Hanspostcard has a song draft challenge. This is my Round Four pick.
I nearly abandoned the rest of the 1970s for the 1980s until Quinn’s pick. Listening, again, to Tears for Fears reminded me of how much I love a saxophone in rock music. I think I might stay in 1978 for a little while. It was a good year, musically…for me, anyway. I can remember buying this 45 at a Woolworths in my hometown’s only mall. I also remember playing it on my little suitcase record player. I was eleven at the time. There’s not much that Gerry Rafferty put out that I didn’t like. ~Vic
Baker Street, the second track from the album City To City, was released February 3, 1978 or, possibly, January 20, 1978, depending and entered the Billboard Hot 100 chart the week of April 22, 1978. It made it to #2 the week of June 24, 1978 and stayed there, stuck behind Andy Gibb‘s Shadow Dancing, for six weeks (as a side note, my paternal aunt gave me the Shadow Dancing 8-track album for my twelfth birthday and it was shoved into a brand new stereo system from my parents):
Photo Credit: Getty Images
Bill Wardlow & Cher
September 18, 1976
“…Baker Street was a smash and it allegedly took some serious chart chicanery to keep it out of the #1 spot. [It] stalled out at #2 right as […] Gibb’s Shadow Dancing was in the midst of its seven-week run at #1. According to legend, the chart tabulators at Billboard had actually figured out that Baker Street had finally ascended to the #1 spot in one of those [seven] weeks and they’d called the new chart into the producers at Casey Kasem’s radio show, America’s Top 40 [sic]. But, because of a last-minute correction, Kasem had to re-record the end of that week’s show, putting Shadow Dancing back on top.
According to rumor, Bill Wardlow, Billboard chart director, made the call to keep Shadow Dancing at #1. Wardlow had supposedly gone to dinner with Andy Gibb’s managers and he’d mentioned that Baker Street had knocked Shadow Dancing out of the #1 spot. Gibb had been scheduled to perform at a Billboard-sponsored show in New York and his label threatened to pull him from the bill if Billboard didn’t keep Shadow Dancing on top…so that’s why Baker Street never got to #1. This is all pure speculation and hearsay but, it’s a good story. Record labels have been doing everything in their power to game the Billboard charts ever since those charts began and it certainly seems possible that Baker Street could’ve been a casualty of all that.
Here’s some of what’s inside:
Willis “Bill” Wardlow has been named associate publisher of Billboard. Over the next several years, Wardlow would be responsible for occasionally jiggering the Billboard charts to reward or punish record labels and to do favors for industry friends. As we learned a few years ago, his manipulations led to Gerry Rafferty’s “Baker Street” spending only 12 hours at #1.”
Image Credit: Weird Universe
San Francisco Examiner
10-27-1968
The International Society for the Abolition of Data-Processing Machines […] was founded by Harvey Matusow in the late 1960s. Its aim was “to conduct guerrilla warfare against the computer by such means as sending a penny too much or too little when paying a utility bill.”
Matusow also authored The Beast of Business, which was supposed to serve as a manual for the guerrilla warfare against the computer. I wonder if any of the techniques he detailed would still work today?
However, Matusow is best known for giving evidence in court against individuals during the McCarthy era. Later, he claimed that the FBI had paid him to give false testimony and he detailed these allegations in his book False Witness.
The structure known today as the Colonial Inn was built on Lot 15 in 1838 as a hotel and was locally called Spencer’s Tavern […] but, was advertised as the Orange Hotel (a name which lasted into the 1880s). The structure was built for Isaac (Isaiah) Spencer (from Hyde County) who had purchased the property in late 1837. In 1841, Richardson Nichols purchased the property from Spencer and expanded the main structure. In 1856, Nichols sold the structure to the “Hillsborough Improvement Company” which consisted of Alfred, Henry and Cave Stroud.
Stroud family history has it that Henry’s wife (Sarah) saved the Inn from looting by Union troops by displaying her husband’s Masonic apron. Upon seeing the apron, a sympathetic Union officer, [whom] was a fellow Mason, protected the site from destruction.
Strayhorn’s Hotel
1870
Image Credit: Rootsweb
William F. Strayhorn may have purchased or, at least, managed the business beginning in 1868 and, the property was purchased by local businessmen Henry N. Brown and Charles M. Latimer (who was also the county treasurer) in 1870. Brown and Latimer apparently lost the property through bankruptcy in 1872, with Strayhorn managing or operating the hotel until at least then. Perhaps related is that Strayhorn had been living in Twin Chimneys across the street from the hotel but, lost it due to financial problems in January 1869. [It] was purchased by David C. Parks in December 1872. In 1885, Parks sold the property to neighboring property owner Emily Pogue, who sold it back to Parks in 1888. [At] this time, it became known as the Occoneechee Hotel.
Looking East
1890s
Image Credit: Rootsweb
In 1908, Thomas A. Corbin purchased the property and renamed the complex the Corbinton Inn. In 1921, W. L. Foushee […] purchased the property from a H. L. Akers and by 1924, renamed the hotel the Colonial Inn. In 1946, Paul Henderson purchased the property from Foushee […].
During Henderson’s ownership, a “fine-dining” restaurant was added within the hotel structure. In December 1952, Charles and Ann Crawford purchased the property and business and, expanded the structure. They operated the business successfully until they, in turn, sold it to James and Maxine Freeland in 1969. The Freelands also expanded the structure and, continued the hotel and restaurant business at the location.
Looking WSW
1960s
Photo Credit: Open Orange
It fell into disrepair for many years. When I moved to this town in 2011, it looked bad.
10-23-201610-23-2016
The good news is, new owners are re-building. ~Vic
[Note: I originally posted this, yesterday, just before midnight. In researching the data, I stumbled across Bill Owens, a photographer that was at Altamont. He was hired by the Associated Press to cover the concert. I emailed him, reference the two photos of his I posted. I hit ‘publish’ before I found his contact page and statement about photos for sale. In my haste to get this up while it was still Friday, I jumped the gun and quickly made the post private. I asked Bill what the price would be to use two of his pictures. As a photographer myself, I understand copyright issues but, I also recognize the gray area that many a blogger operate in, in the blogosphere….Fair Use (link on that, below). Anyway, this very kind gentleman has allowed my one-time use for this 50th anniversary post. He also provided me with a copy of an interview, conducted by Tony D’Souza in April 2019, covering his Altamont experience and other questions regarding his career. I will post an excerpt and attach the full interview, below. ~Vic]
[It’s] not every day that a rock and roll band’s performance, let alone the Rolling Stones’, is accompanied by a knifing, stomping murder within a scream of the stage.
“The violence,” Keith Richard told the London Evening Standard, “just in front of the stage was incredible. Looking back, I don’t think it was a good idea to have [Hells] Angels there. But, we had them at the suggestion of the Grateful Dead. The trouble is, it’s a problem for us either way. If you don’t have them to work for you as stewards, they come, anyway and cause trouble. But, to be fair, out of the whole 300 Angels working as stewards, the vast majority did what they were supposed to do, which was to regulate the crowds as much as possible without causing any trouble. But, there were about ten or twenty who were completely out of their minds…trying to drive their motorcycles through the middle of the crowds.”
The Maysles Brothers, the film company which had shot the whole Stones’ tour, complete with its violent climax at Altamont, had gotten some remarkable footage of Hunter’s killing.
Robert Hiatt, a medical resident at the Public Health Hospital in San Francisco, was the first doctor to reach 18-year-old Meredith Hunter after the fatal wounds. He was behind the stage and responded to Jagger’s call from the stage for a doctor. When Hiatt got to the scene, people were trying to get Hunter up on the stage, apparently in the hope that the Stones would stop playing and help could get through quicker.
Stones on stage with Hells Angels.
Photo Credit: allthatsinteresting.com
Three others […] died (two in a hit-and-run accident, another by drowning) and, countless more were injured and wounded during the course of this daylong “free” concert. It was such a bad trip that it was almost perfect. All it lacked was mass rioting and the murder of one or more musicians.
All these things happened, and worse. Altamont was the product of diabolical egotism, hype, ineptitude, money manipulation and, at base, a fundamental lack of concern for humanity.
Bill Owens took iconic photos of the Hells Angels beating concertgoers with pool cue sticks at the Rolling Stones’ performance during the Altamont Speedway Free Festival four months after Woodstock on December 6, 1969. Altamont, which included violence almost all day and one stabbing death, is considered by historians as the end of the Summer of Love and the overall 1960’s youth ethos. This series of photos include panoramas of the massive, unruly crowd, Grace Slick and Carlos Santana on stage with the press of humanity so close in, they’re clearly performing under duress.
Of that day, Owens has written: “I got a call from a friend, she said the Associated Press wanted to hire me for a day to cover a rock and roll concert. I road my motorcycle to the event. I had two Nikons, three lenses, thirteen rolls of film, a sandwich, and a jar of water.”
Owens was so fearful of retribution by the Hells Angels that he published the photos under pseudonyms. Some of the negatives were later stolen…Owens believes by the Angels. He continues to have conflicted feelings about Altamont. He had no interest in violence and took no pride in photographing it.
In 1972, Owens released a book of black and white photography called Suburbia, also, now, an American icon. Irascible, stubborn, funny, grouchy, ornery and deeply rooted in small town life, Owens is built like a middleweight puncher and wears his hair as though he was a Marine. Indeed, Owens was never a hippie but, a clean-cut newspaper photographer, husband and father, who joined the Peace Corps to serve his country and “do good.” Turning 80 this September, Owens has also had noted careers as a craft beer brewer and pub owner, a magazine publisher many times over and, is now a distiller. His books include Suburbia, Working, Leisure and many others. He is the recipient of a Guggenheim and two NEAs. His work is collected in leading museums the world over, including the Smithsonian. Recent coverage of Owens includes an April retrospective in the New York Times (link above) of his Altamont photos for the event’s impending 50th anniversary. The photos are available for viewing at Owens’ website (link above and below).
I first met Owens at the defunct Rostel Gallery in remote and far northern Dunsmuir, CA, in late August or early September of 2008 (I remember because my daughter had just been born and the event was the first outing of her life), where they were showing images from Suburbia. These are images of people embarking on a new, modern way of life that they look excited by, but also confused, as though technology and the modish styles of the time were costumes they were still getting comfortable in. Owens’ photograph of a young suburban boy wearing cowboy boots, carrying a toy rifle and riding a Big Wheel, “Ritchie,” has always haunted me, though I couldn’t say precisely why.
Update: Less than 24 hours after I posted this, YouTube snatched down the video. If they continue, YouTube won’t have any videos left to watch. So, that being said, I am leaving the original link and adding what I can find. ~Vic
[This was] a one-shot pilot episode for a TV series that was never picked up. In 1968, Mama Cass had launched her solo career and was hoping to move into television. This one-hour program only aired once on ABC-TV and was never shown, again. The show features Mama Cass Elliot with special guest stars, John Sebastian (The Lovin’ Spoonful), Joni Mitchell, Mary Travers (Peter, Paul and Mary), Buddy Hackett, Martin Landau and Barbara Bain (husband & wife, both from Mission: Impossible and later, Space: 1999).
Fifty-one years ago, today, a powerful voice & soul was extinguished. I wasn’t even two years old when he was killed. He was only 39. He wasn’t a perfect person (who is?) but, his message was.
Just after 6:00p.m. on April 4, 1968, Martin Luther King, Jr. is fatally shot while standing on the balcony outside his second-story room at the Lorraine Motel in Memphis, Tennessee. The civil rights leader was in Memphis to support a sanitation workers’ strike and, was on his way to dinner when a bullet struck him in the jaw and severed his spinal cord. King was pronounced dead after his arrival at a Memphis hospital.
As word of the assassination spread, riots broke out in cities all across the United States and, National Guard troops were deployed in Memphis and Washington, D.C. On April 9, King was laid to rest in his hometown of Atlanta, Georgia. Tens of thousands of people lined the streets to pay tribute to King’s casket as it passed by in a wooden farm cart drawn by two mules.
The King family and others believe the assassination was the result of a conspiracy involving the U.S. government, Mafia and Memphis police, as alleged by Loyd Jowers in 1993. They believe that Ray was a scapegoat. In 1999, the family filed a wrongful death lawsuit against Jowers for the sum of $10 million. During closing arguments, their attorney asked the jury to award damages of $100, to make the point that “it was not about the money.” During the trial, both sides presented evidence alleging a government conspiracy. The government agencies accused could not defend themselves or respond because they were not named as defendants. Based on the evidence, the jury concluded Jowers, and others, were “part of a conspiracy to kill King” and awarded the family $100. The allegations and the finding of the Memphis jury were later rejected by the United States Department of Justice in 2000 due to lack of evidence.
“For those of you who are black, and are tempted to be filled with hatred and mistrust of the injustice of such an act, against all white people, I would only say that I can also feel in my own heart the same kind of feeling. I had a member of my family killed but, he was killed by a white man.
On March 10, 1969, James Earl Ray pleaded guilty (on his birthday) and was sentenced to 99 years in the Tennessee State Penitentiary. He died in prison at the age of 70 on April 23, 1998, twenty-nine years and 19 days after King’s assassination.
The lyrics to the song detail a series of challenges that the singer has endured in his life, including the death of his mother while giving birth to him, [being] deprived of the love of his father [described as] like time spent in prison “for something that I never done” and, the singer’s wife taking their child and leaving. He describes these setbacks as hills that he has scaled in the past but, then states that “this time, Lord, you gave me a mountain” […]
The original third line of Robbins’ song mentioned that he was “despised and disliked from my father” but, Laine requested that this line be changed to “deprived of the love of my father” when he recorded his version, since Laine’s father had died shortly before the recording took place.
Lyrics: Dum-dum-dum-dumdy-doo-wah
Ooh-yay-yay-yay-yeah
Oh-oh-oh-oh-wah
Only the lonely
Only the lonely (dum-dum-dum-dumdy-doo-wah)
Know the way I feel tonight (ooh-yay-yay-yay-yeah)
Only the lonely (dum-dum-dum-dumdy-doo-wah)
Know this feelin aint right (dum-dum-dum-dumdy-doo-wah)
There goes my baby
There goes my heart
They’re gone forever
So far apart
But only the lonely
Know why
I cry
Only the lonely
Dum-dum-dum-dumdy-doo-wah
Ooh-yay-yay-yay-yeah
Oh-oh-oh-oh-wah
Only the lonely
Only the lonely
Know the heartaches I’ve been through
Only the lonely
Know I cried and cried for you
Maybe tomorrow
A new romance
No more sorrow
But that’s the chance – you gotta take
If your lonely heart breaks
Only the lonely
Sly and the Family Stone took the Sixties ideal of a generation coming together and, turned it into deeply groove-driven music. Rock’s first integrated, multi-gender band became funky Pied Pipers to the Woodstock Generation, synthesizing rock, soul, R&B, funk and psychedelia into danceable, message-laden, high-energy music. In promoting their gospel of tolerance and celebration of differences, Sly and the Family Stone brought disparate audiences together during the latter half of the Sixties. The group connected with the rising counterculture by means of songs that addressed issues of personal pride and liberation in the context of driving, insistent and sunny-tempered music that fused rock and soul, creating a template for Seventies funk.
Lyrics: Sometimes I’m right and I can be wrong
My own beliefs are in my song
The butcher, the banker, the drummer and then
Makes no difference what group I’m in
I am everyday people, yeah, yeah
There is a blue one
Who can’t accept the green one
For living with a fat one
Trying to be a skinny one
Different strokes
For different folks
And so on and so on
And scooby dooby dooby
Oh sha sha
We got to live together
I am no better and neither are you
We are the same, whatever we do
You love me, you hate me, you know me and then
You can’t figure out the bag I’m in
I am everyday people, yeah yeah
There is a long hair
That doesn’t like the short hair
For being such a rich one
That will not help the poor one
Different strokes
For different folks
And so on and so on
And scooby dooby dooby
Oh sha sha
We got to live together
There is a yellow one
That won’t accept the black one
That won’t accept the red one
That won’t accept the white one
Different strokes
For different folks
And so on and so on
And scooby dooby dooby
Oh sha sha
I am everyday people
Addendum:
In 1961, Billboard added a new category called Adult Contemporary. Prior to that, from 1958 to 1960, everything fit into either Hot 100, R & B or Country. In 1963, Billboard 200 was added and in 1964, Top Country Albums. As of 2018, Billboard now has 87 individual categories. Choosing a number #1 song in any of these categories could fill up a blog, if a blogger was so inclined. Previously, I tried to showcase Hot 100s and added Alternative Rock, Mainstream Rock, Country and, R&B. It is a lot of work and if I tried to cover all the new categories, well…they would find my dead body, slumped over the keyboard.
Under normal circumstances, I go backwards each week by five years. I love music so, I’m going to have to shift gears, soon, to cover #1 songs in some categories other than the coveted Hot 100. I may end up going backwards five years every month instead of every week. We shall see… ~Vic
Secret agent Matt Helm is called on to stop a plan to steal over one billion dollars in gold. With the help of the fumbling female [British] agent Freya, the two race against time to stop the devious plan of Count Contini and his henchmen. The Count is aided by a bevy of beauties who attempt to throw the world economy into chaos with the heist. Helm is constantly interrupted just before his amorous adventures can be set in motion by the overzealous […] Freya.
I could be here all day with this but, these classics have staying power. I LOVE these three pieces.
I was very fortunate to see The Who in concert but, Keith Moon was long gone by then. I had just reached my 12th birthday when he passed.
“Don’t cry, don’t raise your eye, it’s only teenage wasteland…”
“Let’s get together before we get much older…”
I’ve never seen The Eagles live but, from some videos, particularly the early years, they pretty much stay true to their studio recordings instead of trying to re-write history on stage. I detest recorded live music or live video…unless I am there at the concert. I also detest musicians screwing up their own songs. If you recorded a song a certain way and I fall in love with it, I expect you to sing it to me the same way on stage. That is what I paid for.
This is an excellent live video though the ending is a little different. All this is missing is the guitarron mexicano. RIP Glenn Frey.
“Hopeless romantics, here we go again…”
This is one of those songs that you really need to listen to with headphones. The analog tracks they laid down back then…music swirled from ear to ear or, speaker to speaker on a stereo system. I haven’t heard a digitally created song sound like this.
