5/26/79 and 6/14/80 Charts

Here’s what I wrote up in late May of 79. I suppose the most notable thing is my hangup about writing out the word “Bitch” in the title of Rod Stewart’s hit (which lasted throughout its run). That’s just how I rolled back then.


Let’s see what I thought about the songs in mid-June of 80:

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Pretty pleased that Gary Numan reached the top; he’s in his second and final week there.  The only former #1 song comes from the Pretenders (four-week stay). The Clash would ascend for one week–they were already out of the real 40–and then “It’s Still Rock and Roll to Me” would be at the pinnacle for five weeks (I think I must have heard it too much along the way, as I don’t like it nearly so much anymore).  You can see that I had overlooked Boz at first. He’d been at #4 the previous week, and I couldn’t have him fall too far too fast!  I’m a little surprised that “Funky Town” got no higher than #9; Sir Paul got only to #6.

Finally, the real thing from 80. Since this was the departure date of our vacation, I’d gotten the chart information ahead of time; guess there was no time for prediction. The “picks” all came from #41 through #49. All hit, but only the Genesis tune got higher than #38. The #1 songs of the 70s recap wrapped up the following week. I suppose I wondered what would happen next–I was soon to find out it was the analogous thing for the 60s.

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5/15/82 and 5/21/77 Charts

As 82 proceeded, signs that my chart-keeping days might end before long abounded. I made predictions far less frequently, and I wasn’t listening enough to get all the extras and LDDs, either. On the plus side, my printing was as neat as it ever was!

This was in the middle of the period Billboard‘s chartmeister was imposing conditions that made it difficult for songs to begin falling, regularly leading to clogged charts and unusual runs. Still, it’s strange to see “Heat of the Moment” and “Don’t You Want Me” temporarily stalling out here. And note that I completely screwed up the name of “Let It Whip.”


Over to the Harris charts. It’s a little jarring to me now to see this Rick Springfield song at the top. Huey and Vangelis are the former #1’s; Tommy Tutone is the only future chart-topper listed (it had a four-week run). I’ll highlight the songs I had at #s 7, 8, and 9. The Greg Guidry and LeRoux songs had reached #17 and #18 respectively in real life, but clearly I saw things differently. “Since You’re Gone” was the third (!) Cars song to peak at #41 on the Hot 100–the other two were “Good Times Roll” and “It’s All I Can Do.” All three could be in the conversation for best near-misses of all-time. It’s a little embarrassing to see the Dr. Hook song do so well, but I give myself full marks for having the Tom Tom Club make the top 25.

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Finally, there’s this past weekend’s 5/21/77 chart. Two weeks earlier was the point at which I’d started putting #1 at the top of the front page, rather than #40. This was the last of a three-week run where I used light green notebook paper.  I have a few earlier charts on purple, orange, pink, or a blue-green. The following week, it was yellow, but thereafter it was forever and always white.

Check out the attempted use of the Kiss logo!

4/22/78 and 5/9/81 Charts

One of the highlights of track season during my high school years was the Bellevue Invitational, an all-day affair, with qualifying on Saturday afternoon and the finals at night. Bellevue is a small town on the Ohio River; I think their high school was somewhat bigger than W-V, but it was still pretty small. Their effervescent coach, Pep Stidham, ran a great meet. 78 was the first one I attended. As an eighth-grader, it’s no surprise that I didn’t qualify (I’m not even sure I ran in anything that year), but I imagine Amy did. Regardless, I remember walking around that night with transistor radio to my ear, straining to listen to AT40 on WLAP-AM. I’m wanting to believe that this was the show I was tuning in: my brain says I heard the Kiss, Tavares, Styx, and ELO songs that night, so it was either this or the week previous (my money’s on this one, though).

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The song at the top of this Harris Top 50 wound up being the longest-running #1 in its 2.75 year history. This is the first of seven consecutive weeks the Climax Blues Band held the top spot. REO had #2 for the first three weeks, and Franke and the Knockouts were runner-up the last four. “Don’t Stand So Close to Me” is the only former #1 listed; “Rapture” had stalled out at #2. “Bette Davis Eyes” did claim the top for one week after “I Love You” abdicated.  “Hold on Loosely” peaked at #3. “Ain’t Even Done with the Night” is pretty much the only Mellencamp song I think I actively liked prior to Scarecrow.

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My predictions on the chart below for the following week’s top 10 were pretty good; I nailed eight of them. The only misses were #1 and #5. I had no clue that “Bette Davis Eyes” was going to be such a ginormous hit.

The following week began a period with a number of long-running #1 songs. Over the next 68 countdowns, 54 of them had one of seven songs appearing at the top: “Bette Davis Eyes” (9), “Endless Love” (9), “Physical” (10), “Centerfold” (6), “I Love Rock ‘n’ Roll” (7), “Ebony and Ivory” (7), and “Eye of the Tiger” (6). The remaining 14 weeks were split among seven others.

I lasted one more week writing out all the songs in the Stars on 45 track.

 

4/21/84 in Review, Part Two

It feels like I tended to like a little less the songs that were big hits—maybe it’s my contrarian nature, maybe I just got burned out in retrospect. Regardless, there are probably fewer tunes I still like to hear in this half of the show.

#20: Go-Gos, “Head Over Heels.” I’m a fan of this one, but it’s much less spontaneous and fresh than the stuff on Beauty and the Beat. Alas, they were just about done.

#19: Alan Parsons Project, “Don’t Answer Me.” The Project was one of my favorites in high school. But by this time they were also almost through with commercial success, too.

#18: Kool and the Gang, “Tonight.” They wound up being a hit-making machine a little longer than I realized. I can’t say that I found too much of their later stuff especially compelling. This one’s not bad but it’s pretty innocuous.

#17: Cyndi Lauper, “Girls Just Want To Have Fun.” Honestly, this deserved to be the national phenomenon it was. Goofy, loopy, lack of self-consciousness—check, check, check. And the video features Steve Forbert at the end!

#16: Dwight Twilley, “Girls.” I dug this quite a bit. Don’t ask me why it took decades for me to realize that Petty is singing backup on it.

#15: Weird Al Yankovic, “Eat It.” It probably helped Al that MJ was still in the music public’s mind. He was certainly fortunate that His Badness gave permission for a parody.

#14: Van Halen, “Jump.” While lots of folks don’t think this song is very good, I’ve always liked it a ton (so yeah, it’s a big hit that I was pretty high on). It’s plenty pop-oriented, but in my book it’s leaps and bounds above the other stuff on 1984.

#13: Willie Nelson and Julio Iglesias, “To All the Girls I’ve Loved Before.” The third out of the last five tracks to have the word “girls” in its title.  I guess this one is harmless enough but it’s never done much for me.

#12: Daryl Hall and John Oates, “Adult Education.” I like this somewhat more now than I did in 84 but there are plenty of H&O songs I’d still rank above it.

#11: Cars, “You Might Think.” While Heartbeat City isn’t as awesome as either of their first two albums, I really like a lot of it, especially this one, “Magic,” and “Hello Again.” The video was considered cutting-edge in its day but doesn’t look nearly so cool now.

#10: Tracey Ullman, “They Don’t Know.” Covered this one Sunday.

#9: Eurythmics, “Here Comes the Rain Again.” The Talk Talk song is far and away my favorite in this countdown, but it’s a fairly close race for second between the Eurythmics and Paul Young. It has a synth line that places it pretty precisely on the timeline of music history, but this is simply a brilliant piece of work.

#8: Rick Springfield, “Love Somebody.” I thought this was an above-average offering from him.

#7: Rockwell, “Somebody’s Watching Me.” I don’t think there’s any way this is a hit without Michael singing backup. I also don’t think there’s any way Kennedy Gordy gets a contract without being his father’s son. Sorta catchy, but it’d be alright if I didn’t hear it again for a while.

#6: Pointer Sisters, “Automatic.” Break Out was an appropriate name for their most successful album. All four of its hits are fine by me.

#5: Culture Club, “Miss Me Blind.” I like the singles from Kissing To Be Clever, their first album, more than those of the follow-up, Colour By Numbers. This song does get bonus points, though, for incorporating the debut disk’s title in its lyrics.

#4: Thompson Twins, “Hold Me Now.” This is another very good one, and my favorite of theirs, by a decent margin.

#3: Lionel Richie, “Hello.” There are just a very few Richie solo songs I actively like, and this is one of them. It’s likely to get mentioned in another post sometime later this spring.

#2: Kenny Loggins, “Footloose.” His movie stuff generally didn’t groove me all that much, though I can certainly understand the appeal of this song.

#1: Phil Collins, “Against All Odds.” Another movie tune and the first of many weeks that Collins would spend at #1 through the rest of the decade. As far as his ballads go, this is definitely one of the better ones, though that’s not exactly high praise from me.

And there you have it, my awesome takes on the entries in a countdown near and dear to my heart. As usual, I’ll end with a video. The man-fighting-to-defend-a-woman trope was plenty tired (and should have already been retired) by this time, but I’ll still go with the animated Adventures of Nick and Sugar (seriously?), as relayed by APP.

4/21/84 in Review, Part One

This show came toward the end of my sophomore year in college. Transy has a four-week May Term at the end of its academic year, and this could have been the weekend before that began. I took Dr. Miller’s Compiler Construction class that May; I pulled an all-nighter or two wrestling with my code for “Jonesie,” the course-long project.

I love the way the countdown starts.

#40: Talk Talk, “It’s My Life.”  Inner-circle Hall of Fame 80s tune.

#39: Bon Jovi, “Runaway.” Believe it or else, this was the only week this song was on AT40. I’m not a huge fan of the band, but I dig “Runaway” pretty much. Feels like it should have been a bigger hit.

#38: Paul Young, “Come Back and Stay.” Amazingly good—I love the mood, the ambience created. Pretty easily my favorite of Young’s.

#37: Madonna, “Borderline.” You could feel the momentum building throughout 84 with each song Madonna was releasing. I’d say this was the best on either of her first two albums, though—not kitschy, not overtly provocative, just a solid dance tune with a good (for her) early vocal performance.

#36: Cyndi Lauper, “Time After Time.” I’ve written about this one already.

#35: Queen, “Radio Ga Ga.” If it hadn’t been for Wayne’s World, this would have the last week that Freddie Mercury and company spent on the Top 40.

#34: Bonnie Tyler, “Holding Out for a Hero.” This is the first of four songs from the Footloose soundtrack on the show, and it’s the only one I especially like. Speaking of hit-making days being over, the following week would be the last one in the 40 for Tyler (coincidentally, her first week, 4/22/78, was also played this weekend as the 70s rebroadcast). A bit overwrought, but, then again, maybe not so much relative to “Total Eclipse of the Heart.”

That’s a really good set of seven songs kicking off the show!

#33: Van Halen, “I’ll Wait.” Every countdown has a few songs I think are clunkers. Not one of my fave VH efforts.

#32: Night Ranger, “Sister Christian.” I’ve always really liked this one. Makes me think of a long-time friend.

#31: Berlin, “No More Words.” Berlin toned it down on their second album, trying more to grab for the ring of commercial success. The Bonnie-and-Clyde-themed video (as well as Terri Nunn’s hairstyle in it) is plenty silly, but this is not a bad song at all.

#30: Shalamar, “Dancing in the Sheets.” Another from Footloose. Eh.

#29: Pretenders, “Show Me.” I’d bought Learning to Crawl by this time. It has nothing of the ferocity of her first two albums, but the early phase of Chrissie’s more mature period was plenty appealing.

#28: Tony Carey, “A Fine, Fine Day.” An unlikely hit, a story song about a relative’s first hours after being released from the joint. Underrated.

#27: Steve Perry, “Oh Sherrie.” I’ve always thought that Sherrie Swafford, Perry’s girlfriend at the time, looked uncomfortable in the video.

#26: Irene Cara, “Breakdance.” This was Cara’s last venture into the 40, which feels a little odd, since she’d had so much success over the previous year. You just never know. Overall I enjoyed her stuff, including this, pretty well.

#25: Billy Joel, “The Longest Time.” There’s a small scene out of my life that involves this song, but writing it up will wait for another time. Joel had “Movin’ Out” on 4/22/78.

#24: Yes, “Leave It.” I’ve got a lot to say someday about Yes, as well. This is a really good one for singing along.

#23: Deniece Williams, “Let’s Hear It for the Boy.” Williams has a remarkable voice and the video is cute enough. Yet another artist also on the 4/22/78 show, singing “Too Much, Too Little, Too Late” with Johnny Mathis. Tyler, Joel, and Williams are the only three duplicate artists between the two shows.

#22: John Cougar Mellencamp, “The Authority Song.” I’m a much bigger fan of Scarecrow and The Lonesome Jubilee than the majority of his work that came before them. I thought he really matured and improved over time.

#21: Huey Lewis and the News, “I Want a New Drug.” I liked this more then than I do now, but I’d probably still rather hear it than everything except “Jacob’s Ladder” off of Fore!

We’ll tackle the top 20 later in the week. In the meantime, have some Bon Jovi. I wouldn’t have predicted mega-stardom based on this clip, but like I said above, it’s not a bad track; it sounds better than it looks.

 

3/19/77 and 4/5/80 Charts

When I started writing things down, I was listening to AT40 on Sundays. As an artifact of that, my charts through around September 77 bore Sunday dates, whereas the Billboard Hot 100 was always “for the week ending” on a Saturday. Here in March of that year, I’m still experimenting with form, almost from week to week. This time, I’m redundant, with both last week’s position and change in position listed.

I have no idea what the “Winning Sweepstakes Numbers” references. Looks like it was a pretty average week of prediction success.

This past weekend they played 4/5/80 for the 80s show. It was just the second week in the existence of the Harris Top 50 (in reality, I made this chart about 15 minutes after the one for March 29). Let’s check out the top 25:

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I didn’t do too well in terms of respecting length of time on the real chart when I started this project off, e.g. “Set Me Free” at #6 after only a couple of weeks on (I really liked it!). “Heartbreaker” was #1 the week before, and “Romeo’s Tune” would have been a long-running prior #1 had I started doing this earlier in the year; “Refugee” and “Lost in Love” are the only future #1s here. “Another Brick in the Wall” peaked at #16, and I’d also burned out on “Crazy Little Thing Called Love” by this point. I think one reason I’m not all that jazzed about early 80 now is that I didn’t care much for any of the #1 songs, “Call Me” (high of #17) included. I’m saddened that I didn’t let “Pilot of the Airwaves” get higher than #8.

As for the real thing:

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There was a several-week period around this time when I wasn’t listening much to Casey, including this show (note no LDDs or Extra)–I never heard the Wayne Newton or Cliff Richard songs back then. I’ll probably write about my not-so-secret source for chart information sometime before too long. This was a bad week for predictions.

Songs Casey Never Played, 3/26/83

On Monday, I wrote about five songs knocking on the door of the Billboard’s Hot 100 on 3/26/83.  Today, it’s some brief notes about a dozen tunes on that chart, none of which managed to make AT40 and many of which haven’t been entirely relegated to the dustbin of history.

#86: Weather Girls, “It’s Raining Men”

This is in its 17th and next-to-last week on the chart, down from a peak of #46. It was a top 10 hit in the UK, Ireland, and Norway; a cover by the former Ginger Spice was a mega-international sensation almost two decades later.

#84: Wall of Voodoo, “Mexican Radio”

I’ve already blogged about this one, as well as one of Stan Ridgway’s solo songs. He’s a master. This would climb to #59.

 

#76: Oak Ridge Boys, “American Made”

The early-80s wave of country songs that also became AT40 pop hits was coming to a close. Ronnie Milsap’s last appearance, “Stranger in My House,” is debuting on the Hot 100, ascending toward a #25 peak. Eddie Rabbitt and Crystal Gayle had both just fallen ETA: were just about to fall off for the last time, with their duet “You and I.” Anne Murray unsuccessfully tried to score with “A Little Good News” later in 83. Kenny Rogers was about a year away from being done with the pop portion of his career.

That fate had already befallen the Oak Ridge Boys. They’d had their day in the sun with “Elvira” and “Bobbie Sue,” their only AT40 hits.  “American Made” was their 8th (and final, naturally) appearance on the pop charts overall, topping out four spots higher than this.

#70: Missing Persons, “Walking in L.A.”

I strongly associate “Words” with a vacation my family and I took to Myrtle Beach in August 82, just before I packed off to college; it popped up on the radio a lot on that trip.  Dale Bozzio’s squeak sure made it stand out. It wasn’t until the spring of 92, though, that I got turned on to the other primary cuts from Spring Session M, particularly “Destination Unknown,” but also this one. Love all of it–it’s somewhat of a surprise that they never struck Top 40 gold. This is the peak position for “Walking in L.A.”

#66: Adam Ant, “Desperate But Not Serious”

The follow-up to “Goody Two Shoes,” it’s fun but not quite as good as his big hit. This one didn’t get any higher, either.

#62: Berlin, “Sex (I’m a…)”

I remember a piece of this being included on “Weird Al” Yankovic’s first polka medley, “Polkas on 45” (the Clash song below is also on it). Thirty-five years ago, it was reasonably provocative stuff. I don’t believe I ever caught it on MTV, but I did see “The Metro,” a considerably better song, occasionally. Another one at its peak.

#61: Billy Joel, “Goodnight Saigon”

While The Nylon Curtain wasn’t quite the hit-making machine the other peak-era Joel albums were, it’s got a high proportion of memorable tunes on it–several of them have a prominent place on the soundtrack of my freshman year in college. Dan Seeger at Coffee for Two wrote a really nice tribute to TNC this past weekend.

Not sure “Goodnight Saigon” really should have been a single, but I’ll listen to it anytime it comes on.  It got as high as #56.

#57: John Anderson, “Swingin’”

Speaking of country music… Anderson has a voice that’s memorable for all the wrong reasons. The song’s catchy but I find it awfully annoying. I almost wish we’d gotten to hear Casey introduce it once, though, to perhaps get a read on what he thought. It topped out at #43.

#53: Psychedelic Furs, “Love My Way”

I like “The Ghost in You” better, but this is mighty fine. Deserved better than a #44 peak. My favorite Richard Butler vocal, though, is on Love Spit Love’s “Am I Wrong,” from 94.

#52: Mac McAnally, “Minimum Love”

File this under I-really-should-know-better-than-to-like-it. McAnally had a #37 hit, “It’s a Crazy World,” in August 77, and this was the only other time he got close. It made WLAP’s automated playlist for a few weeks in spring 83, and James and I would rake it over the coals for its insipid view about relationships. Still, I’ve grown kinda fond of it because it does take me back to a fun period in my life. Peaked at #41.

#50: Clash, “Should I Stay or Should I Go”

They tried twice with this one, both before and after “Rock the Casbah.” It just wasn’t meant to be: it made #45 the first time and #50 the second.

#47: Ric Ocasek, “Something to Grab For”

Ocasek released a solo album, Beatitude, between Shake It Up and Heartbeat City. This song sounds like a cross between “You Might Think” and maybe something from Candy-O. The title phrase is just plain awkward to sing in rhythm/tempo; I wonder if that held it back. Yet another at its high point.

I’ll pay closer attention to other charts as the weeks and months pass, to see how often there were this many notable songs that didn’t cross the Rubicon into Casey-land.

Bubbling Under, 3/26/83

There was a lot of fabulous stuff hitting the pop scene in the spring of 83 that never made the Top 40.  Today and Friday, I’ll highlight some of those tracks from 3/26/83, which is this coming weekend’s featured 80s rebroadcast.  Many are pretty well-known and still in rotation on various stations today; others, maybe not so much.

The Bubbling Under section on Billboard’s Pop Singles chart is comprised of the songs that would be in slots #101-110 were such tunes officially listed. One of those ten from this week, Champaign’s “Try Again,” at #103, went on to make AT40, reaching #23. But five others that fell short of being played by Casey were very good-to-amazing and are still in my head after thirty-five years. I haven’t paid strict attention to all that many of these just-outside-the-Hot 100 lists, but this strikes me as a high percentage of high quality stuff for that range. Let’s get to it!

#109: U2, “New Year’s Day”

It would be almost a year before I purchased War in perhaps the single-most important music-buying trip of my life. I know I was hearing this song on WKQQ (then at 98.1 on the dial) during the spring of 83, though. It’s gotta be in my U2 Top 5. Peaked at #53.

#107: George Clinton, “Atomic Dog”

WLAP-FM 94.5 was the Top 40 station in Lexington at the time, but there was also a station in nearby Winchester at 100.1 on the dial (I forget its call letters) that had a more expansive playlist, including a bit of a focus on R&B/soul/funk/rap. That’s how I came across “Atomic Dog” by funkmeister George Clinton. Bow wow wow yippy yo yippy yay! Peaked at #101.

ETA: Talk about dumb luck. After I posted this, I happened to catch the 3/17/84 show, where Casey welcomes WFMI in Winchester, KY to the AT40 family. That was the station at 100.1.

#105: Fixx, “Red Skies”

I’m thinking I learned about this one via MTV, as it got plenty of play there after the Fixx broke through later in 83. I don’t know much about their stuff outside the singles, which overall I like but still find hit or miss. “Red Skies” is one of the better ones, but not quite up there with “Stand or Fall,” “The Sign of Fire,” or “Secret Separation.” Also peaked at #101.

#104: Scandal, “Love’s Got a Line on You”

I know that Q102 in Cincinnati supported Scandal heavily in 83, playing “Love’s Got a Line on You” after I was home for the summer; I imagine they’d featured the first single, “Goodbye to You,” as well. Both are pop classics in my view and should have been big hits. This one’s almost been forgotten, though, while “Goodbye,” admittedly the catchier tune, still gets played pretty often (YouTube views: 350K for “Love’s,” over 7M for “Goodbye”). Peaked at #59, six spots higher than “Goodbye to You.”

#102: Modern English, “I Melt with You”

One of my 10 favorite 80s songs. I absolutely was hearing it and loving it that spring, certainly on 100.1 and maybe on WKQQ, too. Never saw the movie Valley Girl but I was aware this was on the soundtrack. It’s another one whose video I saw on MTV a bunch.

One of the albums that WTLX got as a freebie in the fall of 83 from Disc Jockey Records was Wire Train’s …In a Chamber. I gave it a spin or two down at the station, and was struck by how similar “I Forget It All (When I See You)” is to “I Melt With You.” There’s no way someone isn’t ripping someone else off here.

Peaked at #78 (sadly).

On Friday, several tunes in the Hot 100 on 3/26/83 that never cracked the Top 40.

3/10/79 and 3/1/80 Charts

Here’s an idea of what my 79 and 80 charts looked like. First up, this past weekend’s 3/10/79 show:

The names of artists who were new to the chart were known to befuddle me; I clearly didn’t always understand what Casey was saying. Here, I botched Giorgio Moroder, Sister Sledge, and Bell and James (looks like I ultimately decided James was a first, not a last name).

At the beginning of 79, I started at the bottom of page two, worked my way up and then to the front. As you can see, I inserted extras, LDDs, and archive #1 songs where they were played in the show. That regularly left blank lines at the top of the front page, as I couldn’t know how many extra songs would be played (this was especially true early in the year, before they started recapping the top three from the previous week). About halfway through the year, I began dedicating the top twenty lines of each side to the forty songs charting that week, leaving the other tunes played to live at the bottom. The only period in my chart-keeping that I consistently used cursive was March through December of 79.

And here’s 3/1/80 from the previous weekend’s 80s show:

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This time I goofed up on Syreeta Wright. Ugh! (I did ace Christopher Cross, however–insert smiley emoji.) It appears I first wrote down Linda Ronstadt as singing “An American Dream.” (Did Casey mention she was doing back-up before he played it on this show? That might explain my carelessness.) I also first claimed that John Stewart sang “I’m Sorry.” Definitely was off my game…

80 was the year I used yellow legal paper (it’s more yellow in real life than it looks here). Stylistically it’s similar to the 78 charts, getting everything on one side of a sheet. I changed things up a bit at mid-year again, rearranging to allow the top 20 songs to each get their own line.

As far as predictions go, I was pretty bad in 79 and a little better in 80 (got all of the top 5 plus several others).

 

 

2/25/78 and 2/27/82 Charts

Here is my 2/25/78 AT40 chart. My 78 charts were written on sheets from a spiral notebook, two to a page (2/18 is on the front).  In spite of my impression that I was in Cincinnati at night that weekend, I must have listened to the show, since I note both extras. My prediction success percentage for 3/4/78 was pretty lousy; I count about 5 correct, although my “picks” were #40 and #39 the following week. At the beginning of the year, I’d thought I was really going to trick out these charts, with stuff like “Song of the Week” and a “guess the mystery song” feature (that was supposed to go immediately below the top 10). I’m not sure I made it out of January with those items still running.

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Here’s my personal Top 25 for 2/27/82:

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A few notes:
–“Under Pressure,” “Our Lips Are Sealed,” and “My Girl” were all former #1 songs. “Shake It Up” was in its third and final week at the top. Other than “Touch and Go,” I had loved all of the Cars’ singles. Those first two LPs of theirs are so, so good.
–“Sweet Dreams” is the only future #1 listed here. “I Love Rock ‘n’ Roll” topped out at #3 for three weeks. “Do You Believe in Love” was down at #35 here, but would spring to #11 the next week and pretty soon thereafter ascend to the top for a five-week run.
–“Centerfold” had made #2 but I burned out on it even before its run was over. Still largely feel that way.
–I don’t know what “Open Arms” is doing here. It climbed to #2; there’s no way I’d have it go that high now.
–Kinda the same story, though to a lesser degree, with “Through the Years,” which got to #6. It’s not that bad; I like it much more than I do “Lady” and “I Don’t Need You,” but I definitely thought more highly of it then than I do today. It would have been a better song if they’d cut out that return to the chorus at the very end.
–On the other hand, I’m a bit surprised to see that “You Could Have Been with Me” made my top 10. Kudos to me!
–I like lots of Hall and Oates songs, but “I Can’t Go for That” didn’t crack my top 10 (it reached #13).

Finally, here is my 2/27/82 AT40 chart:

I kept this design through my final chart in October, with only the top 15 on the front. I put #1 at the top in 78, 79, 80, and 82, while #40 had that honor in 76 and 81. The 77 charts had both variations, mostly the former.

I must have listened to only the first half of this show, as the Sam Cooke extra from Hour #3 and the Irene Cara LDD from Hour #4 are missing. Making predictions had always been a somewhat hit-or-miss thing, but I was much less faithful about it toward the end of my chart-keeping days.