(Pictured: Robert Shaw, Robert Redford, and Paul Newman in The Sting.)
The March 23, 1974, edition of Billboard magazine featured several stories on various efforts by Congress and the record industry to stop piracy. Various firms have been selling tapes of copyrighted music, taking advantage of loopholes in the law. The FCC is considering whether copyright information could be electronically encoded within the audio of records, tapes, commercials, and other broadcast material to deter pirates. Officials at the CBS and ABC radio networks are in favor of the idea, but they want at least a year to test out potential effects of encoding on audio quality, as well as its effect on the networks’ own encoded signals, which are used to send alerts to affiliates, and to switch programs automatically.
In other news:
—Ringo Starr and Harry Nilsson have signed a deal with producer Michael Viner to appear in and provide music for a mixed live-action/animated movie called Ringo’s Night Out. Viner and Nilsson have already collaborated on Til Sex Do Us Part, which Viner describes as “a highly artistic X-rated movie which has been well-received in Europe.”
—A number of DJs have either been streaked by someone while on the air, or gone streaking themselves. Exorcist Records released “Streaking” by Zona Rosa and had it delivered to progressive FM stations in Los Angeles by a streaker. The story concludes: “If you haven’t been personally streaked this past week, perhaps it’s only because you’re un-streakable.”
—The ninth annual Academy of Country Music Awards show will be on March 28 and broadcast on tape delay as part of ABC’s Wide World of Entertainment late-night series. It’s the first-ever telecast of the awards. Charlie Rich and Merle Haggard lead the nominations with five each. Roger Miller will host; presenters will include Dennis Weaver, Bob Eubanks, and Barbi Benton.
—The “Talent in Action” section reviews a Long Island performance headlined by Humble Pie with Spooky Tooth and Montrose; Pete Seeger and Arlo Guthrie at Carnegie Hall; Porter Wagoner and Dolly Parton in Oxnard, California; and a New York City showcase for an unsigned bluegrass band called Breakfast Special, which is opened by Buckingham Nicks, which “offered both promise and problems in a brief but telling set.” After remarking that Lindsey Buckingham’s role as lead guitarist and lead vocalist “seems a bit taxing,” reviewer Sam Sutherland says, “Ms. Nicks also encounters problems, chiefly in her solo style, which points up the occasional roughness of her voice and the strident quality to her top end that makes duets bracing but proves less fruitful when she takes the stage alone.”
—Since last August, eight Canadian acts have appeared in Billboard‘s “New on the Charts” feature, giving Canada more than any other country including England. David Foster of the Vancouver-based group Skylark says that he believes Canadian musicians would take as predominant a position in 70s pop as English musicians did during the 60s. Apart from Skylark, the new Canadian hitmakers include Bachman-Turner Overdrive, Bill Amesbury, Wednesday, Ian Thomas, newsman Gordon Sinclair (whose spoken-word tribute “The Americans” had been a hit earlier in the year), and Terry Jacks.
—Jacks is just off three weeks at #1 on the Hot 100, but it’s likely that most popular musician in America at the moment is one who’s been dead since 1917. Three albums of Scott Joplin rags are in the Top 10 of the Best Selling Classical LPs chart; Joplin’s “The Entertainer,” recorded by Marvin Hamlisch, debuts on the Hot 100 this week at #88. The album “The Entertainer” comes from, the original soundtrack of the movie The Sting, is at #15 on Top LPs and Tape. That chart is topped by Barbra Streisand’s The Way We Were; Greatest Hits by John Denver is #2. The top 10 on the album chart also includes Court and Spark by Joni Mitchell, Bob Dylan’s Planet Waves, Band on the Run, Goodbye Yellow Brick Road, and Tales From Topographic Oceans by Yes. The new #1 on the Hot 100 is “Dark Lady” by Cher. “Seasons in the Sun” by Terry Jacks is at #2.
Perspective From the Present: This same week, Cash Box reported that Til Sex Do Us Part would be released in New York and other cities in April. That doesn’t seem to have happened, and in fact, I can’t find any evidence of a movie called Til Sex Do Us Part being released anywhere until 2002, and it’s not the one Viner and Nilsson supposedly produced. As for Ringo’s Night Out, Viner spent $15,000 on a “pilot” for the film, which got a screening for potential investors in June 1974, but it didn’t impress enough of them, and the full film was never made.
3 thoughts on “Unstreakable”
Bill Amesbury! I came across that record once while writing up some New England charts from ARSA. I’d never heard it before.
Hmmmm … a clap-along song about a girl named Virginia who was all about the touching. Don’t suppose that noted musical sponge Billy Joel happened to hear it?
Nice to know, 46 years later, that I was not unstreakable.
My first night at KSLY, San Luis Obispo, breaking in on the overnight shift. It’s February, 1974. The jock assigned to break me in is a guy named Roy Sueda (who, incredibly just got in touch last week—turns out he lives here in Sacramento and had been listening to me on KFBK prior to the January iHeart layoffs without realizing that I was the same guy he worked with in SLO).
I’m 17 years old. It’s coming up on midnight. The record begins its fade, Roy opens a studio window and a beautiful, blonde Cal Poly coed in a blue robe steps into the studio.
I hit the legal ID—a short jingle, “K-S-L-Y, San Luis O-bis-po!” and open the mic.
She drops the robe and streaks the studio.
Over the intro to Todd Rundgren’s “Hello, It’s Me”, I say “Twelve midnight on California’s Central Coast. I’m the new kid, Mike Hagerty. And I think I’m gonna LIKE it here.”
And I did, even though I never saw that girl again.