|2||Commodores||THREE TIMES A LADY||1978|
|3||Bee Gees||HOW CAN YOU MEND A BROKEN HEART||1971|
|4||Gilbert O’Sullivan||ALONE AGAIN (Naturally)||1972|
|6||Marvin Gaye||LET’S GET IT ON||1973|
|7||Paul Anka with Odia Coates||(You’re) HAVING MY BABY||1974|
|8||Emotions||BEST OF MY LOVE||1977|
|11||Eric Burdon & War||SPILL THE WINE||1970|
|12||Looking Glass||BRANDY (You’re A Fine Girl)||1972|
|13||Bee Gees||YOU SHOULD BE DANCING||1976|
|14||Rita Coolidge||(Your Love Has Lifted Me) HIGHER AND HIGHER||1977|
|15||Al Green||I’M STILL IN LOVE WITH YOU||1972|
|16||Bee Gees||JIVE TALKIN’||1975|
|17||John Denver with Fat City||TAKE ME HOME, COUNTRY ROADS||1971|
|18||Paper Lace||THE NIGHT CHICAGO DIED||1974|
|19||Wild Cherry||PLAY THAT FUNKY MUSIC||1976|
|20||Glen Campbell||RHINESTONE COWBOY||1975|
|22||Hollies||LONG COOL WOMAN (In A Black Dress)||1972|
|23||Rufus||TELL ME SOMETHING GOOD||1974|
|24||Helen Reddy||DELTA DAWN||1973|
|25||James Taylor||HANDY MAN||1977|
|26||Mungo Jerry||IN THE SUMMERTIME||1970|
|27||Eric Clapton||I SHOT THE SHERIFF||1974|
|28||K.C. & Sunshine Band||GET DOWN TONIGHT||1975|
|29||Hamilton, Joe Frank & Reynolds||FALLIN’ IN LOVE||1975|
|30||Charlie Daniels Band||THE DEVIL WENT DOWN TO GEORGIA||1979|
|31||Marvin Gaye||MERCY MERCY ME (The Ecology)||1971|
|32||England Dan & John Ford Coley||I’D REALLY LOVE TO SEE YOU TONIGHT||1976|
|33||Olivia Newton-John||HOPELESSLY DEVOTED TO YOU||1978|
|34||Taste Of Honey||BOOGIE OOGIE OOGIE||1978|
|35||Earth, Wind & Fire||AFTER THE LOVE HAS GONE||1979|
|37||Janis Ian||AT SEVENTEEN||1975|
|38||KC & Sunshine Band||(Shake, Shake, Shake) SHAKE YOUR BOOTY||1976|
|39||Maxine Nightingale||LEAD ME ON||1979|
|40||Andy Kim||ROCK ME GENTLY||1974|
Encore of the Joseph Fenity from June 2020
We feature 12″ versions of your favorite tunes through 3am ET
Today we feature music for Veterans’ Day .
We continue our feature – The Tina Turner Collection where we end 1970 and feature:
Workin’ Together is a studio album released by R&B duo Ike & Tina Turner on Liberty Records in November 1970. This was their second album with Liberty, it’s also their most successful studio album to date. The album contains their Grammy Award-winning single “Proud Mary.”
1. “Workin’ Together” 3:35
2. “(As Long As I Can) Get You When I Want You” 2:25
3. “Get Back” 3:05
4. “The Way You Love Me” 2:37
5. “You Can Have It” 3:30
6. “Game of Love” 2:46
7. “Funkier Than a Mosquita’s Tweeter” 2:35
8. “Ooh Poo Pah Doo” 3:36
9. “Proud Mary” 4:57
10. “Goodbye, So Long” 1:57
11. “Let It Be” 3:10
Tina Turner – lead vocals
Ike Turner – vocals (intro of “Proud Mary”), all instrumentation
The Ikettes – background vocals
The Kings of Rhythm – all instrumentation
Brent Maher – engineer
Herb Kravitz – photography
Ron Wolin – art direction
As we begin this feature we start with the 1966/1969 release of Ike and Tina Turner’s River Deep, Mountain High and we feature the 1969 US Release of the Album.
River Deep – Mountain High is a studio album by R&B duo Ike & Tina Turner. It was originally released by London Records in the UK in 1966, and later A&M Records in the US in 1969. In 2017, Pitchfork ranked it at No. 40 on their list of the 200 Best Albums of the 1960s.
River Deep – Mountain High was intended to be released on Phil Spector’s Philles label as LP-4011 in the US, but it was shelved when the single “River Deep – Mountain High” did not do well on the charts. Only a few copies of LP-4011 were pressed, the covers never printed, before it was canceled by Philles. However, the single was successful in England. By popular demand, Spector released the album in the UK with liner notes written by Decca’s promotion man Tony Hall. Hall included a quote from Spector stating, “We can only assume that England is more appreciative of talent and exciting music than the U.S.” Actor Dennis Hopper shot the cover of the album. The album peaked at No. 27 in the UK.
The album was eventually released in the United States when it was reissued by A&M Records in 1969. The reissue has a slightly different track listing. It substitutes “You’re So Fine” with “I’ll Never Need More Than This,” which was released as a non-album track in 1967. Upon its release in the US, the album reached No. 102 on the Billboard 200 and No. 28 on the R&B Albums chart.
1. “River Deep – Mountain High” 3:38
2. “I Idolize You” 3:46
3. “A Love Like Yours (Don’t Come Knocking Everyday)” 3:05
4. “A Fool in Love” 3:13
5. “Make ‘Em Wait” 2:22
6. “Hold On Baby” 2:59
7. “I’ll Never Need More Than This” 3:33
8. “Save the Last Dance for Me” 3:02
9. “Oh Baby!” 2:46
10. “Every Day I Have to Cry” 2:40
11. “Such a Fool for You” 2:48
12. “It’s Gonna Work Out Fine” 3:14
Tina Turner – vocals
Barney Kessel, Don Peake, John Ewing, Robert Gerstlauer – guitar
Jimmy Bond – string bass
Carol Kaye, Ray Pohlman, Lyle Ritz – Fender bass
Harold Battiste, Larry Knechtel, Ike Turner, Michael Rubini – piano
Jim Gordon, Earl Palmer – drums
Frank Capp, Gene Estes – percussion
Roy Caton, Oliver Mitchell – trumpet
John Ewing, Lew McCreary – trombone
Plas Johnson, Jim Horn, Jim Migliori – tenor sax
Robert Gerstlauer, Jim Horn – baritone sax
The Ikettes, Ike Turner – backing vocals
Phil Spector – producer, tracks 1,3,6,7,8, and 10 (reissue version)
Ike Turner – producer, tracks 2,4,5,9,11, and 12 (reissue version)
Jack Nitzsche, Gene Page, Perry Botkin Jr. – arrangers
Larry Levine – engineer
Dennis Hopper – photography
Charles Hardin Holley (September 7, 1936 – February 3, 1959), known professionally as Buddy Holly, was an American musician and singer-songwriter who was a central and pioneering figure of mid-1950s rock and roll. He was born in Lubbock, Texas, to a musical family during the Great Depression, and learned to play guitar and sing alongside his siblings. His style was influenced by gospel music, country music, and rhythm and blues acts, which he performed in Lubbock with his friends from high school.
He made his first appearance on local television in 1952, and the following year he formed the group “Buddy and Bob” with his friend Bob Montgomery. In 1955, after opening for Elvis Presley, he decided to pursue a career in music. He opened for Presley three times that year; his band’s style shifted from country and western to entirely rock and roll. In October that year, when he opened for Bill Haley & His Comets, he was spotted by Nashville scout Eddie Crandall, who helped him get a contract with Decca Records.
Holly’s recording sessions at Decca were produced by Owen Bradley, who had become famous for producing orchestrated country hits for stars like Patsy Cline. Unhappy with Bradley’s musical style and control in the studio, Holly went to producer Norman Petty in Clovis, New Mexico, and recorded a demo of “That’ll Be the Day”, among other songs. Petty became the band’s manager and sent the demo to Brunswick Records, which released it as a single credited to “The Crickets”, which became the name of Holly’s band. In September 1957, as the band toured, “That’ll Be the Day” topped the US and UK singles charts. Its success was followed in October by another major hit, “Peggy Sue”.
The album Chirping Crickets, released in November 1957, reached number five on the UK Albums Chart. Holly made his second appearance on The Ed Sullivan Show in January 1958 and soon after, toured Australia and then the UK. In early 1959, he assembled a new band, consisting of future country music star Waylon Jennings (bass), famed session musician Tommy Allsup (guitar), and Carl Bunch (drums), and embarked on a tour of the midwestern U.S. After a show in Clear Lake, Iowa, he chartered an airplane to travel to his next show, in Moorhead, Minnesota. Soon after takeoff, the plane crashed, killing Holly, Ritchie Valens, The Big Bopper, and pilot Roger Peterson in a tragedy later referred to by Don McLean as “The Day the Music Died”.
During his short career, Holly wrote and recorded several songs. He is often regarded as the artist who defined the traditional rock-and-roll lineup of two guitars, bass, and drums. He was a major influence on later popular music artists, including Elvis Presley, Bob Dylan, The Beatles, The Rolling Stones, Eric Clapton, Elvis Costello, Marshall Crenshaw (who later played Holly), and Elton John. He was among the first artists inducted into the Rock and Roll Hall of Fame, in 1986. Rolling Stone magazine ranked him number 13 in its list of “100 Greatest Artists”.
Jiles Perry “J. P.” Richardson Jr. (October 24, 1930 – February 3, 1959), known as The Big Bopper, was an American musician, songwriter, and disc jockey. His best known compositions include “Chantilly Lace” and “White Lightning”, the latter of which became George Jones’ first number-one hit in 1959. Richardson was killed in a plane crash in Iowa in 1959, along with fellow musicians Buddy Holly and Ritchie Valens, and the pilot Roger Peterson. The accident was famously referred to as “The Day the Music Died” in Don McLean’s 1971 song “American Pie”.
John Lennon’s last days were filled with professional and domestic routines characteristic of both a typical wealthy New Yorker and a legendary rock star and activist: making breakfast and watching Sesame Street with his son Sean, going on epic shopping sprees, spending late nights in the studio, staging demonstrations, arguing with his retinue of servants and hangers-on. After five years in semi-retirement, or “siegelike retreat,” spent raising Sean, John Lennon seemed ready to emerge from seclusion and renew his career. On his final day, December 8, 1980, he was feeling hopeful about his creative future. He had just learned that his album with Yoko, Double Fantasy, had gone gold, and he and Yoko were engaged in promotion, and were looking forward to their next musical endeavor.
That morning, Annie Leibovitz and her assistant came to the Lennon’s apartment building, The Dakota, to shoot those now iconic photographs for Rolling Stone of the Lennons in bed. Meanwhile, a devoted fan named Paul Goresh, and Lennon’s murderer Mark David Chapman, started to hang around outside the building. Less than two hours later, a crew from San Francisco’s RKO radio arrived at The Dakota to interview John and Yoko. Interviewer Dave Sholin remembers meeting Lennon, who was getting dressed after the nude photo shoot: “the door opens and John jumps in with his arms extended, like ‘here I am folks!’ We were meeting John Lennon and we were all maybe a little nervous but that just put us right at ease in probably less than a minute.” “He was a regular guy, very, very sharp and extremely quick witted,” Sholin continued. “And he connected with all of us. He had been out of the public eye for five years and he was open to speaking about anything. He did not hold back.”
You can hear that interview as John and Yoko talk in great detail about Double Fantasy, about parenting, about meeting, falling in love, and working together. Lennon also talks about his social vision and the need for “holistic” solutions to “stop this paranoia of 90-year old men playing macho games with the world and possibly the galaxy.” Notably, he offers his assessment of the cultural shifts from the sixties through the seventies.
The bit about the sixties we were all full of hope and then everybody got depressed and the seventies were terrible – that attitude that everybody has; that the sixties was therefore negated for being naïve and dumb. And the seventies is really where it’s at, which means, you know, putting makeup on and dancing in the disco – which was fine for the seventies – but I don’t negate the sixties. I don’t negate the seventies. The … the seeds that were planted in the sixties – and possibly they were planted generations before – but the seed… whatever happened in the sixties the… the flowering of that is in the feminist, feminization of society. The meditation, the positive learning that people are doing in all walks of life. That is a direct result of the opening up of the sixties. Now, maybe in the sixties we were naïve and like children everybody went back to their room and said, ‘Well, we didn’t get a wonderful world of just flowers and peace and happy chocolate and, and, and it wasn’t just pretty and beautiful all the time’ and that’s what everybody did, ‘we didn’t get everything we wanted’ just like babies and everybody went back to their rooms and sulked. And we’re just gonna play rock and roll and not do anything else . We’re gonna stay in our rooms and the world is a nasty, horrible place ’cause it didn’t give us everything we cried for’, right? Cryin’ for it wasn’t enough. The thing the sixties did was show us the possibility and the responsibility that we all had. It wasn’t the answer. It just gave us a glimpse of the possibility, and the seventies everybody gone ‘Nya, nya, nya, nya’. And possibly in the eighties everybody’ll say, ‘Well, ok, let’s project the positive side of life again’, you know? The world’s been goin’ on a long time, right? It’s probably gonna go on a long time… ”
After the interview, Sholin boarded a plane back to San Francisco, and John and Yoko went back to work, meeting with producer Jack Douglas. When they returned home that night, they found Mark David Chapman still waiting outside The Dakota with his .38. At 11:15 that night, Lennon was pronounced dead at Roosevelt Hospital.
Radio Special featuring Tom Petty and Mudcrutch from 2008. August 17, 2008
Enjoy the tunes of the 80’s all day on RadioMaxMusic
Today we feature the first 8 hours of the Disco Top 700 with Bobby Jay.