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- [00:00]
Chris Melampi
You're listening ad free on Amazon Music. 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 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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Guest or Singer
Foreign.
- [01:12]
Chris Melampi
Welcome to Hit Parade, a podcast of pop chart history from Slate Magazine about the hits from coast to coast. I'm Chris Melampi, chart analyst, pop critic and writer of Slate's why Is this Song Number one Series on today's show. Here's a quick pop quiz about my favorite year of hit music. 1984. It was a big year for superstars who generated multiple hits in 1984. Five artists who were at the peak of their hit making powers dropped four singles each that made the top 10 on Billboard's Hot 100. Can you guess who these superstars were? If you remember anything about 1984, you'd probably guess the mighty Prince was one of them.
- [02:04]
Guest or Singer
Go, let's go, let's go crazy, let's get nuts.
- [02:10]
Chris Melampi
And you'd be right. In 1984, Prince released When Doves Cry, let's Go Crazy, Purple Rain and I Would Die for your, all four of which made the top 10. What about Duran Duran?
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Narrator or Additional Commentator
Yes, they qualify.
- [02:36]
Chris Melampi
Union of the Snake was still in the top five at the start of 1984, and Duran Duran followed it up with the top 10's new moon on Monday, the Reflex and the Wild Boys before year's end. Or how about this Unusual Lady? Yep, four top tens for Cindy Lauper, Girls just want to have fun, Time after Time, she bop and all through the Night, all of which were released or peaked in 1984. And what about this future hall of Famer?
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Narrator or Additional Commentator
Hello.
- [03:25]
Guest or Singer
Is it me you looking for? I can see it in your eyes.
- [03:32]
Chris Melampi
LIONEL Richie in 1984 alone dropped four of the five top 10 hits from his Can't Slow down album Running with the Night, hello, Stuck on youn and Penny Lover. And by the way, his All Night Long was still clinging to the top 10 at the start of 84. So that's four superstars with four top 10s each. Who's the fifth and final mega hit making act of 84? You might guess Madonna.
- [04:08]
Guest or Singer
Feels like I'm going to lose My mind.
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Chris Melampi
But in 84, Madonna was still a new hit maker. She scored only three top 10 hits that year with Borderline Lucky, Star and Like a Virgin.
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Narrator or Additional Commentator
How about Bruce Springsteen.
- [04:33]
Guest or Singer
Jam?
- [04:36]
Chris Melampi
His run of Born in the the USA hits was just starting in 84. Dancing in the Dark, Cover Me and the title track from his album were top tens that year. That's just three. So who else could it be with four top ten hits. Huey Lewis and the News, Michael Jackson, Billy Joel. No, no and no. The fifth act to score a quartet of top tens in 1984 was this female trio. The Poynter Sisters. A family vocal group from Oakland, California. Dropped four straight top 10 hits, all in 1984. Automatic jump for My Love, I'm so Excited and Neutron Dance. In an eclectic year dominated by danceable rock and technopop, Anita, June and Ruth Poynter were going toe to toe with the kings and queens of the charts and defying their genre.
- [05:50]
Guest or Singer
And it's hard to say just cause something's never changed and it's hard to find in a strength to draw the.
- [05:58]
Chris Melampi
Line which was what genre exactly? The Pointers were hard to pigeonhole back in the 70s. First as a quartet with their sister Bonnie, they scored with recordings that straddled the worlds of funk. And jazz. And country music. And rock had a hold on me.
- [06:53]
Guest or Singer
Right from the start. I gripped it so tight I couldn't tear it apart.
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Chris Melampi
Even yacht rock. But the Pointer Sisters were just getting started. They took on synth pop at the height of 80s new wave and saw their greatest success.
- [07:25]
Guest or Singer
No way to control it. It's totally automatic whenever around.
- [07:33]
Chris Melampi
There was a period after Prince and before Janet Jackson where some of the hottest synth funk on the charts was generated by the Pointer Sisters. And decades after their peak, their genre smashing style would influence generations of soulful format crossing harmony singers. Today on Hit Parade, we will give one of the most hit generating girl groups of the 20th century their due. Ruth, Anita and June Poynter and their sister Bonnie are the missing link between the doo wop and Motown era vocal troupes of the 1960s and the hip hop era divas of the 21st century. And even when the Poynter Sisters were beset by personal and professional challenges, they sounded like they were having fun. You might even call them excited.
- [08:51]
Guest or Singer
I'm so excited and I just can't hide it. I'm about to lose control and I think I like it.
- [09:03]
Chris Melampi
And that's where your hit parade marches today, the week ending September 8, 1984, when the Poynter Sisters I'm so Excited entered the Billboard top 40 for the second time, passing the Poynter's own jump for My Love on the Hot 100 on its way to a new peak of number nine. It was a sign of just how hot these sisters were that this 1982 BOP could become a 1984 hit. And they weren't done. On their perennial party jam, Anita, June and Ruth said that they were about to lose control. But how did the Poynter Sisters take control of their destiny, break out of the format box and define their own amalgam of harmony, rock, pop and soul? If you've been listening to this podcast for a while, you know that we at Hit Parade have a soft spot for artists who confound the boundaries of genre and the expectations of what they should sound like. I've chronicled how the duo of Daryl hall and John Oates became the premier blue eyed soul act of their day, topping both the pop and R B charts with I Can't Go for that. I've told you how Phil Collins played with members of Earth Wind and Fire and even tried to imitate Prince's synth funk and was rewarded with pop and R B hits. More recently I explained how Pink switched from R B to pop and then a kind of 21st century rock music becoming a self styled rock star. And perhaps most improbably, I've discussed how Hootie and the Blowfish singer Darius Rucker transformed himself from a rock frontman to a solo country star. But I dare say none of these genre crossing acts have had the sheer breadth of and musical versatility of the Poynter Sisters. Not only have they tried all of the above genres and several more besides, They've had multi genre chart success. According to a recent obituary of Anita Poynter, the Pointer Sisters are the only group to have landed top 40 hits on all five of Billboard's country, R B, pop, dance and adult contemporary charts, a rare combination for any act, especially a black vocal group. For example, this minor 1975 single, Live youe Life before youe Die has elements of country, rock, R B, even gospel and it reached number 31 on the AC chart. One more chart statistic, Billboard ranks the Pointer Sisters as the fourth biggest girl group in chart history after in third place Destiny's Child. In second place, TLC and leading the pack, unsurprisingly, the Supremes. But more than any of these other legendary girl groups, the Pointer Sisters indefinability makes them easy to overlook.
- [14:09]
Guest or Singer
I want a man with a slow hand I want a lover with a.
- [14:19]
Chris Melampi
Despite recording some truly indelible hits, the Pointer Sisters do not enjoy the same status as such Rock and Roll hall of Fame inducted girl groups as Martha and the Vandellas, the Ronettes, or the Go Go's. They have never even been nominated for the Rock.
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Guest or Singer
Fire.
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Chris Melampi
Perhaps that is because the Pointers had their greatest success on the pop charts, where all genres compete. The group's fandom is not owned, as it were, by any one audience. But make no mistake, the Pointer Sisters are a key branch in the family tree of female harmony vocalists. We here at Hit Parade aim to give them their due, the same of.
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Guest or Singer
The land Should I do it, should I fall Should I do it after a fall?
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Chris Melampi
Like Holland Oates, Pink or Darius Rucker, the roots of the Poynter Sisters multifarious tastes had to do with where and how they were raised, and their eclecticism was spawned by more than one home base.
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Guest or Singer
So particular about working on that wheel, you just wanted to see how cherry you feel. Yeah.
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Chris Melampi
This performance, taken from a 1987 Pointer Sisters TV special, finds the sisters interpreting one of the totemic spirituals from their youth. They were all born in Oakland, California, Ruth in 1946, Anita in 48, Bonnie in 1950, and baby June in 1953 to Sarah and Elton Poynter, who raised them in a strict religious household. Elton Poynter was a pastor at the West Oakland Church of God, and the girls were only encouraged to listen to and sing gospel music. As Tammy Kernodle points out in her 2021 NPR Music article, the Hidden Legacy of the Pointer Sisters, the Bay Area's gospel music scene was formative, and not just for the Pointers. Quote by the late 1960s, Kernodle writes, the west coast had become the epicenter of a new wave of music experimentation that would shift the sound and cultural context of black sacred music during the latter part of the 20th century. June and Bonnie Poynter in particular took part in the Northern California Youth Choir, the ensemble that also produced the Edwin Hawkins singer's best selling oh, Happy.
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Guest or Singer
D.
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Chris Melampi
But the Pointers did not spend their childhood exclusively in Oakland. Elton and Sarah Pointer were originally from Prescott, Arkansas. They had migrated to the west coast during World War II before the girls were born, and throughout the girls childhood they would make yearly visits back to Prescott. There, the Poynter sisters were exposed to country music. Anita Poynter later recalled, I only remember listening to one Arkansas radio station.
- [18:20]
Guest or Singer
You cheating hard will make you wee.
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Chris Melampi
And all they played was country music. Hank Williams yous Cheatin Heart, Tex Ritter's Do Not Forsake Me, oh My Darlin and Willie Nelson's Funny How Time Slips Away.
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Guest or Singer
Gee, ain't it funny how time slips away.
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Chris Melampi
To me? Anita continued, it was all good music. With country, the short story format really resonated with me, unquote. So gospel and country held nearly equal weight in the Poynter sisters musical upbringing. But there was one last formative component, harmony singing. When the sisters sang together, they found they could imitate one more pre rock.
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Guest or Singer
Style, don't sit under the Apple tree but anyone else but me Anyone else but me Anyone else but.
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Chris Melampi
The intricate harmony arrangements of the Andrews Sisters, who turned songs like the Boogie Woogie Bugle Boy and Don't Sit under the Apple Tree with anyone else but Me into standards. The Pointers were particularly Inspired by the 50s vocal trio Lambert, Hendrix and Ross.
- [19:55]
Guest or Singer
I tell you all I want to have a ball I'm ready to go Expl.
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Chris Melampi
Who not only helped pioneer the intricate jazz singing style known as vocale, they were also co ed and interracial, joining together the white Dave Lambert and Annie Ross with the black singer John Hendricks. When the Pointers began singing professionally, these kinds of pre rock and roll, pre rhythm and blues styles were what they gravitated towards.
- [20:39]
Guest or Singer
I need those. Awesome. Awesome.
- [20:49]
Chris Melampi
At first Bonnie and June, the two youngest sisters, were the primary singers. By the late 60s they were joined by second oldest sister Anita to form a trio and by the 70s oldest sister Ruth made them a quartet. It was around this time that the Pointers became a well regarded backing vocal troupe, a kind of west coast version of the Sweet Inspirations. And sometimes their so called backing vocals were basically front and center. On the 1970 album Feel it by California guitarist Elvin Bishop, the Poynter sisters take the lead vocal on the bluesy I Just Can't Go On. Bishop was so impressed with and fond of the Poynter sisters, he took them on Tour. On this 1971 performance at the Fillmore west in San Francisco, the Sisters are fronting Elvin Bishop's cover of the Sam and Dave hit you Got Me Hummin. Once word got around the Bay Area.
- [22:16]
Narrator or Additional Commentator
About the Pointers, they were in high.
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Chris Melampi
Demand by a mix of rock and R B acts in the early to mid-70s. The sisters backed up recordings by Boz Skaggs, Sylvester Bette Davis and on this recording, the solo album by Jefferson Airplane slash Jefferson Starship frontwoman Grace Slick. All of this backup work eventually attracted the attention of Atlantic Records, which signed the Poynter sisters in 1971. The legendary label with its long history of R B tried to present the Pointers as a post Motown soul group on their debut single Don't Try to Take the Fifth.
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Guest or Singer
On Me I'm Just Not Gonna Work Don't Try to Take the Fifth.
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Chris Melampi
When that song failed to chart, the Sisters tried getting a Little Grittier. Their 1972 single Send Him Back is now renowned in England as a Northern soul classic, but it didn't chart either. In 1973 the sisters switched labels from Atlantic to the quasi indie Blue Thumb Records, who were prepared to give the Pointers a bigger promotional push. The ladies wanted to show off their harmonies and their eclecticism and it was a good moment for throwback music. In 1973, for example, Bette Midler cracked the top 10 with her cover of the Andrew Sisters classic Boogie Woogie Bugle.
- [24:17]
Guest or Singer
Boy he's the boogie boogie they didn't know a bugle for his Uncle Sam it really brought him down because he could not jam the Captain seemed to understand.
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Chris Melampi
On the COVID of their self titled debut album, the four Pointer Sisters, Anita, Bonnie, June and Ruth posed seated around a table in twenties style flapper outfits with stylish hats and wrap dresses. The COVID matched much of the music on the album, which leaned into their classic pop harmonies as on their cover of Lambert, Hendrix and Ross's Cloudburst. The Pointers even co wrote their own jazzy showcase on the original song Jada, which could be mistaken for a pre war standard. Friend. This savvy image making and strong reviews for the eponymous Pointer Sisters album pushed the LP gradually up the Billboard chart all summer of 73 until it was just outside the top 40. But it wasn't a throwback diddy that finally turned the LP into a smash. It was a different, much funkier kind of classic cover that made the Pointer Sisters hitmakers.
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Narrator or Additional Commentator
New Orleans R B singer Lee Dorsey was the first artist in 1970 to record this song which was then titled simply yes We Can. The song was written by his fellow New Orleanian legend Alan Toussaint. You may recall we discussed Alan Toussaint in our Hit Parade discussion on the group labelle. Their smash Lady Marmalade was produced by Toussaint for Lee Dorset. Yes we can was only a minor hit, reaching number 46 on Hot Soul Singles in late 1970. Before they were signed. The Pointer Sisters had recorded a demo of Lee Dorsey's minor hit Two years later when they were in the studio with producer Dave Rubinson working on their debut lp, he suggested they take another crack at it. And with To Saints Blessing, they made the song's title match its refrain yes We can can, and it became a cross cultural anthem. For NPR Music, Tammy Kernodle writes, quote, the Pointer Sisters version transformed this pop song with a subtle social justice message into a black power anthem structured in the form of a modern gospel song. She continues, quote the discursive narrative of yes We can can offered contemporary listeners assurance that despite the violence enacted against the liberation movements, the carnage and trauma experienced through the Vietnam War, and the systemic, pervasive economic and racial disenfranchisement that together we could make it through unquote. Released in the summer of 73, yes we can can climb to number 11 on the hot 112 on the R B chart. It pushed The Pointer Sisters LP to number 13 on the album chart. Now established as a soul act, the Pointers followed Yes We can can with their cover of blues man Willie Dixon's Wang Dang Doodle, which reached number 24 on the R B chart just as their album was certified gold. More than anything, the Sisters were not content to be pigeonholed. They continued providing harmony vocals for artists like pop hitmaker Helen Reddy, And they led off their own 1974 LP that's aplenty with a swing era style medley centered around the 1950s Broadway Standard steam Heat from the Pajama Game.
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Guest or Singer
I Need your Love to Keep Away.
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Narrator or Additional Commentator
Released as a single, Steam Heat bubbled under the hot 100, unsurprising for such a quirky cover. But the biggest left turn on the that's a Plenty album and its biggest hit returned the Pointer Sisters to their days of listening to Arkansas radio. A twangy country weeper written by Anita Poynter with assistance from her sister Bonnie, called Fairy Tale. A breakup song. Written from the point of view of a wronged woman, Fairy Tale was full on fiddle and pedal steel country at first, the Pointer Sisters label Blue Thumb didn't know quite what to do with it, and they placed it on the B side of a more traditional R B single. When that single failed to take off, DJs flipped over the record and began playing Fairy Tale. Realizing the song had country chart potential, Blue Thumb teamed with a sister label with a Nashville division to try promoting the song to country stations. Remarkably, the song began to gain traction. The Poynter Sisters made promotional appearances in Nashville, culminating in an October 1974 performance of Fairy Tale at the Grand Ole Opry, making the Pointer Sisters the first ever African American vocal group to perform at the Opry on Billboard's Hot Country Songs chart, Fairy Tale climbed to a respectable number 37. Equally improbably, it then crossed back over to pop stations and the Hot 100, cracking the top 40 in November 74. Casey Kasem counted it down. Several weeks ago, they made it into the top 40 of the country charts, a feat performed only by two other black artists before them, Charley Pride and OB McClintin. Well, that country hit crossed over to the pop chart a couple of weeks ago. This week it's at number 26. The Pointer Sisters and Fairy Tales Fairy Tale. Fairy Tale eventually reached number 13 on the Hot 113 on Easy Listening, the predecessor to Billboard's adult contemporary chart. But the Pointer's fairy tale crossover wasn't over yet. At the following year's Grammy Awards, Fairy Tale was not only nominated in the category of best Country Performance by a duo or group with vocal, Shockingly, the Pointer Sisters won that prize over country hits by Willie Nelson, Kris kristofferson and rita coolidge. Bobby Bear, if the wind stopped blowing.
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Chris Melampi
Then the land would be dry and.
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Narrator or Additional Commentator
Your boat wouldn't sail and the Statler Brothers.
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Guest or Singer
Whatever happened to Randolph Scott riding the trail alone? Whatever happened to Gene and Tex and Roy and Rex?
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Narrator or Additional Commentator
To this day, the Pointer Sisters, remember, remain the only black act ever to win that Grammy country category. It was the Pointer Sisters only country hit as a group, but not the last time a Pointer sister would touch hot country songs. Six months after their 1975 Grammy triumph, the Pointer Sisters scored their first number one hit on a Billboard chart. On a completely different chart, and this song could not have sounded less like Fairy Tale. How long Parentheses Betcha got a chick on the side. The sassy first single from the sister's third album, Steppin, reached number one on the R&B chart and number 20 on the Hot 100 in the fall of 75. Again co written by Anita and Bonnie Pointer, How Long was strutting funk in tune with the then current sounds of Cool and the Gang and Earth, Wind and Fire? For a spell, the Pointer Sisters stayed solidly in the funk lane. Following up How Long with the top 20 R B hits Going down Slowly. And you Got a Believe, which made the SoundTrack to the 1976 Blaxploitation comedy car Wash. More memorable than either of these mid-70s funky hits was an equally funky vocal the pointers, recorded in 1976 for Sesame Street.
- [36:20]
Chris Melampi
Street.
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Narrator or Additional Commentator
Yes, that Sesame Street. And if you are of a certain age like me, this may well have been your introduction to the Pointer Sisters killer harmonies. Pinball Number Count was an animated Sesame street video series that took kids into inside a pinball machine while it taught the numbers 1 to 12. Musically, what's most fun about these segments, which, trust me, are seared into the brains of any 70s kid, is how the Pointer Sisters got to showcase their vocalise and were encouraged to improvise.
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Guest or Singer
11.
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Narrator or Additional Commentator
If pinball number count had been issued as a single, perhaps it would have been a hit by 1977. The group could use one. If there was any downside to the Pointer Sisters wide range of vocal projects, it's that it arguably diluted their audience. Singles by the Sisters began to underperform form on the charts. Their jazzy 1977 cover of Sam Cook's Having a Party only reached number 62 on the R and B chart, and it missed the Hot 100 entirely. With the group floundering, Bonnie Pointer decided it was time for a solo career. By 1978, she'd signed to Motown and scored an immediate top 10 R&B hit. Free me from my freedom, darling Won't.
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Guest or Singer
You free me from my freedom, darling Put love's chains back on me For.
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Narrator or Additional Commentator
A brief period, the Pointer Sisters were reduced to a duo of Ruth and Anita. Youngest sister June took a break from recording entirely. But June was persuaded to return to the fold when the Sisters attracted the attention of a record producer and label impresario who was about to resuscitate the Pointer Sisters career. He had already produced a slew of hits.
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Guest or Singer
You probably think this song is about you.
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Narrator or Additional Commentator
Richard Perry made his name in the early to mid-70s, producing culturally ubiquitous number one records for Carly Simon. He produced you're so Vain for Harry Nielsen, he helmed the smash torch ballad Without You. And in 1976, Perry even adapted to the disco era by producing Leo Sayers perky chart topper you Make Me Feel Like Dancing. By 1978, Richard Perry decided to start his own label, Planet Records, as a vehicle for showcasing talent he was nurturing while still producing established artists for other labels. And the first act Perry signed to Planet, his new pet project, was the Pointer Sisters.
- [40:22]
Guest or Singer
And more and over and over again.
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Narrator or Additional Commentator
Quote the Pointer Sisters were so deserving of mainstream success long before I was able to get them there, richard Perry said in a 2021 interview chronicling his career. Unfortunately, they got caught in the past and they were Fast becoming old news. But once we got together, we were able to right that ship quickly, and they finally got recognized in the mainstream media like they should have all along. On their their Planet Records debut, Energy, Richard Perry made the Poynter Sisters more rock adjacent while still keeping them soulful, even danceable. The single Happiness, written again by Alan Toussaint, gave them their biggest hit to date on Billboard's Disco chart, where it peaked at number 18. Elsewhere on the album, Perry leaned the Pointers even more solidly toward rock, with covers of Fleetwood Mac's Hypnotized. And stephen stills. As I come of age. Now a trio With June back in the fold, the pointer sisters by 1979 were competing with their own sibling and former bandmate Bonnie on the charts. Bonnie Pointer's 1979 single the Dance Floor classic Heaven Must have Sent you became her biggest ever pop hit, reaching number 11 on the Hot 100.
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Guest or Singer
Don't know where you've been my baby Heaven must have sent you into my heart.
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Narrator or Additional Commentator
But the reconstituted Pointer Sisters had the much bigger pop hit in 1979, and it happened when Richard Perry connected them with an unreleased track by the rocker known as the Boss. As we discussed in our Bruce Springsteen episode of Hit Parade, fire was a song Springsteen wrote in the style of Elvis Presley. Bruce even sent Elvis a demo of the song in 1977, just before the King of Rock and Roll's death. But the King never recorded it, so Springsteen recorded it himself during the sessions for his 1978 album Darkness on the Edge of Town. But he left it off the album. That's when Richard Perry and the Poynter Sisters got their hands on It.
- [43:41]
Guest or Singer
Had a hold on me right from the start. Grip.
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Narrator or Additional Commentator
Fire was a canny choice for the Pointers. They keyed into its bluesy structure and amped up the soul, while Perry backed them with a rock arrangement. The result was fundamentally pop and a huge hit. Released in the closing weeks of 1978, the Poynter Sisters fire took 16 weeks to climb to number two on the Hot 100 in the winter of 79, where it stayed for two weeks. It even got a Bruce Springsteen song to number 14 on the R B chart. The Energy album climbed to number 13, the same peak position as the ladies 1973 debut the Pointer Sister had reached, and the album went gold. Richard Perry had not only given the trio a comeback, he had helped them reinvent their sound. On a quickly issued follow up album, 1979's priority, Perry had the Sisters cover another round of rock tracks including who do youo Love by Matthew Hoople and Blind Faith by Stealer's Wheel. Priority didn't sell nearly as well as the energy LP had, but as the 70s gave way to the 80s, Richard Perry had other plans for the pointers. In true 80s fashion, he was going to introduce them to synthesizers, and this would make the Pointer Sisters bigger than ever. When we come back, the Pointer Sisters become their own genre. Rock and soul and new wave and pop and even a little country all rolled into one. Soon enough, the Pointers will have all of America jumping and even Eddie Murphy doing a newfound dance. 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 Melanfi. That's me. My producer is Kevin Bendis, Derek John is executive Producer of Narrative Podcasts, and Alicia Montgomery is VP of Audio for Slate Podcasts. Check out their roster of shows@slate.com podcasts. You can 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 one I'm Chris Melanthe.
- [47:28]
Guest or Singer
And I'm so glad I got to show him that I love him till the day after.