Actually the years bookending '76 - that would be '75 & '77 - had the most #1 songs of the 70s . 35 to be exact while '76 had 26 #1s. It seems Silly Love Songs and Tonight's The Night had too many weeks at #1 bto keep the year in contention.
Wait, I screwed that up. '74 and '75 had 35 #1s, not '77! Although, that year still had 2 more than '76.
I liked "Helen Wheels" and "Jet" when I heard them on the radio, but I didn't go buy the single. When I heard "Band On The Run," I thought there were at least three songs I liked on the LP, so I took a chance on it. And loved it. I think it is the strongest song on an excellent album. Of the three parts, my favorite is the second section with the biting guitar work. "Never never get out of here..." JcS
...As far as singles sales going up in the mid-ish 70s, I can see that just the booming record biz of that era coil have lifted singles sales up, too, over at the docks, so to speak. I guess the population was going up in general - was the population of 8-to-20 year olds, the most likely singles buyers, going up?
...Someone should put out a #remix of this! In " honor "# of Harvey!! pua, post: 18782690, member: 62637"]I liked them, too for years before When Will I See You Again exploded. Here's one that inexplicably didn't even chart on the Hot 100 even though it has all the pre-requisite Gamble & Huff mojo. Dirty 'Ol Man - 1974. [/QUOTE]
...I do think the major labels got caught up in trying to keeping the price if 7" singles under, or just past, a dollar, and by the late Seventies, maybe this started to catch up with them, and singles became less profitable. As far as cheap soundalike cover versions went, I commented in the U. K. Number Ones thread about the 70s U. S. albums by the Dynamic Sounds myself!
Indeed, we were dealing with double-digit inflation and rising oil prices, and that included rising prices for records and tapes. But, somehow, the record industry grew, and, again, that was because of the popularity of disco. I can't overstate that enough.
After July 1, 1974, the price of albums and singles rose (in the case of the latter, from 98 cents to $1.29). Many 45 catalogue series - some lasting decades, such as Columbia's and Epic's - went out the window overnight (and, to the end of 1975, had a "sunburst" symbol on their 45 labels). Atlantic, Atco and Mercury leapfrogged a few hundreds in their respective series. A few Number Ones we'll get to when we get to them had more than one catalogue number because of these changes. And it wasn't simply the issues of inflation and rising oil prices, though it was related to the latter that there was also a shortage of vinyl on and off for pressing plants during the 1973-74 period. This led to some labels disposing of "budget," children's or Latino divisions and in some cases selling them off to other companies. Columbia's Harmony series of budget LP's came to an end. RCA unloaded its Camden subsidiary onto Pickwick. UA Latino was no more, taken up by WS Latino. Columbia's Book and Record Library / Children's Record Library was (were?) spun off into an independent entity, Children's Records of America. Caytronics began handling old Latino releases on Columbia, and Arcano did likewise for RCA artists in that vein. Just as a few examples.
I have Columbia 45 pressings with that "sunburst" symbol on them as far back as from the spring of '75. What exactly was that for?
This appears to have been tied into their price hikes and the change in catalogue series - and also to distinguish from earlier releases from prior catalogue series that, at the time of such changes, were still on the charts. The "sunburst" first appeared in July 1974 with Columbia 3-10001, Epic 8-20001, and the various ZS7 45's prefix changed to ZS8.
Yes, 1974 was when I first noticed that symbol. It was on the Three Degrees' "When Will I See You Again" 45.
The single edit of "Band On The Run" Like Joey Self above, I liked at least three songs on the BAND ON THE RUN album before I bought it, and once I did, it became a favorite. Even the non-single songs were good. Today, after having worked at a classic rock radio station that plays this song at least once every day, I came to realize that after umpteen-zillion plays, it STILL SOUNDS GREAT!
...I suppose the disco boom in the mid-into-late Seventies, helped the record biz boom, but was it just that? Wings and Frampton and Foghat and Denver and so forth - I want to say " corporate rock " but that's rather pejorative - were hardly what people call " disco ", really. Was't it a generally booming record business at that time - with disco's boom a major, but not the only, factor? Then, of course, there was a major record-business BUST in the late Seventies - which sorta continued until, first, MTV - to a certain extent, even Thrillermania, I suppose, although, Reagan or no, I don't know how far that sort of " a rising tide lifts... " theorizing can actually be taken! - gave the " biz " a lift up until Mr. CD came along! That was an interesting theory, that Casey K's AT4o, all by itself, may have helped singles sales greatly. You think so? We could discuss this more --- Incidentally, was Casey's show made available to AM stations that wanted it or was it offered to FMs only? t, post: 18785404, member: 91"]Indeed, we were dealing with double-digit inflation and rising oil prices, and that included rising prices for records and tapes. But, somehow, the record industry grew, and, again, that was because of the popularity of disco. I can't overstate that enough.[/QUOTE]
That bust started somewhere in 1979. The economy had finally caught up to the record industry, and disco's popularity had started to wane. At this point, only a few artists were maintaining the excitement, at least for pop audiences. Note that Michael Jackson's "Off The Wall", and The Knack's first album were released that summer. Music was still good at that point, and Donna Summer was still riding high. It was also the year rap music first hit the charts. Casey Kasem's show was syndicated to anyone who wanted it. Both AM and FM stations aired it. But, let's all get back to 1974.
A 5:09 playing time would normally hurt a single's chances of breaking on top 40 radio but "Band On The Run" was so catchy and well constructed that those five minutes felt more like three.
I know and like 'Band On The Run' But I'm so unfamiliar with so many of the #1 hits this year as compared to previous years. I just took a look at the #1 hits of 1974 and I'm going to have to listen to most of them because I have no idea how they sound with the exception of a few. It's strange because so far in the 70's I've been very familiar with the #1 hits. I think it might be the oversaturation though. The amount of 1-weekers has my head spinning.
...In 1979 there were some fairly major mainstream rock flops, such as Emerson, Lake, and Palmer album titled " Love Beach " or something like that. The Kiss solo albums? Or was that S little earlier? Kiss's Dynasty? Disco did indeed, for whatever reason, fail to continue as big -Donna S. aside- after Saturday Night Fever fever died down. The then-record biz's 100 % returnability policies came back up the biz's throat at that time. The Knack did spearhead a mini-boom in " skinny-tie new wave "-imaged stuff. ant, post: 18786065, member: 91"]That bust started somewhere in 1979. The economy had finally caught up to the record industry, and disco's popularity had started to wane. At this point, only a few artists were maintaining the excitement, at least for pop audiences. Note that Michael Jackson's "Off The Wall", and The Knack's first album were released that summer. Music was still good at that point, and Donna Summer was still riding high. It was also the year rap music first hit the charts. Casey Kasem's show was syndicated to anyone who wanted it. Both AM and FM stations aired it. But, let's all get back to 1974.[/QUOTE]
The end of the early-'70s recession circa '75 or so - and stabilizing oil prices - certainly helped to boost record sales. They promptly came crashing back down again with the recession that started late '79 along with rising oil prices. MTV thankfully rolled along to rescue the industry from its funk by '83 or so, along with Thriller and then Born In The USA.
I really loved that single of Band On The Run - the b-side Nineteen Hundred and Eighty-Five was great too, and a perfect choice since it had the little snip of BOTR tacked on the very end.
Next up is "Billy, Don't Be A Hero" by Bo Donaldson and the Heywoods, #1 from June 9 - June 22, 1974.
Around this time, a song was #1 in several countries around the world, but only got to #37 here. A shame, because it's one of the catchiest pop ditties of the decade.
I never understood the hate for this song. People who hate it will turn around and love "The Night Chicago Died". I think they are two of a kind. It's bubblegum. Sure. But, it's fun. I enjoy "Billy..." to this day, and even bought the album it's on. In fact, the Bo Donaldson & The Heywoods S/T album is pretty good! I especially like the next single that we will be discussing very soon. Disclosure: I hated this song when it was originally out. I felt it was a bit too much for little kids. BTW, "Billy..." was not the first single released from this album.
I don't hate the song, I just felt is was one of their worst efforts. I LIKE it... I just LOVE some of their other material. The most overlooked song in their catalog is the Sedaka/Greenfield tune "Our Last Song Together", which bowed at #95... it's incredible, with that bombastic, Spector-like chorus, and sweet melody.
