The Who: I'm Free

It’s Thirtysomething Thursday where we look at songs that charted between 30 and 39 on Billboard’s Hot 100. This week’s selection comes from one of my favorite bands: The Who. As part of rock opera “Tommy,” “I’m Free” was the second of three singles from the album; the others were “Pinball Wizard” and “See Me, Feel Me.” The single charted at 37.

According to Pete Townshend, the rhythm of the song was inspired by Charlie Watts’ drumming on the Rolling Stones’ “Street Fighting Man.” This unusual rhythm was no small feat to pull off, as Keith Moon couldn’t play it. John Entwistle relayed that Keith had another rhythm pattern in his head and couldn’t hear what Pete wanted.

This required Townshend and Entwistle to play the snare, hi-hat cymbals, and the tambourine parts. Moon was later brought in to provide the fills. Apparently, this was a bit difficult to pull off live, as Townshend and Entwistle were playing guitar and bass. To compensate, Pete apparently gave exaggerated visual cues for the primary rhythm of the song so Moon could play it.

Creedence Clearwater Revival: Commotion

It’s Thirty Something Thursday and we head back to 1969 with one of the lesser known hits from Creedence Clearwater Revival: “Commotion.” Charting at #30, “Commotion” was one of several social commentaries that appeared on vinyl in the late sixties and early seventies, but has been largely forgotten. The song’s chart performance is mostly due to the fact it was competing with the corresponding A-side of the single: “Green River,” which charted at #2.

From their third LP, “Green River,” “Commotion” features John Fogerty on harmonica in addition to his duties as lead guitarist and lead vocalist. This is one you never hear on the oldies or AOR stations today – too bad.

The Byrds: My Back Pages

For our Thirty Something Thursday, we reach back into the vaults for a cover of a Bob Dylan song recorded by The Byrds in December 1966. It was last Top 40 single for The Byrds and it peaked at #30 during the spring of 1967. While The Byrds had previously recorded seven Dylan songs, they hadn’t considered recording “My Back Pages” until the suggestion came from their former producer/manager, Jim Dickson, who had been recently fired by the band.

According to Roger McGuinn, who sang lead and played the lead electric 12-string guitar, he was stopped at a traffic light in LA when Dickson pulled up alongside him and motioned for McGuinn to roll down his window. He did and Dickson yelled, “Hey, you ought to record Dylan’s ‘My Back Pages.’” McGuinn thanked him, the light changed, and he drove home to learn the song.

Not all of The Byrds, now a quartet since Gene Clark had left, were enthused by the idea of doing another cover – this was a perennial complaint of David Crosby who felt that stylistically they were regressing. It is interesting to note that Crosby’s longtime singing partner, Graham Nash, would leave The Hollies because of their band’s decision to record the album, “Hollies Sing Dylan” – an album that also featured “My Back Pages.”

The song’s most famous line, “I was so much older then, I’m younger than that now” was the inspiration for the band’s fourth LP: “Younger than Yesterday.”

Jimmy Buffett: Come Monday

I can’t believe that after writing this blog for over six years that I’ve never featured a tune by Jimmy Buffett. Well, let’s rectify that situation with our Thirty Something Thursday selection. “Come Monday” written about a leg of his 1973 summer tour which took him from Los Angeles to San Francisco where he would play his Labor Day show. It continues to be one of eight songs that Buffett plays at every appearance.

“Come Monday” was written about and for Buffett’s then girlfriend Janie who would later become his wife in 1977. While it wasn’t Buffett’s first single release, it was the first to make it into the Top 40. While this second single from his LP “Living and Dying in 3/4 Time” only made it to #30, it was bigger hit on adult contemporary radio where it peaked at #3 in 1974. It also got some country play, but the record stalled at #58 on the C&W charts.

Santana: Stormy

Having been a fan of the music of Dennis Yost and the Classics IV, I’ve also appreciated the covers of their bigger hit releases. This includes today’s Thirty Something Thursday selection of “Stormy” by Santana. Although the original peaked at #5 in 1968, the remake ten years later only made it to 32 on the Hot 100 chart.

From their 1978 “Inner Secrets” album, “Stormy” was the album’s second of three singles. The other two singles included a remake of the Buddy Holly album track “Well All Right” and “One Chain (Don't Make No Prison),” which was penned by the album’s producers, Dennis Lambert and Brian Potter. “Well Alright” basically used the same arrangement employed by Steve Winwood and Blind Faith in 1969.

Like any song by Santana, “Stormy” features the unique overdrive guitar of band leader Carlos Santana. Greg Walker provides the lead vocals. This is an exceptionally well done cover of “Stormy” that perhaps should have charted much higher than 32. “Stormy” was penned by Classics IV guitarist J.R. Cobb and the band's producer/manager Buddy Buie. For the original, see this post from 2014.

Bad Company: Good Lovin' Gone Bad

I think it’s been a while since I’ve featured any music from Bad Company. This afternoon, I heard one of their tunes on the radio and I decided I’d feature one of their cuts tonight. Since it’s Thirty Something Thursday, I needed to find a cut that charted between 30 and 39. Luckily, Bad Company had two songs that charted in that range: “Good Lovin’ Gone Bad” that peaked at #36 in 1975 and 1991’s “How About That,” which peaked at #38.

I chose the former, as it is the better known of the two. Written by former Mott the Hoople guitarist Mick Ralphs, “Good Lovin’ Gone Bad” was the first single release from the band’s “Straight Shooter” LP. Of the album’s three singles, it was the second most popular. “Shooting Star,” the second single, failed to chart and the only major hit from the LP was its third release. “Feel Like Making Love” peaked at #10. Whether it be Free, Bad Company, or The Firm; Paul Rodgers vocals are always impeccable.

Parts of Speech: Ooh Ooh Song

Day five of our Second Week Special on parts of speech brings us to an interjection. Wow! It could be an exclamation too. Today’s word of emotion is Ooh! From the album “Tropico,” Pat Benatar sings the “Ooh Ooh Song” from 1985.

It wasn’t one of Ms. Benatar’s biggest hits, but it made it to the Top 40 charting at #36. This allows us to use the “Ooh Ooh Song” as a Thirty Something Thursday selection. The same tune appeared on the single’s flip side; however, it was in Spanish and was titled as “La Canción Ooh Ooh.”

The harmonica (as well as the guitar) was played by Benatar’s husband, Neil Giraldo. Giraldo also co-produced the single and album with Peter Coleman. Here’s one you probably hadn’t heard since the ‘80s. Notice the songwriting credits are listed as N. Giraldo and P. Giraldo with Pat using her second married name rather than the first for royalty purposes.

Spanish Version

Vee Jay Records: Thank You Girl

Happy Thanksgiving and today’s selection is the reason I picked Vee-Jay Records as our fourth week label feature. “Thank You Girl,” which was originally titled “Thank You Little Girl,” was an effort for The Beatles to thank their female fans. They hoped that each of these young ladies would consider the song as being a personal message of gratitude. The recording featured John Lennon on double tracked lead vocals and Paul McCartney on the high harmony. Additionally, it was the first recording by group to feature double tracked vocals. The song took 13 takes to complete and features harmonica overdubs by John Lennon.

The Beatles’ “Thank You Girl” appeared as a flip side on not one, but two Vee-Jay single releases by The Beatles. When Capitol Records passed on The Beatles in 1963, the masters of their first album, “Please Please Me” in the UK, were leased to Chicago based Vee-Jay Records. Prior to Beatlemania hitting America by storm in 1964, Vee-Jay released two singles: “Please Please Me”/”Ask Me Why” and “From Me to You”/”Thank You Girl.” The latter was released in the US on May 6, 1963. Since The Beatles were yet an unknown commodity in North America, “From Me to You” only charted at #116.

Once the floodgates were opened with the #1 release of “I Want to Hold Your Hand” on Capitol,” Vee-Jay began ramping up their Beatles product and beat Capitol to the punch with the first American Beatles’ LP, “Introducing The Beatles,” on January 10, 1964. Capitol followed with “Meet the Beatles!” ten days later.

Although the album titles and covers were different, “Introducing The Beatles” and “Please Please Me” had much in common including track order. There was one major difference; the UK version had more songs. Like all of the UK releases through “Revolver,” “Please Please Me” was no exception, as it contained two additional cuts that were eliminated from the American release. “Please Please Me” and “Ask Me Why,” which had been previously issued in early 1963 as the first Beatles’ Vee-Jay single, were not on the initial release of the album.

As Vee-Jay was trying to quickly capitalize on the new found fame of The Beatles before their license expired, “Introducing The Beatles” was repacked several times. The first reissue replaced “Love Me Do” and “P.S. I Love You” with “Ask Me Why” and “Please Please Me.” This was due to a restraining order from Beechwood Music, Capitol’s publishing arm, who had not licensed these two songs yet in the US.

During 1964, Vee-Jay issued other albums featuring the material from “Introducing The Beatles.” These included “Jolly What! England's Greatest Recording Stars: The Beatles and Frank Ifield on Stage” (which was later repacked as “The Beatles and Frank Ifield on Stage”); “Songs, Pictures and Stories of the Fabulous Beatles”; “The Beatles vs the Four Seasons”; and an EP, “Souvenir of Their Visit to America.” The two versions of the Beatles/Frank Ifield album was misleading as all of the tracks were studio recordings – four by The Beatles and eight by Ifield.

Additionally, Vee-Jay flooded the market in 1964 with additional Beatles’ singles. These included the following:

• “Please Please Me”/“From Me to You,”
• “Ask Me Why”/“Anna” (promo only),
• “Twist and Shout”/“There’s A Place” (on Vee-Jay subsidiary Tollie Records),
• “Do You Want to Know a Secret”/“Thank You Girl,”
• “Love Me Do”/“P.S. I Love You” (on Vee-Jay subsidiary Tollie Records),

The second release of our feature tune was as the “B” side to “Do You Want to Know a Secret.” This single was released on March 23, 1964 and did quite well as a double sided hit. “Do You Want to Know a Secret” peaked at #2, while “Thank You Girl” made it to #35.

The record was certified gold for sales in excess of a million copies. Because Vee-Jay was overwhelmed in pressing Beatles’ records, numerous label variations exist for all of the releases. The one shown above is a Tollie yellow blank used for this particular issue. Black blanks, also used for Tollie releases, were used as well.

To make one last stab at sales before Vee-Jay’s license expired in October 1964, the label issued four Vee-Jay/Tollie singles on their subsidiary Oldies 45. “Do You Want to Know a Secret” and “Thank You Girl” were issued with the lowest catalog number of the four simultaneous releases.

True Stereo Version

While the Vee-Jay issues were either mono or rechanneled stereo, a true stereo version of “Thank You Girl” was issued by Capitol on “The Beatles’ Second Album,” which was released on April 10, 1964. In addition to being a true stereo mix, this version of “Thank You Girl” contains additional harmonica parts during the song’s bridge and at the end.

Capitol added extra reverb to the vocals its North American album release of “Thank You Girl.” To me the reverb is a bit over-the-top considering that the wet signal was in a different channel than the dry signal, and that sounds a bit odd at times. Since this was a different mix, Capitol may have sidestepped Vee-Jay’s rights to the song.

Following the expiration of Vee-Jay’s license, eleven of the songs from “Introducing The Beatles” were issued by Capitol on “The Early Beatles” in March 1965. One year following Vee-Jay’s last minute issue of four singles on their Oldies 45 label, Capitol issued six singles by The Beatles in their Starline Series of oldies singles.

While in the 70s and 80s, all of The Beatles’ singles were issued with the Starline imprint, these six releases were the only Starline Series Beatles’ records in the 1960s. Similar to the standard yellow/orange Capitol swirl label, the original Starline Series releases were in a two-tone green swirl.

Of the 12 songs released on the Starline label, 10 of these had appeared previously as Vee-Jay recordings. While the first four had the same configuration as the Oldies 45 singles, two additional singles were issued: “Roll over Beethoven”/“Misery” and “Kansas City”/“Boys.” If you notice on the Vee-Jay releases, the songwriting is credited to McCartney-Lennon rather than the more common configuration of Lennon-McCartney that was used thereafter.

The song fulfills several duties today.  Because it is an expression of thanks, we make it our Thanksgiving holiday song.  It also charted in the 30s, so it is our Thirty Something Thursday release.  Finally, since it was released multiple times, it fits the bill as our Thursday's Threepeats and Repeats selection. Hope you enjoy both versions. 

Elektra Records: My Best Friend's Girl

Since I missed last night’s post, I promise that I’ll make it up with an extra Elektra release on Sunday. For tonight, we travel back to October 1978 when the second single by The Cars, “My Best Friend’s Girl,” was released by Elektra.

Elektra and Arista had been vying for the attention of The Cars and Elektra was the winner – and the band reaped the benefits, Arista was somewhat New Wave heavy at the time. The Cars would become Elektra’s primary New Wave act.

I was living in the Huntington (WV)/Ashland (KY)/Ironton (OH) market at the time, and while their first single, “Just What I Needed,” was shunned by the stations in the market, “My Best Friend’s Girl” got some airplay. I remember playing it on WAMX when I joined their staff later that year. Although I never heard their first single in the market, I got to know the band from visiting Columbus, Ohio that previous summer where “Just What I Needed” was a staple of the town’s AOR stations.

Unlike the first single that featured the vocals by Benjamin Orr, “My Best Friends Girl” features the voice that became part of the iconic sound of the band – Ric Ocasek. Interestingly enough, the band recorded the song in the key of “E,” but the master tape was sped up and this increased the pitch to the key of “F.”

“My Best Friend’s Girl” only charted at #35 – so it also fits our Thirty Something Thursday category as well.

Slade: My Oh My

Known for their raucous songs, Slade’s performance of a ballad was an unlikely proposition, but “My Oh My” was the band’s first bona fide American hit. Although the power ballad charted at #2 in the UK, it only scratched the Top 40 surface in the US. “My Oh My” peaked in the US at #37 and I remember playing this tune on my morning show at WOAY-FM in Oak Hill, WV during 1984.

The tune was composed by lead singer Noddy Holder and multi-instrumentalist Jim Lea. Lea’s piano provides the only instrumentation at the beginning of the cut. Although the single was more successful in the UK, the video recorded to support the tune was only originally released in the US.

Swing Version

By 1985, the band was getting requests from night club acts that wanted to record the song but in a different style. It is rumored that Frank Sinatra suggested that the tune be done swing style. While the band wasn’t keen on recording it themselves, they enlisted a friend Monty Babson and his band to record the demo that could be sent to these artists.

After hearing Babson’s treatment, Noddy Holder decided to record the tune with the backing of Babson’s jazz band. The song was released as a “B” side to the 12-inch single of “Keep Your Hands off my Power Supply.”

INXS: The One Thing

It was the summer of 1982 and a band from Australia was primed for their first American hit. INXS’ third album “Shabooh Shoobah” was ready to be released by ATCO Records and its initial single, “The One Thing,” was already climbing the charts. Although the single only peaked at 30, it became an Album Oriented Rock classic and charted at #2. Ah the 80s, I remember playing this cut oh so well.

“The One Thing” was the perfect record to gain the attention of the American public. It was a catchy tune, had a moderately successful run on Top 40 radio, and MTV was playing this very strange video by this band with a unique spelling of “In Excess.” While it served as an introduction to the band, they would not repeat their Top 40 success in the US until 1985’s “What You Need.” More hits would follow in the late 80s and early 90s.

Composed by keyboardist Andrew Farriss and lead singer Michael Hutchence, “The One Thing” set the stage for INXS’ frontal attack on American audiences.

Chrysalis Records: Only When You Leave

Spandau Ballet, another Chrysalis act that fit the New Romantic musical genre, had a moderate hit in 1984 with “Only When You Leave.” While the band would never see the success that drove them to the #3 slot in the US with “True,” Spandau Ballet continued to put out excellent albums and singles.

Although the band had nine Top 10 hits in the UK, that success wasn’t mirrored in the US and only three singles charted in the Top 40: “True,” “Gold” at #29, and “Only When You Leave” at #34. As good as their recordings were, they never a received gold or platinum certification in the US.

“Only When You Leave” features the talented vocals and keyboards of Tony Hadley, the guitars of Gary Kemp, the bass of his brother Martin Kemp, and the drums of John Keeble. The best part of this song, in my estimation, is the saxophone work of Steve Norman. Norman, who also plays congas on the track, started out as a guitarist for the band. His saxophone work in Spandau Ballet is a testimony that he made the right decision in adding the instrument to his sound arsenal.

Mama Cass Elliot: Make Your Own Kind of Music

It’s Thirty Something Thursday and we drift back to 1969 with a selection by Mama Cass Elliot. Following her semi successful release of “It’s Getting Better,” producer Steve Barri suggested that she record another tune by husband and wife team Barry Mann and Cynthia Weil to keep Cass’ chart momentum going.

That momentum on the pop charts, however, was not as great as Dunhill Records hoped. “It’s Getting Better,” her second single from the album “Bubble Gum, Lemonade & . . . Something for Mama,” only peaked at #30.

“Make Your Own Kind of Music” was released initially as a single, but as the record began to climb the charts, Dunhill Records decided to add the track to her current album and rebranded the album after the single and redesigned the cover. Although the song stalled at #36 on the mainstream charts (#30 for Cashbox), it climbed to #6 on the adult contemporary chart.

If you were a fan of the show “Dexter,” you’ll recognize this tune as it was featured prominently during the show’s eighth season.

The Guess Who: Star Baby

It’s Thirty Something Thursday as we cruise the tail end of the Top 40 charts with a song that really was as close to the end as possible. The Guess Who’s 1974 release of “Star Baby” only made it #39. I would have bet money that this classic mid 70s rocker charted higher than that, as I remember hearing it everywhere in 1974. Although it fared better on Cashbox’s chart placing at #30, that position was not stellar, baby.

Even though “Star Baby” had a lackluster peak position, it stayed on Billboard’s charts longer than any other song by The Guess Who. “Star Baby” remained in the Hot 100 for a total of 19 weeks – which may explain why I heard it everywhere in 1974. In that regard, it outperformed The Guess Who’s biggest US Hit – “American Woman” and its flipside “No Sugar Tonight” were the band’s only US #1 records. “American Woman’s” longevity on the Hot 100, however, only lasted 15 weeks.

“Star Baby” appeared on the album “Road Food” and was the first single release from the LP. Its follow-up, “Clap for the Wolfman,” did better overall with a peak position of #6. Composed by Burton Cummings, “Star Baby” features some very fast slide guitar work from Kurt Winter.

Both Winter and the band’s other guitarist Donnie McDougall left the band while “Road Food” was climbing the charts in 1974. They were replaced by Domenic Troiano who came from the James Gang and who had the opportunity to replicate Winter’s slide work on tour.

Graham Nash: Chicago

For this week’s “Thirty Something Thursday” feature, I was looking for a song that charted on Billboard’s Hot 100 from 30 to 39 and stumbled onto Graham Nash’s single from 1971. Interestingly enough, last week as I was traveling back from vacation I was singing this tune. Having not heard the song for years, I don’t know inspired me to remember it, but I’m glad I did.

Nonetheless, this single from Nash’s “Songs for Beginners” album met the criteria as it charted at #35. “Chicago” has all sorts of references to the tumultuous times in the Windy City during the late sixties. It references the 1968 Democratic National Convention and the riot incited by the Chicago Eight and their subsequent arrest and trial.

One of the defendants, Bobby Seale, was bound and gagged in the courtroom during the trial because of his frequent outbursts. His experience inspired the opening line, “So your brother’s bound and gagged and they chained him to a chair.” Nash wanted to play a benefit in behalf of the Chicago 8’s defense fund and in the lyrics, he pleads with his Crosby, Stills, Nash, and Young bandmates to “please come to Chicago just to sing.”

Although CSN regularly perform the tune in concert, Nash is the only member of CSNY to appear on the studio recording of “Chicago.” Besides providing vocals, he plays guitar, organ, piano, and tambourine. Rita Coolidge, Venetta Fields, Clydie King, and Dorothy Morrison sang the backup lines, “We can change the world.”

The Who: The Relay

A few years ago when I began this blog, a friend of mine with whom I attended all 12 grades of public school asked me a very personal question, “Who is your favorite band of all time?” To which I replied, “You got that right; The Who is probably my overall favorite band of all time.” Today’s Thirty Something Thursday selection comes from the tail end of 1972: The Who’s “The Relay.”

I remember perusing the singles at Gimbles in the Eastland Shopping Center and spotting “The Relay” by The Who. Like its predecessor “Join Together,” “The Relay” and its unusual flipside “Waspman” were single only releases. Realizing that if I didn’t buy this single, I might be missing out on some Who songs that would be impossible to find once the singles went out of print. I laid down my 89¢ and took these two new songs home.

“The Relay” features three guitars by Pete Townshend. The first one you hear is an electric guitar in the left channel that is being run through a sample and hold voltage control filter of an ARP 2600 synthesizer. This processed guitar gives an authentic feel of a relay switch and, in my opinion, makes the song. In the right channel, Townshend plays acoustic rhythm guitar and an electric that is used for accompaniment and lead.

Piano is also begins in the right channel but pans to the left. As typical, the drums, bass, and lead vocals are in the center. Additionally, the backup vocals are double tracked in both channels. The Who and Glyn Johns did an excellent job in producing this record.

“The Relay” was titled as such in the USA, but not so in the UK where the song was simply “Relay.”

At the time I purchased “The Relay,” I assumed that it was the first Track/Decca release for The Who; however, later runs of “Join Together” had also been issued on Track/Decca as well. My version of that single was from the first run of pressings on the Decca label.

Although previous Track releases by other artists had been issued by Atlantic (The Crazy World of Arthur Brown and Thunderclap Newman), these would be the only two singles issued on Track/Decca. Solo albums by Pete Townshend (“Who Came First”) and John Entwistle (“Whistle Rhymes”) were also released on the Track/Decca label and were that label configuration’s only two 12-inch releases.

By the end of 1972, the Music Corporation of America merged all of its labels into MCA Records. Further releases on Track by The Who (corporately and independently) were issued on Track/MCA. While it only made it to #39, it was a number one record in my heart.

Amy Records: It's Alright

Adam Faith had two number one hits, eight additional Top 5 hits, one further Top 10 hit, and five other Top 15 hits. In total, Faith had a total of 22 Top 40 records; however, these figures are not for the United States, but rather Faith’s native UK.

In America, he only had two records to chart – both in 1965. “It’s Alright” peaked at #31 and its follow-up, “Talk about Love,” placed dismally at #97. Both records were issued on Amy Records and neither song, which were penned by Chris Andrews, charted in the UK.

Although a teen idol in his home country, he failed to be able to make this transition across the Atlantic Ocean. Faith was backed by The Roulettes on “It’s Alright” and it’s similarity to recordings featuring John Lennon and The Beatles and The Dave Clark Five may have helped get him his only American Top 40 hit. Since it charted in the 30s, I have selected it as our Thirty Something Thursday disc from Amy Records.

The Doobie Brothers: Another Park, Another Sunday

Back in 1974, The Doobie Brothers released their fourth album, “What Were Once Vices are Now Habits.” The debut single from the album, “Another Park, Another Sunday,” is one of my favorite songs by The Doobies. Because it only peaked at #32, “Another Park, Another Sunday” fits our Thirty Something Thursday feature.

One of my attractions to this Tom Johnston composition about the loss of a girlfriend was the sound of the guitars. At the time, I wasn’t sure how they achieved this sound. This was before the popularity of phase shifters and chorus effects and it never dawned on me that the guitars were run through a Leslie rotating speaker.

At the beginning, the Leslie is set on the slow speed, but later in the tune, it is played at the fast setting. In the past few months, I got a chance to appreciate Leslie speakers as a friend of mine, Steve Hoffman, inherited one and I had the opportunity to watch him rebuild it. He was a braver man that I would have been for tackling this project which also had him work on the guts of a Hammond organ as well.

While you can get similar effects with phase shifters and chorus pedals, nothing quite matches the sound of an old school Leslie. In addition to the Leslie, listen for the occasional guitar harmonics that adds another flavor to the song. This is no doubt one of the best windows down, cruising songs.

Reprise Records: Old Man

Day five of our tribute to Reprise Records provides a Thirty Something Thursday selection from Neil Young. Released in 1972 from his #1 album “Harvest,” “Old Man” was a comparison to an older man and was loosely based on Louis Avila, the caretaker of Young’s Broken Arrow Ranch. While the song only peaked at #31, it was an instant classic due to its popularity on album radio.

While Young plays the acoustic guitar and sings lead, “Old Man” features back-up vocals by James Taylor and Linda Ronstadt. Additionally, Taylor plays a six-string banjo (or guitar banjo) on the cut. The six string banjo is tuned like a guitar (E-A-D-G-B-E), which makes the transition to a banjo like instrument easier for guitarists. A 5-string banjo is tuned G-D-G-B-D, while a tenor banjo is typically tuned as C-G-D-A. Other musicians include Ben Keith on pedal steel, Kenny Buttery on drums, Tim Drummond on bass, and James McMahon on piano.

Billy Joel: The Entertainer

As I was contemplating the blog last night, I thought that it was time to change up my Thursday feature to something new. Today, I introduce to you a brand new spotlight – “Thirty Something Thursday.” Every song with this new feature will have only topped the Hot 100 charts between the 30th and 39th positions. I figure I can cover some new ground with this new showcase.

Today’s selection was the only single release from Billy Joel’s 1974 “Streetlife Serenade” album. While this LP is generally not considered one of Joel’s best, I really liked it and played it to death. “The Entertainer” was Joel’s cynical and autobiographical look at the music business.

Some believe that Joel took a jab at his record company’s decision to edit his previous hit “Piano Man.” He sings, “It was a beautiful song, but it ran too long. If you're gonna have a hit, you gotta make it fit. So they cut it down to 3:05.” Although “Piano Man” was edited for the single release, it clocked in at 4:30 with the edit. “The Entertainer,” ironically, is exactly 3:05.

Charting at #34, “The Entertainer” is chock full of great features. It has a driving acoustic guitar, great lyrical content, and a few instrumental surprises. During the intro, Joel provides harmonica that is strategically mixed so that it adds texture.

Joel also plays some interesting runs on a Moog synthesizer – which is double tracked later in the song. Critical to the arrangement is Tom Whitehouse’s contributions on banjo and pedal steel guitar. Good stuff from “The Entertainer”: Billy Joel.