You couldn’t go into any bar, pub, or tavern in my fishing port hometown of New Bedford, MA for literally decades without someone playing Looking Glass’s #1 hit from 1972, “Brandy (You’re A Fine Girl)” on the jukebox – usually more than once a night!:
(And yes, that’s future country legend Kenny Rogers doing the introduction!)
The song/story of a barmaid in love with a sailor she can never truly have, because as he says “my life, my lover, my lady, is the sea” resonated with us locals, as I’m sure it did in every “harbor town” where barmaids work “layin’ whiskey down” to hard working seafaring men (not to mention that fact that it made a helluva great slow-dancing tune as closing time neared – ah, those were the days, my friends!).
The band Looking Glass was from New Brunswick, New Jersey, and consisted of Elliot Lurie (lead singer, guitar), Larry Gronsky (keyboards), Pieter Sweval (bass), and Jeff Grob (drums). While “Brandy” was a smashing success, their self-titled debut album only made it to #113 on the Billboard LP charts. A follow-up LP, SUBAWAY SERANADE, did worse, though it did yield a minor hit in “Jimmy Loves Mary-Anne”, which crawled up to #33. After Lurie left the group disbanded, with Sweval and Grob forming the late 70’s glam-metal band Starz, who had some small success in 1977 with “Cherry Baby”:
Elliot Lurie, who wrote “Brandy”, had a brief solo career before moving to Hollywood and becoming a music supervisor for both films (THE SURE THING, ADVENTURES OF FORD FAIRLANE, ALIEN 3, A NIGHT AT THE ROXBURY, SPANGLISH) and television (CLUELESS, NASH BRIDGES, LIZZIE MCGUIRE, THE 4400). But for most of us, he’ll be forever immortalized as the man who gave voice to a girl who “wears a braided chain, made of finest silver from the North of Spain”, and who, “at night, when the bars close down,..walks through a silent town, and loves a man who’s not around”….
There aren’t many entertainers who can boast of 9 #1 hits, 12 Gold Records, 4 Platinum, 1 Double Platinum, 10 Grammys, a hit television show, and a co-starring role in a John Wayne movie! In fact, there’s only one. Glen Campbell, who died yesterday at age 81 of complications from Alzheimer’s Disease, was more than just an average country music singer. During the tumultuous late 60’s/early 70’s, when protests and riots were common occurences, Campbell’s country/folk/pop songs were a common denominator, enjoyed by hippie freaks and establishment tools alike. Face it, Glen Campbell was The Man!
Born in humble, sleepy little Billstown, Arkansas, Glen took up playing guitar at an early age. His uncle was a musician, and teenage Glen began his show-biz career picking on his radio show. The young man soon formed his own band and toured the South and Southwest extensively. The bright lights/big city of Los Angeles beckoned, and Campbell headed to LA, joining The Champs, who’d had the hit “Tequila” (his band mates at the time included future folk/rock duo Seals & Crofts).
Glen’s musical talent got noticed, and he became a highly sought-after session musician, playing with a collective called The Wrecking Crew. These were among the top musicians on the West Coast, including during Glen’s tenure Leon Russell, Hal Blaine, and Tommy Tedesco. They backed up hitmakers from Frank Sinatra (“Strangers in the Night”) to The Righteous Brothers (“You Lost That Lovin’ Feeling”), The Crystals, The Ronettes, Sonny & Cher, The Mamas & The Papas, virtually every pop artist on the LA scene. The Wrecking Crew were the house band in the seminal 60’s concert film THE TAMI SHOW, backing up all those great acts. Glen also did work with The Beach Boys, playing on their hits “I Get Around” and “Help Me Rhonda”, and the album “Pet Sounds”. He filled in on tour for an ailing Brian Wilson, singing the falsetto parts and playing bass.
Around this time Campbell tried launching a solo career, with limited success. His record company was about to drop him when he suddenly found himself on top of the pop charts with the bluegrass-flavored “Gentle On My Mind”, written by his friend John Hartford:
After all those years paying dues, Glen Campbell was an overnight sensation. His smooth-as-honey voice dominated AM radio, and his Eddy Arnold-influenced country pop, combined with his clean-cut good looks and pleasant personality, made him a star at last. Among his biggest hits were his interpretations of songwriter Jimmy Webb’s tunes: “By the Time I Get to Phoenix”, “Galveston”, and the haunting “Wichita Lineman”, as perfectly crafted a piece of pop music as there ever will be:
In 1968, Glen hosted a summer replacement variety series for folk duo The Smothers Brothers. It was another hit, and the following January he began a three and a half run on THE GLEN CAMPBELL GOODTIME HOUR. This CBS series brought families together to watch and enjoy some of the best music had to offer at the time. Hartford was a regular, as was a young country artist named Jerry Reed. Not just country stars (Eddy Arnold, Johnny Cash & June Carter, Roy Clark, Merle Haggard, Waylon Jennings, Willie Nelson, Buck Owens, Minnie Pearl, Roy Rogers & Dale Evans) appeared, but rock acts like The Monkees, Linda Ronstadt, Three Dog Night, and Stevie Wonder were featured (there was even a film clip from The Beatles doing “Get Back”!). The world of show biz was well represented by Lucille Ball, Tony Bennett, Walter Brennan, George Burns, Bob Hope, Dean Martin, Debbie Reynolds, and some guy named The Duke:
Campbell had made his big-screen acting debut in TRUE GRIT, Henry Hathaway’s 1968 Western that netted John Wayne his first (and only) Oscar. Glen played Texas Ranger LaBoeuf, who along with one-eyed Marshal Rooster Cogburn (Wayne) and vengeful young Mattie Ross (Kim Darby) hunt down killer Tom Cheney (Jeff Corey). Campbell wasn’t the greatest of thespians, but his natural charm was made for the Silver Screen. Unfortunately, his next picture was 1970’s NORWOOD, a plodding bomb that reunited him with Darby and another late 60’s/early 70’s icon, football’s Broadway Joe Namath. He was given a starring role as the Elvis-like rooster Chanticleer in 1991’s animated ROCK-A-DOODLE, which didn’t exactly light up the box office, but is a pretty decent kid’s movie (in my opinion, anyway).
Glen’s career, like many, skidded to a halt in the early 70’s. Times and tastes were changing, and his records weren’t automatically climbing the charts anymore. That is, not until 1975’s “Rhinestone Cowboy”:
The tune, an ode to surviving in the show-biz jungle, was yet another surprise smash, and Campbell was back on top. More hits followed: “Country Boy (You Got Your Feet in LA)”, the theme to Clint Eastwood’s ANY WHICH WAY YOU CAN, and most of all the soft-rock classic “Southern Nights”:
After a bout with alcoholism and cocaine abuse, Campbell went on to continue touring and receiving accolades for his manybaccomplishments. In 2001, he bravely announced to the world he’d been diagnosed with Alzheimer’s, but kept touring as long as he could. He released the plaintive 2014 song “I’m Not Gonna Miss You”, about his struggle:
The length of this post says a lot about Glen Campbell’s impact on me. There’s a lot of ground to cover in his 50 year career, and I feel I’ve only scratched the surface. Singer, actor, TV star, talk show guest, Campbell was first and foremost a musician, and I’ll bid Glen a fond adieu with his rendition of “The William Tell Overture”. Rest in peace, Glen Campbell. Wherever you are, I know there’s room for you in the band:
(Hello again, Dear Readers! I’m using Fridays to test out some possible new recurring series here on Cracked Rear Viewer, beginning today with a look back at some “One Hit Wonders”. Enjoy!)
British pop group Paper Lace had their only hit in America with 1974’s “The Night Chicago Died”, an ode to those halcyon days of the Roaring Twenties, when Al Capone and his mob ruled that toddlin’ town of Chicago:
The song was written by the hitmaking team of Peter Callander & Mitch Murray, a couple of lads who penned songs for Georgie Fame (“The Ballad of Bonnie & Clyde”), The Tremeloes (“Even the Bad Times Are Good”), and Vanity Fare (“Hitchin’ A Ride”). The duo wrote another tune for Paper Lace titled “Billy, Don’t Be A Hero” that didn’t score on this side of the pond; the immortal Bo Donaldson & The Heywoods had the hit version here in the U.S.
Seems Messers Callander and Murray didn’t quite do their geography homework, though. The events in “The Night Chicago Died” take place “on the East Side of Chicago”, which would make things pretty wet, since that’s where Lake Michigan is located! Still, the song serves as an homage to all those 30’s Cagney/Bogie/Robinson Warner Brothers films we all know and love. As for Paper Lace, they kind of petered out in England around the late 70’s, but they’ll be forever remembered for this One Hit Wonder about the battle between Al Capone and the cops in the middle of Lake Michigan from the glory days of story-songs, the 1970’s!
“The Night Chicago Died”, music & lyrics by Peter Callander & Mitch Murray
(What do you Dear Readers think of “One Hit Wonders”? Any suggestions? As always, your comments and feedback are more than welcome!! )
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