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Broadcasting, Music, Music Countdowns, Pop Music, Radio, Rock Music, Top 40 Radio

1971 Outstanding Top 40 Radio Hits

1971 was a transformational time for Top 40 music in the United States. The songs that became hits that year came from a wide variety of musical genres.

The biggest hits on Top 40 radio from 55 years ago were a combination of pop, rock, soul, country and folk with newer developing genres coming into play: Progressive Rock, Singer-Songwriter Music, Glam Rock, Funk-Soul Fusion and Proto-Disco.

Socially conscious music continued to evolve during 1971. Major social issues like the Vietnam War, racism, and the women’s movement were a part of the musical landscape with some of the biggest hits of 1971.

With this edition of my musical musings, I will be counting down what I consider to be my favorite Top 40 singles of 1971.  The songs on my countdown were all national hits in the U.S. and peaked at #30 or higher on charts by Billboard and Cash Box magazines.

By 1971 many folks were discovering new ways to hear music. While AM radio still was the dominant force with Top 40, many new FM music channels were coming into existence.

Especially in major market cities across the United States, people could hear their favorite Top 40 songs on the FM band. In addition, there were many new FM music stations that started playing a new format developed in the late 60s: Album Oriented Rock (AOR).

While new FM music stations were starting to take listeners away from AM radio, Top 40 outlets still dominated in major market locations. Three of the most influential stations in 1971 were all Top 40 outlets: WABC 770 AM New York, WLS 890 AM Chicago and KHJ 930 AM Los Angeles.

AM music channels still ruled in most mid to small radio markets 55 years ago. It would take a few more years before FM music channels would overtake AM radio as the dominant force for music played in the U.S.

At the beginning of 1971, I was 15 years old and lived in Roanoke, Virginia.  Since this was a small radio market, we didn’t have any FM Top 40 or AOR stations, so I listened to music on AM.

During the daytime, I had two choices for Top 40 radio:  WROV 1240 AM Roanoke and WBLU 1480 AM Salem. My preference of the two was WROV which was the #1 rated radio station in the Roanoke area.

WROV was known for having an outstanding personality DJ staff in 1971, and I still remember 5 members of the airstaff from that year: Jack Fisher, Bart Prater, Dan Alexander, Larry Bly and Ron Tompkins.  

Above is an audio aircheck clip of Dan Alexander on WROV 1240 AM Roanoke on 12/31/71. Courtesy of Pat Garrett and the WROV History website.

At sundown, WROV reduced their power and WBLU signed off the air, so I would listen to a few AM radio stations located hundreds of miles away from my Virginia home.

A framed WROV 70’s poster that is owned by DJ Barry Michaels, who worked at WROV from 1978 through 1981, and provided his photo to be used here on this music blog.

The two main stations that I listened to during the nighttime were both clear channel 50,000-watt AM stations: WLS 890 Chicago and WABC 770 New York.

On the Big 89 WLS, I fondly remember regularly listening to DJs Larry Lujack, Chuck Buell and Kris Erik Stevens.

When listening to WABC, Dan Ingram, Cousin Brucie (Bruce Morrow) and Chuck Leonard are the DJ voices I heard most frequently.

On nights that WLS or WABC were hard to pick up, I had other high-powered clear channel AM station that I could pick up in Roanoke. Among those other stations: WOWO 1190 Fort Wayne, WCFL 1000 Chicago, CKLW 800 Windsor, Ontario (Detroit) and WKBW 1520 Buffalo.

WLS Chicago Surveys from 1/18/71 and 8/23/71. Photo is courtesy of Pete Battistini: Author of the book, American Top 40 with Casey Kasem (The 1970’s).

 

For the remaining portion of this message, I will be focusing on what I consider to be the most significant top 40 singles from 1971. I will be highlighting hit songs that I feel are still relevant here in 2026.

In calculations for my 1971 singles countdown, I utilized “The Billboard Book of Top 40 Hits” by Joel Whitburn. I consider Whitburn’s book to be the “bible” of Top 40 music reference and still proudly own a hard copy of this excellent book.

I also utilized Cash Box Magazine’s online resource for chart information, including the publication’s year-end top 100 biggest hits of 1971 survey.

The criteria that I used for my 1971 countdown includes:

  •  Or songs that peaked at number 10 or higher (Top 10 hits) on either the Billboard Hot 100 or Cash Box Top 100 charts at any point (January through December) during 1971.

As I surveyed the prominent hits from 1971, the countdown is entirely based on my opinions. My selections are songs that I deem to be culturally, historically, aesthetically significant, meaningful or relevant.

Before I reveal my countdown of most relevant top 40 singles of 1971, I am going to share some other significant songs from 55 years ago.

The #1 biggest single of 1971, rated by both Cash Box and Billboard is “Joy to the World” by Three Dog Night.

One outlier song that received airplay on many Top 40 stations in 1971 was “Baba O’ Riley” by the Who. This was actually an album track and not released as a single. If this song had been available as a 45-rpm, the Who’s ode would have made my best singles of 1971 countdown.

Surprisingly, I found 15 hits that I like that were not listed on Billboard’s year-end Top 100 singles listing of 1971. Some peaked in the top 10 while every song reach #30 or higher. Songs are listed randomly and not ranked:

  • Sooner or Later—The Grass Roots
  • Rings—Cymarron
  • So Far Away—Carole King
  • Wild Horses—The Rolling Stones
  • Baby I’m-A-Want You—Bread
  • Rock Steady—Aretha Franklin
  • Toast & Marmalade for Tea—Tin Tin
  • Get It On—Chase
  • Love the One You’re With—Stephen Stills
  • Born to Wonder—Rare Earth
  • One Fine Morning—Lighthouse
  • The Story in Your Eyes—The Moody Blues
  • Immigrant Song—Led Zeppelin
  • Eighteen—Alice Cooper
  • Here Comes That Rainy Day Feeling Again—The Fortunes

 The next set of 25 songs made Billboard’s year-end Top 100 singles listing of 1971 but fell outside of my countdown.  Songs are placed randomly and not ranked:

  • It’s Too Late—Carole King
  • One Toke Over the Line—Brewer & Shipley
  • Never Can Say Goodbye—The Jackson 5
  • Draggin’ the Line—Tommy James
  • Another Day—Paul McCartney
  • Liar—Three Dog Night
  • Woodstock—Matthew Southern Comfort
  • Won’t Get Fooled Again—The Who
  • Riders on the Storm—The Doors
  • Reason to Believe—Rod Stewart
  • Beginnings—Chicago
  • I Feel the Earth Move—Carole King
  • For All We Know—The Carpenters
  • Mr. Big Stuff—Jean Knight
  • My Sweet Lord—George Harrison  
  • Love Her Madly—The Doors
  • Do You Know What I Mean—Lee Michaels
  • Temptation Eyes—The Grass Roots
  • Ain’t No Sunshine—Bill Withers
  • The Night They Drove Old Dixie Down—Joan Baez
  • Joy to the World—Three Dog Night
  • Me and Bobby McGee—Janis Joplin
  • Put Your Hand in the Hand—Ocean
  • Mr. Bojangles—The Nitty Gritty Dirt Band
  • Don’t Pull Your Love—Hamilton Joe Frank & Reynolds

30.  Maggie May—Rod Stewart  

Peak Positions on Billboard Charts:  #1 Hot 100, 2nd Biggest Song of 1971

First number one hit for Rod Stewart on the Billboard Hot 100.  Song has been inducted into the Grammy Hall of Fame.

29.  Wild World—Cat Stevens

Peak Position on Billboard Chart: #11 Hot 100

British Singer-songwriter Cat Steven’s first top 40 hit in the U.S. From the 1970, “Tea and the Tillerman” album.

28.  Sweet City Woman—The Stampeders

Peak Positions on Billboard Charts:  #8 Hot 100, 58th Biggest Song of 1971

Canadian trio rock band the Stampeders featured a banjo on their summer of 1971 hit. The up-tempo tune spent 4 weeks at #1 in Canada.

27.  One Less Bell to Answer—The 5th Dimension

Peak Positions on Billboard Chart: #2 Hot 100

Song written by Burt Bacharach and Hal David. The 5th Dimension’s Marilyn McCoo provides superb heartfelt vocals on this pop power ballad.

26.  That’s the Way I’ve Always Heard It Should Be—Carly Simon

Peak Positions on Billboard Charts: #10 Hot 100, 47th Biggest Songs of 1971

The lead single from Carly Simon’s self-titled debut album. The artist won the 1972 Grammy Award for “Best New Artist” on the strength of Simon’s first hit single.

25.  Just My Imagination (Running Away with Me)—The Temptations

Peak Position on Billboard Charts:  #1 Hot 100, 9th Biggest Song of 1971

This #1 hit is considered one of the Temptations signature songs. It was the last single to feature the group’s founding members Paul Williams and Eddie Kendricks.

24.  Sweet Hitch-Hiker—Creedence Clearwater Revival

Peak Position on Billboard Chart:  #6 Hot 100

The recording of this song was made just after Tom Fogerty quit Creedence Clearwater Revival. The band became a trio when this single was a hit.

23.  I Am I Said—Neil Diamond

Peak Position on Billboard Chart: #4 Hot 100  

Written by Neil Diamond, this powerful ballad was penned from personal experience by the artist. The singer-songwriter received a Grammy nomination for his expressive ode.

22.  What is Life—George Harrison

Peak Position on Billboard Chart:  #10 Hot 100

George Harrison wrote “What is Life” in 1969 and had wanted the Beatles to record the song for their “Abbey Road” album but that didn’t materialize. The singer-songwriter saved his song for the 1970 landmark “All Things Must Pass” album: it became the second single from that LP.

21.  Mercy Mercy Me (The Ecology)—Marvin Gaye

Peak Position on Billboard Charts: #4 Hot 100, 62nd Biggest Song of 1971  

The second single from Marvin Gaye’s outstanding “What’s Going On” album.  This track has superb saxophone playing and is considered one of the best environmental protest and social justice songs from the 20th Century.

20.  If—Bread

Peak Positions on Billboard Charts: #4 Hot 100, 61st Biggest Songs of 1971

Singer-songwriter David Gates of Bread gives a tender vocal performance on this soft pop rock tune. “If” spent 3 weeks at #1 on Billboard’s Easy Listening Singles chart.

19.  Smiling Faces Sometimes—The Undisputed Truth

Peak Positions on Billboard Charts:  #3 Hot 100, 14th Biggest Song of 1971

Psychedelic Motown soul song. Originally recorded by the Temptations.  I consider the Undisputed Truth single as the best one hit wonder from 1971.

18.  Take Me Home (Country Roads)—John Denver

Peak Positions on Billboard Charts:  #2 Hot 100, 8th Biggest Song of 1971

Signature song by John Denver is now in the Grammy Hall of Fame and in the National Recording Registry by the Library of Congress. It is also one of the official state songs for West Virginia.

17.  The Wedding Song (There is Love)—Paul Stookey  

Peak Position on Billboard Charts: #3 Easy Listening, #24 Hot 100

Noel Paul Stookey from the folk-rock Peter, Paul and Mary (PP&M) trio wrote this tender ballad and performed it for the first time at wedding of fellow (PP&M) member Peter Yarrow. I rate this single as the 2nd best one hit wonder of 1971.

16.  Me & You and a Dog Named Boo—Lobo

Peak Positions on Billboard Charts: #5 Hot 100, 59th Biggest Songs of 1971  

Written by Lobo under his real name Kent LaVoie.  The debut single by the artist was his second biggest hit in the U.S. and it spent two weeks at #1 on the Billboard Easy Listening chart.

15.  Treat Her Like a Lady—Cornelius Brothers & Sister Rose

Peak Positions on Billboard Charts: #3 Hot 100, 15th Biggest Single of 1971

An American family group that consisted of siblings Carter, Eddie, and Rose Cornelius. In 1972, the trio were joined by sister Billie Jo Cornelius. This song is now considered a Carolina Beach Music tune for Shag dancing.

14.  Brown Sugar—The Rolling Stones

Peak Positions on Billboard Charts: #1 Hot 100, 16th Biggest Songs of 1971

Lead single from the Rolling Stones’ “Sticky Figures” album. Has superb tenor saxophone solo by Bobby Keys and outstanding guitar licks from Keith Richards.

13.  Imagine—John Lennon

Peak Positions of Billboard Chart:  #3 Hot 100

Best-selling single in the solo career of John Lennon. Rolling Stone magazine proclaims the protest and social justice anthem is the third “Greatest Song of All Time.”

12.  You’ve Got a Friend—James Taylor

Peak Positions on Billboard Charts:  #1 Hot 100, 17th Biggest Songs of 1971

Written by singer-songwriter Carole King. James Taylor’s rendition has backing vocals by Joni Mitchell. “You’ve Got a Friend” helped the folk-rock artist to win two Grammy Awards in 1972.

11.  Colour My World—Chicago

Peak Positions on Billboard Charts: #7 Hot 100, 56th Biggest Songs of 1971  

“Colour My World” is a short ode from James Pankow’s “Ballet for a Girl in Buchannon” song cycle/suite on the legendary 1970 “Chicago” (Chicago II) album. Features an outstanding flute solo and Terry Kath singing lead vocals.

10.  Uncle Albert/Admiral Halsey—Paul & Linda McCartney

Peak positions on Billboard Charts: #1 Hot 100, 22nd Biggest Songs of 1971  

This song contains fragments of two separate melodies and became Paul McCartney’s first #1 solo hit after the break-up of the Beatles. The song won a Grammy Award in 1971.

9.   How Can You Mend a Broken Heart—The Bee Gees

Peak Positions on Billboard Charts:  #1 Hot 100, 5th Biggest Songs of 1971

The Bee Gees first #1 hit in the U.S. Co-written by siblings Barry and Robin Gibb. This song has been covered over 20 times by other artists.

8.   Have You Ever Seen the Rain—Creedence Clearwater Revival (CCR)

Peak Position on Billboard Chart: #8 Hot 100

In 1971, many thought the lyrics for this song were a countercultural anthem. However, author John Fogerty stated the single was about tensions among his fellow CCR band members. Shortly after this song was recorded, Tom Fogerty left CCR in early 1971 and the band broke-up the following year.

7.   Your Song—Elton John

Peak Position on Billboard Chart: #8 Hot 100

Elton John’s first top 10 hit in the U.S. It is considered a signature song for the Piano Man. “Your Song” has been inducted into both the Rock & Roll Hall of Fame and the Grammy Hall of Fame.

6.   If You Could Read My Mind—Gordon Lightfoot

Peak Positions on Billboard Charts: #5 Hot 100, 36th Biggest Song of 1971

Canadian singer-songwriter Gordon Lightfoot wrote this ballad, which was based on his own divorce experience. It became the folk-rock guitarist’s first top 10 hit in the U.S.

5.   Superstar—The Carpenters

Peak Positions on Billboard Charts:  #2 Hot 100, 30th Biggest Songs of 1971

The Carpenters covered the song co-written by Bonnie Bramlett and Leon Russell. “Superstar” peaked at #1 on Billboard Easy Listening Singles chart. I consider Karen Carpenter’s splendid vocals among the best of women artists during the golden age of Top 40 radio.

4.   I Just Want to Celebrate—Rare Earth

Peak Positions on Billboard Charts:  #7 Hot 100, 66th Biggest Song of 1971

Lead single from Rare Earth’s “One World” album. The lyrics are up-lifting and promote a positive message. The combination of guitar, bass, organ and drums brings a celebratory musical experience whenever this song is heard.

3.   Signs—The Five Man Electrical Band

Peak Positions on Billboard Charts: #3 Hot 100, 24th Biggest Song of 1971

The Canadian rock group is a two-hit wonder in the U.S. This protest anthem is an outstanding sing-a-along song and has one of my favorite opening lines from 70s top 40 hits: “And the sign said, long-haired freaky people, need not apply.”

2.   It Don’t Come Easy—Ringo Starr

Peak Positions on Billboard Charts: #4 Hot 100, 43rd Biggest Song of 1971  

Written by Richard Starkey, AKA Ringo Starr, and George Harrison, who was an uncredited co-writer of “It Don’t Come Easy.” This was the first solo hit by Starr after the break-up of the Beatles. The song was produced by Harrison and features an outstanding guitar riff throughout the tune.

  1. What’s Going On—Marvin Gaye

Peak Positions on Billboard Charts: #2 Hot 100, 21st Biggest Song of 1971

1971 was a troublesome time in America.  Marvin Gaye’s socially conscious song accurately captured the pulse of turmoil that prevailed in our country.  Police brutality, violence in the streets and American involvement in the Vietnam War are all topics on this protest tune. Unfortunately, the lyrics of this song are still relevant here in 2026.

Co-written by Marvin Gaye, Al Cleveland and Renaldo Benson. “What’s Going On” is among the best and most loved tunes in Motown musical history. Rolling Stone ranks it at number 6 on the, “500 Greatest Songs of All Time” listing.  Numerous other music publications place the tune among the best songs from the 20th Century. It remains a crown jewel of the best songs ever recorded by Gaye and my top favorite #1 single of 1971.

That wraps up what I consider to be my favorite and best top 40 hits for 1971. I completely understand that my listing of songs in this category was written from my point of view and is subjective.

If you were creating a similar register of excellent 1971 hits, your tabulation may be totally different. What do you consider to be best preeminent singles from ’71? I hope you will comment below.

Listening to music from the golden age of Top 40 radio will always have a special place in my heart.  I still cherish and fondly remember my favorite superfine singles of 1971.  Rock on!

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Concert Reviews, Music, Pop Music, Retro Rock, Rock Music

Live Aid Top Performances:  London & Philadelphia 1985

Earlier this month was the 40th anniversary of Live Aid which was a two-venue benefit concert and music-based fundraising initiative held on July 13, 1985.

The Live Aid musical happening was held simultaneously at Wembley Stadium in London, England and John F. Kennedy Stadium in Philadelphia, Pennsylvania.

This event was organized by Irish singer-songwriter Bob Geldof, lead singer of the Boomtown Rats band, along with Scottish singer-songwriter and record producer James “Midge” Ure.

Geldof and Ure conceived the dual concert extravaganza after they co-wrote and collaborated together on a successful fund-raising charity single, “Do They Know It’s Christmas?” recorded by Band Aid in 1984.

More than 70 artists and bands performed over 16 hours of live music across the London and Philadelphia concerts.  For a complete listing of performing acts and ultimate info about dual charity shows, please access this Live Aid webpage.

For this article, I will be counting down what I consider to be the ten best artists and bands performing at Live Aid.

The top ten performances that I have selected are all personal favorites that I deem to be culturally, historically, aesthetically significant, meaningful or relevant.  These songs still sound good to me 40 years later.

Please note: my article is not a definitive ranking of all 70 artists that performed at the Live Aid venues in July 1985. For a more thorough accounting of this historic event, I would encourage you to search the Internet for that information.

Before I start my countdown, I will be highlighting two anthems that were performed at the end of each trans-continental shows.

At the end of the London segment, “Do They Know It’s Christmas” by Band Aid closed the U.K. concert.

And on the American side, “We Are the World” from USA for Africa was the Philadelphia finale, which ended the entire event.

Obviously, there were more outstanding musical performances at Live Aid besides those listed on my countdown. Below are some worthy artists and bands that didn’t make my top ten tabulation. Those performers are not ranked and place in a random order.

  • Crosby Stills & Nash
  • Elton John (with George Michael)
  • Led Zeppelin
  • Hall & Oates
  • The Pretenders
  • Simple Minds
  • Bryan Adams  
  • The Beach Boys
  • Crosby Stills Nash & Young
  • REO Speedwagon  
  • The Four Tops
  • Santana
  • Sade
  • Joan Baez

Without further ado, my Top 10 countdown of best Live Aid performances begin:

10.   The Who

Songs Performed:

  • “My Generation”
  • “Pinball Wizard”
  • “Love, Reign o’er Me”
  • “Won’t Get Fooled Again”

My favorite of the set list: “Won’t Get Fooled Again”

British Invasion band the Who performed 4 of their biggest and most renowned songs in London. “Pinball Wizard” from the “Tommy” rock opera and “Won’t Get Fooled Again” from the “Who’s Next” album were the highlights by this influential 20th century band.

9.     The Cars  

Song Performed:

  • “You Might Think”
  • “Drive”
  • “Just What I Needed”
  • “Heartbeat City”

My favorite of the set list: “Just What I Needed”

New Wave and power pop rock band the Cars were at the height of their popularity in 1985 when they performed at Live Aid. Leaders of the band, Benjamin Orr and Ric Ocasek, gave a spirited performance on fan favorites like “You Might Think”, “Drive” and “Just What I Needed.”

8.     Tom Petty & the Heartbreakers

Songs Performed:

  • “American Girl”
  • “The Waiting”
  • “Rebels”
  • “Refugee”

My favorite of the set list: “Refugee”

Along with his band the Heartbreakers, Tom Petty fired off four superb power pop rock songs with the raising of funds for famine relief in Ethiopia. “American Girl” and “The Waiting” were both superb, while Petty’s 1980 hit “Refugee” ended the exceptional set on a high note.

7.     Eric Clapton & Phil Collins

Songs Performed:

  • “White Room”
  • “She’s Waiting”
  • “Layla”

My favorite of the set list: “Layla”

Arguably, “Layla” is one of the greatest classic rock songs of all time.  With “Slow Hand” Eric Clapton shredding his guitar, Phil Collins on drums and Chris Stainton playing keyboards, it was an outstanding rendition of the song written by Clapton. The opening selection of “White Room” was also memorable.

6.     David Bowie

Songs Performed:

  • “TVC 15”
  • “Rebel Rebel”
  • “Modern Love”
  • “Heroes”

My favorite of the set list: “Modern Love”

David Bowie and his band played 4 up-tempo songs during his set. “Modern Love” was a rousing number with outstanding saxophone playing while the lyrics of “Heroes” fit nicely with the message and purpose of the benefit concert: “Oh, we can be heroes, just for one day.”

5.     Mick Jagger & Tina Turner

Songs Performed:

  • “Lonely at the Top”
  • “Just Another Night”
  • “Miss You”
  • “State of Shock” (w/ Tina Turner)
  • “It’s Only Rock ‘n Roll (But I Like It)” (with Tina Turner)

My favorite of the set list: “It’s Only Rock ‘n Roll (But I Like It)” (with Tina Turner)

Mick Jaggar sang 3 songs before Tina Turner joined him on stage as the pair performed “State of Shock” and “It’s Only Rock ‘n’ Roll (But I Like It).”

During this racy two-song duet, Jagger stripped off his shirt for a mid-song costume change and then dramatically ripped off Turner’s skirt. The singer’s fun and flirty chemistry electrified the audience in London.

4.     Paul McCartney  

Song Performed: “Let It Be” (w/ David Bowie, Bob Geldof, Alison Moyet and Pete Townshend)       

The beginning of “Let It Be” was sparse: Just Sir Paul playing a piano and singing solo. McCartney didn’t want any other vocalists or instruments to accompany his performance.

 At some point during McCartney’s performance, his microphone stopped working. The crowd started singing the chorus of “Let It Be” and then fellow artists Bowie, Geldof, Moyet and Townshend joined McCartney on the stage for a powerful ending of this classic Beatles ode.

3.    U2

Songs Performed:

  • “Sunday Bloody Sunday”
  • “Bad”

My favorite of the set list: “Sunday Bloody Sunday”

U2 was an up-and-coming band in 1985 and their appearance helped the Irish band achieve a new level of stardom after their two-song set.

Kicking off the performance was the anti-war anthem “Sunday Bloody Sunday” with front man Bono giving a fiery, passionate vocal delivery.  Following the U2 signature song was a 12-minute rendition of “Bad” that was a crowd favorite in London.

2.   Dire Straits & Sting

Songs Performed:

  • “Money for Nothing” (with Sting)
  • “Sultans of Swing”

My favorite of the set list: “Money for Nothing”

British band Dire Straits (DS) performed only two songs and both selections were superb. “Sultans of Swing” is my favorite DS song of all-time:  I love the guitar riffs and vocals by Mark Knopfler on this signature song by the British band.

My absolute top performance of the day by DS was “Money for Nothing.”  Joining the band on stage was Sting and his singing of “I want my MTV” reverberated throughout Wembley Stadium as DS rocked the house with their #1 summer of 1985 smash hit.

  1.  Queen

Songs Performed:

  • “Bohemian Rhapsody”
  • “Radio Ga Ga”
  • “Hammer to Fall”
  • “Crazy Little Thing Called Love”
  • “We Will Rock You”
  • “We Are the Champions”

My favorite of the set list:  “Bohemian Rhapsody”

Many music historians proclaim that Queen’s Wembley Stadium set is the greatest live rock musical performance of all-time.  The 21-minute set was actually one continuous medley of popular short snippets of some of the British band’s most beloved songs.

This was Freddie Mercury’s shining moment, along with guitarist Brian May, bassist Jon Deacon and Roger Taylor on drums.  Queen’s musical presentation is my #1 best performance during Live Aid in 1985.

That wraps up my countdown of what I consider to be the best performances at Live Aid 1985.

I realize that my listing of songs in this category was written from my point of view and is subjective. My countdown of top performances is based completely upon my personal humble opinions.

If you were creating a similar listing of outstanding Live Aid performances during 1985, your tabulation may be totally different from my selections. There are no right or wrong answers. I welcome your thoughts.

Here is hoping that you will listen to and/or watch YouTube videos of Live Aid performances after you have read this music blog message.

I still have fond memories of music that was performed at Live Aid in July 1985.  And much of the music played 40 years ago still sounds great 40 years later. Rock on!

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Broadcasting, Music, Music Countdowns, Pop Music, Radio, Retro Rock, rock, Rock Music

Favorite Double-Sided 45-RPM Radio Hits of the 60s and 70s

Did you ever wonder why some artists had two hits from the same 45-rpm single during the golden age of top 40 radio?  With this edition of my musical musings, I will be counting down what I consider to be some of the best two-sided radio hits from the 60s and 70s.

The first 7-inch, 45-rpm vinyl record, a format that became known as a “single,” was released by RCA Victor in March 1949. Creation of the 45-rpm single helped to change music forever.

In simple terms, record companies labeled their singles with an A-side and a B-side. Generally, songs that record labels wanted to promote as possible hits received an A-side designation while the B-side traditionally was not considered “hit material” by a record company.

It is interesting that sometimes the A-side of a single flopped while the B-side actually became a major hit record. “Na Na Hey Hey Kiss Him Goodbye” by Steam is an excellent example of the B-side of a single actually became a #1 hit while the A-side (“Sweet Laura Lee”) never charted.

Other outliers in this category:  Occasionally, the A-side of a single becomes a hit but the B-side doesn’t initially chart.  Eventually, the original B-side is re-released as an A-side single and then becomes a hit. “Another Park, Another Sunday” and “Black Water” by the Doobie Brothers are a perfect example of this phenomenon.

Some record companies regularly promoted what is known as a Double-A Single, in which both sides of the 45-rpm record were of equal importance with regard to promotion.  Most of the time, record companies released a Double-A single from an established music artist.

In the 50s and early 60s, Elvis Presley was the king of double-sided hit singles. According to Billboard magazine, Presley achieved 39 singles where both sides reached the Billboard Hot 100 chart.

Then in the 60s, the Beatles charted 24 two-sided hits while Creedence Clearwater Revival had 7 double-sided radio hits from 1969 through 1971.

For the remainder of this message, I will be counting down what I consider to be the 5 best double-sided radio hits from the golden age of top 40 radio. 

In researching historical musical data for this article, I used “The Billboard Book of Top 40 Hits” by Joel Whitburn.  I consider Whitburn’s book to be the “bible” of Top 40 music history and I bought a second copy of this superb music guide a few years ago.

The criteria that I used for my countdown of double-sided 45-rpm singles hits:

  • Only top 40 hits in the United States from 1965 to 1975.
  • Both sides of a 45-rpm vinyl single must have charted #40 or higher on the Billboard Hot 100 chart.
  • Both sides of a 45-rpm charted #40 or higher within 6 months of the first song becoming a hit.

My countdown of the top 5 double-sided 45-rpm hits is based entirely on my opinions, songs that I consider to be my favorites. These are selections that I deem to be culturally, historically, aesthetically significant, meaningful or relevant.

Obviously, there are many more excellent double-sided hits from the golden age of top 40 radio that fell outside of my top 5 countdown. My selections below are not ranked and placed in a random order:

  • Question 67 & 68 & I’m a Man—Chicago
  • The House That Jack Built & I Say a Little Prayer—Aretha Franklin
  • All You Need is Love & Baby You’re a Rich Man—The Beatles.
  •  Up Around the Bend & Run Through the Jungle—Creedence Clearwater Revival
  •  Junior’s Farm & Sally G—Paul McCartney
  •  Pleasant Valley Sunday & Words—The Monkees
  •  Atlantis & To Susan on the West Coast Waiting—Donovan
  • There’s a Kind of Hush & No Milk Today—Herman’s Hermits
  • Green River & Commotion—Creedence Clearwater Revival
  • Get Back & Don’t Let me Down—The Beatles
  • Calypso & I’m Sorry—John Denver
  • Lookin’ Out My Back Door & Long As I Can See the Light—Creedence Clearwater Revival
  • (Sweet Baby Baby) Since You’ve Been Gone & Ain’t No Way—Aretha Franklin
  • Thank You (Falettinme Be Mice Elf Agin) & Everybody is a Star—Sly & the Family Stone
  • I’m a Believer & (I’m Not Your) Steppin’ Stone—The Monkees
  • My Sweet Lord & Isn’t It a Pity—George Harrison
  •  It’s Too Late & I Feel the Earth Move—Carole King
  • Have You Ever Seen the Rain & Hey Tonight—Creedence Clearwater Revival
  • Colour My World & Beginnings—Chicago
  • Laughing & Undun—The Guess Who
  • Paperback Writer & Rain—The Beatles
  • Who’ll Stop the Rain & Travelin’ Band—Creedence Clearwater Revival
  • Maggie May & Reason to Believe—Rod Stewart
  • So Far Away & Smackwater Jack—Carole King
  • Something & Come Together—The Beatles
  • Bad Moon Rising & Lodi—Creedence Clearwater Revival

Without further ado, my countdown of the best double-sided 45-rpm radio hits begins:

5.    Hey Jude & Revolution—The Beatles:  1968

Peak Positions on Billboard Hot 100

  • Hey Jude:  #1
  • Revolution #12

Both songs were first placed on the “Hey Jude” (original title: The Beatles Again) album, which is a collection of non-album singles and B-sides by the Beatles. Released February 1970.

These songs were recorded during the Beatles “White Album” sessions but left off the 30-track double LP (November 1968).  This Double-A sided 45-rpm single became the first Beatles’ recordings that were released on Apple Records by the band.

  • Revolution:  Co-written/credited as a John Lennon & Paul McCartney song.  It was primarily written by Lennon.

Lyrics for “Revolution” came about as some anti-war moment members were calling out for violence to achieve their goals.  Lennon, being a peace activist, believed in non-violent methods to promote peaceful transitions.

The Beatles rocked with a message of social change on this hard driving tune. I rate “Revolution” as the 8th best protest and social justice anthem from the 60s and 70s.

  • Hey Jude: Co-written/credited as a John Lennon & Paul McCartney song. It was primarily written by McCartney.

One of the signature songs for British band.  “Hey Jude” spent 9 weeks at the top of Billboard’s singles chart and is ranked as the #1 song of 1968. It also was Billboard’s biggest charting single of the 60s decade.

The Beatles successful song has been inducted into the Grammy Hall of Fame, the Rock and Roll Hall of Fame and National Academy of Recording Arts & Sciences Grammy Hall of Fame. Without a doubt, this track remains one of the Fab Four’s most enduring singles.

4.    American Woman & No Sugar Tonight—The Guess Who:  1970

Peak Position on Billboard Hot 100:  Both songs reached #1

These songs are found on the “American Woman” album. Released January 1970.

  • No Sugar Tonight

Released as the B-side. “No Sugar Tonight” is a stand-alone track on the 45-rpm single. However, the song is actually part of the “No Sugar Tonight/New Mother Nature” medley that is found on the Guess Who’s “American Woman” album.

Co-written by Burton Cummings and Randy Bachman. Classic rock and classic hits radio stations do not separate the “No Sugar Tonight/New Mother Nature” medley in 2025 like top 40 stations did back in 1970.

  • American Woman

Co-written by Burton Cummings, Garry Peterson, Jim Kale & Randy Bachman: According to Billboard, it was the third biggest Song of 1970 and the most popular track in the U.S. by the Canadian band.

Randy Bachman of the Guess Who stated in 2014 that “American Woman” was an anti-war protest song against the Vietnam conflict from a Canadian point of view. Of course, lyrics can also be interpreted literally as guys from Canada not wanting anything to do with women from the U.S.

3.    Wouldn’t It Be Nice & God Only Knows—The Beach Boys:  1966

Peak Positions on the Billboard Hot 100

  • Wouldn’t It Be Nice: #8
  • God Only Knows: #39

Both songs from the “Pet Sounds” album. Released May 1966

  • God Only Knows

Issued as the B-side. Co-written by Brian Wilson and Tony Asher. Like many of the songs on the Beach Boys “Pet Sounds” album, around 20 session musicians played on this orchestral masterpiece. Single is in the sub-genre Baroque pop classification.

“God Only Knows” is renowned for its beautiful harmonic structure and innovative complexity. Rolling Stone magazine ranks it at number 11 on their “500 Greatest Songs of All Time” listing and Paul McCartney proclaims the Beach Boys single to be the greatest song ever written.

  • Wouldn’t It Be Nice

 Co-written by Brian Wilson, Tony Asher & Mike Love. Wilson produced this classic “Sunshine Pop” song himself by using the “Wall of Sound” production technique, with 18 different instruments played on the track.  The Beach Boys single is considered ground-breaking and influential for future sub-genres of rock music: Power pop and progressive pop.

This track is superb and has a melodic tune and excellent vocal harmonies. Pitchfork ranks Wilson’s gem at number 7 on their “200 Best Songs of the 1960s” listing.  Without any doubt, “Wouldn’t It Be Nice” is my favorite number one, “Sunshine Pop” song of the 60s.

2.    Fortunate Son & Down on the Corner—Creedence Clearwater Revival:  1969

Peak Position on the Billboard Hot 100: Both songs reached #3.

From the “Willie & the Poor Boys” album. Released October 1969

  • Down on the Corner

Produced and written by John Fogerty.  The tune on this ditty contains a calypso beat and is a feel-good story about Willy and the Poor Boys, a fictional jug band who were street musicians. The song makes reference to a harmonica, washboard, a kazoo, a Kalamazoo guitar, and a gut bass.

Initially, “Down on the Corner” was the B-side of the CCR single. It quickly became just as popular as the A-side “Fortunate Son” song. The band came up with the name “Willie and the Poor Boys” for their 1969 album, from the lyrics to this “swamp rock” classic song.

  • Fortunate Son

Written by John Fogerty. Released in September 1969 during the peak period of American involvement in the Vietnam War, this ode quickly became an anti-war movement anthem and is considered a signature song for its author, singer-songwriter Fogerty.

The former CCR front man recently explained with a post on X, “Fortunate Son is a song I wrote during the Vietnam War, inspired by the stark contrast between those who were drafted to fight and die for their country and those who had the privilege to avoid the draft because of their wealth and connections.”

“Fortunate Son” is my favorite John Fogerty/CCR track of all-time and I rate it as the #1 best protest and social justice song of the 60s and 70s.

  1. Penny Lane & Strawberry Fields Forever—The Beatles:  1967

Peak Positions on Billboard Hot 100

  • Penny Lane #1
  • Strawberry Fields Forever:  #8

Both songs were placed on the “Magical Mystery Tour” (MMT) album which was divided into separate song categories:  Side 1: Soundtrack songs from “MMT” and Side 2:  Tracks from the 1967 Beatles’ non-album singles.

These songs were recorded during the “Sgt. Pepper’s Lonely Hearts Club Band” sessions but left off that 13-track album (Summer of Love 1967).

  • Strawberry Fields Forever
  • Co-written/credited as a John Lennon & Paul McCartney song.  It was primarily written by Lennon.

Double-A sided hit. John Lennon based the song on his childhood memories of playing in the garden of Strawberry Field, a Salvation Army children’s home in Liverpool, England. Musically, the sound on this song had a much different feel than any other Beatles singles released before 1967.

Strawberry Fields Gate: Liverpool, England. Photo courtesy of Dave Delaney

With a psychedelic rock sound, “Strawberry Fields Forever” was ground breaking. Beatles producer George Martin utilized diverse recording techniques such as reverse-recorded instrumentation, Mellotron flute sounds, an Indian Swarmandal (or harp), a fade-out/fade-in coda, as well as a cello and brass arrangement.

The combination of musical instruments, studio space-age sound effects and Lennon’s vocals, helped to make “Strawberry Fields Forever” a landmark recording in the psychedelic pop rock genre of music. Rolling Stone magazine ranks at #7 on their “500 Greatest Songs of All Time” list.

  • Penny Lane
  • Co-written/credited as a John Lennon & Paul McCartney song. It was primarily written by McCartney.

I rate “Penny Lane” as my second favorite Beatles song of all-time. The lyrics of the single refer to a street in Liverpool, and make mention of the sights and characters that Paul McCartney recalled from his upbringing in the city. 

Just like the song “Strawberry Fields Forever”, the Beatles became avant-garde pop rock composers and broke new ground with instrumentation with the recording of “Penny Lane.”  Music historians declare that the single is a cross between progressive and Baroque pop. The song was inducted into the Grammy Hall of Fame in 2011.

McCartney’s ode uses many instruments not associated with most Beatles songs: flutes, piccolos, oboes, trumpets and a flugelhorn.  It became the 13th Beatles single to peak at #1 on the Billboard Hot 100 during March 1967.

When I discovered Top 40 radio on WROV Roanoke in early 1967, the first song that I remember liking was “Penny Lane.”  Sometime in the spring of that year, I went to Sears and bought a 45-rpm single of my favorite Beatles song. It was the first vinyl record that I bought with my own money and still own it here in 2025.

Without a doubt, the Beatles, “Penny Lane/Strawberry Fields Forever” is my #1 favorite double-A sided single from the golden age of top 40 radio.

That wraps up my countdown of what I consider to be the 5 best double-sided 45 rpm singles from the golden age of Top 40 radio. I realize that my listing of songs in this category was written from my point of view and is subjective.

If you were creating a similar register of excellent double-sided singles from the 60s and 70s, your tabulation may be totally different. What do you consider to be best preeminent double-sided hit singles in this category? There are no right or wrong answers. I welcome your thoughts.

I still love all of the double-sided singles that are in my countdown above and fondly remember hearing those songs played on the radio when I was growing up. I still cherish those singles here in 2025.  Rock on!

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Album Review, Broadcasting, Music, Music Countdowns, Pop Music, Radio, Retro Rock

The Beatles Abbey Road Album at 55

Photo above:  Yours truly, DJ Dave with my three-year old dog Abbey Road, whom I named after the legendary album by the Beatles. Photo credit: Stephanie Woodson.

It is hard to believe that it has been 55 years since the Beatles “Abbey Road” (AR) album was released during the fall of 1969.  Arguably, the last studio album that was recorded by the British rock band is among the most renowned rock albums from the late 60s.

The “Abbey Road” album had two release dates:  In the United Kingdom, the LP came out on September 26, 1969 while in the United States, AR became available almost a week later on October 1st.

On this 55th anniversary of the 1969 Beatles album, I am sharing my thoughts on how the music of Abbey Road has aged, along with historical significance of individual songs.  I will also have a countdown on what I consider to be the 8 best full-length tracks on AR.

 I must note: this message is not a review of the Fab Four’s AR album.  For those wanting to read opinions on the 1969 LP, there are plenty of online sources to view what others have written about “Abbey Road.”

The Beatles masterpiece LP is rated at #5 on Rolling Stone magazine’s “500 Greatest Albums of All Time” listing. Most music historians in 2024 praise AR as an outstanding Fab Four compilation.  

“Abbey Road” contains 17 songs: It starts with 8 full-length tracks and ends with a 16-minute medley of 9 short songs. I will be describing the AR songs in a couple of groupings.

The first category will be breaking down the 9-song medley, while in the second section I will countdown my ranking of the AR 8 full-length tracks.

Here are the 9 medley songs:

  • You Never Give Me Your Money
  • Sun King
  • Mean Mr. Mustard
  • Polythene Pam
  • She Came in Through the Bathroom Window
  • Golden Slumbers
  • Carry That Weight
  • The End
  • Her Majesty

As I recently re-listened to the Beatles 16-minute medley, I came away appreciating the brilliance of what some have nicknamed “The Abbey Road Suite.”

I believe the AR medley was a foundational building block for the progressive rock sub-genre of music that became popular in the early 70s. This outstanding medley utilizes a variety of musical instruments, many that weren’t normally associated with pop rock sounds in 1969.

Some main characteristics of the 9-song medley and interesting facts:

  • Classical and jazz music elements
  • Multiple tempo changes within songs
  • Subject matter with lyrics in songs are mostly unrelated
  • Songs tied together by chord transitions and/or sound effects
  • The last song “Her Majesty” is considered a “hidden track” and is only 14 seconds long

My favorite 3 songs on the medley are “Golden Slumbers/Carry that Weight/The End.”  I have seen Paul McCartney twice in concert during the past ten years and at both shows, he ended his encore performance with these 3 songs from the AR medley.

Now it is on to my countdown of the 8-full-length tracks on AR.  Here are the songs in order of placement on the album:

  • Come Together
  • Something
  • Maxwell’s Silver Hammer
  • Oh! Darling
  • Octopus’s Garden
  • I Want You (She’s So Heavy)
  • Here Comes the Sun
  • Because

My countdown goes from what I consider to be the least significant song to the number 1 overall best Beatles track on “Abbey Road.”

8.    Maxwell’s Silver Hammer

Primarily written by Paul McCartney 

Credited as a Lennon/McCartney written song

McCartney has lead vocals on song

A tune that has an upbeat sound, is catchy and sounds pleasant but the song is actually Paul McCartney’s contribution to “death pop.”  A student named Maxwell Edison commits homicides with a hammer.  Ringo Starr cleverly plays an anvil on this avant-garde ode.

 7.    Octopus’s Garden

Written by Ringo Starr & Beatles drummer sings lead vocals

This whimsical ditty was only the 2nd song written by Ringo recorded by the Beatles.  Starr created “bubbling sound effects” for his country flavored tune. Jim Henson’s Muppets covered the song with multiple Sesame Street videos.  Starr published a children’s book called “Octopus’s Garden” in 2013.

6.     Because

Primarily written by John Lennon

Credited as a Lennon/McCartney written song

Lennon has lead vocals on song

The Beatles Bible states that John Lennon wrote “Because” after he heard Yoko Ono play Ludwig van Beethoven’s Moonlight Sonata on a piano. The track features a harpsichord and Moog synthesizer. Has dreamy 3-part harmonies by Harrison, McCartney and Lennon.

5.    I Want You (She’s So Heavy)

Primarily written by John Lennon

Credited as a Lennon/McCartney written song

Lennon has lead vocals on song 

An almost 8-minute tune. Written as a love song to Yoko Ono by John Lennon. It incorporates progressive rock sounds. The most psychedelic composition on the AR album. Billy Preston is guest organist. Multi-tracked guitars, driving bass and a Moog synthesizer blend together for a superb musical delight.

4.    Oh! Darling

Primarily written by Paul McCartney

Credited as a Lennon/McCartney written song

McCartney has lead vocals on song

The British band paid tribute to 50s rock ‘n’ roll, R&B and doo-wop sounds on this throwback track with a catchy melody. The Trio of Lennon, Harrison and McCartney recorded outstanding three-part doo-wop vocal harmonies to backup Sir Paul’s larynx-shredding lead vocals.

3.    Come Together

Primarily written by John Lennon

Credited as a Lennon/McCartney written song

Lennon has lead vocals on song

“Come Together” was released as a double-A-sided 45-rpm single along with “Something” on October 6, 1969. It peaked at #1 on the Billboard Hot 100. Hard driving blues rock tune. Paul McCartney’s exceptional melodic bass line riff rocks on this tune.

Who knows what this John Lennon sardonic nonsensical lyric actually means? The phrase, “Here comes old flat-top” is a direct quote from Chuck Berry’s, 1956 song “You Can’t Catch Me.”  Ringo Starr proclaimed in 2021 that “Come Together” was his favorite Beatles song of all time.

2.    Something

Written by George Harrison & Beatles guitarist sings lead vocals

“Something” was released as a double-A-sided 45-rpm single along with “Come Together.”  This George Harrison penned love ballad to his first wife Pattie Boyd, is the only Beatles #1 song not written by Lennon/McCartney.

The opening lyric was taken from the title of “Something in the Way She Moves”, a track by another Apple Records artist James Taylor. Harrison’s guitar riffs on this tune are exquisite.

 This song received the Ivor Novello Award for “Best Song Musically and Lyrically” in 1969, ranked as the 17th-most recorded song of the 20th century and is #110 on Rolling Stone Magazine’s “500 Greatest Songs of All Time” listing.

  1.   Here Comes the Sun

Written by George Harrison & Beatles guitarist sings lead vocals

Without a doubt, I consider “Here Comes the Sun” as the best song on “Abbey Road.”  I place this melodic acoustical tune as my 5th favorite Beatles song of all-time.

Together with his second contribution to AR, “Something”, many music historians place Harrison’s song-writing on par with that of Lennon & McCartney.  The “Quiet Beatle” wrote his beloved composition when he was outside visiting his friend Eric Clapton’s home in early 1969.

An exceptional acoustic guitar part by Harrison was enhanced by producer George Martin’s hiring of an orchestra of violas, cellos, piccolos, flutes and clarinets.  It gives this cheerful pop song a classical feel.

During the 21st century, Harrison’s track is the most streamed Beatles song on Spotify and other online music platforms around the world.  Folks of all ages love the positive, encouraging message of Harrison’s number 1 AR song on my countdown: “Here Comes the Sun.

That wraps up my musical musings of the Beatles “Abbey Road” album at 55.  I look forward reading your comments below on any aspect of AR, including what you consider to be the best song on the album.

As music historians state, the Beatles had much tension when recording tracks for “Abbey Road” and were on the verge of breaking up.  Hardly anyone knew that AR would be the swansong achievement for the greatest rock band of the 20th century.

I rate the Beatles “Abbey Road” as a masterpiece and one of the best albums from the late 60s.

I close this article by quoting lyrics from the last song recorded collectively by all four of the Beatles and also the final song of the AR medley, “The End.”  Rock on!

“And in the end, the love you take, Is equal to the love you make.”

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