(As noted in my first Essentials entry, this is an occasional series in which I spotlight albums that, in my estimation, everyone should experience at least once.)
In September 1977, Linda Ronstadt released her eighth album, Simple Dreams. Although not her best work (Heart Like a Wheel is that), it’s a sublime masterpiece. It captures her at the peak of her creative powers, melding yesteryear classics and contemporary offerings into a delectable whole. In a sense, it follows the formula she and producer Peter Asher established with Heart Like a Wheel – but it strays from it, too, by expanding the palette several hues. There’s pop, rock and country, in other words, but also two songs from the dawn of true Americana music – the Carter Family’s “I Never Will Marry” (1933) and “Old Paint,” which dates back even further, to the late 1800s.
In some ways, the set epitomizes what I like to call Southern California soul – it’s tasteful and tuneful, emotive, and never slick. Linda is a singer in service to the songs. Oh sure, her voice is on full display – but every note she sings is aimed at putting the songs over; she doesn’t show off. Her rendition of Roy Orbison’s “Blue Bayou,” which topped out at No. 3 on the singles chart, is one example…
… and her cover of Buddy Holly’s “It’s So Easy,” which topped out at No. 5, is another.
Because of my age and ignorance, I was unaware of Linda Ronstadt until the following autumn and Living in the USA, and didn’t become a fan in earnest until 1980, when I bought Mad Love. And as a kid on a tight budget, I didn’t pick up Simple Dreams until March 1st, 1983 – not because I didn’t want it, but because four of its songs were featured on her Greatest Hits Vol. II, which I got in October or November of 1980. These two, for instance:
But I quickly wished I’d bought it sooner. Its strength comes not just from the hits and those two radio staples, but such exemplary tunes as the aforementioned “I Never Will Marry” and “Old Paint,” not to mention the Eric Kaz-penned “Sorrow Lives Here.”
Here’s the track list of the album:
Side One:
It’s So Easy
Carmelita
Simple Man, Simple Dream
Sorrow Lives Here
I Never Will Marry
Side Two:
Blue Bayou
Poor Poor Pitiful Me
Maybe I’m Right
Tumbling Dice
Old Paint
Aside from its contents, the LP is notable for selling 3 1/2 million copies within its first year of release; knocking Fleetwood Mac’s Rumours from the top spot of Billboard’s album chart, a position that album had held for 29 weeks; and being home to two singles (“Blue Bayou” and “It’s So Easy”) that were in the Top 5 at the same time – a feat that hadn’t been achieved since the Beatles in the ‘60s.
So why spotlight Simple Dreams now? The Rhino label has reissued the album in honor of its 40th anniversary, that’s why. The set features remastered sound and three bonus tracks from Linda’s 1980 HBO concert – “It’s So Easy,” “Blue Bayou” and “Poor Poor Pitiful Me.” I can’t speak for the CD, but the LP sounds great; and the bonus material is a delight – if you purchase the LP, they come on a separate 45-sized single (though it plays at 33 1/3 RPMs).
Forty years ago today, as I write, the first full month of the Carter presidency was almost over; and, all things considered, it had been rather boring. The big news of the day was the revelation that Jordan’s King Hussein had been on the CIA payroll for at least a decade; and, because Jimmy Carter vowed during his presidential campaign to be the first to shed light on such shenanigans, some saw his administration’s newly announced policy of not commenting on covert affairs as being somewhat hypocritical.
Beyond that, the scourge known as inflation had jumped half a percent point to 5.9 percent this month; and the unemployment rate was 7.6 percent, about the same as it had been the year before. Weather-wise, at least in the Philadelphia region, it was freakishly mild – in just a few days (the 23rd), we’d hit 70 degrees.
Probably the biggest news in my world, however, was that the Hardy Boys/Nancy Drew Mysteries had premiered on ABC on the last day of January.
There was plenty of good TV shows in those days – well, what I, at all of 11 years old, considered to be good, including Happy Days and Laverne & Shirley on Tuesdays; and The Donny & Marie Show on Fridays. For anyone who has never had the pleasure of that specific variety show, here’s the Feb. 11th, 1977 episode in its entirety:
Anyway, enough of the preamble. Here’s today’s Top 5: February 19, 1977 (via Weekly Top 40) – and they are, in fact, the Top 5 songs of the week.
1) Manfred Mann’s Earth Band – “Blinded by the Light.” Written and recorded by Bruce Springsteen on his 1973 debut, Greetings From Asbury Park, NJ, and released as his first single, this classic song was destined for general obscurity until Manfred Mann’s Earth Band released their cover version as a single. Not only did it chart, but it went to No. 1!
2) Eagles – “New Kid in Town.” Glenn Frey, Don Henley & Co. released their classic Hotel California LP in December 1976; and this, the first single from it, worked its way to the top of the charts for the week of Feb. 26th. This week, however, it was holding steady at No. 2.
3) Mary MacGregor – “Torn Between Two Lovers.” Falling from No. 1 to. 3 this week is this soft-rock ode to infidelity, which was co-written and co-produced by Peter Yarrow of Peter, Paul & Mary.
4) Barbra Streisand – “Evergreen (Love Theme From A Star Is Born).” Clocking in at No. 4 is this theme from A Star Is Born, which was co-written by Streisand and Paul Williams. It would top of the charts in two weeks’ time.
5) Kenny Nolan – “I Like Dreamin’.” Until just now, I’d never heard or heard of this song before. Nolan, it turns out, co-wrote such hits as “My Eyes Adored You” and “Lady Marmalade” before launching his solo career.
And a few bonuses:
6) Thelma Houston – “Don’t Leave Me This Way.” The Number 19 song this week is this fun disco-lite tune.
7) Wings – “Maybe I’m Amazed.” Released as a single on Feb. 4th, this live version of the classic Paul McCartney song checks in at No. 37 (on its way to No. 10). It was a single from the Wings Over America, a live set that, according to Wikipedia, set history by becoming the first triple-LP release by a group to hit No. 1 on the album charts.
I visited the Archive Books and Paper in Montgomeryville, Pa., a few weeks back. It’s a giant warehouse overflowing with old books, magazines, maps, LPs and…I’d say “junk,” and I guess I just did, but it houses something of interest to almost everyone. It certainly does for me, at any rate. Years ago, prior to our old apartment becoming stuffed from our packrat ways, I would have walked out with dozens upon dozens of magazines and books. This day, however, though we’re now in a house with much more room, I left with just two magazines: Circus, dated January 31st, 1977, which I used for the last Top 5, and this Creem, which is dated February 1977.
Circus, of course, billed itself as “the leading rock & roll biweekly.” Cream obviously disagreed with that claim, though, as it calls itself “America’s only rock ’n’ roll magazine.”
Kinda funny.
Anyway, I didn’t realize the closeness in dates between the two issues until after I arrived home. I found them buried beneath an assortment of teen-oriented magazines in the music section, and purchased them because they’re from the ‘70s. Even if I had noticed, though, I would’ve bought them. It’s interesting to see the overlap (and lack thereof) between the two, which likely would’ve shared newsstand space for a few weeks given that magazines are generally dated ahead. As a result, today’s Top 5 will feature a few of the same artists (though not the same songs).
In the history books, this month is memorable for a few reasons: Radio Shack committed to production of the TRS-80 computer on the 2nd (it would hit the stores in August); Fleetwood Mac released Rumours on the 4th; and President Jimmy Carter announced on the 24th that the U.S. would begin taking human rights into consideration when doling out foreign aid. Oh, and at a mere 11 years and seven months, I received my detective badge (from the Johnson Smith catalog) at month’s start. But unlike the Hardy Boys or Nancy Drew, who were new to Sunday nights, I never stumbled onto any mysteries. That was, suffice it to say, a disappointment.
Weather-wise, the cold from the previous months let up and, by month’s end, the Philadelphia region experienced a string of days in the 50s and 60s. In sports, the Philadelphia Flyers were on a roll: 9-3 for the month. I’d yet to take much of an interest in them, however.
The first thing that grabbed my eye in this Creem: a letter in the Mail section from one Pete Townshend of Twickenham, England, who’s fed up with Creem readers haranguing him about when the Who’s 10-LP set based on the Bible will be released. (A previous issue had included a parody of Pete’s penchant for rock operas.) It’s an echo of the mythical Masked Marauders, of course, and goes to show that, no matter the era, some folks want to be fooled.
This issue’s cover story, as seen above, is on journeyman Peter Frampton, whose domination of the record charts in 1976 (and transformation from rocker into a teen idol) would be equaled within a few years by his descent into near-anonymity. There are also articles, as the Contents page shows, on Eric Clapton, Nils Lofgren, Kiki Dee, Lou Reed and the Runaways, among others.
And, with that, here’s today’s Top 5: February 1977 (via Creem)…
1) Linda Ronstadt – “Lose Again.” Robert Christgau tackles Linda’s seventh solo album, Hasten Down the Wind, which was released in August of the preceding year: “Linda’s always wanted to be a Real Country Singer, but RCS put out two or three LPs like this every year. You know—find some good tunes, round up the gang, and apply formula. Like the great RCS she can be, she comes up with some inspired interpretations; the flair of ‘That’ll Be the Day’ and ‘Crazy’ do justice to the originals, and her version of the title song almost makes you forget its unfortunate title. But you cover Tracy Nelson’s ‘Down So Low’ at your own peril even if you believe not one in 10 of your fans remembers it, and the two Karla Bonoff lyrics make her (I mean Karla, but Linda too) sound like such a born loser that I never want to hear anyone sing them again.” He graded it a B-.
That’s a rather mean-spirited take on Karla’s contributions (of which there are three, not two). We saw her in concert a few years back and she was beyond good – a magical set. She talked about the first time she heard Linda cover one of her songs, “Lose Again” (which opens Hasten), at a 1976 concert in L.A. and knowing her life had just changed.
2) The Runaways – “Born to Be Bad.” Patrick Goldstein provides a warts-and-all slant on the Runaways, detailing a bit of dissension within the ranks due to sleaze-ball manager Kim Fowley: “How’s the record going? Terrible, [Joan Jett] mutters. Apparently, the Runaways’ marriage with Fowley has followed the contours of the archetypical Liz and Dick affair. Young Mr. F may have discovered the girls (in a Denny’s parking lot or at Rodney Bingenheimer’s or a Ronald Reagan fundraiser—I hear a different story every time I ask, so I don’t vouch for their veracity) but their fondness for the mad studio scientist varies at every mood.” And no wonder. “What AM radio wants is garbage,” Fowley says, “and the Runaways are gonna give them garbage. They heard the applause and got the encores and thought they didn’t need em anymore. Now that it’s time for a make or break record, they’re back in my arms again. The girls know what’s good for them. They sold 70,000 records this time around. If Queens of Noise doesn’t double that figure, Mercury will drop them like that! I wonder how they’ll like working as waitresses on the Strip.”
Later, Goldstein goes deep into Fowley’s effort to cast the band as rock ’n’ roll Lolitas, and quotes Cherie Curie as saying, ’This isn’t a tits-and-ass show. When you’re 16, you can’t stand up there and be a sex object. It’s just not part of being 16. I’m not old enough to play Brigitte Bardot or Raquel Welch. Hell, I’m 16.”
That said, they also have some issues with…Patti Smith, whom they met but didn’t like. “She’s such a snob,” says Curie. And Joan Jett observes that, “I was wearing a leather jacket and she still didn’t talk to me.”
“Born to Be Bad” hails from Queens of Noise. It’s atmospheric, melodramatic and a tad (okay, alot) silly… and, yet, I love it.
3) Nils Logfren – “Happy.” The Runaways aren’t the only ones who had issues with Patti. Nils Lofgren, in a piece promoting his new LP, I Came to Dance, says: “Patti Smith? I thought she was a great entertainer. But when I played with her, her sound people totally screwed me around. Their sound man went out and got drunk and came back before my set and fucked up everything. My monitors were fucked all night. Then she took a sound check and took so long to get it together with her sound people that I didn’t get a sound check at all. I didn’t care—we went out and played fine and the kids really got off, but she’s totally unprofessional—she’s professional as an entertainer, but on a strictly musician level, she’s unprofessional. It’s partly the people around her, but you have to be responsible for that.”
4) Jackson Browne – “To Daddy.” Joe Goldberg reviews The Pretender and, like Kit Rachlis in Circus, likes it: “Most of the songs sound like each other, and like songs on Browne’s previous three albums. Somehow, that doesn’t bother me. A lot of very serious people only have one song to sing, one thing to say. Most of us don’t even have that, which is why we depend on Jackson Browne to do it for us. Jackson Browne’s song is mystical and apocalyptic, about the deluge, lost love, changing personalities, friends becoming strangers, the self becomes a stranger, and the healing powers of Mother Water. He has next to nothing to do with Good Time California; he has everything to do with the rootless terror and hopes of redemption that the endless summer sun shines down on. A hundred years ago, he would have made a fine hellfire-and-damnation preacher.”
Of this song, Goldberg writes: “There are any number of memorable lines. I especially like one in ‘Daddy’s Tune,’ about the singer’s attempt to reconcile his difference with his father: ‘Make room for my forty-fives/Along beside your seventy-eights.’ Several places in the record, Browne has the happy facility of being completely specific and totally universal at the same time.”
5) Elton John – “Sorry Seems to Be the Hardest Word.” Richard Riegel reviews Elton John’s Blue Moves, a double-LP set released in October 1976, calling it Elton’s “White Album, similarly color-coded and four-sided, not to mention just as anticlimactic.” He points out that there’s filler, including “Cage the Songbird” and “One Horse Town,” and offers up this snarky observation: “[T]hat atmospheric instrumental, ‘Out of the Blue,’ is not jazz, but it’s not bad, as Mr. Haggard once almost said. This song just may exemplify the ‘blue moves’ of the title, and if Elton continues this trend, soon he can take the late Vince Guaraldi’s place as the chief scorer of those Peanuts TV specials. (Bernie’s already completed a thorough self-analysis through his rigorous study of the complete works of Charles M. Schulz, so he’s all set.)”
… and one bonus:
6) Bob Seger & the Silver Bullet Band – “Night Moves.” Robert Christgau grades Night Moves an A- in his roundup, calling it a “journeyman’s apotheosis. The riffs that identify each of these nine songs comprises a working lexicon of the Berry-Stones tradition, and you’ve heard them many times before; in fact, that may be the point, because Seger and his musicians reanimate every one by their persistence and conviction. Both virtues also come across in lyrics as hard-hitting as the melodies, every one of which asserts the continuing functionality of rock ‘n’ roll for ‘sweet sixteens turned thirty-one.”
In the Philadelphia region, like elsewhere in the northeastern U.S., the winter of 1976-77 was cold. How cold? According to Jon Nese and Glenn “Hurricane” Schwartz, from December 1976 through February 1977, we experienced 54 days when temperatures dipped beneath 20 degrees; and, on 35 of them, temperatures never inched above the freezing mark. In fact, that January was the coldest month, ever, for the Delaware Valley.
For a kid a mere two years removed from a hot desert climate, it felt like a frigid hell. About the only saving grace: the lack of snow. We narrowly escaped the Blizzard of ’77, which slammed New England and, for the winter as a whole, amassed less than eight inches.
There were less pluses when it came to the economy. It wasn’t as awful as, say, 1974, but it wasn’t good. Unemployment was 7.8 percent and inflation was 5.2 percent. Yet, despite those stats and weather, optimism lingered in the air for a variety of reasons, including one of the greatest feel-good movies of all time, Rocky, which was released the month before; and Jimmy Carter, who was sworn into office as America’s 39th president on January 20th. It was a new day—and, ever so briefly, a new politics: at the start of his inaugural address, Carter thanked Gerald Ford, his predecessor, for all he had done to heal a land torn asunder by Watergate. The two shook hands.
Not that the speech lent itself to greatness; if anything, its prosaic language foreshadowed what would become a prosaic presidency.
In any event: Circus. It’s not a music magazine I read with regularity and, at this stage of my life, I wasn’t reading any, period. I was 11 /12, attending a public middle school (6th & 7th grades; there was a second middle school for 8th & 9th) that banned denim jeans, and was gung-ho for pro ‘rassling. On TV, in addition to the WWWF on weekends and Sunday football, I watched The Six Million Dollar Man, The Captain & Tennille, Happy Days, Laverne & Shirley, The Bionic Woman, Welcome Back, Kotter and Donny & Marie. I watched tons of reruns, too, including The Brady Bunch, The Monkees and The Partridge Family. (The addition of the second addiction/obsession, i.e. music, came later that year.)
Anyway, my main memory of Circus, which is from a few years later, is that it was (basically) a heavy-metal monthly, minus the cool art and stories that accented the real Heavy Metal magazine. So I was taken aback, last weekend, to discover this issue, dated January 31st, in a rather cool ephemera store about a 30-minute ride away from my home.
The tag beneath the title, as seen in the first picture, calls it “the leading rock & roll biweekly.” According to Wikipedia, “[i]n the late 1970s, the magazine started focusing on pop culture as a weekly in the vein of People Magazine, which caused a drop in sales.” This issue doesn’t read like People to me, but it does have several non-music articles – one on Raid to Entebbe, an NBC-TV movie starring Charles Bronson; another on Roots; and a profile of actress-writer Mary Kay Place, who was hot thanks to Mary Hartman, Mary Hartman, and her first (and only) album. There’s also a quick-hit section called Front Pages that features reports on David Soul, 40-band CB radio, NASA and TV odds-and-ends; and the quick-hit Back Pages, which focuses on music. This issue, that means mentions of Paul McCartney & Wings, Queen, Boston, the Runaways, Alice Cooper and Bob Seger.
Here’s today’s Top 5: January 31st, 1977 (via Circus):
1) Jackson Browne – “The Pretender.” Kit Rachlis reviews begins the review of Jackson’s fourth album with an excellent paragraph: “Three people haunt almost every word and note of Jackson Browne’s The Pretender: his wife, Phyllis, who committed suicide last spring; his three-year-old son, Ethan; and his father Clyde, who left his family when Browne was a child. In one sense, The Pretender can be seen as Browne’s attempt to come to terms with his own family—a family shattered by death and separation, renewed by the birth of his son. ‘Daddy’s Tune’ and ‘The Only Child’ are for his father and son. ‘Here Comes Those Tears Again,’ written with his mother-in-law, and ‘Linda Paloma’ are clearly intended for Phyllis. But it would be a mistake to view the album as functioning solely as autobiography. That assumption can only lead to the worst kind of psychological speculation. (Is ‘Your Bright Baby Blues,’ most of which was written five years ago, about Phyllis?) Moreover, such perspective limits the album’s scope and undercuts its accomplishment. Instead of being about Phyllis and Ethan, The Pretender is about death and birth, about understanding the past and claiming the future—mostly, it’s about redefining romanticism in the face of disillusionment and tragedy.”
As a whole, the review is a thoughtful rave that calls The Pretender “Browne’s best album.” (He’s wrong there, of course; that honor goes to Late for the Sky.) Rachlis also says that it’s “not the culmination, but an extension of Browne’s previous work. Almost every song has a counterpart in the earlier albums. The title cut, the most important and ambitious song on the LP, belongs in the line of ‘Rock Me on the Water,’ ‘For Everyman,’ and ‘After the Deluge,’ all of which stake out Browne’s position in relation to society. Each declares his defiance of categorization and grand schemes. Rather, his is a search for solace within himself or with those around him—whether in ‘the kindness of my baby’s eye’ or ‘the light in your lover’s eyes.’ Perhaps for Browne, the search itself provides its own solace.”
2) Bob Seger & the Silver Bullet Band – “Rock and Roll Never Forgets.” John Swenson writes that Night Moves “is already one of my favorite albums of the year, and I haven’t even been listening to it for more than a week. This comes as a big surprise to me because I’ve always taken Seger for granted. Certainly it’s been easy to say I’ve liked him, but it’s always been that casual kind of approval usually accorded to marginal figures who please without impressing.”
Swenson explains: “Not that Night Moves hits me with the emotional impact of The Who Sell Out or Beggar’s Banquet or Gasoline Alley—my reaction to those records was definitely a function of how I saw myself at the time, and very little can match their impact these days. Night Moves doesn’t affect me like that—it’s too derivative (but not in the sense that it shows its influences, because all great rock & roll has been influenced by something). This LP is emotionally derivative, which leads me to suspect that someone who didn’t grow up listening to The Who Sell Out, Beggar’s Banquet, or Gasoline Alley would find it as much of a revelation now as I found those records then.”
He then compares Seger to Rod Stewart (a bit of a stretch, I think), and says “[y]ou could bring Stewart in to sing ‘Rock and Roll Never Forgets,’ and it would be a perfect Faces classic, with all the unpretentious abandon that characterized that band’s best performances.”
(There’s also an excellent article about Seger in the Up Starts section; click on the above pic to read it.)
3) The Bee Gees – “You Should Be Dancing.” Saturday Night Fever was 11 months away and, yet, the Brothers Gibb were already on a roll. According to writer Stephen Demorest, “After half a decade in the phantom zone of worn-out pop groups, the Bee Gees have rebounded mightily in the last two years with a stunning string of five hit singles and two platinum albums strong on disco flavoring. And now 1977 promises to be the hottest year in their entire 20 year career.”
On their agenda: the soundtrack to the Sgt. Pepper’s film; and their followup to Children of the World (which would be bastardized for Saturday Night Fever). This song, which features on that soundtrack, hails from Children; and was a No. 1 hit in September 1976. One piece of trivia related to it: Stephen Stills (yes, thatStephen Stills) plays percussion on it.
This video is from Soul Train, where the song was used for a line dance…
4) Lou Reed – “I Believe in Love.” In an “as heard by Scott Cohen” article titled “Pitter Patter: Lou Reed’s Rock and Roll Heart…,” Lou says “[b]eing sentimental is my weakness. I’ve got a drawer full of old love letters to prove it.” He also says, “I believe in good times, good-time music, good-night kisses, crosses, fresh starts and most of all—like I say in ‘I Believe in Love’—I believe in love.” And, of the song itself, he talks about how “[t]he words…came to me while singing in the shower. I wanted to say ‘I’m on the outside looking in/on the inside of you looking out/at me’ but couldn’t work it in.”
And, of his past, he explains that “[b]efore the Velvet Underground, I had a band in England called the Beachnuts and sang ‘Sally Can’t Surf.’ Before that I sang with Garland Jeffreys at Syracuse University.”
5) The Runaways – “Queens of Noise.” The Runaways promote their second album, Queens of Noise, in the Back Pages section. “It’s a weird kinda song,” Joan Jett says of the title song of the Runaways’ second album. “It’s heavy, but it could be a Top 20 hit; it’s got a happy-type melody.”
The un-bylined article also details the band’s shift to an improved recording technique. “It’s certain that the ‘noise’ won’t be refined out, however. ‘It has to have that raw edge,’ said Jett, ‘but sound better. I liked The Runaways for what it was. If we’d come out sounding like a Queen production, it wouldn’t have let us go anyplace.’ Refusing to disparage their debut album, she added, ‘Even though a lot of critics said it wasn’t produced well, we’ve gotten a lot of fan mail saying it’s the best album they’ve ever heard. And as long as the people buying albums like it, I think we did it right.”
Aside from its contents, the LP is notable for selling 3 1/2 million copies within its first year of release; knocking Fleetwood Mac’s Rumours from the top spot of Billboard’s album chart, a position that album had held for 29 weeks; and being home to two singles (“Blue Bayou” and “It’s So Easy”) that were in the Top 5 at the same time – a feat that hadn’t been achieved since the Beatles in the ‘60s.
