Thirty-eight years ago tomorrow, as I write, the No. 1 song on the Billboard pop charts was “Coming Up” – but not the catchy tune by one-man-band Paul McCartney from his madcap McCartney II endeavor, but the slightly less catchy live version by Paul McCartney & Wings (Mach III), taken from a December 1979 concert in Glasgow on what turned out to be the final Wings flight.
Columbia Records, his label home, apparently didn’t think the American public would appreciate his sped-up vocals, so – although the live version is clearly the B-side on the 45, where it’s paired with the eccentric “Lunchbox/Odd Sox” – they promoted the Wings rendition as the A.
And lest fans who bought McCartney II be upset that the song they heard on the radio wasn’t on the LP, Columbia included a special one-sided single of the live version. It even came with a helpful “play other side” instruction on the flip side.
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Let me back up, albeit for a moment: I was 14 on this day, soon to be 15; and having a good time – it was summer, after all. No school. That meant late nights and late mornings, hanging with friends, and – yep, you guessed it – listening to plenty of music. In my neck of the woods, that meant tuning in WIFI-92, WMMR, WYSP and WIOQ.
In the wider world, Ronald Reagan was gearing up to accept the Republican presidential nomination in Detroit in a mere 11 days. President Jimmy Carter, on the other hand, was in the midst of stamping out an insurgency within his Democratic Party, as he was being challenged by Ted Kennedy, and wouldn’t secure his second shot at the Oval Office until the following month, at the Democratic National Convention in New York.
The reason for the tepid enthusiasm for Carter: the economy. Unemployment was rising – it crested at 7.8 percent this month, its highest mark since he took office in 1977, and inflation was at obscene levels – 13-plus percent for the month, and 13-plus for the year. There was also the matter of the ongoing Iranian hostage crisis.
The big movies of the day included Fame, The Empire Strikes Back, Urban Cowboy, Bronco Billy, The Blues Brothers, Airplane!, and, released on this very day in 1980, The Blue Lagoon. I don’t remember seeing any of them in the theaters, though I did eventually see all of them on PRISM, the local premium cable channel that also carried the home games of the Philadelphia Flyers.
As far as TV – it was summer, and summer meant reruns.
And when it comes to music – well, that’s what today’s Top 5: July 5, 1980 (via Billboard, which I occasionally bought), is about. Here are a few selected highlights…
1) Bob Seger & the Silver Bullet – “Against the Wind.” Dropping out of the Top 5 to No. 6 is this classic Seger song, which I rate not just with his best, but with the best of all time. It’s the title track to one of my “essential” albums.
2) Olivia Newton-John – “Magic.” In its seventh week, the Xanadu single inches up two spots to No. 14. Here she is lip-syncing to the song on The Midnight Special…
3) Carole King – “One Fine Day.” “One Fine Day” is a song with a rich history – written by King and Gerry Goffin, it was first a hit for the Chiffons in 1963, when it reached No. 5 on the pop charts. Seventeen years later, King recorded it for her Pearls: Songs of Goffin & King album, and released it as a single. It reaches No. 16 this week (on its way to No. 12).
4) The Blues Brothers – “Gimme Some Lovin’.” Saturday Night Live’s John Belushi and Dan Aykroyd turned a love for the blues into a side project with legs. They released a hit album in 1978, and a hit movie and hit soundtrack in 1980. This week, the lead single from that soundtrack bounces (like a rubber biscuit) up seven spots to No. 22.
5) Pete Townshend – “Let My Love Open the Door.” Townshend had an unlikely Top 10 hit with this uptempo ditty, the lead single from his classic Empty Glass LP. This week, it’s No. 35 (on its way to No. 9).
And two bonuses…
6) Irene Cara – “Fame.” Cara sounds so much like Donna Summer on this, the joyous title track to the hit movie, that it almost seems unfair to say so. That said, I love the song and performance.
7) Linda Ronstadt – “Hurt So Bad.” Falling from No. 26 to 80 in its 13th week on the charts is Linda’s spine-tingling rendition of the Little Anthony & the Imperials hit from 1965. (It hails from her 1980 Mad Love album, of course.)
(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.)
It seems like yesterday, but it was long ago: As 1980 dawned, I was 14 and finishing my final year at Keith Valley Middle School, which housed the 8th and 9th grades in the suburban Philadelphia school district of Hatboro-Horsham. By year’s end, I was 15 and a newly minted sophomore at the Hatboro-Horsham Senior High School.
Highlights of the year are many: The Far Side comic strip debuted; the Pittsburgh Steelers won their fourth Super Bowl; the U.S. Men’s Hockey Team beat the Soviets to win the Gold Medal at the Winter Olympics in Lake Placid, NY; The Empire Strikes Back flickered onto movie screens for the first time; Pac-Man first ate a ghost; CNN launched; the Robert Redford-directed Ordinary People – still a powerful film – premiered; and the Philadelphia Phillies bested the Kansas City Royals in the World Series.
But for all that good, there was plenty of bad: Paul McCartney was busted in Japan for trying to smuggle in marijuana for personal use; the Iranian Hostage Crisis dragged on throughout the year; unemployment averaged 7.1 percent while inflation soared to 13.5 percent; the Philadelphia Flyers lost to the New York Islanders (and linesman Leon Stickle) in the Stanley Cup finals; and, in December, John Lennon was assassinated.
On the political front, Jimmy Carter’s mastery of politics proved to be nil. Don’t me wrong: He’s a good man, and a great former president, but he was the wrong leader for the times. In fact, after near four years in office, the only thing he could inspire people to do was vote against him. First, he faced a formidable challenge in the year’s Democratic president primaries from Massachusetts senator Ted Kennedy; and then, in the fall, he lost in a landslide to Republican challenger Ronald Reagan.
There were also, I should mention, a slew of good-to-great albums released. Rather than replicate Wikipedia’s list, I’ll highlight ones that I added to my collection at the time: the Pretenders’ self-titled debut; Linda Ronstadt’s Mad Love; Bob Seger & the Silver Bullet Band’s Against the Wind; Pete Townshend’s Empty Glass; Eric Clapton’s Just One Night; Paul McCartney’s McCartney II; the Kinks’ One for the Road; Pat Benatar’s Crimes of Passion; Al Stewart’s 24 Carrots; the Xanadu soundtrack; and Rockpile’s Seconds of Pleasure.
That wasn’t every new release I picked up that year, mind you, but – memory being what it is – they’re the ones that, off the top of my head, I remember dropping onto my turntable or, in the case of the Pretenders’ debut, slipping into my Realistic all-in-one stereo’s little-used cassette deck.
A few of those releases got tons of repeat plays in my household – Mad Love, Against the Wind, McCartney II, One for the Road, Crimes of Passion and Xanadu, especially. And at year’s end, as was my custom, I selected my Album of the Year from those six candidates – Bob Seger & the Silver Bullet Band’s Against the Wind came out on top.
Even now, I’d make the same call. Bruce Springsteen & the E Street Band’s The River, Van Morrison’s Common One, Neil Young’s Hawks & Doves, the Jam’s Sound Affects, and a few other LPs would be in the running, but – when all is said and done – Against the Wind is it for me.
It’s why I have a framed lithograph of the album cover on the wall above my desk.
The 10 songs yearn and burn, ruminate and illuminate, and ride an interstate jammed with regret and hope. The songs rock (“Horizontal Bop”), roll (“Long Twin Silver Line”), cogitate (“No Man’s Land”) and contemplate (“Against the Wind”). And, like a fine wine, they’ve only gotten better with age.
One highlight is the mid-tempo “You’ll Accomp’ny Me”:
Another: the title cut.
And “No Man’s Land” –
To my ears, it’s one of Seger’s greatest (if lesser-known) songs. As I hear it, and I could be wrong, it’s a metaphor about the struggles faced by writers of every stripe – the difficulty of creating something from nothing. It also contains one of my favorite lyrics: “But sanctuary never comes/without some kind of risk/illusions without freedom/never quite add up to bliss.” They sound more profound than they likely are, I think, but it’s no matter. They make me think, as do the lines that follow:
The haunting and the haunted
Play a game no one can win
The spirits come at midnight
And by dawn they’re gone again.
Who hasn’t had a great idea late at night only to have it fade come the morning light?
Lyrically speaking, the only song that probably hasn’t aged well is “Her Strut,” which was inspired by Jane Fonda. But the guitars are killer. (And, for what it’s worth, Jane likes the song.)
The album’s closer, “Shinin’ Brightly,” is probably the greatest song Van Morrison never wrote:
As a whole, the album proved a success: It became Bob’s first – and only – No. 1 LP, eventually selling more than 5 million copies. It’s also the home to three songs that made the Top 20 (“Fire Lake,” which reached No. 6; “Against the Wind,” which cracked the Top 5; and “You’ll Accomp’ny Me,” which reached No. 14.)
And, as with his other Silver Bullet Band albums, the band itself only plays on some songs; the others, which I’ve asterisked below, feature the Muscle Shoals Rhythm Section.
(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.)
You’d expect that an album that goes platinum within a month of its release would not only hit No. 1, but would also be in the running for best-selling album of the year. Not so in 1978, which was dominated by the soundtracks to Saturday Night Fever and Grease, the Rolling Stones’ Some Girls and Billy Joel’s 52nd Street, among others.
Such was the case for Bob Seger & the Silver Bullet Band’sStranger in Town. Released in May of that year, it sold like the hot platter that it was and is, but the highest it charted was No. 4. Yet, in my estimation, it easily ranks as one of the year’s best albums, surpassed only by Bruce Springsteen & the E Street Band’s Darkness on the Edge of Town. It features a confident Seger doing what he does best: crafting cinematic songs that speak to the heart and soul like few others. Among its timeless tracks: one of the greatest driving songs of all time, “Hollywood Nights”; the classic rock mainstays “Still the Same,” “Old Time Rock &’ Roll” and “We’ve Got Tonight”; and the greatest working man’s (and woman’s) anthem yet written and performed, “Feel Like a Number.”
Here’s a commercial promoting the album:
And here are live renditions (from the movie FM) of “Hollywood Nights” and “Still the Same,” and the studio version of “Feel Like a Number.”
Stranger in Town, it should be mentioned, was the Midwest rocker’s 10th album. For many fans at the time, however, it was just the second or third LP of his that they had purchased. For those who don’t know his backstory: After a decade spent as a regional success, he catapulted to national headliner status on the strength of the equally essential Live Bullet and Night Moves, both of which were released in 1976. And like Night Moves, though the Stranger in Town album cover billed him with the ampersand Silver Bullet Band, five of the tracks actually feature the famed Muscle Shoals Rhythm Section. Old pal Glenn Frey also plays guitar on “Till It Shines”; Frey’s fellow Eagle Don Felder handles the guitar solo on “Ain’t Got No Money”; Little Feat’s Bill Payne plays keyboards on “Hollywood Nights”; and Doug Riley provides the memorable piano in “Feels Like a Number” and “Brave Strangers.”
“Brave Strangers” obviously echoes the nostalgic theme laid down in “Night Moves” (and, from 1971, “Railroad Days”). No matter. It’s a stirring coming-of-age song. “The Famous Final Scene” is the perfect cap on a perfect album:
Side One:
Hollywood Nights
Still the Same
Old Time Rock & Roll*
Till It Shines*
Feel Like a Number
Side Two:
Ain’t Got No Money*
We’ve Got Tonight*
Brave Strangers
The Famous Final Scene*
(* = Muscles Shoals Rhythm Section)
I hasten to add that, as yesterday as I write, Stranger in Town is now available on the major streaming services. If you have Apple Music, as I do, you can listen to it here:
