Archive for the ‘70’s Bands’ Category

The Carpenters 1980/1982

Karen proceeded with plans to record a new album with her brother, who had now recovered from his addiction and was ready to continue their career. The Carpenters produced their final television special in 1980, called Music, Music, Music!, with guest stars Ella Fitzgerald, Suzanne Somers, and John Davidson. However, ABC was not happy with the special as it was music from start to finish, unlike the previous specials which included sketch-based comedy. ABC felt it was too much like a PBSprogram.
On June 16, 1981, the Carpenters released what would become their final LP as a duo, Made in America. The album sold around 200,000 copies and spawned a final top 20 pop single, “Touch Me When We’re Dancing”, which reached No. 16 on the Hot 100. It also became their fifteenth and final number one Adult Contemporary hit. The album also produced three other singles, including “(Want You) Back In My Life Again”, “Those Good Old Dreams”, and a remake of the Motown hit “Beechwood 4-5789”. The singles fared well on the adult contemporary charts. “Beechwood 4-5789”, the last single by the Carpenters to be released in Karen’s lifetime, was released on her 32nd birthday.
Promotion for the album included a whistle-stop tour of America, Brazil and Europe, preceded by a disastrous live appearance for a Japanese Telethon event, filmed outdoors on the lot of A&M in August 1981. During their segment (the last of the show), the playback audio cut out midway through their performance of “Touch Me When We’re Dancing”. The ensuing scenes, along with Karen’s reaction, left it obvious to viewers that the whole band had been miming. Three further singles from the album failed to ignite the charts.
Karen sought therapy for her eating disorder with noted psychotherapist Steven Levenkronin New York City. In September 1982, she called her therapist to say her heart was beating ‘funny’ and she felt dizzy and confused. Admitting herself into hospital later that month, Karen was hooked up to an intravenous drip; she ended up gaining 30 pounds (14 kg) in eight weeks. In November 1982, Karen left the hospital and despite pleas from family and friends, she announced that she was returning home to California and that she was cured.

The Carpenters 1978/1980

Richard sought treatment for his addiction to Quaaludes at a Topeka, Kansas, facility for six weeks starting in January 1979. He then decided to take the rest of the year off for relaxation and rehabilitation. Karen, at this point neither wanting to take a break from singing nor seek help for her anorexia, decided to pursue a solo album project with renowned producer Phil Ramone in New York. The choice of Ramone and more adult-oriented and disco/dance-tempo material represented an effort to retool her image. The album was finished by Spring 1980, but Richard and A&M executives voted to reject it which reportedly devastated Karen. The album was finally released 13 years after Karen’s death, in 1996.

The Carpenters 1976/1978

The disco craze was in full swing by 1977, and adult-appeal “easy listening” artists like the Carpenters were getting less airplay. Their experimental album, Passage, released in 1977, marked an attempt to broaden their appeal by venturing into other musical genres. The album featured an unlikely mix of jazz fusion (“B’wana She No Home”), calypso (“Man Smart, Woman Smarter”), and orchestrated balladry (“I Just Fall in Love Again”, “Two Sides”), and included the hits, “All You Get from Love Is a Love Song”, “Sweet, Sweet Smile”, and “Calling Occupants of Interplanetary Craft”. “Calling Occupants” was supported with the TV special Space Encounters, which aired May 17, 1978. Although the single release of “Calling Occupants” became a significant Top 10 hit in the United Kingdom and reached No. 1 in Ireland, it only peaked at number 32 on the U.S. pop charts, and for the first time a Carpenters album did not reach the gold threshold of 500,000 copies shipped in the United States. In early 1978, they scored a surprise Top 10 country hit with the up-tempo, fiddle-sweetened “Sweet, Sweet Smile”, written by country-pop singer Juice Newton and her longtime musical partner Otha Young.

The Carpenters 1974/1976

The Carpenters did not record a new album in 1974. The group had been touring extensively and the principals were exhausted. In Richard’s words, “there was simply no time to make one. Nor was I in the mood.” During this period, the pair released just one Hot 100 single, a Paul Williams/Roger Nichols composition called “I Won’t Last a Day Without You”. Taken from their 1972 LP A Song for You, the Carpenters finally decided to release their original two years after its original LP release and some months after Maureen McGovern’s 1973 cover. In March 1974, the single version became the fifth and final selection from that album project to chart in the Top 20, reaching No. 11 on the Hot 100 on May 25, 1974. Since “Top of the World” was at No. 11 and falling in 1974’s first week and “Please Mr. Postman” was at No. 11 and rising in 1974’s last week, the Carpenters failed all three times, by one position each time, that year to reach the top 10.
In place of the new album for 1974, their first greatest hits package was released, featuring new remixes of their prior hit singles, some with a newly recorded lead, and including newly recorded bridges and transition material so that each side of the album would play through with no breaks, something that Richard would come to regret. This compilation was entitled The Singles: 1969–1973, and topped the charts in the U.S. for one week, on January 5, 1974. It also topped the United Kingdom chart for 17 weeks (non-consecutive) and became one of the best-selling albums of the decade, ultimately selling more than 7 million copies in the U.S. alone.
In 1975, the Carpenters gained another hit with a remake of the Marvelettes’ chart-topping Motown classic from 1961, “Please Mr. Postman”. Released in late 1974, the song soared to No. 1 on the Billboard Hot 100 in January 1975, becoming the duo’s third and final No. 1 pop single. It also earned Karen and Richard their record-setting twelfth million-selling gold single in America.
The Carpenter/Bettis composition “Only Yesterday” followed “Please Mr. Postman” as the duo’s last Hot 100 top 10 hit, reaching No. 4.
Both singles appeared on their 1975 LP Horizon, which also included covers of The Eagles’ “Desperado” and Neil Sedaka’s “Solitaire”, which became a moderate hit for the duo that year. Horizon was certified platinum, but owing to the disc’s late release (after the second single was already dropping off the charts), it was their first album to fall short of multi-platinum status.
The Carpenters were among the first American recording acts to produce music videos to promote their records.[citation needed] In early 1975, they filmed a performance of “Please Mr. Postman” at Disneyland as well as “Only Yesterday” at the Huntington Gardens.

Their subsequent album A Kind of Hush, released on June 11, 1976, achieved gold status, but again owing to its late release, became the first Carpenters’ album not to become a platinum certified record since Ticket to Ride seven years earlier. Their singles releases in 1976 were successful, but at this time, contemporary hit radio was moving forward with changing musical styles, which ultimately caused the careers of most “soft” groups like the Carpenters to suffer.[citation needed] The duo’s biggest pop single that year was a cover of Herman’s Hermits’ “There’s a Kind of Hush (All Over the World)”, which peaked at No. 12 on the Billboard Hot 100. “I Need to Be in Love” (Karen’s favorite song by the Carpenters)charted at No. 25 on the Billboard Hot 100. However, it followed “There’s a Kind of Hush” to the top spot on the Adult Contemporary charts and became the duo’s 14th No. 1 Adult Contemporary hit, far and away more than any other act in the history of the chart.
The Carpenters’ Very First Television Specialaired on December 8, 1976, and went to No. 6 on the Nielsens. Another television special, The Carpenters at Christmas, aired on December 9, 1977.

The Carpenters 1972/1974

The duo rounded out the year with the holiday release of “Merry Christmas, Darling”. The single scored high on the holiday charts and would repeatedly return to the holiday charts in subsequent years. In 1978, feeling she could give a more mature treatment to the tune, Karen re-cut the vocal for their Christmas TV special; this remake also became a hit.

A string of hit singles and albums kept the Carpenters on the charts through the early 1970s. Their 1971 hit “For All We Know” was originally recorded in 1970, by Larry Meredith, for a wedding scene in the movie Lovers and Other Strangers. Upon hearing it in the movie theater, Richard saw potential in it and subsequently recorded it in the autumn of 1970. The track became the Carpenters’ third gold single.
The duo’s fourth gold single “Rainy Days and Mondays” became Williams’ and Nichols’ second major single with the Carpenters, peaking at No. 2 on the Billboard Hot 100, kept from the top slot by Carole King’s “It’s Too Late”.
“Superstar”, written by Bonnie Bramlett and Leon Russell, became the duo’s third No. 2 single on the Billboard Hot 100. Their third eponymous album, Carpenters, was released in 1971. It became one of their best sellers, earning RIAA certification for platinum four times, and rising to No. 2 on Billboard’s pop album chart for two weeks, staying on the top 40 chart for 39 weeks. It won a Grammy Award for Carpenters, as well as three other nominations.
A Song for You was the fourth album, released on June 13, 1972. The album contained “Goodbye to Love”, a Carpenter/Bettis original with a gritty guitar solo by Tony Peluso which set it apart from most Carpenters songs, became their third 1972 hit single, peaking at #7. Peluso would continue to work with Carpenters until their end in 1983.
Another Carpenter/Bettis composition, “Top of the World”, was originally intended as strictly an album cut, but when Lynn Anderson scored a hit with the song in early 1973, the Carpenters opted to record their own single version. It was released in September 1973 and became the Carpenters’ second Billboard No. 1 hit in December 1973.

Their Now & Then album from 1973 was named by mother Agnes Carpenter. It contained the popular Sesame Street song “Sing” and the ambitious “Yesterday Once More”, a side-long tribute to oldies radio which incorporated renditions of eight hit songs from previous decades into a faux oldies radio program. The single version of the track became their biggest hit in the United Kingdom, holding the number 2 spot for two weeks; it was kept off the top first by Gary Glitter’s “I’m the Leader of the Gang (I Am)” and then by Donny Osmond’s version of “Young Love”.
In 1974, the Carpenters achieved a sizable international hit with an up-tempo remake of Hank Williams’s “Jambalaya (On the Bayou)”. While the song was not released as a single in the U.S., it reached the top 30 in Japan, number 12 in the United Kingdom (as part of a double A-side with “Mr. Guder”), and number 3 in the Netherlands. In late 1974, a Christmas single followed, a jazz-influenced rendition of “Santa Claus Is Coming to Town”.

The Carpenters 1970/1972

Despite the poor showing of the Carpenters’ initial album, A&M stayed with them and had them develop songs for a second album. Herb Alpert asked Richard to re-work a Burt Bacharach/Hal David song titled “(They Long to Be) Close to You”. The Carpenters’ version was released as a 45 RPM record single. It debuted at No. 56, the highest debut of the week ending June 20, 1970. Over the next five weeks it vaulted to No. 1, reaching that perch on July 25, and staying there for the next four weeks. Burt Bacharach said, “The arrangement of ‘Close to You’ that Richard did compared to the arrangement that I did for myself and for Dionne (Warwick) and the original record with Richard Chamberlain I’d say is twenty times better, Richard’s arrangement than my arrangement. I really missed and he really nailed it. He just got a great feel, a great loop, the dotted eighth and sixteenth feel. It’s great.”
Their next hit was with a song Richard had seen in a television commercial for Crocker National Bank, “We’ve Only Just Begun”, which was written by Paul Williams and Roger Nichols. Three months after “(They Long to Be) Close to You” reached No. 1, the Carpenters’ version of “We’ve Only Just Begun” reached No. 2 on the Billboard Hot 100, becoming the first of their eventual five No. 2 hits (it wasn’t able to get past “I’ll Be There” by The Jackson 5 & “I Think I Love You” by The Partridge Family during its four-week stay). The song became the first hit single for Williams and Nichols and is considered by Richard Carpenter to be the group’s signature tune.
“Close to You” and “We’ve Only Just Begun” became RIAA certified Gold singles and were featured on the best-selling album Close to You, which placed No. 175 on Rolling Stone’s 500 Greatest Albums of All Time list in 2003.

The Baja Marimba Band

The Baja Marimba Band was a popular musical group led by marimba player Julius Wechter. Initially formed by producer Herb Alpert to cash in on the “south of the border” craze started by his own Tijuana Brass, the Baja Marimba Band outlasted the Tijuana Brass by several years thanks largely in part to TV producer Chuck Barris, who featured the group’s music on his game shows through the mid-1970s.

The Supremes 1978/1980

This is more of an after thought, or a Swan song, whatever you like. The Supremes name was decided to be  retired, and all of the former Supremes went solo.

Mary Wilson, did the hit song Red Hot and Scherrie Payne and Susaye Greene became a  duet. Other than Diana Ross, all the other members of The Supremes have never again recorded a hit song from 1978 and onward.

Diana Ross last hit song was Why Do Fools Fall In Love, as a video, but after that, even Diana Ross was no where in sight as far as hit songs were made. She made an album with  Marvin Gaye, but that was the only partner she ever had after The Supremes that is,and she was in the film version of The Wiz, and their others, but I don’t like her other movies (I call them films when I love them and I call them movies which I don’t), and seeing that this is my website, and which I have to buy, whatever I texted about, so I can be more authentic, in my post, I won’t mention them, but their are others.

To make a long story short, theirs no Supremes and their never will be, unlike The Temptations (I’ll text about them soon), with new members, The Supremes will never be brought back and why should it, you have to have the same women in the band, which is hard to do. Just like The Beatles you can’t get the original members back, for some have moved on to other projects, or are dead and it be a crime to bring back The Supremes,  especially since they haven’t made any hits since early 1971, and the new generation has forgotten about the real music, which is the 1960’s !!!

The Supremes 1976/1978

The Supremes, again lose a member, by Cindy Birdsong (again), leaving The Supremes and they called  upon Susaye Green, but by June 1977 they performed their last concert, at Drury Lane Threatre in London, England.  Barry Gordy, who own the rights to the name The Supremes, decided to break up the band and maybe record them separate.

At first The all did success, but by 1978 The Supremes and their solo career was at the end and Motown had new performers with new sounds, which the old pushed out of the way, for it was the younger generation buying LP’s and the old generation had their memories with old LP’s.

It wasn’t The Supremes fault, it’s just the times have changed, and Motown never updated their style and the songs they were singing.

From 1963 to 1977, is a great run for a Girl Group to succeed, for no other Girl Group has ever survive pity arguments, jealousy and egos to survive more than three years (except for The Andrew Sisters, The Pointer Sisters and Sister Sledge, for they are real sisters), so for saying they haven’t made any accomplishment to Rock’N’Roll, is saying very little about The Supremes, for they did a lot and like no other, The Supremes will go down in history as the greatest Girl Group by far !!!

The Boomtown Rats

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The Boomtown Rats at Knott’s Berry Farm in 1981

Origin County Dublin, Ireland
Genres New wave, punk rock, pop punk, post-punk, alternative rock
Years active 1975–1986, 2013–present
Labels Mulligan, Ensign, Mercury
Associated acts Band Aid, Live Aid, Live 8
Website www.boomtownrats.co.uk
Members Bob Geldof
Pete Briquette
Simon Crowe
Garry Roberts
Past members Johnnie Fingers
Gerry Cott
The Boomtown Rats are an Irish new wave band that had a series of Irish and UK hits between 1977 and 1985. The group is led by vocalist Bob Geldof. The other members of the original line-up were Garry Roberts (lead guitar), Johnnie Fingers (keyboard), Pete Briquette (bass), Gerry Cott (rhythm guitar) and Simon Crowe (drums). The Boomtown Rats broke up in 1986, but reformed in 2013, without Johnnie Fingers or Gerry Cott.

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