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Song you wondered how they they ever got played on Top 40 radio

She and the Captain were on the standards station in Charlotte, one with very little AC, and yet they managed to play "Love Will Keep Us Together".

That is not surprising at all. "Very little AC" would probably start adding AC titles from the beginning point of that format and then gradually expand ... and "Love Will Keep Us Together" was one of the early AC hits.
 
What I know of Chuck Berry:

1) "My Ding-a-Ling", which I hated.

So you're starting with his last hit, a fluke recorded at age 56.

The scholars of 2092 won't do that.
Well, there's more, since he was from St. Louis, and died on his farm which was just a few miles away from the town where I went to high school. And I do have a DVD of The T.A.M.I. Show that I ought to rewatch. I'll leave it at that. Anyway, I agree with you; I don't think Berry will be the stand-in. He might actually become more of a transitional figure.

What's missing from that, and what argues for Chuck, is his being the first of the black rock-era artists to break through to a mass white audience, his having composed his own songs, and his huge influence on the artists to come for the next decade or more (including the Beatles and the Stones). I think he's absolutely a central, key figure. The question is, are there others, any how many?

As Beau Weaver once put it on KHJ, "That's (artist), celebrating the great American pastime---ripping off Chuck Berry guitar riffs."


I think several of the major rock artists will make it through to the consciousness of the generations that follow, especially those artists who represent specific cultural phenomena.

I'm inclined to agree, though Klosterman makes an excellent point---history tends to be reductive, not expansive---looking for one easy story to tell rather than three.

This is the piece he wrote for the New York Times in which he lays out his theory. I've used a gift article from my subscription to make it free for everyone here to read:

 
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That is not surprising at all. "Very little AC" would probably start adding AC titles from the beginning point of that format and then gradually expand ... and "Love Will Keep Us Together" was one of the early AC hits.
Actually, this particular standards station never evolved. There may have been a few more AC hits by the end, but for 10 years it was far more conservative than almost anything on commercial radio.
 
Not sure if this would count but in 1967 Diana Ross & Supremes released an album “The Supremes Sing Rodgers & Hart”

Glad you brought that up, because there's kind of an intersection---where "new" artists started recording these standards far enough back that I'm not sure it counts as nostalgia, but maybe as attempts to cross over to a then-still-viable "adult" radio audience (MOR).

Sam Cooke:

Sam Cooke's first seven albums--between 1958 and 1961---were all standards albums, some with more contemporary arrangements, some not.

His 1962 album "Twistin' The Night Away" was the first true break from that, but he went back with his very next album (1963's "Mr. Soul"---which had "I Wish You Love", "All The Way", "Willow Weep For Me", "Cry Me A River" and "For Sentimental Reasons", among others).

The last two studio albums while he was alive were more contemporary, but he'd still work in something like "Tennessee Waltz."

And the last album released during his lifetime was "Sam Cooke Live at the Copa", which apart from "Twistin' The Night Away", "Blowin' In The Wind" and "Frankie and Johnny", was all standards.

Bobby Darin:

Bobby swerved between the lines so often it was like watching a driver ed film about DUIs.

Marvin Gaye:

Marvin's first, third and fourth albums (1961-64) were standards. And just when it appeared he'd broken out of that mold with the fifth, "How Sweet It Is (To Be Loved By You)", album six was a tribute to Nat "King" Cole, who had died a few months before.

Aretha Franklin:

Aretha's first nine albums (1961-67) for Columbia were all attempts to make her the new Ella Fitzgerald. There were flashes of soul, but her transformation didn't happen until she moved to Atlantic.

The Supremes:

The Rodgers & Hart album wasn't the first for them---a year and a half earlier, they did a "Live at the Copa" album that was heavy on the standards and mixed in their biggest hits to date plus a Sam Cooke Medley.

The Four Tops:

Their fourth album, "On Broadway" (1967) was a collection of Broadway showtunes.

The Temptations:

Their sixth album "In A Mellow Mood" (1967) was a collection of standards.

Stevie Wonder:

Stevie's third album, "With A Song in My Heart" (1963) is a collection of standards. Stevie was 13 years old at the time.


If you're noticing a lot of Motown there, that's because Berry Gordy desperately wanted white America to accept his artists, and for a solid stretch, he thought having them sing standards in tuxes in nightclubs was the ticket.

Gordy, for the founder of a legendary label, had horrific taste in music. The first time he heard Marvin Gaye's "What's Goin' On", he called it "the worst piece of shit I've ever heard" and refused to release it. "Tears of a Clown" sat on a Miracles album for three years because he couldn't hear it as a single.

Stevie Wonder's incredible streak of albums ("Music of My Mind", "Talking Book", "Innervisions", "Fulfillingness' First Finale" and "Songs in the Key of Life") almost ended up on another label. Stevie let his contract expire, recorded on his own and told Berry that either he had creative autonomy and a lot of money in a new contract with Tamla or he had material ready to deliver to Warners, Columbia or Atlantic. Berry caved.

Anyway, after a good night's sleep, I'm really not sure whether these do fit the stuff that came later. These were albums released by artists not in control of their careers, steered into them by their record labels who were just looking for a hit.

The albums that began with Ringo Starr's "Sentimental Journey" were the artists themselves choosing to do the material for their own reasons.

I question the motives of some of the ones who cashed in after Linda Ronstadt (lookin' at you, Rod!), but up to that point, I think we have artistic choice, which is different from the pre-1970 stuff).





(Sidenote: In my earlier rundown of standards albums by pop artists in the 70s/80s, I left out Diana Ross' "Lady Sings the Blues", which was the Billie Holliday biopic. And that being a purely Berry Gordy product---film and soundtrack, it's exempted from the "purely artistic choice" category. Berry was still being Berry.)
 
By the way---I just ran across this from 1966, showing that at the same time, newer artists were fumbling with standards, older artists were trying to go the other way:

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Sarah was 42.
My freshman-year roommate in college had an even later album by her, "Feelin' Good" (1972), and she was continuing to mine more recent material -- "Alone Again (Naturally)," "Rainy Days and Mondays," and the Bee Gees' "Run to Me."
 
My freshman-year roommate in college had an even later album by her, "Feelin' Good" (1972), and she was continuing to mine more recent material -- "Alone Again (Naturally)," "Rainy Days and Mondays," and the Bee Gees' "Run to Me."

That had become common for artists of her generation. Columbia Records imposed a "record the hits" edict on all its MOR artists except Barbra Streisand (they tried, but she said no) beginning around 1967 and lasting into the early 70s.
 
That's one that made it to America's Best Music when it still had enough actual standards to legitimately be called a standards station.

"Legitimate" by your definition. The industry sees it differently.
 
That had become common for artists of her generation. Columbia Records imposed a "record the hits" edict on all its MOR artists except Barbra Streisand (they tried, but she said no) beginning around 1967 and lasting into the early 70s.
Andy Williams recorded a cover of "Love's Theme" which went to No. 16 on the Easy Listening chart.
 
Andy Williams recorded a cover of "Love's Theme" which went to No. 16 on the Easy Listening chart.
And, in 1970, a galloping, uptempo cover of "Can't Help Falling in Love" that was a huge hit in the U.K., but did nothing here. I can't imagine the sleepy American MOR stations of 1970 going anywhere near that song, no matter how open they probably were to more traditional Williams fare.
 
54 years later. I still wonder how Once You Understand by Think got so much airplay on Top 40 radio in 1971 and 1974. Here in Erie, PA, it was the #24 song of 1971's year end survey!
 

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