Yesterday was one of those long days that turned into a long night.
As I pulled into the driveway 14-plus hours after I’d left for work, a cool old song came on the radio. At first I thought it was Wilson Pickett. Then I realized, no, he didn’t cover that Beatles song.
It was Otis Redding doing “Day Tripper,” from 1966. So I sat there under the garage light, tired and wanting to go into the house, but hey, it’s Otis.
Today, we had king cake and paczki at work for Fat Tuesday, so I brought some home for Janet over the noon hour. Another cool old song came on the radio.
So I sat there in the driveway in the middle of the day, listening to Nancy Sinatra doing “Drummer Man” with the great session man Hal Blaine on the drums.
Been looking for that song, but it’s not on the LP shown above, at least not the original 1967 version. They did stick it on a 1996 CD reissue as one of the three extra tracks. Guess I’ll just have to keep digging.
Sometimes, it’s just that simple. You sit in the driveway and listen to one more song.
Today, by the way, is the 13th anniversary of this blog.
I wrote the first post on AM, Then FM on this day in 2007.
More to come, including the rest of a story started here not too long ago and what I hope will be an enjoyable new series of posts.
On Memorial Day weekend in 1965, the folks in the music department at the Stiller Co. in downtown Green Bay, Wisconsin, launched a Top 10 singles chart just as summer started.
They put it in an ad, which was published in the Green Bay Press-Gazette on Friday, May 28, 1965. The Stiller’s Top Ten singles chart appeared in the Green Bay paper every Friday evening for the next 245 weeks, give or take a week or two when it was left out for some reason.
The last Stiller’s Top Ten chart appeared 50 years ago this week, on Friday, Feb. 6, 1970. It’s on the right, opposite the first chart.
The Stiller charts are a fascinating look into pop music tastes in a conservative Midwest town during the latter half of the ’60s.
Though the early charts say the Top Ten was based on record sales, the first Stiller Top 10 chart is exactly the same as the Top 10 chart from WDUZ radio in Green Bay for that week. That practice continued well into 1966. After that, and until the end of the run, the Stiller charts and the local radio charts are similar but not mirror images of each other.
The “By Actual Sales” notation eventually disappeared from the ads in the paper. In fact, actual sales may rarely have been a factor. I’ve been told that young women who worked at the store were influential in shaping each week’s Top Ten, picking their favorite records. For that reason alone, the Stiller charts may not be representative of what Green Bay listeners really liked.
The Stiller charts were flawed in another, more culturally significant way. Though the Supremes and the Dixie Cups show up in the first chart and Eddie Holman in the last chart, black artists were underrepresented.
That said, black artists also were underrepresented on the playlists at WDUZ radio and WBAY radio, Green Bay’s Top 40 stations. The Stiller store was tight with both stations throughout the Top Ten’s four-year-plus run, sponsoring radio shows that almost certainly hyped records the store wanted to sell.
The great value of the Stiller charts is when local and regional groups turn up with singles in the Top Ten.
The first chart has one such entry at No. 4 — “Baby Doll” by the Dupries. They were a local group featuring three Duprey sisters — Annie, Joanie and Carol — along with three guys. The band’s name was a play on their last name.
In early May 1967, “Rapid Transit” by the Robbs, a Milwaukee group, was No. 1 on the Stiller chart for two weeks.
In November 1967, just before Thanksgiving, “Stop and Listen” by the Shag, another Milwaukee group, was No. 1 on the Stiller chart for a week.
The arc of the Stiller charts sort of parallels the Beatles’ career arc. The chart debuts as the summer of 1965 begins, with Beatlemania going strong in America for at least a year. From 1965 to 1969, at least 10 Beatles singles reach No. 1 on the Stiller charts. In the last chart, the store hypes a new Beatles LP as “coming soon.” That record is “Let It Be,” the Beatles’ last LP.
As the ’60s give way to the ’70s, the Stiller’s Top Ten chart seems to be staggering to the end. Is it still relevant? The editing gets sloppy. Does anyone care?
Led Zeppelin is listed as “Leo Zepplin” and remains that way for three weeks before being corrected to “Led Zepplin.” Not getting a whole lotta love there. “Creedance Clearwater Revival” has a new LP, “Willy Poor Boy.” “Laura Nyrol” and “Rod McKuern” have new LPs, too.
In the final chart, there are four typos in artists’ names — “Vanity Fair” instead of Vanity Fare, “By Jefferson” instead of Jefferson, “Lenney Welch” instead of Lenny Welch and “The Bad Finger” instead of Badfinger — and an extra S tacked on to “Bridge Over Troubled Water.”
The last Stiller’s Top Ten chart seems to be sending a farewell message. It’s right there, at No. 6 and No. 7.
Now that Christmas has come and gone, I can come clean.
Six days before Christmas, my son and I took a quick overnight trip to Minneapolis. For Evan, it was an opportunity to do some research at one of the University of Minnesota libraries.
For me, of course, it was a chance to go record digging. For the record, so to speak, I went record digging while fully mindful that it was a time to be looking for a few last things for other people, not for myself.
After dropping off Evan at the library, I made a bee line for Mill City Sound in suburban Hopkins. My friend Todd tipped me to it a couple of years ago. It’s one of the best record stores around. Highly recommended.
When I walked in, there was a guy looking at the new arrival bins. He was taking his time, which is fine, so I headed for the soul and R&B bins. Along the way, I glanced at the collectible records on the wall. Always interesting to see what they have up there.
So I dove in, flipping through the letter A soul and R&B records. Nothing for me. I took a couple of steps to my right, and started flipping through the letter B soul and R&B records. About a dozen records in, I glanced up at the wall in front of me. What I saw took my breath away.
There, among the collectible records on the wall, right smack in front of me, was the LP that has been No. 1 on my wish list for the last 10 years. I immediately took it off the wall. Never mind that it cost about four times what I’d planned to spend on records on this trip.
Behold.
“Two For The Price Of One” is a soul scorcher by Larry Williams and Johnny Watson, released on Okeh in 1967. The title cut is proof.
My friends Larry and Derek tipped me to Larry Williams and Johnny Watson on their blogs way back in 2009. The closest I’d come to finding that record was coming across a CD re-release while digging at Amoeba Records in Berkeley, California, in the summer of 2010. I’d never seen a vinyl copy in the wild.
I found no other records that day at Mill City Sound, nor at either of the other Minneapolis record stores we visited. Finding that one kinda negated the need to look for anything else.
Now, with Christmas come and gone, I can fess up.
That record has been sitting in a Mill City Sound bag for the last nine days. I didn’t say anything about it to Evan during our trip, nor to Janet when we got home, nor have I put it on the turntable. Until tonight, that is.
In 1965, Charles Schulz started drawing Snoopy as a World War I flying ace battling the Red Baron. But “it reached a point where war just didn’t seem funny,” he told biographer Rheta Grimsley Johnson. Even so, Snoopy and the Red Baron inspired this novelty Christmas song with explosions, with gunfire and with a solid message of hope that came as the Vietnam War escalated.
The second wish
Someday all our dreams will come to be Someday in a world where men are free Maybe not in time for you and me But someday at Christmastime
My friend Derek reminded me of this one on Christmas Eve morning. Thanks, man. When Stevie sings of “men” throughout this one, songwriter Ron Miller clearly means everyone, of any age.
A very Merry Christmas And a happy new year Let’s hope it’s a good one Without any fear
“Happy Xmas (War Is Over),” John Lennon and Yoko Ono, the Plastic Ono Band and the Harlem Community Choir, released as a single, 1971. I’d always had it on “Shaved Fish,” the 1975 compilation LP from Lennon and the Plastic Ono Band, until I found the single a couple of years ago.
An 11-year-old Michael Jackson will forever convey to me the excitement of Christmas morning. That Christmas songs could sound like this was a revelation to this 13-year-old kid in 1970.
“One more time, yeah! Santa Claus is comin’ to town. Oh, yeah!”
A very Merry Christmas And a happy new year Let’s hope it’s a good one Without any fear
“Happy Xmas (War Is Over),” John Lennon and Yoko Ono, the Plastic Ono Band and the Harlem Community Choir, released as a single, 1971. I’d always had it on “Shaved Fish,” the 1975 compilation LP from Lennon and the Plastic Ono Band, until I found the single last year.
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RT @VinylDistrict: Happy 80th birthday to Sir Richard Starkey MBE:
"Look, I would call Ringo the Greatest but I don’t have too since he co… 11 hours ago
These are mp3s from my collection, taken from vinyl whenever possible. Enjoy. They are intended to encourage you to get out to the music stores, real or virtual, or out to support live music.
About the words
The text is copyright 2007-2020, Jeff Ash. Text from other sources, when excerpted, is credited.
