Come on Over

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(Pictured: Olivia Newton-John, in a promotional shot for her November 1976 TV special.)

I have written so much about 1976 over the years that I couldn’t possibly say anything new in the customary Bottom 60 companion piece to my earlier post about the American Top 40 show from March 13, 1976. There’s only one thing to do when you’re in a corner like that: try to write your way out of it.

47. “I Heard It Through the Grapevine”/Creedence Clearwater Revival. This is a shortened version of the classic track from Cosmo’s Factory, released as a single to promote the two-disc Chronicle compilation that had come out in January. It would peak at #43 on the Hot 100 and #47 in Cash Box. At the ARSA database, fewer stations charted “Grapevine” as a single in 1976 than had done so as an album cut in 1970. Its highest position was #6 at WDNG in Anniston, Alabama.

57. “Sara Smile”/Hall and Oates
78. “Rhiannon”/Fleetwood Mac
Pick any random week of the 70s or 80s and you’ll find new records that haven’t been off the radio in all the years since.

59. “Without Your Love (Mr. Jordan)”/Charlie Ross. I have previously mentioned “Without Your Love,” a fabulously cheesy cheatin’ song with a twist. What I didn’t mention, I don’t think, is that in the early days of the pandemic last year, I got an e-mail from Charlie Ross himself, who had come across my post about it, and who sent thanks and greetings. He said he’s back in Mississippi, working in radio, and still playing music.

70. “Highfly”/John Miles. On March 15, 1976, WCFL in Chicago made what is probably the best-remembered format change in history, from Top 40 to elevator music. The station published its last survey sometime in February, if I’m recalling correctly, but I remember hearing new songs on the station right up until the end. “Highfly” was one of them.

71. “Strange Magic”/Electric Light Orchestra. Make me choose one favorite ELO song and it will be the woozy, dreamy “Strange Magic.” Jeff Lynne is not the most expressive vocalist, but I’m not sure he ever sang anything better than “Oh I’m never gonna be the same again / I’ve seen the way it’s got to end / Sweet dreams, sweet dreams.”

74. “Mozambique”/Bob Dylan. I have read that “Mozambique” came about after Dylan and a collaborator wondered how many words ended with “ique.” “Mozambique” is a more conventional single than “Hurricane,” its predecessor from the Desire album, but no less a product of Dylan’s unique (yeah, I said it) vision.

76. “Mighty High”/Mighty Clouds of Joy. How the magnificent “Mighty High” stalled out at #69 on the Hot 100 and #77 in Cash Box I do not know. It wasn’t even especially big on the soul charts, #15 in Cash Box and #22 in Billboard. It was probably too pop for their gospel fans, and maybe too gospel for pop fans, but it’s Philly-soul fire, and we play it loud every time.

79. “The Game Is Over (What’s the Matter With You)”/Brown Sugar. “The Game Is Over” is more excellent Philadelphia soul, produced by Vince Montana, former member of MSFB, who was at #26 in this week with the Salsoul Orchestra on “Tangerine.” Brown Sugar was a trio fronted by Clydie King, whose name will be familiar to liner-note readers. She started as one of Ray Charles’ Raelettes, and backed artists ranging from Elton John and Barbra Streisand to the Rolling Stones and Steely Dan. Dylan called her his ultimate singing partner; it was rumored that they were secretly married for a time, although none of the obituaries I read after her death in 2019 had anything to say about that.

83. “Come on Over”/Olivia Newton-John. “Come on Over” was written by Barry and Robin Gibb and was on the Bee Gees’ 1975 album Main Course. It continued ONJ’s dominant run on the adult-contemporary chart as her sixth straight #1 hit. It got to #23 on the Hot 100 and #5 on Billboard‘s country chart.

89. “Eh! Cumpari”/Gaylord and Holiday. “Eh! Cumpari” was most famously recorded by Julius LaRosa in 1953, and was recut by Gaylord and Holiday for an Alitalia Airlines commercial in 1975, and eventually as a novelty song. It contains a long Italian-dialect bit in the middle, to which I stopped paying attention long before the punchline. Gaylord and Holiday (neither of whom was actually named either Gaylord or Holiday) had scored some extremely minor hits in the 50s under the name of the Gaylords.

Someday we might run out of stuff to say about 1976. Not today and maybe not tomorrow, but someday. Maybe.


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(Pictured: Per Gessle and Marie Fredriksson of Roxette, 1991.)

After listening to the American Top 40 show from the weekend of March 9, 1991, here’s the usual look at what else was on that week’s Hot 100.

41. “Joyride”/Roxette. I was working at an adult-contemporary station as 1990 turned to 1991, and we played “Listen to Your Heart” and “It Must Have Been Love” past the point of all human endurance. We didn’t play “Joyride” at all, but now I think it’s the best thing Roxette ever did, by a lot.

46. “Play That Funky Music”/Vanilla Ice

69. “I’m Not in Love”/Will to Power
76. “Unchained Melody 1990″/Righteous Brothers
91. “The Shoop-Shoop Song (It’s in His Kiss)”/Cher
Lots of remakes are in the Hot 100 this week in addition to Tesla’s “Signs” at #16 and Robert Palmer’s “Mercy Mercy Me”/”I Want You” medley at #30. The original 1965 “Unchained Melody” became a hit again thanks to its inclusion in the movie Ghost, but the Righteous Brothers and their current label had no legal rights to that recording, so they recut it. The original 1965 “Melody” peaked at #13 in October 1990; the recut version peaked at #19 a month later.

(“It Never Rains in Southern California” by Tony! Toni! Tone! is at #66 in this week but it’s a different song, and not a remake of the 1972 Albert Hammond hit, although that might have been better.)

48. “Ride the Wind”/Poison
51. “Easy Come, Easy Go”/Winger
74. “Spend My Life”/Slaughter
79. “Call It Rock and Roll”/Great White
86. “Don’t Treat Me Bad”/Firehouse
96. “Miles Away”/Winger
The early 90s were the golden age of hair metal and bands that were hair-metal-adjacent. Besides these, Tesla and Warrant (“I Saw Red” at #27) are in the Top 40 this week.

54. “Give Peace a Chance”/Peace Choir. “Give Peace a Chance” is another artifact of the Gulf War era, a reboot of the the Plastic Ono Band chant from 1969, spearheaded by Lenny Kravitz and Sean Lennon, then 15 years old. Members of the Peace Choir included Tom Petty, Al Jarreau, Bruce Hornsby, Bonnie Raitt, MC Hammer, Cyndi Lauper, LL Cool J, Little Richard, Michael McDonald, Randy Newman, Peter Gabriel, and Yoko Ono, among others. It got more mileage on MTV than it did on the radio; #54 was its debut position on the Hot 100, and its peak. It spent the next three weeks slipping down and out.

59. “Moneytalks”/AC-DC
94. “Highwire”/Rolling Stones
99. “Give It Up”/ZZ Top
All of these records make history of a sort. “Moneytalks” is AC/DC’s most successful Hot 100 hit, having peaked earlier in 1991 at #23. They would make the Hot 100 only one more time to date. “Highwire” would get to #57. Although the Stones put many other singles onto Billboard‘s Mainstream Rock chart in the 90s, they have not gotten any higher on the Hot 100 since “Highwire.” “Give It Up” is the last Hot 100 single to date for ZZ Top.

71. “From a Distance”/Bette Midler
82. “Night and Day”/Bette Midler
In addition to the Peace Choir and Top 40 hits “The Star-Spangled Banner” (#32 in this week) and “Show Me the Way” (#5), “From a Distance” was also very much a Gulf War hit, about the hope for peace in a world at war. It spent nine weeks in the Top 10 from November 1990 into January 1991 and peaked at #2. Its extended popularity probably tamped down “Night and Day” (which is not the Cole Porter song). It had made #62 in February.

79. “I Touch Myself”/Divinyls. Your mileage may vary and I could be totally wrong, but it seems to me there are only a couple of records on this Hot 100 for which the word “iconic” fits, in the sense that everybody knew them then and they are still fondly remembered now. “Gonna Make You Sweat (Everybody Dance Now)” by C + C Music Factory (#7) is one of them, and “I Touch Myself” is the other. This is its debut week; it would eventually get to #4.

80. “Don’t Hold Back Your Love”/Hall and Oates. H&O’s historic hot streak largely ended after 1986, apart from “Everything Your Heart Desires” (1988) and “So Close” (1990). “Don’t Hold Back Your Love” peaked at #41 despite being insanely great.

The musical 90s is not my decade; I didn’t experience it the way I did the 70s and 80s, and I can’t talk about it in the same way. All I can say for sure is that 1991 sounds a hell of a lot better to me than 1990 did.

Note to Patrons: I wrote a thing about the first anniversary of the pandemic for the Sidepiece and then decided not to send it because we’ve all had enough of the pandemic. May we always remember those who got sick and died, and those who got sick and didn’t. And never forget those working to make things better, or forgive those who made things worse. 

I Like to Rock

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(Pictured: Bo Derek in the movie 10.)

Here we go with the customary dive into the Bottom 60 of the Top 40 featured in a post last week, from February 9, 1980.

41. “Looks Like Love Again”/Dann Rogers
56. “Better Love Next Time”/Dr. Hook
62. “Three Times in Love”/Tommy James
65. “I Wish I Was Eighteen Again”/George Burns
85. “Where Does the Lovin’ Go”/David Gates
87. “My Heroes Have Always Been Cowboys”/Willie Nelson
91. “Holdin’ on for Dear Love”/Lobo
Many of the songs popular during the winter of 1980 put me back into the studio at KDTH in Dubuque, Iowa, where I worked my first paying radio job. It was a fabulous place for a young broadcaster to start, with a lot of talented veterans to learn from. At the time, however, I am pretty sure I neither appreciated it enough nor learned all that I could have. (The latter is kind of disturbing, because as it was, the young idiot I was learned a lot.) The station’s music format was mostly country most of the time, although it played a lot of pop records too (Dann Rogers, Dr. Hook, Tommy James, David Gates, and Lobo among them, as well as Dionne Warwick, Barry Manilow, Dan Fogelberg, and Neil Diamond from the week’s Top 40). “I Wish I Was Eighteen Again,” which made the KDTH phones blow up, went to #15 on Billboard‘s country chart, and “My Heroes Have Always Been Cowboys” would hit #1.

48. “Flirtin’ With Disaster”/Molly Hatchet
50. “When a Man Loves a Woman”/Bette Midler
51. “I Thank You”/ZZ Top
54. “Back on My Feet Again”/Babys
57. “Cool Change”/Little River Band
58. “Voices”/Cheap Trick
59. “You Know That I Love You”/Santana
61. “Can We Still Be Friends”/Robert Palmer
67. “Remember (Walking in the Sand)”/Aerosmith
70. “Rockin’ Into the Night”/.38 Special
71. “Come Back”/J. Geils Band
73. “Baby Talks Dirty”/The Knack
78. “Jane”/Jefferson Starship
80. “I Don’t Like Mondays”/Boomtown Rats
82. “Even It Up”/Heart
90. “I Like to Rock”/April Wine
96. “Babe”/Styx
97. “Dirty Water”/Inmates
99. “Head Games”/Foreigner
107. “You Won’t Be There”/Alan Parsons Project
But my weekend job was a sideshow to the one I cared about the most: being program director of the campus radio station. It had been a Top-40 station when I started on it a year earlier before an uncomfortable semester as an album rock/R&B/funk/jazz hybrid. It had gone to a full-blown album-rock format in the fall of 1979. When I took over, we expanded the library to something like 2,000 songs, going deep and wide on what we considered to be the best AOR artists, but at the same time making sure we frequently played the strongest AOR cuts: your Free Birds, Laylas, and Stairways to Heaven.

I was not especially interested in new music discovery, and I wasn’t alone. Most of us wanted to play the hits. I left the programming of current music to the station’s music director, at least at the beginning. We would eventually have our disagreements, as his taste was vastly different from mine. What I perceived as input he perceived as meddling—and vice versa. It occurs to me now that, like the KDTHers, he was somebody from whom I could have learned a great deal. But while I recognized that people at KDTH had a lot to teach me, I walked around the campus station as if I already knew it all.

As I have said before, it’s a wonder I have any friends left from that time.

(“I Like to Rock” borrows riffs from the Beatles’ “Day Tripper” and the Stones’ “Satisfaction” just before the fade. I’m not sure I noticed that 41 years ago, but I did while writing this post.)

49. “Give It All You Got”/Chuck Mangione. When “Give It All You Got” hit the chart in January, we already knew that it would be ABC’s theme music for coverage of the 1980 Winter Olympics, which opened during the week of this chart.

81. “Lost in Love”/Air Supply. Someday I will assemble the entire list of songs I have claimed to be completely irrational about.

86. “Peanut Butter”/Twennynine Featuring Lenny White. After leaving the fusion band Return to Forever, White formed Twennynine to play R&B and funk music. “Peanut Butter” was a big R&B hit but would stall at #83 on the Hot 100.

101. “Ravel’s Bolero”/Henry Mancini. “Ravel’s Bolero” was famously used in the movie 10, which had been released the previous fall. I didn’t see it until I moved off campus and my TV-engineer roommates pirated an HBO subscription. I don’t recall that it left much of an impression on me. It would have taken more than Bo Derek to get me to stop thinking about radio.

Superstars and Not

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(Pictured: Jeff Fenholt and the Broadway cast of Jesus Christ Superstar.)

Having spent time on the American Top 40 show from January 30, 1971, last week, it would be our usual practice to look at the Bottom 60 from that week’s chart. This time, however, I’d like to revisit the Cash Box Looking Ahead chart, equivalent to Billboard‘s Bubbling Under the Hot 100. If there’s anything you recognize on the January 30, 1971, Looking Ahead chart, it’s probably “Treat Her Like a Lady” by Cornelius Brothers and Sister Rose or “Revival” by the Allman Brothers Band. But there are other records worth taking note of.

2. “Wooly Bully”/Canned Heat. After scoring a hit with “Let’s Work Together,” Canned Heat decided to cover another song that most working rock bands of the era would have known. Compared to the hard ‘n’ heavy “Let’s Work Together,” “Wooly Bully” is almost light, and while it’s got some good playing on it, Sam the Sham still owns.

7. “We Can Make the World (A Whole Lot Brighter)/Gravy. Gravy was the songwriting team of Robert John and Michael Gately; John later scored hits under his own name, including the #1 hit “Sad Eyes,” while Gately recorded an album with musicians including Al Kooper, Herbie Flowers, and Paul Kossoff. “We Can Make the World (A Whole Lot Brighter)” would reach a far larger audience after the Brady Bunch sang it on TV in 1972 and later put it on an album.

(Do I need to repeat that the Brady Bunch records were roundly ignored in the 70s, and that it was only in the 1990s, when kids who had grown up on the show discovered them, that they came to be considered “hits”? I think not.)

10. “Nothing Rhymed”/Gilbert O’Sullivan
25. “Brand New Day”/Rufus
A couple of years before “Alone Again (Naturally),” Gilbert O’Sullivan was already moping around on “Nothing Rhymed.” Rufus spent a lot of time in the weeds before breaking through in 1974. “Brand New Day” is their first release; the female voice on it belongs to Paulette McWilliams, who left the band in 1972 and recommended her friend, Chaka Khan, as a replacement.

12. “Theme From Love Story“/Peter Nero.
 Two versions of the Love Story theme, by Henry Mancini and Francis Lai, were already on the Cash Box and Billboard charts in this week and other versions, by Andy Williams and Tony Bennett, would also get some chart action. With the novel atop the fiction best-sellers list and the movie raking it in at the box office in January 1971, peak Love Story was not far away.

13. “When I’m Dead and Gone”/Bob Summers. Summers was the brother of Mary Ford, Mrs. Les Paul. After Les and Mary divorced, she went on the road solo, but with Summers playing Les Paul’s parts. By 1970, Summers was a producer and arranger at MGM Records, which released his “When I’m Dead and Gone” single and album. (The thoroughly English folk-rock version of “When I’m Dead and Gone” by McGuinness Flint was just outside the Cash Box Top 40 in this week.)

19. “Something to Make You Happy”/Mason and Cass. Dave Mason and Cass Elliot’s lone album together, which I have not heard, supposedly sounds like a Dave Mason solo record with Cass providing a few backing vocals. “Something to Make You Happy” sounds like a lost classic, though.

21. “Medley From Superstar (A Rock Opera)“/Assembled Multitude.  Jesus Christ Superstar was a snowballing cultural force in the winter of 1971; the album would spend three non-consecutive weeks at #1 in February and again in May, and two songs, “Superstar” and “I Don’t Know How to Love Him,” would become significant hit singles. Producer Tom Sellers put together the Assembled Multitude from Philadelphia studio musicians and scored a big hit with “Overture From Tommy” in the summer of 1970. You can hardly blame a guy for going to the next well over and trying again, although “Medley From Superstar is not as compelling as “Overture From Tommy” had been. It probably didn’t matter to the Philadelphia studio cats, however. They were about to find themselves playing on dozens of far bigger hits.

22. “I’ve Been Loving You Too Long”/Otis Redding. Recorded at the Monterey Pop Festival in 1967, this isn’t so much a record as it is a force of nature.

If you are a fan of Looking Ahead or Bubbling Under, you will want to keep an eye on Songs in the Key of E, where Erik has just begun a series on Bubbling Under songs from the 80s that never made the Hot 100. It’s been pretty great already.

Rolling Home

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(Pictured: Grace Slick, 1975)

As is customary around here after discussing an American Top 40 show, let’s see what else we can see on the Hot 100 during the week of January 10, 1976.

42. “Take It to the Limit”/Eagles. Most people never take anything to the limit, ever. Considering Randy Meisner is singing about how he’s going to take it to the limit one more time, implying that he’s done it before (whatever “it” is), no wonder he sounds so weary.

49. “Play on Love”/Jefferson Starship. Grace Slick sings the hell out of “Play on Love” and I’ve always liked that, but I wish the arrangement behind her had more going on, on the order of “Miracles” or “Runaway.”

51. “Tracks of My Tears”/Linda Ronstadt
52. “Fanny (Be Tender With My Love)”/Bee Gees
59. “The Homecoming”/Hagood Hardy
61. “Break Away”/Art Garfunkel
62. “Back to the Island”/Leon Russell
The challenge for me in writing this post is finding new things to say about records I like instead of repeating things I have said before.

54. “Love or Leave”/Spinners. From the album Pick of the Litter, released in the summer of 1975, which contains the magnificent “They Just Can’t Stop It (Games People Play).”

58. “Feelings”/Morris Albert. This record had peaked at #6 back in the fall, but here it is moving up again, from #64, in its 30th week on the Hot 100.

67. “Don’t Cry Joni”/Conway Twitty. A few years ago, we noted that Conway Twitty had 40 #1 country singles, the second-most of all time, but never became cool on the level of George Jones, Johnny Cash, or Merle Haggard. Incredibly sappy records like “Don’t Cry Joni” probably didn’t help.

(Digression: “Don’t Cry Joni” tells a fairly predictable story—young girl falls for older boy and asks him to wait for her til she’s grown, he says he’s too old for her and moves away but realizes years later he’s in love with her, he moves back home, and he finds out that she didn’t wait. Even a predictable story can be made enjoyable if the author is just as careful about what he leaves out as what he puts in. The last verse of “Don’t Cry Joni” makes it clear where the story will end, but the last line is the lyricist saying to the audience, “I don’t think you’re smart enough to get this unless I smack you upside the head with it.” My instantaneous reaction at the moment I heard it: “oh for chrissakes.”)

71. “Bohemian Rhapsody”/Queen. Here it comes, in its second week on the Hot 100.

73. “This Old Man”/Purple Reign
95. “The Little Drummer Boy”/Moonlion
Friends, that’s a disco version of a nursery rhyme and a disco version of a Christmas song. “This Old Man” peaked a week earlier at #48 and was now in its eighth week on the Hot 100. We’ve mentioned “The Little Drummer Boy” at this website previously. (It’s not terrible.) Disco adaptations of already-familiar tunes were thick on the ground during disco’s formative years; although the phenomenon never disappeared completely, it became less prevalent as disco grew in popularity.

74. “Free Ride”/Tavares. Here’s a cover of the Edgar Winter hit from 1973 that’s not as different from the original as you’d expect.

77. “Fire on the Mountain”/Marshall Tucker Band. This country-rock classic had peaked at #37 on the Hot 100 and spent three weeks in the Top 40, but was heard on American Top 40 only once, on the show dated December 20, 1977. The other two weeks of its run corresponded with the 1975 yearend countdown shows.

(Further digression: surely there must have been a few songs during the AT40 era that made the Top 40 for a single week but were never heard on the show because they charted during a week when Casey was doing a special countdown of some sort. Would anybody with a better work ethic than mine like to research that?)

81. “Dream On”/Aerosmith. “Dream On” had run the Hot 100 for nine weeks between October and December 1973, getting as high as #59. Now here it is again, in its first week back.

90. “This Old Heart of Mine”/Rod Stewart. The album Atlantic Crossing was Stewart’s first without Ron Wood, Ian McLagan, and the rest of Faces, but Rod rounded up some decent players: members of Booker T and the MG’s, the Memphis Horns, and the Swampers. The album didn’t contain any big American hits, although “Sailing” and “I Don’t Want to Talk About It” were #1 in the UK, and this made #4. If you think you remember hearing “This Old Heart of Mine” on the radio, you might: Rod recut it for the 1990 Storyteller box set with Ronald Isley and released it (a far-better version) as a single.

Butterflies and Evergreens

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(Pictured: Dolly Parton, 1974.)

Instead of the usual look at the Bottom 60 of the Hot 100 that follows an American Top 40 post, I’m gonna go back to a chart I’ve wanted to revisit for a while: the Cash Box Looking Ahead chart, more-or-less equivalent to Billboard‘s Bubbling Under. Both are fine sources of the sort of obscure records we like around here, but Cash Box often seems to cast a wider net. Here’s some of what was on Looking Ahead during the week of November 2, 1974.

103. “Love Is Like a Butterfly”/Dolly Parton. Dolly hit #1 on the Billboard and Cash Box country charts three times in 1974: “Jolene” in January, “I Will Always Love You” in June, and “Love Is Like a Butterfly” in November. A fourth single with her old partner Porter Wagoner, “Please Don’t Stop Loving Me,” was also #1 during 1974, but only in Billboard.

105. “Voodoo Magic”/Rhodes Kids
124. “Careful Man”/John Edwards
The Rhodes Kids were on the GRC label; John Edwards was on Aware. Both labels were run by one Michael Thevis who, at one time, controlled 40 percent of the legal and black-market pornography market in the United States, an enterprise worth $100 million. (The record labels were legitimate businesses used to launder money; before the whole thing collapsed, GRC would score one gigantic hit: “Chevy Van” by Sammy Johns.) The Rhodes Kids, a seven-member family group discovered by Thevis, claimed to have no knowledge of his porn connections, and to have severed their connections with him when they found out. With and without him, they played Vegas, did TV including American Bandstand, and enjoyed some modest success until the late 70s, when the oldest kids decided to go to college instead. There’s more about the Rhodes Kids here. Edwards was in the Spinners from 1977 to 2000, and he’s on their hit versions of “Working My Way Back to You” and “Cupid.” There’s a good overview of Thevis’ career here.

106. “Please Mr. Postman”/Pat Boone Family. Well knock me over with a feather. There is no reason to believe this version of “Please Mr. Postman” would be any good at all, but it kind of is. It catches more of the Marvelettes’ soul than the Carpenters did.

107. “Walking in the Wind”/Traffic
119. “Train Kept A Rollin'”/Aerosmith
125. “Sally Can’t Dance”/Lou Reed
At this time, Looking Ahead and Bubbling Under were sales charts. (Only later did Billboard start incorporating airplay into its big chart calculations.) These songs were far more likely to be heard by, and be of interest to, album fans than buyers of singles. So just how many 45s of each did the record labels have to move in order to make this chart? It couldn’t have been very many.

110. “He Did Me Wrong, But He Did It Right”/Patti Dahlstrom. As it happens, one of the leading experts on the career of Patti Dahlstrom is part of our little circle of nerds, so I refer you to whiteray at Echoes in the Wind.

112. “Evergreen”/Booker T. In 1974, Stax Records had yet to collapse, but Booker T. Jones was already gone. He moved to California and signed with Epic to release Evergreen, which one website calls “a laid-back roots album . . . far from the greasy soul-funk sound of the MGs.” Nevertheless, the instrumental “Evergreen” has that unmistakable Booker T. feel.

115. “Shoe Shoe Shine”/Dynamic Superiors. “Shoe Shoe Shine” not only appears at #115 on the Looking Ahead chart, it’s also at #99 on the regular Cash Box chart in this same week. (Proofreading and fact-checking are hard, a truth proven again and again over the 16-year history of the website you are reading.) The Dynamic Superiors were a Washington, DC-based group on Motown, fronted by Tony Washington, an openly gay man in a time before such a thing became widely accepted. His story and the story of the group, which is mighty interesting, is here.

122. “Roses Are Red My Love”/Wednesday. This group was big in Canada, where their cover of the death-rock classic “Last Kiss” went to #2. It was #34 in the States (in Billboard), but a smash in Chicago, where WLS charted it at #1 for a week in March 1974. The group went back to the well less successfully with “Teen Angel” that summer. “Roses Are Red My Love,” the old Bobby Vinton hit, was their last shot in America.

123. “My Eyes Adored You”/Frankie Valli. In its first week on the Looking Ahead chart, “My Eyes Adored You” would make #1 in both Cash Box and Billboard in the spring of 1975.