Lost in the ’70s: Cheryl Ladd, “Think It Over”

lit70s

Charlie’s Angels chanteuse Cheryl Ladd was known for two spectacular things: her acting and her singing.

What? What’d you think I was gonna say?

Anyhoo, Ladd got her start as a singer in the early ’70s, back when she was still known as Cheryl Stoppelmoor. In fact, after her first stage-name change to Cherie Moor, she sang as one of Josie’s Pussycats (covered previously in this column) on the Josie and the Pussycats album. A few lean years followed before she was cast as Kris Munroe (Jill’s little sister, of course!) on Charlie’s Angels in 1977, replacing Farrah Fawcett, who left after the first season. The show was wildly popular, so why shouldn’t Ladd try her hand at singing again?

Capitol Records bit (the same label that released Josie and the Pussycats, actually), and the creatively titled Cheryl Ladd was unleashed upon the world in 1978. Lead single “Think It Over” (download) was one of those songs I only heard on the radio during the first hour of American Top 40, aka the Most Awesome Hour of Radio as a Child, since it was the only place I could hear many songs my local Top 40 station wouldn’t play, like “Turning Japanese” by the Vapors or “Island of Lost Souls” by Blondie. “Think It Over” may have been a bigger hit elsewhere, but in Ohio Ladd’s singing career wasn’t greeted with the same enthusiasm as, say, the 3,000th play of Journey’s “Wheel in the Sky.” It did well enough to scrape the Top 40, though, and Ladd set out to flog the single on various variety shows.

Woo! All that hair flipping’s made me lightheaded. And hey, a Brenda Russell cameo! See ya in a few years when you write “Piano in the Dark” and “Get Here,” Brenda!

Cheryl Ladd failed to produce any more hits, but Ladd continued to release albums — one more for Capitol called Dance Forever in 1979, and two Japan-only releases in the early ’80s. Capitol put out a Best of Cheryl Ladd CD in Japan in ‘93, but really, why?

“Think It Over” peaked at #34 on the Billboard Hot 100 in 1978.

Get Cheryl Ladd music at Amazon.

Reblog this post [with Zemanta]

Lost in the ’70s: T. Rex

lit70s

Though history has been kind to Marc Bolan and T. Rex, during their early-’70s heyday American radio most definitely was not. Limited to just one solitary Top 40 single in the States, the band formerly known as Tyrannosaurus Rex was nigh unstoppable in the UK — at the height of their popularity they had racked up ten top-ten hits in just over two years. The first of those hits, the bouncy “Ride a White Swan” (download), peaked at #2 in late 1970.

As “T. Rextasy” gripped England, the time was ripe to see how it would play across the pond. Securing a stateside deal on minor label Blue Thumb, “Ride a White Swan” was shopped to American radio in ‘71 and immediately tanked, only reaching the bottom quarter of the Hot 100. Not the best start for T. Rex in the U.S.

Things only got better in England, as the band’s next single, “Hot Love” (download), destroyed the charts, holding down the #1 spot for six weeks and pretty much inventing glam rock in the process. T. Rex regrouped in the States on a bigger label, Reprise, and “Hot Love” was released as their second U.S. single, but once again, only the crickets were appreciative. American radio just wasn’t having it.

(more…)

Lost in the ’70s: Metro, “Criminal World”

lit70s

Have I mentioned that the internet is a pretty cool place lately?  No?  Okay, Imma mention it now!

I mean, first there’s all the porn.  Granted, some it can be pretty disgusting, but hey, it’s there and without the same of the video rental gal giving you the stink eye when you rent it.  What were we talking about again?  Oh yeah, how the interwebs is making it possible for tons of fun stuff to emerge from the vaults.  Non-porny stuff, too.

Take, por ejemplo, the self-titled debut of Metro.  Released in 1977 to an indifferent shrug from music buyers, the art-rock, New Wave before New Wave set became a cult item, mostly due to the BBC banning its single, “Criminal World” (download) for “adult content” (there’s that porn again).  Of course, by 2009 standards, the offensive lines, “The girls are like baby-faced boys” and “She’ll show you where to shoot your gun” are positively tame.  But the album, crafted by the duo of Duncan Browne and Peter Godwin, slowly gained a cult following.  However, the definition of “cult following” means puny sales, so Metro quickly slipped out of print.

Five years after Metro dissolved after three albums, Godwin would re-emerge as a synth-pop New Wave artist in his own right, released the classic singles “Images Of Heaven” and “Baby’s In The Mountains.”  If that wasn’t enough to stir interest in his old band, the biggest motivator to check out Metro came when none other than David Bowie covered “Criminal World” on his mega-selling sell-out (and I say it with love!) Let’s Dance.  Problem was, try finding a poor-selling album five years after it was out of print.  As a result, Metro fetched a pretty penny.  It was eventually released on CD in 1994, but didn’t do much business by that point – used copies fetch around $90 on Amazon, though.

Which brings us to the awesomeness of the internet.  No, no, no, I’m not talking about downloading a torrent of a shitty vinyl rip.  Some smart person at the record label (there must be one left) that currently owns the Metro masters has released the album digitally to both iTunes and Amazon.  So, instead of shelling out nearly a c-note for a great lost art-rock work, it can be yours for a piddly li’l $9.90 (or even cheaper on Amazon).  Heck, they’ve even thrown in the super-rare single version (download) which tames some of the instrumental excesses of the original – but weren’t those excesses what art rock was about, anyway?

So yeah, yay, internet!

“Criminal World” did not chart.

Get Metro music at Amazon or on Metro

Lost in the ’70s: The Sugar Bears

Breakfast was the most important meal of the day for a child of the ’70s.  Not because of the nutritional intake it provided to get a kid going in the morning, but because of the awesome toys and prizes shoved deep into boxes of sugar-coated oats!  Each brand of cereal boasted an array of prizes – anything from plastic cars to iron-on transfers, and my favorite, actual records you could cut out from the back of the box and listen to on your Close ‘N Play phonograph.

While Honeycomb boasted records by the Archies and Bobby Sherman, Sugar Crisp (this was back when having “sugar” in the name of your product was a good thing) took marketing to a new level by creating their own pop group based on the brand, the Sugar Bears.  Featuring mascot Sugar Bear, along with new companions – the Ringo-ish drummer Shoobee Bear, the purposefully named Doobee Bear, and the tranny hooker-looking Honey Bear – the Sugar Bears fronted bubblegum pop as sickly sweet as the frosted oats within the box.

What’s surprising is how competent and downright enjoyable the Sugar Bears material was.  While not quite a superstar line-up, the actual non-bear people behind the music included a former member of the First Edition, a songwriter who wrote for artists as diverse as Sinatra and Ricky Nelson, and a female singer/songwriter just starting out in her career, who just a short ten years later would have one of the biggest hits of the ’80s.

In fact, reception to the throwaway songs on the cut-out records was so strong, Big Tree Records ended up compiling the lot along with some new material into a full-length album, Presenting The Sugar Bears.  Big Tree even worked a single to Top 40 radio, “You Are The One,” (download) which made it halfway up the Hot 100.  Take that, Dig ‘Em.  I don’t see your single charting anywhere.

It didn’t hurt that “You Are The One” was classic bubblegum radio fodder.  I love the fuzz guitar during the chorus, which is strangely out of place amidst all the strings and horn section.  That’s ’70s AM radio pop for you, I suppose.  What I never quite understood as a child was why Sugar Bear, who had such a cool, super-jazzy, low speaking voice, ended up singing like a wimpy, cut-rate Andy Kim.  I mean, when he sang, “Can’t get enough of that Sugar Crisp” in the commercials, it sounded nothing like this bland Whitey Whiterson.  Sorry, credited vocalist Mike Settle, formerly of the First Edition.  There’s a reason Kenny broke out. (more…)

Lost in the ’70s: Carpenters, “Ticket To Ride”

It wasn’t the most auspicious of beginnings for Richard and Karen Carpenter.  Despite later huge success with several Top 40 hits and platinum albums, their first album, Offering, was a huge flop.  In fact, the only single to have any chart action at all from the debut disc was a slowed-down remake of the Beatles’ “Ticket To Ride,” (download) re-imagined as a ballad, putting the focus on the sad, forlorn lyrics.  Of course, that same formula of slow songs and woe-is-me lyrics would later score the brother and sister duo many hits, but the first time out, it fell mostly on deaf ears.

In the Carpenters’ hands, “Ticket To Ride” becomes a break-up ballad, with Karen’s superb voice removing the fun, jangly elements of the original and replacing them with heartache.  When Karen sings, “Think I’m gonna be sad, I think it’s today,” you better believe she means it.  Just listen to the lower notes she hits at the end of the chorus.  When brother Richard and the backing vocals come in during the bridge, however, it all gets a little too Up With People.  But then the arrangement strips things back down to just Karen and the longing returns – when she sings “And he don’t care – don’t care where” near the end, you can hear her little heart shatter. (more…)

Lost in the ’70s: The Skids, “Masquerade”

Richard Jobson and Stuart Adamson founded Scottish punk band the Skids in 1977 – and if that second name sounds familiar, it’s probably because you know Adamson’s more famous combo, Big Country.  But years before, Adamson honed his songcraft and guitar playing on three Skids albums, even charting with a few singles in the U.K.

The Skids are probably best known for two songs:  “The Saints Are Coming,” which was remade for a charity team-up single by Green Day and U2, and “Into The Valley,” a Top Ten hit in the U.K. that featured a near-unintelligible chorus.  But my favorite Skids tune is the follow-up to “Into The Valley,” “Masquerade,” (download) a more New Wave than punk song with its marching beat and distinctive synth line in the chorus.

“Masquerade” was added to a remixed and re-released version of the band’s second album, 1979’s Days In Europa, which was originally pulled due to its controversial cover art depicting what looks like a scene from the 1936 Olympics.  Some felt it had “Aryan overtones,” so while the art was being replaced, the band took the opportunity to beef up some mixes and add “Masquerade” to the mix.  It was a savvy move, since the single hit the Top 20 in the U.K., and got the band a slot on “Top of the Pops.”

You can really hear the Big Country sound gestating in “Masquerade,” especially when you hit that guitar solo at 1:22 – the chiming, bagpipe-like sound is instantly familiar and a sure sign of things to come for Adamson.

Adamson left the Skids after their third album, The Absolute Game, founding Big Country soon after.  The Skids continued for one last album, then dissolved.  Sadly, Adamson committed suicide in 2001, reportedly due to depression compounded by alcoholism.  Co-founder Jobson went on to become a TV presenter and more recently, a film director.  The Skids live on, though, as the remaining Skids reformed on their 30th anniversary as a tribute to Adamson and played a few dates, and this month sees the re-release of The Absolute Game and the band’s final album, Strength Through Joy as a CD two-fer.

“Masuquerade” did not chart.

Get the Skids music at Amazon or on The Skids

Lost in the ’70s: Michael Nesmith, “Cruisin’”

Former Monkee Michael Nesmith closed out the ’70s in a better position than when the decade began.  After the Monkees disbanded, Nez knocked around a bit on RCA Records, scoring a sole Top 40 hit with “Joanne” in 1970, then a few lower charting country-rock singles as the years wound on, until he parted ways with the label.  It was probably the best move of his career, outside of auditioning for the Pre-fab Four.  Free of a major label contract, Nez founded Pacific Arts, a multi-media company specializing in commercials, filmwork, music, and most prescient, music video.

One of Pacific Arts’ first projects was a music video show for the kids’ network Nickelodeon called “Pop Clips,” which was one of, if not the first all-music video program.  The big bosses at Nickelodeon liked the show and concept so much, they used it as a template to create the world’s first all-video channel, MTV.  Ah, those were the days…

Nesmith began filming videos for his songs in 1977 with a clip for “Rio,” a single that became a minor hit overseas.  Two years later, he released Infinite Rider On The Big Dogma, a definite step away from the light, country-rock flavor for which he was best known.  Infinite Rider had plenty of rock, a bit of soul, and even some near-rap infused funk, as evidenced on the single, “Cruisin’.” (download) probably better known as the “Lucy And Ramona” song.  While “Cruisin’” failed to chart, it must have been somewhat of a regional hit, since I remember the local Top 40 station in Cleveland playing the hell out of it.  It didn’t hurt that the video clip Nes created for the single got plenty of exposure on HBO, Showtime, and Cinemax, in those glorious days when the channels filled time between movies with music videos. (more…)

Lost in the ’70s: Jeff Lynne, “Doin’ That Crazy Thing”

Remember when the Hustle swept through discos everywhere?  People were taking Hustle classes, the nightly news reported on the fad, there were instructional records and books.  Hey, remember when everyone did the bump to, say, “Lady Bump?”  How about in 1977, when everyone was doing the latest dance, the “Crazy Thing,” to Jeff Lynne’s “Doin’ That Crazy Thing?”

No?  Oh, sorry.

Creating a new dance craze was definitely on someone’s mind when Jeff Lynne took a short break from leading the Electric Light Orchestra to release this forgotten single.  “Doin’ That Crazy Thing” (download) was released with the mugshot picture sleeve overseas, but here in the States the 12″ version can with a sleeve complete with step-by-step instructions on how to do the “Crazy Thing,” the new moves that were destined to sweep the nation.  Except, like, they didn’t.  The copy I found was sadly saddled with a generic Jet Records sleeve, damn it.

“Doin’ That Crazy Thing” was a strange detour for Lynne, a downtempo, straight-ahead disco tune slipped out under his own name rather than ELO’s, even though the group would flirt with and nearly fully embrace disco a short two years later.  You don’t hear about the one-off solo single, it’s never been released on CD (to my knowlege) and along with its almost identical B-side, “Goin’ Down To Rio,” (download) it’s been written off in Lynne/ELO history. (more…)

Lost in the ’70s: Charo, “Stay With Me”

We all know Charo for her ubiquitous variety show and Love Boat appearances throughout the ’70s, but did you know the former María del Rosario Pilar Martínez Molina Baeza Rasten was also an accomplished flamenco guitarist? Of course you did. A young Charo learned guitar from Andres Segovia, considered an icon of modern classical guitar music. After she moved to the States and married Spanish bandleader Xavier Cugat, Charo began forging her “cuchie, cuchie” persona with countless stints on The Tonight Show, The Mike Douglas Show, even the infamous Brady Bunch Variety Hour.

Throughout her years of campy shtick on TV, Charo never stopped recording, both classical-guitar works and more dance-oriented Latin-fusion disco with the Salsoul Orchestra. In fact, she scored three hits on the Hot Dance Club Play chart in the ’70s, starting with “Dance a Little Bit Closer,” which reached #18 in 1978. Later that year “Ole Ole” climbed to #36, while the second single from her Ole Ole album, “Stay With Me” (download), didn’t get quite so far. But “Stay With Me” is an excellent salsa/disco hybrid, with “let’s spend the night together”-type lyrics that were de rigueur in the disco era, and a more restrained vocal than you’d expect from the hyperactive Spaniard. While the track didn’t do much here, it was a big hit overseas, helping Ole Ole sell more than half a million copies worldwide.

(more…)

Lost in the ’70s: “Laverne & Shirley Sing”

Boy, we’d buy anything in the ’70s, wouldn’t we? Laverne & Shirley, the most successful spin-off from Happy Days, was riding high in 1976, overtaking its parent show to capture the number-one slot in the Nielsen ratings. It was time to cash in.

Lunch boxes, Mego “action figures” (don’t call them “dolls”!), Colorforms sets — you name it, the L&S logo was slapped on it. Then someone had a bright idea: since Laverne and Shirley were often shoehorned into painful musical numbers (remember the annual Shotz Brewery Talent Shows?), why not release an album of Cindy Williams and Penny Marshall singing their favorite ’50s and ’60s hits?

Because they can’t sing, that’s why not!

Logic has rarely stopped anyone from making a cash grab, so 1976 saw the release of Laverne & Shirley Sing, a charitable title at best. While Cindy Williams has a, um, passable singing voice, I think we all know how Penny Marshall handles a tune. Thankfully, her nasally whine was kept to a bare minimum on the album’s single, a remake of the Connie Stevens hit “Sixteen Reasons,” (download) where “Laverne” simply keeps a number count.

What’s amazing is the number of professional musicians who lent their expertise to the project. Melissa Manchester is credited with backing vocals, Kenny Loggins plays some percussion, and Elvis Presley arranger Jimmie Haskill did, well, the arrangements. In fact, Haskill gets name-checked along with Michael “Lenny” McKean in the one nonmusical skit on the album, “More From Our Yearbook,” (download) where the girls recite what fellow students wrote in their high school yearbooks.

Sadly, Laverne & Shirley Sing wasn’t nearly as funny as the first few years of their sitcom. It’s an artifact of a simpler time in the record industry, when novelty records were both a traffic driver and a gateway drug for young consumers into the world of music buying. Strangely enough, Collector’s Choice brought the album to CD for the first time in 2003, and more amazingly, it’s still in print (and on iTunes!).

(more…)