← Hit Parade | Music History and Music Trivia
Hit Parade | Music History and Music Trivia
I Got Five on It Part 1
00:49:52
Hit Parade celebrates its fifth anniversary with a Top 20 countdown of your favorite episodes.
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You're listening ad free on Amazon Music.
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Hey there Hit Parade listeners. What you're about to hear is Part one of this episode. Part two will arrive in your podcast feed at the end of the month. Would you like to hear this episode all at once the day it drops? Sign up for Slate Plus. It supports not only this show, but all of Slate's acclaimed journalism and podcasts. Just go to slate.com hitparadeplus you'll get to hear hear every Hit Parade episode in full the day it arrives. Plus Hit Parade the Bridge, our bonus episodes with guest interviews, deeper dives on our episode topics and pop chart trivia. Once again to join, that's slate.com hitparade plus thanks and now please enjoy part one of this hit Parade episode.
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Creep on in on it.
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Welcome to Hit Parade, a podcast of pop chart history from Slate Magazine about the hits from coast to coast. I'm Chris Melanie, chart analyst, pop critic and writer of Slate's why is this song number one series on today's show, in the 1995 top 10 hit by Bay Area rap duo Loonies, recently revived by the Jordan Peele movie US Hook singer Michael Marshall sings He's Got five On It. And in our own way, so do we. Hit Parade launched on the Slate Podcast Network five years ago this month. Happy half decade to us. In case you're curious, Loonies are, according to our Hit Parade rules, officially a one hit wonder. I got 5 on it was their only top 40 hit on either the Hot 100 or the R and B chart. And like so many golden era rap classics, the most memorable part of I Got Five on it is its sung hook. These subjects Rules for One Hit Wonders how rappers blend with singers are just a couple of the topics this podcast has tackled over the last five years. We really have covered quite a variety of stories and a range of illustrious hit makers. From early rock and soul legends. To 21st century chart titans. From the all time biggest hit makers. To the acts who broke on the charts for just one shining moment. From r and b improvisers.
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Say yes. Say yes. Yeah.
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Two country craftsman, Thunder Rose and the Lightning Stripes. Two alternative rockers turned pop superstars.
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That's me in the corner. That's me in the spot.
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From Hitmakers, your Hit Parade host holds in very high esteem. Two acts I could do without. Okay, Kevin, that's enough to celebrate our fifth anniversary. I asked you, the Hit Parade listeners, what your favorite episodes were and wow, did you all come through. We got hundreds of votes, dozens upon dozens of top five lists. I shouldn't have been surprised because of course Hit Parade listeners like ranking things. And yeah, some of you voted for that blasted Bon Jovi episode. I really don't blame you. It was a good episode. But in general, across the board, your tastes ranged widely from Beatles to Britney, Swift to Springsteen, Credence to Cindy.
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Oh, mom and D we're not the fortunate one and girls, they wanna have.
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Fun oh girl it warms my heart to know that our listeners collectively have tastes as eclectic as mine. And frankly, your votes were full of surprises. You really defied my expectations. Episodes that I thought would place highly in the voting, the ones that revolved around certain rock gods. Or certain pop goddesses, Those did just okay in the voting. Whereas episodes about shorter lived hit makers, Behind the scenes craftsmen, Or seemingly marginal musical scenes, Those episodes crushed in the rankings. Nice work, team. Game recognize game Nerd recognize Nerd Boys.
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And mechanics Girls in surfboard Everybody's rockin'.
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Today on Hit Parade, we will, as promised, count down the podcast's most beloved episodes as ranked by you. But I'll also be sharing some of what this half decade experiment in pop chart podcasting crossed with music criticism has revealed both to you and to me. Sure, the stories about big number one hits are exciting and illuminating, But the stories about number 99 hits? Those have something to teach us too.
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Without you. Without you.
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Or the number 62 hits that are remade into number 34 hits that eventually become number one hits, These are the stories I wanted to tell on this podcast. And it all started in the early months of 2017, a rather dark time for American culture, a fairly quirky time for current pop, and as it turned out, a pretty good time to launch a chart history podcast. And that's where your Hit Parade marches today, the week ending April 29, 2017, when this Ed Sheeran song, Shape of youf was number one on Billboard's Hot 100. By the way, my sincere congratulations to Ed for beating that frivolous copyright lawsuit last week. And that Same week in 2017, Hit Parade's pilot episode launched on the Slate podcast network 56 episodes later, we've covered a lot of chart history. Now we're going to recap what we've learned and count down what you've loved. There won't be much Ed Sheeran, but the songs will be at least this catchy. So put on a party hat and help me celebrate Hit Parade's fifth birthday. We're finally old enough for kindergarten.
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Every day discovering something brand new, I'm in love with your body.
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This is our first regular Hit Parade episode that's composed largely of material from previous episodes. However, it is hardly the first time I've made reference to our prior work. If you've been listening to this show long enough, you've undoubtedly heard me say some version of this. We talked about the seminal Rapper's Delight by the Sugarhill Gang three years ago in our Def Jams edition of Hit Parade. We've talked about the chart topping jump on prior episodes of Hit Parade. In past episodes of Hit Parade, I have talked about the chart revolution brought about by the launch of SoundScan. We talked about Olivia Newton John in our prior country Hit Parade episode. We talked about the Archies in our Credence Clearwater Revival episode. We've talked about Phil Spector in several prior episodes of hits like the seminal I Feel Love, which we talked about in our Donna Summer episode of Hit Parade. In our Christmas 2019 episode of Hit Parade, we talked about how the elusive Chanteuse pulled off the coup. My listeners have definitely taken notice of this habit of mine, this tick where I reference prior episodes of the show. In the spring of 2020, one Twitter user Travis Ryan joked, quote, recent episodes would be 5 to 10% shorter if references to earlier episodes were cut. Unquote. He then went on, I'm not saying they should be cut, just pointing out that this has become quite a body of work. Another user, Richard2001, chimed in on Twitter to say, even as someone who has listened to all Hit Parade shows, I appreciate the cross referencing. In a separate Twitter thread some months later, another user noted that it's as if I am building a kind of pop history textbook one reference at a time. Over the course of nearly five dozen episodes, I have made these cross references to show how hit making artists and hit songs are in dialogue with each other across the ages. How Bruce Springsteen had Phil Spector on the brain when he recorded Born to Run. How Taylor Swift in the tens might have looked back to Olivia Newton John in the 70s to see how another left field country artist gradually shifted toward pop music. How the mastermind behind Milli Vanilli might have drawn inspiration from other faux and even cartoon groups like Steam or or the Archies. How Mariah Carey's improbable Spotify fueled Christmas chart success is now spreading to other veteran acts like Brenda Lee rocking around.
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Christmas Tree at the Christmas party hop Mistletoe hung where you can see every couple tries to stop.
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So sure there is some kind of pop history text we're building here. I am pleased when listeners grasp the larger project, the philosophy, if you will, behind Hit Parade. In fact, before I get to some of your comments, your favorite factoids, and the countdown of your favorite episodes, please indulge me while I provide my own top five list. Not of episodes that's too hard for me. They're all like my children. Rather, I'm going to provide five let's call them Guiding principles for Hit Parade. Admirably, several of you have already picked up on these principles just by listening to the show the charts are full of great stories.
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Red Red Wine it's up to you.
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Starting right from our pilot episode, which chronicled how this flop Neil diamond song, a number 62 hit in 1968, traveled through Jamaica and over to England before becoming a number one transatlantic hit for UB40, I have operated from the belief that the Billboard charts and other charts around the world are more than collections of statistics. They are snapshots of our culture. I've been asked by listeners why a show about the charts. Actually, often this question is not so much asked to me directly as implied. When one friend told me you should do a show about the band Killing Jokes, I had to tell him Killing Joke didn't have many chart hits. That would be a pretty short episode. Although shout out to love like Blood cause that song's a jam. To me. The best chart stories come packed with biographical details, detail and cultural backstory. Like for example, when a former member of the band Genesis. Not only topped the Hot 100 in 1986, he did it by ejecting Genesis, his former band, from the number one spot. That's a great story, and it opens up a series of other stories. Like what prog rock was when this frontman was still with that band, how prog evolved into other forms of popular rock and pop, and how that evolution provided a platform for the drummer from Genesis to invent a drum sound that defined the 1980s. Or how about the story I just told last month of how a striving nightclub pianist and singer scored a number one hit thanks to a Clint Eastwood movie.
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Ever I kissed your mouth.
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Which allows me to talk about not only the folk tradition that spawned that song, the first time.
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Ever I saw.
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Your face, but also how the chart topping version of that song opened up the hit parade to other black female singers making chart topping hits out of other funkier left field songs by white creators. I often say you have to be a deep chart fanatic to write a show like Hit Parade. That's my job. But you shouldn't have to know anything about the charts to enjoy it. Mind you, I happen to be a lifelong chart geek, from the days I first caught Casey Kasem on the radio. There's no keeping Kim Karnes down. Returning to number one, here she is with Bette Davis eyes. And so Hit Parade reflects the way I like to tell stories, and I am grateful that you all enjoy hearing these stories as much as I like telling them. But even I will admit the charts are an imperfect lens through which to view music history. Which brings me to my second hit parade. Principle Principle 2 charts work best when they reflect a musical spectrum. The power of Billboard's Hot 100 is its balance. Since its inception in 1958, the Hot 100 has always tracked at least 22 sales of songs and radio airplay. Since 2012, it has also measured a third streaming music like Spotify. What this means is that, in essence, this chart measures both passive and active musical fandom. Both the music that surrounds us passively on the radio and in public spaces, and the music that hardcore fans actively seek out. So, for example, Last year's Song of the summer, Butter by bts, dominated the charts, largely thanks to the K Pop boy band's hyperactive fan base, the BTS army, who bought digital downloads of Butterfly in droves. Whereas a band like, say, Maroon 5. Does better on the radio and its sales and streams are more modest. But Both BTS and Maroon 5 are chart topping bands because the Hot 100 balances both of these kinds of music consumption, active and passive. Ideally, this balance extends to the kinds of music that appear on the chart. As I have told and retold several times on Hit Parade, not everybody loved the charts in the late 70s when disco seemed to be overtaking the radio. That led to an infamous backlash, including the notorious disco demolition night at Comiskey park in Chicago and to a corresponding so called return to rock. Now, I happen to love both Sister Sledge and the knack, but in 1979 they were on either side of a cultural turf war. And let's not even get into the 79 rock fans who hated the Knack. Or let's flash forward a decade later, another moment of imbalance, the rise of rap which was becoming the sound of young America. I've noted in several episodes how the charts weren't accurately capturing the magnitude of of hip hop's popularity because rap sales were under reported by music retailers and rap music was being underplayed by pop and even R and B radio programmers. What's up? Tell them where you from Straight out.
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Of Compton A brother with his finger on the trigger but once I take out my rep gets bigger I'm the.
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Ruthless feeling and you notice after the creation of Soundscan rap Stark Topping the Hot 100 and infusing itself into other forms of pop. As I noted in our Singing Rappers, Rapping Singers episode, some of the best hits of the next three decades infused mainstream music with rap production and even hip hop vocal styles, redefining how we listen to pop. My point is this charts work best. Indeed, popular music works best when there is balance among fandoms, genres, cultures, races the reason 1971, the subject of a recent Hit Parade episode, sounded so awesome was that it encompassed both this version of you've Got a Friend winter, spring, summer or fall. And this version of you've Got a Friend. The reason why 1984 is lionized by music critics and the subject of a whole book, is that the black acts were rocking out. And the white acts were getting down. More recently, in the early 2000s, radio programmers are reporting a revival of interest in late 90s and early aughts music. That's partially nostalgia, but it's also because turn of the millennium pop could encompass this. And this. And even. So, if you've detected a weakness, I have for Hit Parade, topics that cross would be boundaries of genre, format and even taste. Well, to me this is not a weakness, but a strength. I am all about balance when it comes to pop. To me, pop is not a genre, it's a melting pop.
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It doesn't matter if it's good in your life, someone else.
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This leads neatly into my third premise. Principle three Hit Parade is a poptimist show and pop can mean anything and everything. When I devoted an episode three years ago not only to the career of Lady Gaga, but also the raucist versus poptimist debates that were spawned by her lead role in the movie A Star Is Born. I wanted to put a stake in the ground for what authenticity means in pop. Gaga is both proudly artificial and and true to herself. She was authentic even before she started singing standards with Tony Bennett or singing country rock ballads on the Oscars with Bradley Cooper.
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Tell me something boy, aren't you tired trying to fill that void? Or do you need more?
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In an earlier episode, our History of Metal episode, I pointed out that this seven minute hard rock dirge by Metallica.
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Hold My Breath is I Whisper, oh please God, wake Me.
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Was also a top 40 hit. Number 35 in 1989 to be exact. I love that the Billboard top 40 has made room at various times for both Lady Gaga and Metallica. To me, being a poptimist, yeah, it's a squicky term, but it's one that I've embraced. Only means that you don't regard rock played by white men on guitars as normative. It doesn't mean you hate rock. In one of our earliest episodes, I pointed out that contrary to popular belief, Led Zeppelin did issue some 45 RPM vinyl singles in their heyday, and those songs made the top 40. This is Casey Kasem in American top 40 counting down this week at number 16 is Led Zeppelin an immigrant song. By the way, for whatever it's worth, I love Led Zeppelin. Poptimism means removing as much of the value judgment as possible from music, particularly hit music. You can love the critically acclaimed stuff like Remember. And also embrace the so called schlock like toda, And it doesn't preclude you from having an opinion. You all know how I feel about Bon Jovi. And by the way, I'm still not a fan of Jimmy Buffett either. Hear me now, people. Poptimism doesn't mean you have to love everything. So again, poptimism is our guiding light on Hit Parade, and it embraces not only all kinds of music, but all opinions. Which brings me to my fourth precept for this show. Principle four. You don't have to love an artist or even a song to get something out of a story. In 2016, when I pitched Hit Parade to Steve Lichtai, who was then Slate's executive producer of podcasts, he asked me what the pilot would be about. When I told him it would revolve around UB40's red red wine. Immediately Steve said, I hate that song.
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Red Red Wine.
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You make me feel so grun. But then I quickly pivoted telling Steve the story of that pilot episode. Not only the part about Neil diamond, but also the part about the the rogue DJ who made UB40's 1983 cover of Red Red Wine, a 1988 hit, and how that 88 chart topper then kicked off a fad of second chance woulda been, Shoulda been singles, returning to the charts for another shot at glo. And that's when Steve Lichtai said, that is interesting. I would listen to that. And he greenlit Hit Parade right then and there. I love that Steve's distaste for UB40 is a core part of this podcast's origin story, because I get feedback like this from all of you, all the time. While collecting your comments for this anniversary show, I heard from Slate plus member Martin Young, who said he also hates red red wine but ranked that show anyway. Or fellow Slate Plusser Anna Knudsen Geller, who said, quote, I was surprised by how fascinating the chic episode was. I'd initially skipped it out of lack of interest in the group. Or here's Twitter user odent630 quote Special mention to the Jim Steinman episode because I always hated those songs and I never knew why. And I still hate them, but now I get it. Unquote. Or here's Tweeter Iadawkins, who ranks our Billy Joel episode among her top five and adds simply quote and I hate all caps. Fucking Billy Joel. Unquote.
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For the longest time.
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Look, nobody made me do an episode centered around Bon Jovi, but I knew it would be interesting. Understanding and decoding something you hate can be as rewarding as bathing in music you love, as well as explaining why, say, the breakthrough of Bon Jovi would suddenly make a pop song by a former Go Go sound uncannily like hair metal. That's just a cool thing to know, right? It's about musical construction, but also about pop trends and, yes, how chart success fuels these trends. There's always a backstory to the music you just unquestionably consumed when you were a kid. And that, by the way, brings up my last credo for this show. Nostalgia is powerful, and every era's music is worthy of nostalgia.
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Baby, I hold it up and you hold up here.
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I'll confess, I am really no different from any other music fan. Like most sentient beings, I believe the music that came out when I was about 13 to 16 years old was the greatest music ever. By the way, there's science to this. Psychology Today has devoted articles to why the music we hear as teenagers and sticks to us. So yeah, maybe Hit Parade has leaned heavily on the music of the 70s and the 80s. My younger listeners are probably saying, okay, Xer right now. When we get to our episode rankings, you'll notice that those decades are indeed overrepresented.
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Right? Take it easy, baby, make it last. Take it.
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But just as no one is making me do an episode about the loathed Bon Jovi, no one's demanding that this podcast cover Lady Gaga, Taylor Swift, Jay Z, Beyonce, Fallout Boy, Rihanna, or Lil Nas X.
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Call me when you want, Call me when you need Call me in the morning I'll be on the way Call me when you want.
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And equally in the other direction, I don't have to devote shows to boomer era music. Sure, the Beatles were inevitable. Everybody loves the Beatles. And this is a show about the charts, after all. But we've also gone deep on Sam Cooke, Brenda Lee, Dionne Warwick, and the earliest Motown hits by little Stevie Wonder and the Miracles.
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You better shop around, you better shop around.
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There are a couple of reasons for this range in eras. For one thing, I'm interested in all of it. I grew up with boomer music and I still love a lot of current popular music. I also don't think current music is as alienating as folks my age fear it might be. The yearning for irresistible hooks and impassioned lyrics is universal across the ages. Catchy is catchy. But for another thing, I have now lived through enough eras of pop to see all music go through waves of foam, fandom and derision, backlash and reappraisal. I remember when Duran Duran was belittled by boomer rock critics in the 80s as synthetic garbage. Now they are rightly on the ballot for the Rock and Roll hall of Fame. I remember when Britney Spears was regarded as nothing more than a puppet, her name uttered by tasteful music fans as an epithet. Only now is she starting to be regarded as a culture shifter. Simply put, the vast majority of culturally significant music is going to provoke nostalgia. Nostalgia in someone someday. So maybe speaking just for myself, there have been hits by Drake that I've appreciated and admired, And hits by Drake that have, frankly, left me cold.
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Foot up, left foot slide. Left foot up, right foot slide. Basically, I'm saying either way, we about to slide.
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Killing this one, mark my words. No matter what I think by the2030s, Drake's impact on pop will be highly regarded as significant and as influential as Michael Jackson's or REM's or Nirvana's impact.
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As you are, as you were, as.
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I want you to be, and as Gen Z enters middle age, Drake's songs will be played at their high school reunions and weddings, the way my generation plays Journey or Whitney Houston at high school reunions and weddings. Hitmakers who, by the way, were once also held in contempt for by an older generation. In short, at Hip Parade we cover it all. Maybe the stuff in my sweet spot a bit more than the stuff that's older or younger than me. But I firmly believe it's all worthy of examination. So that's enough of me and my prince principles. Let's hear what you had to say. In addition to asking listeners to share their top five favorite episodes, I invited you to also share other lists, like the top five acts Hit Parade turned you onto or the top five bits of musical knowledge you learned from Hit Parade. And some of our overachievers were only too happy to oblige. For example, Slate plus member Jerrel McAllister says these were his top five hit parade facts. I'll read them just as he wrote them. Number five Nile Rogers produced every good song ever made. That's more an opinion than a fact, Jerrell, but I half agree, so I'll allow it. Number four the Doobie Bounce is a thing. Number three Mariah Carey holds the record for number one songs among soloists. To be clear, Jerrel, but good on you. Number two Credence Clearwater Revival never had a number one song, and number one by far, says Jerrell. The Bee Gees wrote Islands in the Stream.
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Islands in the Stream. That is what we are. No one in between. How can we be wrong?
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Sail Away with me Frequent commenter Jessica Newt Hey Jessica offered her own detailed list of favorite hit Parade facts. She loved knowing the definition of yacht rock. The rules I devised for one hit wonders the fact that a nearly forgotten song by Glenn Medeiros featuring Bobby Brown was the first ever featured credit on an number one hit. The fact that Milli Vanilli had a perfect average of top five hits even with no follow up album. And finally, the fact that Madonna's smash Ray of Light. Was in essence a cover song. Go back to our Madonna episode the Veronica Electronica Edition, if you want the details on that twisted backstory. And I have to shout out the list from Slate plus member and Hit Parade trivia contestant Gal Hazor from Israel. He provided the most detailed list of favorite revelations from the show. Number one the early 80s saw a medley craze that nobody feels nostalgic for. Number two the highest charting pop version of Stairway to Heaven was by a studio group assembled by a German disco producer. Yep, Gal, that was Frank Farian of Milli Vanilli fame. Number three Bruce Springsteen originally intended to give hungry heart to the Ramones. Number four no doubts, don't speak never appeared on the Hot 100. And number five Carlos Santana wisely and thankfully declined to play Woodstock 99. Back to that Milli Vanilli episode. Apparently a lot of listeners learned things from that one. Twitter user Lopcast loved finding out that the same guy who formed the fraudulent duo was also behind his kitschy favorites song Boney M's Rasputin. Slate plus subscriber Richard de loved learning that YouTube fueled songs up the charts such as Miley Cyrus's Wrecking Ball. On Anthony Bertuca's list of top five factoids was the fact that I love this one. Prince helped Stevie Nicks record the song she openly admitted was a ripoff of his hit little red Corvette. 1983's Stand Back. Twitter contributor Ohk at Large loved finding out that Bon Jovi's you Give Love a Bad name was basically a rewrite. Songwriter Desmond Child rebooted an earlier single he penned for Bonnie Ty. PeterCrebstar provided a top 10 list of facts. Included on his list were Janet Jackson almost scored an eighth top five hit from a single album. The UK Christmas number one competition is.
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A thing We Built this city.
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We.
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Built this city on Sarse we built this city Come on babe we built this city on sarse.
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And in 1985, after we are the World, a bunch of snubbed metalheads got together to record their own charity mega single Hearing Aid with Stars. Apparently I have also improved cocktail parties for Aight Youngman, who says his go to trivia question was the one I offered up at the start of our Bruce Springsteen episode about how the Boss, Bob Dylan and Randy Newman never got higher than number two as frontline artists, but all three of them wrote a number one song for somebody else. I also asked you for lists of artists Hit Parade turned you onto. Maybe you'd heard of them, but you hadn't much listened to them before. Your responses were enlightening. The aforementioned Martin Young he's the guy who hates red red wine ranked five women artists. He's now listening to more. In fifth place, the Pointer Sisters, fourth Roberta Flack, third Donna Summer, second Sarah McLachlan and in first place, Amy Mean Man. Slate plus member Eugene Green is focusing his listening on sub genres and producers we covered. He's now listening to Quincy Jones's so Called Yacht Soul music, the work of Jim Steinman and Max Martin, the entire universe of Genesis. I gained a better appreciation for Phil Collins, he says. And at number one on Eugene's list, the entire genre of urban cowboy era country music. I know it was derided, but I thought it slapped. Melanie Reed has maybe the widest ranging list of new favorite artists from Hit Parade. She's listening to Michael Penn, Depeche Mode, Lady Gaga, Tom Petty, and at number one on her list, Credence Clearwater Revival. I love the breadth of that list, Melanie. And I would be remiss if I didn't shout out my friend Brian McDonald who says I think the Donna Summer episode is underrated. I'm glad I was old enough to just barely pay attention to pop radio in 1977 because I feel love blew my little mind apart. Well Brian, I'm glad you think the Donna Summer episode needs more love, but wait'll until we get to our countdown of your favorite Hit Parade episodes. The Queen of Disco did very respectably. When we come back, you voted I count em down your all time favorite episodes of Hit Parade's first five years. Non Slate plus listeners will hear the rest of this episode in two weeks. For now, I hope you've been enjoying this episode of Hit Parade. Our show was written, edited and narrated by Chris Melanphy. That's me. My producer is Kevin Bendis and we also had help from Rosemary Belson. Alicia Montgomery is the Executive Producer of Slate Podcasts. Check out their roster of shows@slate.com podcasts. You can support subscribe to Hit Parade wherever you get your podcasts, in addition to finding it in the Slate Culture feed. If you're subscribing on Apple Podcasts, please rate and review us while you're there. It helps other listeners find the show. Thanks for listening and I look forward to leading the Hit Parade back your way. We'll see you for part two in a couple of weeks. Until then, keep on marching on the want. I'm Chris Malone.