Billboard's Hot 100/ Top 40 Motown Chronicles - 1974 - [Pt. 2]

[Boogiedown]

Because of the amount of content,
the year 1974 is being divided into three threads.

This is Part II:
May - August
______________

Previously on Motown and Billboard's Hot 100/ Top 40:

1974:
link for: 1974 Part I - January - April

1973:
link for: 1973 Part III - Sept - December
link for: 1973 Part II - May - August
link for: 1973 Part I - Jan - April

1972:
link for: 1972 Part III - Sept - December
link for: 1972 Part II - May -August
link for: 1972 Part 1 - Jan -April

1971:
link for: 1971 Pt. 1 - Jan - July
link for: 1971 Pt. 2 - July - December

link for: 1970

[Boogiedown]

The following article from Record World stretched the regular chart posting beyond the maximum amount of text permitted, so rather than trying to condense it, the entire article is being posted first [with the post of the week's regular chart review to follow]:

[The following is the conclusion
of a two part series on New York's
burgeoning disco scene.]

NEW YORK - So who are the top deejays in the city's leading discotheques, what kind of music do they play, and where do they get their programming material from?
Research into the thriving disco market has provided both answers and information.
As to who they are, most of them are young entrepreneurs who
have made working at various discos around the city their full
time job. The pay is reasonable: from $30 to $50 a night, with most working five days a week in one or more clubs. And the reason they don't hold down day jobs is
fairly logical: most would find it difficult to wake up for "normal
working hours" after having spun records until 4:00 a.m. the night
[morning] before. One Le Jardin deejay, however, is studying to be a pharmacist.

Communication
And the deejays - in the open discotheques where admission is
available to everyone, and the closed "parties" where admission
is limited to members and their friends only- maintain close communication with each other. They know each other, where they work, how much they make, what
records they are playing, and what type of crowd [and most of the
deejays have built up a loyal clientele that will follow them wherever they go] attends.
Accordingly, they share information on new disco records, new sources of supply [since surprisingly, most of them still pay for the majority of records], and new trends in the overall disco scene. Since the discos themselves are short-lived, changing with the
times becomes a crucial factor. A disco that maintains the same format, layout, music and light show, an "in" place today, will probably not last out a year unless it changes. The disco market is indeed flexible- volatile would perhaps be a better word- and today's trendsetter discos must change with the times if they want to maintain their clientele.

Music
The music played in discotheques could be called a record company executive's delight. It is six or more hours of total nonstop music,with one record segueing into another. All of the records fall into the "dance" category, of which the overwhelming majority
are r&b or r&b crossover records. All of the records are brand new:
they are not necessarily dropped when they reach the charts [and the deejays check out Record World's R&B Singles Chart, Soul Truth column and International
Hit Parades for new record information], but older standards like "Love Train,""Keep On Truckin'," or "The Love I Lost" no longer receive play. About the oldest records being played now are "Dancin' Machine" or "TSOP,"
and they will probably be dropped soon. Gallery deejay Nicky Siano explains the policy on dropping records:"I hangout with my audience, and I know what they
listen to and what they like. After a certain point, I can tell they're getting tired of a record, and I probably am too. That's when I drop it." And since Nicky is one of the key deejays in the city, when he and his colleagues decide a record has had its run, almost
all drop it. Filling six hours with good new music is a challenge that the deejays enjoy. They scour record stores for new releases, and are very much aware of the music
scene. And their value in exposing and breaking new records is becoming more well known. Billy Smith, local representative for 20th Century Records, is recognized as
the resident expert on the New York discotheque scene, and is
acknowledged as the first local man to service them fully and become friendly with them. Smith credits the discos with breaking some of the Barry White and Love
Unlimited Orchestra records, and Barry White himself noted in his Record World Dialogue[[April6) that "discotheques have been greatly responsible for a lot of my
success,"while the importance of discos to the label runs up to 20th
president Russ Regan,who agreed to award a gold record to a Le Jardin deejay for his efforts in breaking "Love's Theme" [RW'April27).

Breaking the Hits
Other companies have experienced success with records breaking out of the discos, "Soul Makossa" being a prime example.The record was initially discovered after a member of local discos turned it into an underground hit, ultimately a gold record, which was bootlegged initially with copies going for $10. The deejays, when they play something heavily [and by nature of their close communication, they usually do] can create hits. A&M credits them with Billy Preston, Columbia appreciates
their efforts on their own and Philadelphia International product
[especially MFSB], and they have exposed Motown, Buddah, RCA,
Atlantic and other labels' product without much recognition for their
value in breaking the records initially, they quickly add."I spend $30 to $40 a week for records," says Bobby D.J. of Le Jardin, and
his expenses are typical of what some of the deejays spend.

Influentials
According to 20th's Billy Smith, there are about 40 major discotheques in the New York area,with five or six considered the most influential. Smith, the deejays, and some local promotion men who have begun servicing them, are aware of their value and power. Now, they hope for recognition for their efforts

Not yet:
The applying of the term "disco" to define a specific type of music.
Here disco is used only as a synonym for a dance club, a shortening of the word discotheque.

[Boogiedown]

Billboard’s Hot 100/ Top 40
Chart #18
May 04, 1974

Number of singles reviewed this week: 92
last week:109
including:
First Time Around: [?]
SMOKEY ROBINSON - It's Her Turn To Live [2:50]; producer: Smokey Robinson; writers: W. Robinson, M. Tarplin; Tamla 54246.
Melodic tune from Smokey featuring his highly distinctive vocals and good use of background horns. In a much more funky vein than some of his recent material, and the arrangement works well.

Record World:
SMOKEY ROBINSON, "IT'S HER TURN TO LIVE"[prod. by Smokey Robinson] ."Baby Come Close"
established Smokey as a solo success after his Miracles years. This
boogie from his new album churns out the saga of a mom's new lease
on love life. Will really hit home with widows, divorcees and their
progeny.Tamla T54246F.

Cash Box:

EDDIE KENDRICKS [[Tamla 54247)
Son Of Sagittarius [3:12] [-F. Wilson, L. Caston, A. Poree]
Time to get down and boogie again with Eddie, a chore that should be one of the
easier ones of any day. The man's got his act together for sure now, just one spin here
will prove that. "Keep On Trucking” and "Boogie Down" were both monsters and
there's now a third to fit right in with those other greats. Eddie's boogie is definitely a
"sign "of the times.

Record World:

STEPHANIE MILLS, " I KNEW IT WAS LOVE" [prod. by Eddie V. Deane/ Burlington Prod.] Multi-time winner of Apollo Theater amateur nights goes professional on
her powerhouse debut. Draped in Diana Ross silk tailored in Philly style, she's Vegas-bound with top 40 sequins shimmering in her future. Paramount 0290.
.
The Motown Review:

One third of the way into 1974 and Motown has held steady thus far. They continue to have representation at all levels and on various charts and this week finds them in the Top 5 [#2 Soul] with the Jackson Five as well as having two other climbers on the Top 40. Beyond that, The Temptations HEAVENLY is struggling to break into the Top 40 and sits just below it, and BOOGIE DOWN, in its 18th week, is still on the Hot 100.
Six records from the label are charting.
In the UK Diana Ross and Marvin Gaye appear together on the Top Ten with YOU ARE EVERYTHING slipping to #6 after peaking at #5.

The Top 10:

#1: THE LOCO-MOTION - Grand Funk Railroad - all three trades.

A young Top 10 as nine of the titles have been on the Hot 100 for 12 weeks or less. Running up especially quick is Ray Stevens' THE STREAK to #6 from #19 in just its 4th chart week. Grand Funk Railroad have their 2nd #1 in less than a year with a remake of teen-aged Little Eva's King/Goffin penned LOCO-MOTION which went to #1 for her as well in 1962 . Just below at #2 is MFSB's TSOP after two weeks at the top.
Big turnover week: four new records , Ray Stevens' THE STREAK , TUBULAR BELLS by Mike Oldfield at #8 from #12, THE SHOW MUST GO ON by Three Dog Night at #9 from #13, and also included: JUST DON'T WANT TO BE LONELY by Main Ingredient at #10 from #11. Off: OH MY MY by Ringo Starr to #13 from #5, Redbone's COME AND GET YOUR LOVE to #14 from #7, , I'LL HAVE TO SAY I LOVE YOU IN A SONG Jim Croce to # 16 from #9 and look for Bobby Womack's biggest career hit, LOOKIN' FOR A LOVE at #18 from #10.

The Top 40:

Motown:
Three 45s from Motown are on the Top 40:

^DANCING MACHINE - Jackson Five bullets to#5 from #8
^MY MISTAKE WAS TO LOVE YOU - Marvin Gaye & Diana Ross bullets to #19 from #20#
^DON'T YOU WORRY 'BOUT A THING - Stevie Wonder bullets to #27 from #33
OFFS: none
____

Biggest mover in the Top 40, 14 notches
I WONT LAST A DAY WITHOUT YOU - Carpenters #21 from #35

4 Arrivals, all big movers, 3 US, 1UK. 2+Top 10 bound+, 1 PI related, 0 Motown, 0 by proxy, 0 Country
highest debut:
+BAND ON THE RUN+ - Paul McCartney & Wings #22 up 19 from #41 [10th Top 40 hit]

+FOR THE LOVE OF MONEY+ - O'Jays #32 up 13 from#45 [5th Top 40 hit]
I'M IN LOVE - Aretha Franklin #36 up 10 from #46 [31st Top 40 hit]
MY GIRL BILL - Jim Stafford #39 up 17 from #56 [3rd Top 40 hit]

The Hot 100:

11 premieres: 5 Top 40 bound, 4 first time to chart on the Hot 100, 1 Philly International related, 0 Motown, 0 by proxy, 2 Country
Highest debut:
3rd tier:
#80 - I DON'T SEE ME IN YOUR EYES ANYMORE - Charlie Rich

#82 - ONE CHAIN DON'T MAKE NO PRISON - Four Tops [former Motown act]
#84 - SAVE THE LAST DANCE FOR ME - DeFranco Family
#89 - BE THANKFUL FOR WHAT YOU GOT - William De Vaughn
#91 - CAN YOU HANDLE IT - Graham Central Station
#92 - SOMETHING - Johnny Rodriguez
#94 - WONDERFUL - Isaac Hayes
#95 - DAY BREAKER - ELO
#97 - ALREADY GONE - Eagles
#98 - THIS HEART - Gene Redding
#99 - FINALLY GOT MYSELF TOGETHER - Impressions written and produced by Ed Townsend [Marvin Gaye associate]
__________

Motown:
debuts: none
2nd week: ^HELP YOURSELF - Undisputed Truth #90 up 7 from #97
8th week: ^HEAVENLY - Temptations - #43 up 1 from #44 from #55 from #74 from #85 from #96
18th week: BOOGIE DOWN - Eddie Kendricks dips to#63 down 12 from #51 from #14 from #11, from #4, from #2, from #2, from #4, from #7, from #9 .
_________

A very good week for:
Charlie Rich
Rich has three 45s on the Hot 100, one is this week's highest debut.

Also a very good week for:
Trains.
The #1 record is LOCO-MOMTION [Chug-a chug-a motion like a railway train now] and at #2 is the theme for SOUL TRAIN, TSOP by MFSB. Also at #37 is I'M A TRAIN performed and written by Albert Hammond of the UK.

***
In the UK, a record by Sunny is peaking on the Top Ten at #7. Sunny is one of the singers from the now defunct Brotherhood Of Man [UNITED WE STAND] as was Roger Greenaway who with Roger Cook and Geoff Stephens composed DOCTOR'S ORDERS.



The record doesn't get picked up in the US and the song has run its course ... or has it.

***
Another European record tilting in the disco direction dips this week on the Soul Singles chart to #39 after peaking at #34 [#78 Hot 100]



The Peppers are an instrumental grouping out of France and this is their one time to shine. They've already charted in Belgium and by year's end PEPPER BOX will reach #6 in the UK.

***
Two-page full-color ad promoting the double record set of various artists from various labels for the ST to the movie SAVE THE CHILDREN released in September of last year.

Full-page ad black lettering on brown mustard background announcing the Frankie Valli and the Four Season's latest hit HICKORY.

[Boogiedown]

this is a post inn progress!

Billboard’s Hot 100/ Top 40
Chart #19
May 11, 1974

Number of singles reviewed this week:
this week 101 last week 92 i
including:
NORTH, SOUTH, EAST & WEST - I Can't Make It Without
YOU [[2:53); producer: Slanvue Prods.; writer: D. Ells; 20th Century 2096. Soul cut with
intensity and style of the Jackson 5 at their best. Sounds
somewhat like the 5 without being an imitation.



J5 meet Barry White on this one single outing on 20th Century by this mysterious group from somewhere on the compass.

Record World Sleeper:

MARTIN & FINLEY, "WHITEBIRD" [prod.by Bob Gaudio]. Promising duo takes wings on this production which could well have been a flight-mate to "Jonathan Livingston Seagull."Not the old It's A Beautiful Day track, but one that creates its own bright and sunny climate, each time it comes into earshot. Motown M1294.

The Motown Review:
A very good week for Motown . The Jackson five are in the Top 3 as well as #1 in Record World and #1 Soul with DANCING MACHINE. Stevie Wonder continues to bullet up the Top 40 at a steady pace. Big names Diana Ross and Eddie Kendricks both enter the Hot 100 with Eddie having the Hot 100's highest debut record. Seven Motown 45s are charting.

The Top 10:
#1:
Billboard: LOCO-MOTION week 2
Record Word: DANCING MACHINE week 1
Cash Box THE SHOW MUST GO ON - week 1

The Top 40:
Motown:
Three 45s from Motown are on the Top 40:

^DANCING MACHINE - Jackson Five bullets#3 to#5 from #8
^DON'T YOU WORRY 'BOUT A THING - Stevie Wonder bullets to#21 from #27 from #33
MY MISTAKE WAS TO LOVE YOU - Marvin Gaye & Diana Ross bullets to #25#19 from #20#

OFFS: none

Biggest mover in the Top 40, 10 notches
MY GIRL BILL Jim Stafford 39 #29


5 Arrivals, 4 U.S. 1 Canada, 2+Top 10 bound+, 0 PI related, 0 Motown, 0 by proxy, 1 Country

highest debut:
LETS GET MARRIED - Al Green #34 #41 [9th Top 40 single]
SUNDOWN - Gordon Lightfoot - #36 #46 [2nd Top 40 hit]
BILLY DON'T BE A HERO - Bo Donaldson & The Heywoods #38 #57 [* first time artist]
IF YOU LOVE ME LET ME KNOW - Olivia Newton John #39 #50 [3rd Top 40 hit]
STANDING AT THE END OF THE LINE - Lobo - #40 #48 [6th Top 40 hit]

The Hot 100:

9 debuts : 3 Top 40 bound, 3 first time to chart on the Hot 100, 0 Philly International related, 2Motown, 0 by proxy, 0 Country
Highest debut:
3rd tier:
#74 - SON OF SAGITTARIUS - Eddie Kendricks #74

#80 - HAVEN'T GOT TIME FOR THE PAIN - Carly Simon
#84 - RIKKI DON'T LOSE THAT NUMBER - Steely Dan
#89 - TEEN ANGEL -WEDNESDAY
#92- SLEEPIN' - Diana Ross
#95 - WILDFIRE - New Birth
#96 - EVERYBODY WANNA GET RICH RITE AWAY- Dr. John
#98 - AFTER MIDNIGHT - Maggie Bell
#99 - RADAR LOVE - Golden Earring



Motown:
debuts: none
1st week: SON OF SAGITTARIUS _Eddie Kendrocks #74
1st week : SLEEPIN" -Diana Rosss
3rd week: ^HELP YOURSELF - Undisputed Truth #86#90 up 7 from #97
9th week: ^HEAVENLY - Temptations - #53#43 up 1 from #44 from #55 from #74 from #85 from #96
19th week: BOOGIE DOWN - Eddie Kendricks OFF from #63 down 12 from #51 from #14 from #11, from #4, from #2, from #2, from #4, from #7, from #9 .
OFFS : one

Eddie will now BOOGIE DOWN but not off the chart entirely as his next single jumps right on. 19 weeks is a long run and just shy of making the 5 month club.



BOOGIE DOWN is Kendrick's second #1 Soul single in a row and peaked at #2 on the Hot 100.


A very good week for

;

Soul Sauce:
e can cite a situation with our own daughter, where her exposure
to "Lady Sings The Blues" encouraged her to finally examine our vast
collection of Billie Holiday records at home. Once she did, she agreed
with her father that there was obviously more to the soul of "Lady
Day" than was found in the mimicry of Diana Ross in the film.
Duke Ellington is our own. Pride in his music should be a universal one, not a racial one.

Surely Scott Joplin's current rise in popularity with the #1 LP on Billboard's Top 200 and a Top 5 single will not go unnoticed by this columnist.

Cash Box:

Atlantic Obtains
Rights To ABBA’S
Eurovision Winner
NEW YORK — Atlantic Records has
acquired the United States and Canadian
distributing rights for the Swedish group,
ABBA, whose single, "Waterloo," won
top honors at the 19th annual Eurovision
Song Festival. The announcement was
made by Jerry Greenberg, senior vice
president and general manager of Atlan-
tic Records, who negotiated the deal
with New York attorney Bob Casper.
"Waterloo” was voted the award over
7000 entries from Britain, Holland,
Israel, and Yugoslavia. Eurovision’s 500
million viewers in 32 countries watched
the contest and an estimated million
more listened on the radio.