Inspired by the January 17 birthdays of Bangles’ Susanna Hoffs, Steve Earle, Kaiser Chiefs’ Ricky Wilson, Calvin Harris, Kid Rock, the Delfonics’ William Hart, She & Him’s Zooey Deschanel, Lil Jon, Muhammad Ali, Paul Young, and Chris Montez, and the recent passing of The Left Banke’s Steve Martin.
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Nineteen seventy-five was a pivotal year for disco music. The genre was still very young; the name “disco” as a reference to the music genre was coined just two years earlier by journalist Vince Aletti. Disco music crossed over into the mainstream with more frequency, yet was not as ubiquitous a presence on the pop charts as it would become in the ensuing years of that decade. Artists who had their first top 40 singles in 1975 include Gloria Gaynor and KC and the Sunshine Band. In December of 1975, Donna Summer made her first appearance on the Hot 100 when “Love to Love You Baby” made its debut, having already been a smash in the clubs. The Bee Gees updated their sound in 1975 with “Jive Talkin’,” which became their first top ten single since 1971. Ben E. King, who had hits in the early 1960s as a solo artist and as the lead singer of The Drifters scored his first top ten pop hit since 1961’s “Stand By Me” with the funky “Supernatural Thing.” As the lead singer of the trio named after her, Patti LaBelle scored her first top ten hit in over a decade with “Lady Marmalade.” Veteran acts such as Frankie Valli, The Temptations, The Miracles, The Isley Brothers and Esther Phillips filled the dance floors. And it was in 1975 that the world was doing the hustle.
Today’s playlist is made up of forty disco gems from 1975.
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Today is the day after Thanksgiving here in the United States of America. You’re officially allowed to start listening to holiday music now. To get you started, I compiled a playlist of what I consider to be 100 of the best Christmas songs. Okay, 98 songs, a stand-up routine and a skit. It’s a mix of standards, versions of standards with which you may not be familiar, and obscure but delightful tunes.
Enjoy!
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No other pop song so thoroughly challenged and transformed the commercials laws and artistic conventions of its time, for all time.
– Rolling Stone, naming Bob Dylan’s “Like a Rolling Stone” the greatest song of all time
If it came out now, it would still be radical. For 1965, it was mind-blowing, as was its success. Six minutes long, sung by a guy who sounded nothing like the other singers on the radio, with confrontational often insulting lyrics. Somehow, it went all the way to #2 on the Billboard Hot 100, kept from the top spot by The Beatles’ “Help!” As Rolling Stone wrote, “Just as Dylan bent folk music’s roots and forms to his own will, he transformed popular song with the content and ambition of “Like a Rolling Stone.”
Thanks in part to “Like a Rolling Stone” and “Help!” and Motown and Stax and the Rolling Stones and other British Invasion acts, 1965 was one of the best years for pop music. Tunes du Jour celebrates Throwback Thursday with a second playlist of tracks from this stellar year (the first playlist can be found here), kicking off with a Bob Dylan record that changed the rules.
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Some time in my teen years I feel in love with the girl group sound. My favorite was The Crystals’ “He’s a Rebel.” The music and the vocals hooked me. The singer tells of how others don’t approve of the boy she loves as he’s a non-conformist, but he treats her well and that’s all that matters.
The story behind the record is as interesting as the record itself. The song was written by Gene Pitney, who had several hits of his own, including “Town Without Pity” and “(The Man Who Shot) Liberty Valence.” “He’s a Rebel” was slated to be the debut single for Vikki Carr, but when Spector heard Pitney’s demo he knew he wanted it for one of his acts, The Crystals.
He needed to record it quickly in order to challenge Carr’s version at the stores. The Crystals, however, were on the road in New York and unable to make the recording sessions in Los Angeles. No problem. Spector hired a local group called The Blossoms, led by Darlene Wright, to record the song. Wright was paid $3000 for the session. Spector released the record under the name The Crystals, as his label owned the name. The actual Crystals first learned of their new hit song when they heard it on the radio. It became their first #1 single, meaning The Crystals had to learn this song so they could perform it at their shows. The group’s lead singer, Barbara Alston, could not match Wright’s vocal performance, so fellow Crystal LaLa Brooks moved into the lead vocalist slot. Coincidentally, the week The Crystals’ “He’s a Rebel” was #1, Gene Pitney was #2 as a singer with “Only Love Can Break a Heart,” a song he didn’t write.
As “He’s a Rebel” was so successful, Spector needed to get a follow-up single out quickly. Again, he turned to The Blossoms to record “He’s Sure the Boy I Love.” Wright, however, was angry that her name was not on “He’s a Rebel” and told Spector she would only do this song if she were singed to a recording agreement and was properly credited for her vocals on the track. Spector agreed, changing her name in the agreement to Darlene Love. He released “He’s Sure the Boy I Love.” It was credited to The Crystals.
Spector used the money he made from “He’s a Rebel” to buy out his business partners in the Philles Records label. In addition to the financial settlement, Spector had to give his two ex-partners a share of the royalties of the next Philles single release, so Spector got the real Crystals into the studio and recorded “(Let’s Dance) The Screw,” a silly number clearly not intended to be a hit. A copy was sent to one of the ex-partners. No royalties were generated.
Tunes du Jour celebrates Throwback Thursday with twenty great hits from 1962, kicking off with “He’s a Rebel” by “The Crystals.”
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MTV debuted on August 1, 1981. Back then it was a music video network. It positioned itself as a rock station. Most of the videos shown were of songs made by Caucasian performers, though rock-leaning black acts such as Joan Armatrading and the Bus Boys got some play.
Then came “Billie Jean.” The second single from Michael Jackson’s Thriller, “Billie Jean” was accompanied by a stylish video featuring a mesmerizing performance from Jackson. However, it wasn’t a rock song. It didn’t fit the format of rock radio stations, and it didn’t fit the format of MTV either.
But there is a big difference between radio and music television. There were plenty of radio stations and many different formats. You may not hear “Billie Jean” on the rock stations, but you could hear it on r&b stations and pop stations and dance-leaning stations. However, there was only one music television – MTV.
In his autobiography, Howling at the Moon, Walter Yetnikoff, head of CBS Records, for whom Jackson recorded (and where I worked in my first music business job), wrote “I screamed bloody murder when MTV refused to air [Jackson’s] videos. They argued that their format, white rock, excluded Michael’s music. I argued they were racist assholes – and I’d trumpet it to the world if they didn’t relent. I’ve never been more forceful or obnoxious. I’ve also never been as effective, threatening to pull all our videos. With added pressure from [Thriller producer] Quincy Jones, they caved in, and in doing so the MTV color line came crashing down.”
Jackson’s video for “Billie Jean” aired on MTV, followed just weeks later by his video for “Beat It,” a song whose guitar solo from Eddie Van Halen helped make it a hit on rock radio. These two videos made Jackson, already a superstar, a worldwide phenomenon with a humongous fan base that transcended race, age and location in a way never seen before. These two videos made MTV, a year and a half old and fairly popular in white suburban areas, a cultural institution. These two videos made the music video, then not something done for many singles, particularly those performed by artists of color, an art form and a necessary marketing tool.
Some people tuned in to MTV to see the Michael Jackson videos, and while watching the channel, discovered other acts. Some people tuned in to MTV to watch “white rock” videos, and while watching the channel, discovered Michael Jackson.
MTV went to showcase more “non-rock” videos. In 1988, they launched their hugely popular program Yo! MTV Raps, something that would have been completely unexpected just five years earlier, pre-“Billie Jean.”
While MTV deserves credit for making “Billie Jean” and Thriller successful, the person most responsible is Jackson himself. He wrote the song. He sang the song. He danced the song. Quincy Jones did not want “Billie Jean” to appear on Thriller. He didn’t like the title. He didn’t like the bassline. He felt the song’s introduction was too long. Jackson argued “But that’s the jelly!…That’s what makes me want to dance.” Jones wasn’t ready for this jelly, but Jackson stood his ground.
In May of 1983, NBC aired a tribute to Motown Records. Motown: Yesterday, Today, Forever featuring many legends who recorded for the storied label performing their classics. We saw Diana Ross, the Temptations, Marvin Gaye, Smokey Robinson and the Miracles, Stevie Wonder, the Four Tops, Martha Reeves, Lionel Richie and the Commodores, Mary Wells, Junior Walker and then some. It was a terrific show, but the talk of the town following its airing was the performance of a song not from the Motown catalogue – Michael Jackson’s “Billie Jean.” The iconic performance, during which Jackson brought the famous moonwalk to the world at large, pushed him that much more ahead of any other performer working in music back then.
Following “Beat It,” CBS Records released four more singles from Thriller. All seven of the singles released (the album had only nine songs!) went top ten, breaking the record of most top ten hits from a single-artist album that was set a few years earlier by…Michael Jackson, whose Off the Wall gave us four. Before Thriller, four singles for one album was considered a lot. Thriller raised the bar for blockbuster albums, and subsequent releases such as Bruce Springsteen’s Born in the U.S.A., Prince’s Purple Rain, Def Leppard’s Hysteria and Janet Jackson’s Control each produced more than four hits.
“Billie Jean” changed everything.
On this week’s Throwback Thursday playlist, Tunes du Jour spotlights 1983, kicking off with Michael Jackson’s classic “Billie Jean.”
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Today is my birthday. Over my 25+ years on earth, I’ve learned many life lessons. Most of them came from songs. My birthday gift to you is a playlist of 100 songs offering advice as to what not to do.
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The blogger in 1976
This week Tunes du Jour revisits the hits of 1976.
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