Not that you need it, but this week’s Throwback Thursday playlist is proof that 1970 was a stellar year for music.
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I missed Prince’s debut album, For You, when it was released in 1978. My first exposure to him was hearing “I Wanna Be Your Lover” on the radio. It became a hit when I was in high school. Good song. Then I saw the video. Not what I expected. Before then I thought Prince was a trio of Black women, like The Emotions. My first visual exposure to Prince and already he was throwing my expectations.
His third album, 1980’s Dirty Mind, got a fair amount of press in music magazines, and its cover art made an impression. I was interested in the guy.
“Controversy” was a single my freshman year in college. The song grabbed me, and so I bought the 45, my first Prince record.
The life-changing moment came the following year, when I heard “1999” on KISS-FM in Boston. Holy crap! It blew my mind. It sounded like nothing else on the radio at that time or any other time. At that moment I became a big fan. I got a ride into Harvard Square, went to the Harvard Coop (the university’s bookstore/ record store/ probably other things I can’t remember store) and bought the 1999 album. (The same day I bought Michael Jackson’s Thriller. Can you believe the two albums came out a month apart? What a time to be alive!)
From that point on I was a certified Prince fanatic. I bought the first four albums. I bought subsequent albums on the days of release. I bought the twelve-inch singles, and eventually the CD singles. And for quite a stretch there Prince continued to blow my mind. I’m still awed by his genius and marvel at how he thought to do unconventional things with his music, such as removing the bassline from “When Doves Cry,” the only number one on the dance chart to not have a bassline.
I’ve met many great talents over the years. Brian Wilson. Tina Turner. Smokey Robinson. Norman Fell. But nothing compared 2 meeting Prince. It was in 1988. He didn’t say a word, though he did sign my work stationery:
Putting together a Prince playlist and disciplining myself to keep it to thirty songs is a tough task, especially as a Prince fanatic, but I persevered. I’m not saying these are his thirty best songs, nor are they his thirty most popular songs, nor are they my thirty favorites of his songs. It’s a mixture of all three of those categories (which, of course, have a lot of overlap). I threw in some of the hits others had with songs he wrote. It’s by no means complete, but it’s a start.
(The Spotify embed feature is STILL broken. Here is the link: https://open.spotify.com/playlist/3TrbpWDHR6CzcYRHmvSrRA?si=4367f868ddcf4e52)
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Happy 2021 Pride! Though LGBTQ+ Pride should be celebrated every month, June is the month officially designated to celebrating one’s identity, orientation and possible otherness.
To celebrate Pride this year I’m going to create thirty-song playlists broken out by decade, kicking off today with two decades combined – the 1950s and the 1960s. I’ll post these lists sporadically throughout the month.
Here is what you’ll hear on today’s playlist and what makes it queer:
“Cry” – Johnnie Ray
Poor old Johnnie Ray, as he was referred in Dexy’s Midnight Runners’ “Come On Eileen,” was a closeted gay man, arrested for soliciting male undercover officers on more than one occasion. “Cry” was a humongous hit, spending more than two months at #1.
“Hound Dog” – Big Mama Thornton
Chances are you’re familiar with Elvis Presley’s hugely successful version of this song from 1956. Three years earlier, Willie Mae “Big Mama” Thornton, who preferred to dress in what would be considered men’s clothing, sold a half million copies of her version, from which she made $500.
“Too Much” – Bernard Hardison
Another song covered by Elvis, Bernard Hardison released his version two years prior to The King. The song was played on the web radio series Queer Music Heritage, though I cannot find any other indication anywhere about Hardison’s sexual orientation.
“Don’t You Want a Man Like Me” – Billy Wright
As a youth, Billy Wright sang the gospel in church and worked as a female impersonator. The openly gay Wright was an influence on young Little Richard, suggesting he wear his hair in the pompadour style. Speaking of…
“Tutti Frutti” – Little Richard
No matter that the hit version altered the original lyrics “Tutti frutti, good booty / If it don’t fit, don’t force it / You can grease it, make it easy,” the song and the performer are oh so queer.
“Rockin’ Pneumonia and the Boogie Woogie Flu” – Huey “Piano” Smith and the Clowns
As his nickname might indicate, Huey Smith was a piano player. The singer in his band was an openly gay man named Bobby Marchan.
“Chances Are” – Johnny Mathis
Johnny Mathis never covered up his sexual orientation, though he didn’t come out as gay until 1982, when a reporter printed his off the record acknowledgment.
“Jailhouse Rock” – Elvis Presley
“Number 47 said to number 3, ‘You’re the cutest jailbird I ever did see. I sure would be delighted with your company. Come on and do the jailhouse rock with me.” Nothing queer about that, right?
“Secretly” – Jimmie Rodgers
“Wish we didn’t have to meet, secretly / Wish we didn’t have to kiss, secretly / Wish we didn’t have to be afraid to show the world that we’re in love / ‘Til we have the right to meet openly / ‘Til we have the right to kiss openly / We’ll just have to be content to be in love secretly.” Make of those lyrics what you will.
“Rockin’ the Joint” – Esquerita
Though Little Richard released records prior to Esquerita, it was Black flamboyant Esquerita who taught Little Richard his style of piano playing and perhaps introduced the high-pitched “whoo”s in his singing.
“Frances and Her Friends” – Frances Faye
Frances Faye was openly embracing of bisexuality in her stage shows, as the lyrics of this tune will attest. In the late 1950s she met a woman named Teri Shepherd who became her life partner.
“My Baby Likes Western Guys” – Brenda Lee
Oh, does he now?
“He Don’t Care About Me” – The Miracles
Yes, those Miracles. Written by Smokey Robinson with lead vocals by his wife Claudette, you wonder why he don’t care about her. When she sings “Don’t he know that I could make him gay?,” you just have to respond “Girrrrrrrl!”
“Up on the Roof” – The Drifters
Rudy Lewis, who sang lead on this Drifters hit as well as “On Broadway” and others, was a closeted gay man who sadly died of a drug overdose when he was just 27 years old.
“Any Other Way” – Jackie Shane
Though she didn’t call herself trans, Jackie Shane presented and sang in a way typically associated with women. She considered herself to be a gay man, and my use of pronouns here is not intended to disrespect that.
“You Don’t Own Me” – Lesley Gore
Lesley Gore came out as a lesbian in 2005, revealing that she knew she was attracted to women since age 20 and never sought to hide out, though didn’t announce it before then.
“You’ve Got To Hide Your Love Away” – The Beatles
Many believe that The Beatles’ John Lennon wrote this song about the group’s gay manager, Brian Epstein. It wasn’t until 1967, two years after this song’s release, that England decriminalized sex between two men over the age of 21, and Epstein would no longer have to hide his love away. Sadly, he died in August of that year.
“See My Friends” – The Kinks
The Kinks’ Ray Davies wrote this song about a young man who is unsure of his sexual orientation, a feeling Davies said he experienced.
“To Try for the Sun” – Donovan
The song’s teenage narrator and his “gypsy boy” friend have an obvious affection for each other. “And who’s going to be the one to say it was no good what we done?”
“You Don’t Have to Say You Love Me” – Dusty Springfield
“I know that I’m as perfectly capable of being swayed by a girl as by a boy. More and more people feel that way and I don’t see why I shouldn’t. There was someone on television the other night who admitted that he swings either way. I suppose he could afford to say it, but I, being a pop singer, shouldn’t even admit that I might think that way. But if the occasion arose I don’t see why I shouldn’t.” – Dusty Springfield, 1970, in an interview with The Evening Standard
“Do You Come Here Often?” – The Tornados
Produced by legendary gay producer Joe Meek, “Do You Come Here Often?” has to be heard to be believed. The song was the b-side of a forgotten 45, released on a major record label.
“I’m a Boy” – The Who
The story of a boy whose parents wanted a girl, so his mother raises him as a girl.
“Willkommen” – Joel Grey
From the Tony Award winning musical Cabaret, written by openly gay lyricist Fred Ebb and openly gay composer John Kander, based on a book by openly gay writer Christopher Isherwood, comes this number, performed by Joel Grey, who publicly came out in 2015 at age 82.
“Sweet Soul Music” – Arthur Conley
Arthur Conley was living as a closeted gay man in the United States when “Sweet Soul Music” became a smash. He later moved to the Netherlands, changed his name to Lee Roberts, met a man who became his life partner, and then lived as an openly gay man.
“Arnold Layne” – Pink Floyd
“Arnold Layne” became Pink Floyd’s first hit single, despite Radio London eventually banning it from airplay as its subject matter of a transvestite stealing women’s clothing off clothes lines was considered by them to be too distasteful for “normal” society.
“Let the Heartaches Begin” – Long John Baldry
Reginald Dwight changed his name to Elton John after Elton Dean, a fellow musician in the backing band of Long John Baldry, the gay vocalist from where the John comes.
“Save the Country” – Laura Nyro
The late Laura Nyro was bisexual, enjoying romantic relationships with men and women, the longest one being with painter Maria Desiderio.
“Triad” – The Byrds
Written by The Byrds’ David Crosby, this 1967 recording of a song about a throuple went unreleased until 1987.
“Candy Says” – The Velvet Underground
Inspired by Candy Darling, a transgender actress in Andy Warhol films, “Candy Says” tells of a trans woman who has “come to hate her body.”
“That’s the Way God Planned It” – Billy Preston
A brilliant musician whose friends and collaborators knew he was gay, Billy Preston didn’t publicly come out until shortly before his passing in 2006.
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Nineteen eighty wasn’t a game changing year on the US pop chart. It wasn’t 1964. It wasn’t 1991. For the most part it was music business as usual. The death of disco was greatly exaggerated. Just ask any member of Lipps, Inc., should you have any idea what any member of Lipps, Inc. looks like. Seventies hit makers stayed on the charts. Paul McCartney. Diana Ross. Stevie Wonder. Barbra Streisand. The Captain & Tennille did it to us one more time, it meaning having a hit single. A few outsiders snuck into the top 40 with sounds unlike the rest – Devo hit with “Whip It,” Gary Numan with “Cars,” and The Vapors with “Turning Japanese.” In the coming years more such weirdos would make their presence known.
While many of 1980’s hits were great singles, many classics were born outside of the mainstream. Releases such as Bob Marley & the Wailers’ “Redemption Song,” Joy Division’s “Love Will Tear Us Apart,” Peter Gabriel’s “Biko,” Prince’s “When You Were Mine,” David Bowie’s “Ashes to Ashes,” and Funky 4 + 1’s “That’s the Joint” are often referred to as classics these days. In 1980, not a single one of them troubled the US Hot 100. Change was on its way. In 1980, rap wasn’t a fixture on the top 40, though its influence was heard in Queen’s #1 smash “Another One Bites the Dust.” The next few years saw #1 hits from Peter Gabriel, Prince, David Bowie and a rap song, plus a top ten reggae song.
Today’s Throwback Thursday playlist shines a spotlight on 1980.
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In 1966, Stevie Wonder and Motown producer Hank Cosby wrote a piece of music and recorded it. Wonder couldn’t come up with any lyrics to go with the music, so he gave a tape of the song to fellow Motown singer-songwriter Smokey Robinson to see if he could come up with something. The music reminded Smokey of the circus, so he free associated and came up with the image of a clown. That reminded him of a story he heard as a child – the story of the opera Pagliacci, about clowns who must cover up their sadness, as their jobs required them to entertain and elate the public. Based on this idea he wrote the words to the song that became “The Tears of a Clown.” He and his group The Miracles recorded the song. Smokey didn’t think much of it, though it was included as the last song on the group’s 1967 album Make It Happen. Two singles were released from that album – “The Love I Saw in You Was Just a Mirage,” which reached #20, and “More Love,” which reached #23.
In 1969, tired of touring, Smokey told his group The Miracles that he would be retiring from the group so he could stay at home with his family and focus on his job as a Vice President at Motown. That same year, a reissue of Smokey Robinson & The Miracles’ “The Tracks of My Tears” made the top ten in the UK. Though the group had many chart hits in the US, “Tracks…” was only their second song to crack the top 40 of the UK singles chart, following “I Second That Emotion” a year earlier. Motown Britain wished to capitalize on the late but growing fame. Learning there was no new material forthcoming from the group, the label asked the head of a UK Motown fan club if she had any suggestions for a Miracles song that would make a good single. She suggested the last cut on the group’s 1967 album Make It Happen.
In 1970, Smokey Robinson & The Miracles’ “The Tears of a Clown” went to #1 in the UK. Seeing its success, Motown US released the song as a single stateside, albeit with a slightly updated mix. “The Tears of a Clown” became Smokey Robinson & The Miracles only #1 on the Billboard Hot 100 (though The Miracles would hit #1 one more time following Smokey’s departure from the group.)
(Some bonus trivia: Stevie Wonder was initially brought to the attention of Motown Records by Miracles member Ronnie White.)
Today Tunes du Jour celebrates the 81st birthday of Smokey Robinson with a playlist of songs he sang and/or wrote, plus a tribute song, kicking off with “The Tears of a Clown.”
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Inspired by the season and the December 18 birthdays of The Rolling Stones’ Keith Richards, Billie Eilish, Sia, DMX, Christina Aguilera, Martha and the Muffins’ Martha Johnson, and Angie Stone.