Don’t Stop

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(Pictured: Fleetwood Mac in the summer of 1977.)

People listen to American Top 40 for lots of reasons. You’re guaranteed three or four hours of highly familiar music and interesting oddities. Casey Kasem’s personality is engaging, and his feature bits are usually interesting. I enjoy all of those things, but I also use the shows to try and project myself back in time, to feel what it was like to live in that bygone week, whenever it was.

I have been listening to the American Top 40 show from the week of July 30, 1977, and in that bygone week, life was difficult, or it seemed that way to 17-year-old me. My girlfriend was in Europe and I missed her. While she was there, I lost both of my part-time jobs off the farm, each in the span of a couple of weeks. (I didn’t like either one of them, but still.) I must have spent the first couple of weeks of August, before my GF got home, lonely and feeling sorry for myself.

So I believe I will tread lightly around this show and try to think of some things I haven’t already said about the songs of that summer.

40.  “Float On”/Floaters. I don’t recall hearing “Float On” on the radio stations I was listening to back then, even after its unlikely rise to #2 on the Hot 100 in September. I hated it when I finally heard it, although now I respect its easy groove and the earnestness of the individual Floaters describing the kind of girl they like.

39.  “Christine Sixteen”/KISS. In 1977, “Christine Sixteen” wasn’t a cultural outlier; rapey crap of this type was mainstream. In the #MeToo Era, it’s unacceptable.

31.  “Black Betty”/Ram Jam. One of the classic-rock stations I worked for used to play this as part of its Southern rock weekends, even though Ram Jam was formed in New York City. Fine by me.

29.  “Smoke From a Distant Fire”/Sanford-Townsend Band. This is a record that cannot be improved upon, and its very existence in a state of such perfection is a sort of miracle.

25. “Give a Little Bit”/Supertramp. Casey played the 45 edit, which is labeled at 3:20, and which I had completely forgotten.

24.  “Telephone Man”/Meri Wilson. “Telephone Man” would make #18 on the Hot 100 later in August. It’s the kind of novelty that’s mildly humorous once, annoying the second time, and get-it-the-fk-off-my-radio after that. By the time it reached its Hot 100 peak, however, it had been to #1 at WCOL in Columbus and WKTQ in Pittsburgh, as well as at stations in Kalamazoo and Muskegon, Michigan. In an era when many Top 40 stations played their top hits every 75 to 90 minutes, you can imagine the horror of that.

22.  “Don’t Stop”/Fleetwood Mac
21. “Jet Airliner”/Steve Miller Band
20. “Barracuda”/Heart
This is a damn fine stretch of music right here, even though the AT40 engineer, either in 1977 or today, made a godawful edit in “Barracuda.”

Casey delivers more news than usual on this week’s show. He does a feature on the world’s most expensive single record, a 10-inch 78 of “Stormy Weather” by the Five Sharps, for which its owner recently turned down an offer of $2,000. (I found a couple of recent articles suggesting that the value of “Stormy Weather” is now $25,000, and there are only three copies in existence.) He updates the condition of Jackie Wilson, who suffered brain damage after a heart attack in 1975 and was still, as of 1977, confined to a rehabilitation center. And in a particularly rare move, he plugs two acting roles he has on NBC in the coming week, on Police Story and Quincy. (Late edit: be sure to read the comment from our friend and former AT40 staffer Scott Paton about these parts of the show.)

15.  “Undercover Angel”/Alan O’Day. Call this 70s cheese if you want, but the last verse, in which Alan hits the sheets with the girl of his dreams hoping to see the angel again, strikes me as truthful in a particular way. He tells her his story, to which she responds, “Whaaaat?” He says, “Ooo-wee.” She says, “All right!” The exclamation point is critical. She’s not angry or confused by his wild-ass story; she’s happy to go with it because she is ready and willing to get it on as he is. How many pop songs depict sex as playful, or fun? Songwriters are usually most comfortable imbuing it with more “significant” emotions—passion, contentment, regret. They’re less likely to acknowledge, as O’Day does here, that sometimes, we make love with laughter in our hearts.

Coming in the next installment: the room where most of the summer of ’77 happened, and more of what I heard there.

3 responses

  1. I’m pleased you selected this particular episode of AT40 to spotlight, JB, as this is one that I quite clearly remember working one, for a number of reasons. I had done the research and wrote the story on the Five Sharps’ “Stormy Weather” and, for years thereafter, truly believed that in my tireless crate-digging I would certainly find a copy of my own one day. Still looking, sort of.

    I also remember how excited Casey was about his upcoming TV appearances. His sporadic bit parts on the tube meant far more to him than AT40 and even his million-dollar-year role as NBC’s brand voice image. He was not destined for acting stardom, but these occasional guest parts maintained his hopes.

    Our show statistician, Sandy Stert-Benjamin, had developed a casual friendship with Alan O’Day and he expressed to her his delight at being featured on AT40. When “Undercover Angel” reached Number One, the regular hits-of-the-week format was pre-empted by a themed special. Coincidentally, this had happened to O’Day once before. When “Angie Baby,” a song he’d written for Helen Reddy, hit the top of the chart in December ’74, that show was bumped, too, this time by the year-end countdown. A fan of the show, O’Day never got to hear either of his chart-toppers reach their summit.

    The Jackie Wilson story, however, was the poignant one in this show. Our East Coast correspondent, Alan Kaltman, had visited Jackie in his convalescent home and, as I recall, even showed Jackie his own extensive list of hits in a Joel Whitburn chart book. Ironically, Alan (also known as Ronnie Allen) suffered a debilitating stroke himself earlier this year. Other than hearing that he has been undergoing extensive therapy, I’ve been unable to learn any more about his progress. Alan/Ronnie has read your blog in the past, JB, so if he happens to be signed in now, I want to wish him the best for a full and speedy recovery. And Sandy sends her very best, too.

    1. Thank you sir. Great to hear from you about this show.

  2. Sandy Stert Benjamin | Reply

    As a former AT40 staffer who worked with Scott, I enjoyed reading his recollections. Regarding Alan O’Day, it’s true that some of his biggest chart achievements were not
    recognized by listeners as a result of non-regular programming, but he still got a special
    on-air acknowledgment after sending his 1975 Christmas card to the office. Casey–aka The Caser–shared it on the air: “This is a belated Christmas card from a songwriter who’s been struggling hard, an AT40 listener from years ago who hoped that some day on his radio, the voice of The Caser would loudly proclaim, ‘Here’s a hit written by O’Day’ (that’s my name). When I heard your story on ‘Angie Baby,’ I had tears in my eyes and I don’t mean maybe. I’ve been reaching for the stars, as songwriters do, with a boost from Helen Reddy, Sandy Stert, and you. And though my song may be weird and spacey, my feet are still on the ground, thank you, Casey!”

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