|
| Tom SawyerRush |
This post has been moved here. |
|
|
|
|
|
|
!—the> |
!—the> |
!—the> |
!—charting> |
!—aural> |
!—no> |
!—100> |
![]() | Classic Rock:#1 Songs, 1962-1981 |
First of all, what is classic rock? As with any genre, it’s impossible to develop a bulletproof definition on which everyone will agree, but “classic rock” is generally considered to be music from the 1960s through ‘80s which would play on album-oriented rock stations in the 1980s. As for the years I chose to represent the genre, I chose 1962 because it marked the debut of the first Beatles’ single (“Love Me Do”) and 1981 as the end of the era because it was in that year that Billboard officially launched its AOR chart. As for an actual chart tracking these songs, there isn’t one that I’m aware of. Instead, I used more than 70 best-of-lists focused on the genre to assemble a database of more than 5000 classic rock songs. I then ranked these from 1 to 50, with those rankings corresponding to how the song might have charted back in the day. I published the results in the Dave’s Music Database book Charting the Classic Rock Hits 1962-1981, available at Amazon.
![]() I concede that this is certainly not a fullproof system as some songs have grown in stature over the years while others might have been huge out of the gate but their status has diminished over the years. It isn’t a flawless system, but it does offer some idea where these songs stand. In any event, these are the songs which might have been #1 on a classic rock chart from 1962-1981, had such a chart existed. Dates reflect when the song was released or first appeared on another song chart or album. The latter are marked with asterisks (*). Check other lists based on charts, sales, and airplay here. 1962:
1963:
1964:
1965:
1966:
1967:
1968:
1969:
1970:
1971:
1972:
1973:
1974:
1975:
1976:
1977:
1978:
1979:
1980:
1981:
Resources/Related Links:
First posted 9/11/2023. |
![]() | Mood IndigoDuke Ellington |
Writer(s): Duke Ellington, Barney Bigard, Irving Mills (see lyrics here) First Charted: February 14, 1931 Peak: 3 US, 16 GA (Click for codes to charts.) Sales (in millions): -- Airplay/Streaming (in millions): -- radio, 3.25 video, -- streaming |
Awards:Click on award for more details. |
About the Song:A New Orleans jazz musician named Lorenzo Tio, Jr. was visiting his former student, Barney Bigard, in New York. Tio shared a melody called “Dreamy Blues” which he’d written as the theme song for his group back home. Bigard asked to borrow it and worked up what would become the clarinet solo for Duke Ellington’s “Mood Indigo.” DH Ellington is credited with “composing a song of his own on top of it” DH and turning the structure upside down. Typically jazz songs were arranged with the clarinet, trumpet, and trombone from highest to lowest pitch, but Ellington flipped it around the other way. DH The approach played on his talents of “subtle sophistication” NPR and “creating an element of surprise in his compositions.” NPR Ellington worked up a recording for an October 1930 broadcast, saying, “It was the first tune I ever wrote specially for microphone transmission.” WK He said, “wads of mail came in raving about the new tune.” WK In 1931, lyrics were added. They were credited to Irving Mills, Ellington’s manager, DH but Mitchell Parish, who also wrote words for the classic “Star Dust,” claimed in a 1987 New York Times interview that he was really the one responsible. SB He also is supposedly the one who gave the song its new title, MM which “suggests the deep violet-blue of indigo.” TY1 The song was first recorded by Ellington’s Jungle Band and later under the name The Harlem Footwarmers. SB The 1931 recording became a jazz standard and “one of the most beloved recordings of all time.” DJ It was revived in 1934 with a top 20 version by Jimmie Lunceford and resurfaced again in 1954 with versions by the Norman Petty Trio (#14) and the Four Freshmen (#24). PM Over the years, the song has been recorded many times as both an instrumental and vocal piece. Among those recording it are Louis Armstrong, Tony Bennett, Cab Calloway, Nat “King” Cole, Dr. John, Ella Fitzgerald, Charles Mingus, Nina Simone, Frank Sinatra, and Dinah Washington. Resources:
Related Links:First posted 2/14/2013; last updated 9/5/2023. |
![]() | I Love YouClimax Blues Band |
Writer(s): Derek Holt (see lyrics here) First Charted: February 14, 1981 Peak: 12 US, 9 CB, 10 HR, 7 RR, 20 AC, 21 CL, 14 CN, 59 AU, 1 DF (Click for codes to singles charts.) Sales (in millions): -- Airplay/Streaming (in millions): -- radio, 14.47 video, 12.06 streaming |
Awards:Click on award for more details. |
About the Song:The Climax Blues Band formed in 1967 in Stafford, England. They found their first chart success in 1976 with “Couldn’t Get It Right,” a top-10 hit in the United States and the United Kingdom. Their only other top-40 hit was “I Love You,” which didn’t chart in the UK but reached #12 on the Billboard Hot 100. On a personal note, the song was at #2 on my first personal chart. As a response to a local radio station’s countdown of the best songs of all time, I compiled my own list. I intended to make it a one-time list of favorites, but it turned into a weekly personal chart which I maintained for a little more than a decade. The song is “a pure love song about a woman who enters a man’s life and changes his world for the better. The message of love and friendship, along with the line, ‘You got what it takes so I made you my wife,’ made the song very popular at weddings.” SF The band’s guitarist, Derek Holt, wrote the song and said, “You could say it’s for one person, but it’s quite generic….Usually songs appear from nowhere, and that one appeared in a couple of hours.” SF He explained, “It was about meeting my first wife, meeting the lady that’s going to encourage me to do what I did best, and that was be a musician, with no qualms about it. I used to go away from home, used to leave her behind, and used to come back. I was a hippie, a drinking hippie with really long hair. We had a great time – I’m meeting my wife, since then I’ve never looked back. You know, pretty much out living a dream..” SF The band didn’t respond to the song initially, saying it “was a little bit too lovey.” SF However, while working with producer John Ryan for the eventual Flying the Flag album, he was going through the group’s tracks and asked if they had any more. Holt played “I Love You” and Ryan said, “That’s a hit.” SF Holt said, “Everybody just sort of looked at each other and said, “Oh, bloody hell.” SF The song was recorded with legendary keyboardist Nicky Hopkins, who worked with the Rolling Stones. SF Resources:
First posted 9/7/2022. |
| First posted 3/26/2008; updated 9/15/2020. |
Face Value |
![]() |
Released: February 13, 1981 Peak: 7 US, 13 UK, 13 CN, 2 AU Sales (in millions): 5.0 US, 1.5 UK, 17.6 world (includes US and UK) Genre: mainstream pop-rock |
Tracks: Click for codes to singles charts.
|
Rating: 3.918 out of 5.00 (average of 15 ratings)
Quotable: Collins’ “masterpiece and one of the finest moments of the ‘80s musical landscape” – Tim Sendra, All Music Guide Awards: |
About the Album: Phil Collins spent a decade with the rock group Genesis, first as their drummer and then their singer, before launching a solo career. “He’d been wrestling with the idea of doing a solo record for years, finding great inspiration in the pain caused by an impending divorce and craving artistic independence after years of collaboration. Many of the songs ended up on Genesis’ 1980 album Duke – and ‘Against All Odds’ was pocketed for later use – but he kept enough to make an album that stands as a classic moment of ‘80s pop/rock.” AMG “Collins produced the album himself and played keyboards and drums, calling in friends and the Earth, Wind & Fire horns to fill out the songs.” AMG The “thundering drums and punchy horn arrangements…clicked with the public…launching Collins’ career as one of the biggest and most unlikely stars of the ‘80s.” AZ The album kicks off “with the bitter anthem In the Air Tonight” AMG “where Collins dryly comments, ‘If you told me you were drowning / I would not lend a hand’).” AZ It is “rightly considered one of the great heartbreak songs of all time.” AMG The album offers “a compelling churn of emotions” AZ alternating “between moody ballads and bouncily soulful tracks that try to put a smile on the pain.” AMG “His everyman style of singing translates to both types of songs; he’s just as good at wringing every drop of emotion out of the ballads as he is at sailing through the deceptive breezy tunes.” AMG “The gently sung, sweet-as-punch This Must Be Love” AMG showcases “the delight he feels in exploring a new relationship.” AZ It “gives an early respite after the lurching, bruising ‘In the Air Tonight.’” AMG “The poppier tracks, like the snappy Behind the Lines and the impossibly hooky I Missed Again, show off his skills as a hitmaker and vocalist.” AMG “The pulsing I’m Not Movin’ marries one of Collins’ catchiest melodies and airiest productions with the most forceful lyrics on the record.” AMG “On the quieter songs like If Leaving Me Is Easy, Collins’ wracked vocals leave no doubt that he’s not sugarcoating his emotional devastation as he sorts through the wreckage of his life.” AMG “The new agey Droned and the swinging Hand in Hand give the album some instrumental texture and allow a break from all the desperate emotion on display.” AMG “This range of sound and emotion is part of what helps the album succeed as much as it does; so does the feeling that Collins felt driven to make this album to help him heal. It’s not a career move or a cash grab; it’s a transmission from a wounded soul delivered with a soft touch and sensitivity. As such, it’s Collins’ most honest, most compelling work. He went on to become a huge star, with loads more hits, but Face Value stands as his masterpiece and one of the finest moments of the ‘80s musical landscape.” AMG Notes: In 2016, a deluxe edition of the album was released with eight live songs from various years and four demos from 1980 for “This Must Be Love,” “Please Don’t Ask,” “Misunderstanding,” and “Against All Odds.” |
Resources and Related Links:
|
Moving Pictures |
|
Released: February 7, 1981 Peak: 3 US, 6 UK, 1 CN, -- AU, 8 DF Sales (in millions): 5.0 US, 0.10 UK, 5.1 world (includes US and UK) Genre: progressive rock/classic rock |
Tracks:Song Title (date of single release, chart peaks) Click for codes to charts.
Total Running Time: 40:03 The Players:
|
Rating:4.293 out of 5.00 (average of 25 ratings)
Quotable:“Not only is 1981’s Moving Pictures Rush’s best album, it is undeniably one of the greatest hard rock albums of all time.” – Greg Prato, AllMusic.comAwards:(Click on award to learn more). |
About the Album:“Not only is 1981’s Moving Pictures Rush’s best album, it is undeniably one of the greatest hard rock albums of all time.” AM The Canadian trio had been “a huge concert draw since the mid-1970s” RD but “while other hard rock bands at the time experimented unsuccessfully with other musical styles, Rush were one of the few to successfully” AM “respond to new wave.” RD They “streamlined their sound with seventh studio LP Permanent Waves” RD in 1980 and on Moving Pictures that “new wave meets hard rock approach…is honed to perfection.” AM“Rush proved with Moving Pictures that there was still uncharted territory to explore within the hard rock format, and were rewarded with their most enduring and popular album.” AM “All seven of the tracks are classics (four are still featured regularly in concert and on classic rock radio)...The whole entire first side is perfect – their most renowned song, Tom Sawyer, kicks things off.” AM “This anthemic ode to individualism stacks virtuoso guitarist Alex Lifeson’s heavy riffs against a gleaming electronic backdrop, while Peart fires off rapid percussion rolls in support.” RD It is “followed by the racing Red Barchetta, the instrumental YYZ, and a song that examines the pros and cons of stardom, Limelight.” AM On the latter, “Lee’s melodic vocal illuminates the plea for privacy.” RD “And while the second side isn’t as instantly striking as the first, it is ultimately rewarding. The long and winding The Camera Eye begins with a synth-driven piece before transforming into one of the band’s more straight-ahead epics,” AM “but with an urban rather than fantasy setting.” RD Vital Signs “marries a dramatic refrain to futuristic reggae.” RD That song and Witch Hunt are “two of the trio’s more underrated rock compositions.” AM The latter Notes:A 40th anniversary reissue in 2022 was comprised of a five-record set that included the 2015 remaster and a previously unreleased live recording of a March 25, 1981 show at Maple Leaf Gardens in Toronto. WK |
Reviews:
Related DMDB Links:First posted 4/28/2008; last updated 6/25/2025. |