Saturday Single No. 422

Well, here’s an experiment that came out with an oddly satisfying result. Strapped for an idea this morning and not feeling much like scraping my brain until it hurt, I took today’s date – 12/6 – and wandered off to Page 126 in Joel Whitburn’s Top Pop Singles. I then turned 12/6 into 18 and counted down the page to the eighteenth listed single.

We went past Johnny Bristol and the British Lions, past the British Walkers and Britny Fox, past Tina Britt and a group called Broadway, and past Chad Brock and then B–Rock & The Bizz, and we found ourselves checking out the entry for David Bromberg.

I don’t know Bromberg’s work well although I probably should. His style, his era and the people he recorded with – from what I know of all of those – should make him fall right into the center of the music I love. And I have no idea why I’ve never paid much attention at all to the man, whom Whitburn describes as a “folk-rock singer/songwriter/guitarist.”

There are a few Bromberg tunes on the digital shelves: I’ve heard his covers of Robert Johnson’s “Come On In My Kitchen” and “Sweet Home Chicago” from his 1976 album How Late’ll Ya Play ‘Til? And I’ve heard and seen his performance of “Don’t Do It” (with Joan Osborne) from the Love for Levon concert that I mentioned here a while back. Beyond that, however, I’ve not heard much of the man’s work, and this morning’s little excursion reminds me that I need to do so.

So what did we find? Well, Bromberg has had just one record come close to the Hot 100, and it’s a pretty odd one at that. In February and March of 1973, “Sharon” spent three weeks bubbling under, and it peaked at No. 117. It’s strange, it’s fun, and it’s today’s Saturday Single.*

*I wondered as I wrote and listened if there had been a shorter edit for the single. As it happens, reader Yah Shure left a comment and has the answer: Yes, there was a DJ edit.


One Response to “Saturday Single No. 422”

  1. Yah Shure says:

    I fetched the “Sharon” promo 45 from the reject pile at my college station, but as many times as I gave it a chance at the time, the record never impressed me enough to hang onto it.

    Or so I’d thought. But there it was, still lurking in the shelves, dutifully tucked away between Johnny Bristol and the Brooklyn Bridge. I must’ve really wanted to like this one, because once the hook f-i-n-a-l-l-y rolled around on the YouTube clip, it was almost singalong time. If I had to guess, I probably kept the DJ 45 only because it has a shorter 4:59 mono edit on the flip of the full 6:08 stereo side.

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