woodwork, and I told him that when we moved in back in 1957, it had all been dark like the woodwork upstairs, that it was my folks who removed the varnish and dark stain from the wood downstairs and on the stairway. He led us down the hall and into the living room, where the floors were now bare, with the beautiful light wood showing. Someone else took up the carpet from the floors, he said, but he’d taken it off the steps, revealing that wood for the first time in nearly fifty years. He asked if there’d ever been a wood stove in the dining room, given that there’s an indentation near the corner where the chimney runs. I said we’d never had one there, but it was likely that there’d been one there when the house was built in 1917.

And then I stood at my piano. Given that the lady of the house was sleeping upstairs, I didn’t think about playing it, but I caressed its keys and the name of the manufacturer – Wegman – still clearly inscribed just above the keyboard. I looked at the little girl. When we’d been in the back yard, her dad had told me she played the piano. She was looking up at me, and I asked her, “Do you play every day?” She nodded. I leaned over and tousled her hair and then told her, “Play it well.” She smiled and nodded again.

I asked if I could see the basement, and the Texas Gal whispered “We should go.”

The man said, “No, this is wonderful. It’s kind of like one of those TV shows.”

So I headed down the basement stairs, and as I neared the spot where the low ceiling can clonk the unwary, the girl told me “Watch your head!” Her dad chuckled and said, “He’s walked down these stairs many times, honey.” He asked about the fruit cellar, and I told him it had been here when we moved in but that Dad had built the shelves. “Then he must have built the shelves in storage room on the other side of the basement,” he said.

Yes, I said, telling him that the further storage room had been a water cistern and that my folks had hired a man with a jackhammer to break through the basement wall into the cistern and then made another storage room. “We love it,” he said, and he began rummaging in a box on the cistern shelves. “And we love the fact that your dad kept bits and pieces here of what he’d done.” And he showed me a box with some leftover paneling pieces from when Dad built the basement rec room in 1968.

He opened a drawer in the laundry cabinet and pulled out a sheaf of owner’s manuals and warranty papers, evidence of the purchase of the washer, the dryer, the cabinets and more, many of them dated in either Mom’s handwriting or Dad’s. And then he pointed into the basement rafters, nudging with his index finger a curtain rod with a tag with Dad’s handwriting on it. The tag said the rod came from the living room window when new window treatments were installed in 1991.

“This is where I found the quarter-round for the living room, the dining room and the stairs,” he said, pointing at the basement rafters where the quarter-round had lain since 1960 or so. “It was all stored up here and all marked, so once I found it, it was easy to put back in place. I bless that man for taking such good care of this place for so many years.”

I nodded, and we headed back upstairs and toward the back door. By the time we got to the door, I could talk again, and we thanked the man for letting us into his home. We’d told him where we lived, and we said that he and his family should stop in if they should ever happen to see us outside. We walked across that familiar back yard to the driveway and down to the car, and as we drove off, I smiled, delighted that the house still has people living in it who love it, respect it and take care of it.

And although the meaning of the song isn’t quite the same as what I felt yesterday, I found myself drawn this morning into “The House Song” by Peter, Paul & Mary. It’s on Album 1700 from 1967, and it’s today’s Saturday Single.

Briefly . . .

May 9th, 2013

The Texas Gal and I learned this week that we’re hosting dinner this Sunday for Mother’s Day. We’re more than fine with that, but there are things that need to be done. So I only wish I had time to kill.

Here’s The Band from 1970’s Stage Fright. I’ll be back Saturday.

‘She’ll Leave You Lost Some Rainy Morn . . .’

May 7th, 2013

A ringing guitar chord followed by an insistent riff came from the speakers last evening, causing me to look up from whatever I was doing. The riff was repeated twice, and then came the vocal:

Three silver rings on slim hands waiting,
Flash bright in candlelight through Sunday’s early morn.
We found a room that rainy morning . . .

I’d recognized the song from the first three words: “The French Girl” by Ian Tyson and Sylvia Fricker. But I did not know the record, so I checked the RealPlayer. It was by the Daily Flash, a band name I did not recognize. The mp3 had come to me a few years ago when I scavenged a good portion of the Lost Jukebox series from various boards and blogs.

The Daily Flash, it turns out, was from Seattle and had about a three-year run of recording and performing in the mid-1960s, during which it released singles on Parrot (a cover of Bob Dylan’s “Queen Jane Approximately”) and on Uni, which in 1967 released the band’s take on “The French Girl.” The second single, says Wikipedia, did well enough to net the group an appearance on the television show The Girl From U.N.C.L.E., which led “to a regular spot as a house band on a local Los Angeles teen-oriented TV show Boss City.”

Learning all of that was fine, and I may dig more into the band’s story another time. (Wikipedia tells the band’s tale here, and the revived band’s website is here.) But I was more interested in the song. There isn’t a lot of information out there about “The French Girl,” as far as I can tell. My favorite tool in that regard, Second Hand Songs, doesn’t have an entry for the tune. A folky version by Bill Staines is available at Amazon, where a countryish cover by a band called the Snakes is listed but not available. At Discogs.com, I learned that a band named Ashtray Boy released a cover of the song as a single in 1996, thirty years after Ian & Sylvia included the tune on their 1966 album, Play One More. I don’t know how Ashtray Boy’s version sounded, but here’s what Ian & Sylvia did with the song.

I know of two other covers of the tune (though I’d guess there are more out there): A version by Gene Clark of the Byrds showed up on the Flying High anthology in 1998, and a note by Richie Unterberger at All Music Guide leads me to believe that Clark recorded the track in the mid-1960s, around the time of the release of the 1967 album Gene Clark with the Gosdin Brothers. Clark’s version of “The French Girl” is a bit pallid to me.

The other cover I know is the first version I ever heard of the song: The version by Glenn Yarbrough on his 1967 album For Emily, Whenever I May Find Her. The album was, as I related some years ago, one that my sister had received from a boyfriend who was headed to Vietnam. I don’t know how often she played the record, but the record and Yarbrough became favorites of mine. And listening to Yarbrough introduced me, in those days when I was not listening to pop and rock, to the work of some of the finest folk and folk-rock songwriters of the day. The songwriter credits on Yarbrough’s For Emily album alone contain some impressive names: Paul Simon, Buffy Sainte-Marie, Stephen Stills, Phil Ochs, Bob Dylan . . . and Ian Tyson and Sylvia Fricker, the writers of “The French Girl.”

First impressions matter, folks tell us when we’re young (and maybe not so young). And yes, they do. So it’s no wonder that the version of “The French Girl” that I like the best is the one I heard first. I know that Yarbrough’s lilting tenor might not be the best match for the song. I also know that Ian & Sylvia recorded the song first, and that deserves some respect. I know as well that the more muscular version offered by the Daily Flash is pretty darned good. (And if the Snakes’ version is ever available at Amazon, I’ll probably like it a lot.)

But it’s Yarbrough’s cover of the song that came to me first. And it’s Yarbrough’s version that takes me back to the basement rec room on Kilian Boulevard, the haven where I took in the frustration of the song’s narrator – “but her friends down at the French café had no English words for me” – and then pondered my life’s own mysteries, which sadly included no French girl.

Saturday Single No. 340

May 4th, 2013

Words are not usually necessary on May 4, and perhaps that is true yet, but some thoughts came to mind yesterday as I pondered the events of forty-three years ago today. Nearly since its inception, this small space on the Internet has explored as two of its main topics the passage of time and the persistence of memory. Part of that exploration has been the commemoration every May 4 of the four young people killed in 1970 by the Ohio National Guard at Kent State University during protests against the Vietnam War. They were:

Allison Krause
Jeffrey Miller
Sandra Scheuer
William Schroeder

We all, through the courses of our lives, lose many people whom we love: Spouses, lovers, parents, friends, and occasionally and perhaps most sadly, children. When the lost one is young – as were the four in Ohio in 1970 – the loss carries with it as well the loss of possibility, of what that young person could have built with his or her life. We grieve the absence, yes, but we grieve just as much the spouse never chosen, the children never born, the jobs never won, the music never heard. And those left behind learn that with the passage of years, grief does become less acute, but they also learn that – like a radioactive atom with its half-life – grief never really goes away.

That may be the final gift of grief: that it never fully goes away, that despite the passage of time it always reminds us of what we had in those who were taken from us, and it does so more and more gently with each passing year.

And we remember.

In 2010, the organization MusiCares honored Neil Young as its Artist of the Year with a celebratory concert in Los Angeles on January 29. Among the performances that evening was Ben Harper’s version of “Ohio.” And it’s today’s Saturday Single.

Chart Digging for No. 52

May 2nd, 2013

Well, having missed May Day once again – this time by intention – I thought we’d open the month by taking a look at the charts on May 2 over a period of years. We’ll start by turning the date of 5/2 into 52, and head back fifty-two years to 1961.

Sitting atop the Billboard Hot 100 fifty-two years ago today was Del Shannon’s “Runaway,” in the third week of a four-week stay at the top. Fifty-one places lower down was the second entry ever in the Hot 100 by R&B singer Chuck Jackson, “(It Never Happens) In Real Life.” The record would climb another six spots before peaking at No. 46 (No. 22 on the R&B chart). Jackson is better known, of course for “Any Day Now (My Wild Beautiful Bird),” which went to No. 23 on the pop chart and No. 2 on the R&B chart in early 1962. Jackson eventually placed twenty-nine singles in or near the Hot 100, and “(It Never Happens) In Real Life” was one of the good ones.

Three years later, in May 1964, the Beatles’ “Can’t Buy Me Love” was in its fifth and final week at No. 1. Down in the second half of the Hot 100, the James Brown-produced R&B workout “Baby, Baby, Baby” by Anna King and Bobby Byrd was peaking at No. 52. (It would go to No. 2 on the R&B chart.) Byrd, says Joel Whitburn in Top Pop Singles, was the founder and leader of Brown’s backing group, the Famous Flames, and he’d have six more hits in the Hot 100, five of which would reach the R&B Top 40. King was a singer with the James Brown Revue, and “Baby, Baby, Baby” was her second hit in the Hot 100; it would also be her last, although later in 1964, her “Make Up Your Mind” reached No. 38 on the R&B chart. (Sadly, King’s brilliant 1965 answer song to James Brown, “Mama’s Got A Bag Of Her Own,” failed to chart).

Early May in 1967 found the No. 1 spot occupied for the fourth and final week by “Somethin’ Stupid,” the duet by father and daughter Frank and Nancy Sinatra. Down at No. 52, we find the biggest hit by the Philadelphia R&B group, Brenda & The Tabulations. “Dry Your Eyes” had peaked at No. 22 (No. 8, R&B) and was on its way down the charts. Although the group would place twelve more records in or near the Hot 100 into 1972 (and nine more in the R&B Top 40 into 1977), nothing ever did as well again. And that’s not surprising, as “Dry Your Eyes” is a lovely and sweet soul ballad.

As we hit 1970, we find the Jackson 5’s “ABC” sitting in the No. 1 spot for its second and final week. Sitting at No. 52 that week is a record I’ve never heard of, much less heard, until this morning: “My Wife, The Dancer” by Eddie & Dutch. The novelty record, which tells the tale of a man who learns his wife is – in today’s terminology – an exotic dancer, would go no higher. The team of Eddie Mascari and Erwin “Dutch” Wenzlaff had hit the charts twice in 1958 and 1959, when they were billed as the Mark IV; “(Make With) The Shake” was a rock ’n’ roll workout with a tongue-in-cheek subtext (at least to these ears) that went to No. 69, and “I Got A Wife” was a novelty record that went to No. 24.

In the first week of May in 1973, the No. 1 record was “Tie A Yellow Ribbon Round The Ole Oak Tree” by Dawn featuring Tony Orlando. The wince-inducing record was in the third of an eventual four weeks at No. 1. Things are better – though decidedly in the middle of the road – at No. 52, where Perry Como’s cover of Don McLean’s “And I Love You So” was making its way up the charts, en route to No. 29 on the pop chart and a one-week stay at No. 1 on the Adult Contemporary chart. It was the fifty-first of fifty-three records the Pennsylvania-born Como would place in or near the Hot 100 between 1954 and 1974.

In early May 1976, the No. 1 spot was held down by “Welcome Back,” John Sebastian’s theme from the TV series Welcome Back Kotter. Near the top of the chart’s second half, we find the truly abysmal “When Love Has Gone Away” by Richard Cocciante, heading back down the chart after peaking at No. 41. As he half-speaks and half-sings the first portion of the record, Cocciante – born in Saigon in 1946 when Vietnam was still a French colony – sounds a little like a Mediterranean Dylan. When he starts screaming after the overwhelming instrumental bridge, well, the only reason I kept listening was to see how bad it could get. How enough people liked this record so that it even sniffed the chart, much less made it to No. 41, is a mystery.