It’s been one of those weeks: Medical appointments for both of us, a quick trip to Little Falls for me, a research paper for the Texas Gal, an impending visit – routine, we think – by the city rental inspector, and some planning for a weekend trip to see a concert. And we’re both feeling a slight bit frazzled.
So instead of working real hard to find something to write about this morning, I let the calendar do the lifting, as I sometimes do. It’s March 3, or 3/3, so I decided to look at some tunes that were No. 33 on 3/3 over the years.
During this week in 1959, the 33rd spot in the Billboard Hot 100 was occupied by Johnny Cash’s cautionary tale, “Don’t Take Your Guns To Town.” The tale of Billy Joe’s deadly visit to a cattle town had peaked at No. 32 and was on its way back down the chart, one of fifty-nine Hot 100 singles Cash would notch during his career. On the country chart, the record spent six weeks at No. 1.
During the first week of March in 1963, Marvin Gaye’s first Top 40 hit was encouraging listeners either to dance or to get out on the highway and catch a ride out of town. “Hitch Hike” was at No. 33 forty-eight years ago this week, heading for a peak position of No. 30. The record, the second of an eventual fifty-nine Hot 100 hits for Gaye, went to No. 12 on the R&B chart.
Fifty-nine charting hits, like Cash and Gaye each marked, is a lot. But four years later, in March of 1967, the No. 33 record in the Hot 100 was one from the record holder for the most charted hits ever. Elvis Presley’s “Indescribably Blue,” as melodramatic a record as there is, was the ninety-eighth of an eventual 165 charting hits for Presley. It went no higher than No. 33.
Another performer who racked up an impressive total of chart hits was in the 33rd spot in the Hot 100 when March 3, 1971 rolled around. Gladys Knight’s “If I Were Your Woman” was on its way back down the chart after peaking at No. 9 (and its writers – Clay McMurray, Gloria Jones and Pam Sawyer – get bonus points for the correct use of the subjunctive with the word “were”). The record was the twenty-first of an eventual forty-eight records in the Hot 100 for Knight, forty-six of those – if I’m reading things correctly – coming with the Pips.
The first week of March in 1975 finds another major chart machine in the thirty-third spot in the Hot 100, as Chicago’s “Harry Truman” was on its way to No. 13. The ode to the thirty-third (there’s that number again!) president of the United States was a nostalgic post-Watergate expression of dissatisfaction with the direction of the country. It was also the nineteenth of an eventual fifty charting hits for Chicago.
And we’ll end today’s exercise in 1979. Sitting at No. 33 during the week of March 3, 1979, was “Shake It,” the fifth of six charting hits for Ian Matthews. The first three of those hits had come with his group Matthews Southern Comfort; he had also been a founding member of the British folk-rock group Fairport Convention. As well as peaking at No. 13 in early 1979, “Shake It” shows up in a couple of different places in pop culture, according to Wikipedia: It was used in the opening moments of the 1980 movie Little Darlings, and it can be heard on a radio during the video game The Warriors.
This is most likely a fool’s errand, but, being a lover of lists, I got to wondering the other evening about what names would show up on a list of the most influential musicians, performers and/or songwriters in American popular music. I’ve done a fair amount of thinking about this, but no real research, so this is a first draft, if you will. I know I’ll likely miss some, and suggestions will be gladly accepted in the comments.
I’ll start with one Nineteenth Century figure and two whose careers span the divide between the Nineteenth and Twentieth centuries, and after that, we’ll stay in the last century.
And there we’ll stop. I know, only one woman. I considered several others: Jenny Lind, Bessie Smith, Julie London, Carole King and Madonna among them, and of those names, I think Bessie Smith’s would have been the next to be listed. But I wanted to keep the list to a manageable length.
And I also wanted to stop, essentially, twenty-five years ago, which is why the list stops with Prince. There no doubt have been writers and performers in these past twenty-five years who will belong on such a list someday, but I think we need to let the dust settle a little. If I were forced to guess right now, two names that I think will belong on that list would be those of Kurt Cobain and Will.I.Am.
There are, of course, plenty of folks from the years I’m considering who came close but didn’t seem to me to have as much influence on American pop music as the sixteen listed above. The next two likely would have been Buddy Holly and Michael Jackson. There’s no doubt that they changed American music, as did those listed above. But then, so did others not listed, like Scott Joplin, Hank Williams, Fats Domino, Miles Davis, Johnny Cash, Stephen Sondheim, Brian Wilson, Frank Zappa, Bruce Springsteen and on and on.
So why this list today? Well, I was looking at how the Ultimate Jukebox would play out from here on, and I noticed that several of the chapters had multiple entries for which I hadn’t yet been able to find clips on YouTube. I did some shifting of those entries so that no more than one of those would show up in each segment, without paying attention to which songs they were. After I did that, I noticed that this week’s random list of songs ranged from the 1940s to the 1990s, beginning with Muddy Waters’ “I Can’t Be Satisfied.”
That got me thinking about Waters’ place in that hypothetical list of American music, and I took a closer look at this week’s entries and saw that two more of those whom I’d place on such a list would also show up this week: Chuck Berry and Bob Dylan. And I began to think about who else would be on that list. So there you go.
(I do have to acknowledge one thing: After my initial round of tinkering with the upcoming segments of the Ultimate Jukebox, I noticed that this week’s entry had songs from the 1940s, the 1950s, the 1960s, the 1970s and the 1990s. [I think; see the final paragraph.] I looked ahead and switched the next song from the 1980s into this week, replacing a second song from the 1970s. This will be the only time I switch a song for any reason other than balancing the non-YouTube entries.)
And here’s the video for the most recent song on this week’s list. (You may have to sit through a brief advertisement.)
A Six-Pack from the Ultimate Jukebox, No. 18
“I Can’t Be Satisfied” by Muddy Waters, Aristocrat1305, 1948
“Carol” by Chuck Berry, Chess 1700, 1958
“Daddy (Rollin’ In Your Arms)” by Dion, Laurie 3464, 1968
“Midnight Train to Georgia” by Gladys Knight & The Pips, Buddah 383, 1973
“On The Dark Side” by John Cafferty & the Beaver Brown Band, Scotti Bros. 04594, 1983
“Things Have Changed” by Bob Dylan from the soundtrack to Wonder Boys, 1999
“I Can’t Be Satisfied” was Muddy Waters’ first hit after moving permanently to Chicago from Mississippi in 1943, and it followed five years of scuffling in Chicago’s clubs while working day jobs. The Aristocrat label was run by Leonard and Phil Chess, who soon changed the label name to Chess, and Waters recorded for the label into the 1970s. Because of reissues, his discography is difficult to follow, but during his lifetime, he released about sixty singles and thirty albums, including compilations, says Wikipedia. It’s probably impossible to overstate his influence on blues and rock and American pop culture. Want one small reminder? Listen to “I Can’t Be Satisfied” in the player below and note the introduction. Then go listen to the Allman Brothers Band’s “Pony Boy” and pay close attention at the forty-second mark.
Muddy Waters – “I Can’t Be Satisfied”
Just as with Waters, Chuck Berry’s influence on the music we listen to is vast and incalculable. From “Maybellene” in 1955 through a live version of “Reelin’ & Rockin’” in 1973, Berry got fourteen singles into the Top 40 (and more than that on the R&B chart). And according to a piece I read recently – though I cannot for the life of me remember where it was – Berry, now 83, still shows up once a month at a St. Louis club to play a set. He was (justifiably) among the first members of the Rock and Roll Hall of Fame, and his riffs have influenced – directly or indirectly – anyone who’s ever picked up a guitar with rock music on his or her mind. I won’t say “Carol” is my favorite Berry tune, but it’s not heard as often as, say, “Johnny B. Goode” or “Sweet Little Sixteen” or a few others. Given that, its relative lack of familiarity makes me listen a little bit closer, which is a good thing.
Dion’s “Daddy (Rollin’ In Your Arms)” was the B Side to his 1968 hit “Abraham, Martin and John” and had to be a stunning surprise to anyone who ever flipped the 45 over. Dave Marsh called it “a surging, churning, angry, anguished version of Robert Johnson’s country blues,” adding, “Haunted electric guitars clang and clash against one another, drums pound in from another room, uniting in a wad of noise symbolizing nothing but spelling out pain and fear.” Yeah, it’s all of that, and it’s a compelling record, one that Marsh placed at No. 452 in his 1989 ranking of the top 1,001 singles
Gladys Knight – with and without the Pips – had twenty-seven Top 40 singles between 1961 and 1996, and “Midnight Train to Georgia” is likely the best of all of them. The tale of a man’s retreat from California to his home in Georgia – and the willingness of his (one assumes) California lady to go with him – was No. 1 for two weeks on the pop chart and for four weeks on the R&B chart in late 1973. Unlike a lot of stuff that topped the pop charts even in 1973, this was an adult record telling an adult tale of displacement, failure, loyalty and finally, a different type of success in the wake of that failure. And it had a compelling mid-tempo groove, too.
I’ve written a little bit previously about “On The Dark Side” by John Cafferty and the Beaver Brown Band, noting that it’s the best non-Springsteen Springsteen record I know of, so we’ll pretty much leave it at that. The record is from the 1983 movie Eddie & The Cruisers, and in the fall of 1984, it spent eleven weeks in the Top 40, peaking at No. 7; it was also No. 1 on the Mainstream Rock chart for five weeks.
I confess to a quandary. I have a date of 1999 on my mp3 of Bob Dylan’s “Things Have Changed,” but everything I see this morning dates the release as 2000. I’m certain I have a reason for dating it 1999 – perhaps a recording date listed somewhere in the notes to some anthology – but I can’t lay my hands on that information this morning. If I’m wrong, then this week’s chapter misses the 1990s and there goes that nifty little bit of programming. Ah, well. It’s still a great piece of music.