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Hey

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there, Hit Parade listeners. Before

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we start the show, I want to let

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you know about a story coming

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seized the moment.

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Hey there, Hit Parade listeners. What

1:31

you're about to hear is part one

1:33

of this episode. Part two will

1:36

arrive in your podcast feed at the end

1:38

of the month. Would you like to hear this episode

1:40

all at once, the day it drops? Sign

1:43

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Plus, Hit Parade Plus. Hip Parade, The Bridge,

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again, to join, that's slate.com

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slash hipparadeplus.

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Thanks, and now, please enjoy

2:15

part one of this Hip Parade

2:17

episode. Welcome

2:29

to Hip Parade, a podcast of

2:31

pop chart history from Slate Magazine

2:33

about the hits from coast to coast. I'm

2:36

Chris Malanfie, chart analyst, pop critic,

2:38

and writer of Slate's Why Is This Song Number

2:41

One series. On today's

2:43

show, 44 years ago in the fall

2:46

of 1979, a

2:48

song that mixed funky rhythms

2:50

with jittery lyrics about life

2:53

during wartime made its

2:55

debut on Billboard's Hot 100. The

2:58

song claimed that things were too hard

3:01

in the apocalyptic New York City

3:03

of the 70s to have any

3:06

fun. It wasn't a time to

3:08

party, not a time for disco.

3:11

And yet, the song was totally

3:13

fun and quite danceable, and

3:16

it name-checked a couple of New York

3:19

night spots, including the

3:21

Mud Club and an infamous

3:23

dive called CBGB. The

3:35

name of this band was Talking

3:38

Heads, and they were shouting

3:40

out the venue that helped birth

3:42

them, a seedy bar in

3:45

New York's East Village with a

3:47

small stage and a foul

3:49

bathroom, a nightclub now

3:51

widely regarded as the birthplace

3:54

of punk rock, which was

3:57

uncommercial, forbiddingly

3:59

unapproachable. after

4:02

all, life during wartime only

4:04

reached number 80 on the pop chart. The

4:07

rock that originated at CBGB

4:10

wasn't supposed to be pop music,

4:12

was it? Was it?

4:25

Eventually, it would be. But

4:27

in the mid-70s, when punk was

4:30

defining itself, it was meant

4:32

to give voice to a so-called

4:35

blank generation that eschewed

4:38

the commerciality of prior

4:40

waves of rock. I

4:43

can take it on leave anytime. Well,

4:45

I belong to

4:46

those generation.

4:50

But that commercial

4:53

avoidance didn't last long. The

4:56

artists who became legendary from

4:58

their exposure at CBGB

5:01

had ambition and catchy

5:03

songs. They were signed to

5:05

major label deals.

5:16

And

5:17

before the 70s were even

5:19

over, their albums and even

5:21

their singles were making landfall

5:24

on the billboard charts.

5:34

More important, these acts proved

5:37

that punk wasn't just one

5:39

sound. It contained multitudes.

5:57

CBGB

5:57

became a milestone.

5:59

starter gig for many

6:02

an act's career, including

6:04

bands who weren't from New York, New

6:07

Jersey, New England, or

6:09

even America.

6:20

But for the original class

6:23

of CBGB bands, Talking

6:25

Heads, Patti Smith, Television,

6:28

the Ramones, the mainstream

6:30

had to come around to their sound

6:33

as much as they flirted with

6:36

the mainstream. Eventually,

6:38

what sounded arch or forbiddingly

6:41

oddball in the 70s... ...became

6:47

accessible

6:48

and top 40 friendly by

6:50

the 80s.

6:54

And

7:00

while some of the CBGB bands

7:02

never quite made the

7:05

leap to top 40 pop stardom, they influenced

7:28

generations of multi-platinum

7:30

bands through the 90s and

7:33

beyond. Today

7:44

on Hit Parade, we will offer a

7:46

cock-eyed take on CBGB,

7:49

how the scene's influence was felt

7:52

in the very venue those bands

7:54

supposedly disdained, the

7:56

Billboard charts. These bands

8:00

the punk ethos could take many

8:02

forms, as it morphed into

8:04

and melded with post-punk,

8:07

art-pop, new wave, metal,

8:09

even disco, funk, and hip-hop.

8:22

There's no band better

8:25

exemplified that approach than

8:27

a flexible sextet,

8:29

led by singer Debbie Harry and

8:32

guitarist Chris Stein, who

8:34

scored four number one hits in

8:37

four different genres in just

8:39

two years. And

8:55

that's where your hit parade marches today,

8:57

the week ending April 28, 1979, when Blondie

9:03

scored their first number one hit

9:05

on the Hot 100, Heart of Glass.

9:08

It was a milestone for CBGB,

9:12

even as it was miles removed

9:14

from Blondie's earlier stripped-down

9:17

sound. Before Blondie's

9:19

historic run was over, they

9:21

would score chart toppers with electro-rock,

9:24

rap, even reggae. Were

9:26

Blondie ever punk,

9:29

or were all of these styles really

9:31

just punk in disguise? If

9:34

CBGB was all about do-it-yourself,

9:37

weren't all of these willfully

9:40

eclectic hits a form of DIY? Join

9:44

us as we get not too

9:46

sedated. We burn down

9:48

that house. And we try

9:51

to answer this question. How

9:53

did CBGB punk become

9:56

Billboard pop? Stick

10:05

around.

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This is country and bluegrass artist Conn Fulham.

12:36

And while this

12:39

Conn Fulham recording is

12:50

from the 21st century, and

12:53

we can't be sure he performed

12:55

this specific song in New York

12:57

City in the 1970s, we

13:00

do know from several sources,

13:02

including CBGB founder

13:05

Hilly Crystal himself, that

13:07

Fulham was one of the first

13:09

musicians to perform at the club

13:12

as early as 1973. I'm playing this Conn

13:14

Fulham song

13:19

to illustrate what CBGB

13:21

could have been

13:25

if it

13:33

had actually aligned with its

13:35

name. Believe it or not, those

13:38

four letters stood for country

13:41

bluegrass blues. At

13:43

CBGB, Hilly Crystal

13:46

never intended to showcase rock

13:48

and roll. And for a few

13:50

weeks in late 1973,

13:53

after converting the venue from Hilly's

13:56

on the Bowery to CBGB, Hilly

14:00

Crystal actually tried to

14:02

live up to that acronym. He

14:04

programmed what he called Country

14:07

at Sunrise, with bluegrass

14:09

style acts in the morning while

14:12

serving breakfast. Needless

14:14

to say, it didn't catch

14:17

on. I'm gonna

14:19

save you for the rest.

14:24

I'm gonna save

14:26

you. Now this episode

14:29

of Hit Parade cannot possibly

14:31

offer an in-depth history of

14:34

CBGB, which lasted

14:36

a remarkable 33 years

14:38

on the block known as the Bowery

14:41

in New York from 1973 to 2006. We

14:46

are a chart history show, and

14:49

I am mainly going to focus

14:51

on how some of these artists evolved

14:54

into pop stars. For a

14:57

deeper history on CBGB

14:59

itself, I recommend Roman

15:01

Kozak's This Ain't No Disco,

15:04

the story of CBGB, which

15:06

is out of print but borrowable

15:09

from the Internet Archive, and

15:11

the very detailed CBGB

15:14

chapter in Jesse Rifkin's superb

15:16

new book This Must Be the Place,

15:19

which chronicles the history of legendary

15:22

New York music venues. For

15:25

our purposes, the main thing

15:27

to keep in mind about CBGB,

15:30

whose full name, by the way, was

15:32

CBGBOMFUG,

15:36

it stood for Country, Bluegrass

15:38

Blues, and Other Music for

15:41

Uplifting Gorman-dizers. Is

15:44

this, CBGB, musically,

15:47

was never just one

15:50

thing. Early

16:02

on, Hilly Crystal put on jazz

16:04

players like flautist Jeremy

16:07

Steig. He also showcased

16:09

bluesmen, or theatrical

16:12

acts like Jane County, then

16:15

Wayne County, or the hard-to-define

16:18

Magic Tramps. So,

16:30

that whole birthplace of punk

16:32

thing? That was an accident.

16:35

Hilly didn't really even want

16:37

rock, much less hard rock.

16:40

Moreover, as punk was defining

16:42

itself, that definition

16:44

was pretty loose.

16:48

That is a dime of juice, oh

16:52

he's so

16:53

cool.

16:56

Television, the angular,

16:58

improvisatory four-piece that

17:01

finally convinced Hilly Crystal

17:03

to make CBGB a rock

17:05

venue, played sprawling,

17:08

jammy, almost jazzy

17:10

music that could only be

17:12

called punk due to its

17:14

no-frills style and DIY

17:17

attitude. It wasn't punk

17:20

the way, say, the Ramones

17:22

were punk. And

17:35

neither of those versions of punk

17:37

sounded like Talking Heads, arty,

17:40

polyrhythmic version of punk. But,

17:43

these bands did all sound

17:45

like they belonged at the same

17:47

punk club.

17:59

From its

18:01

birth, punk was eclectic,

18:03

the way pop music has always

18:06

been eclectic. Punk

18:08

was an attitude as much as a

18:10

genre, and to be sure,

18:12

not all of it was destined for the

18:15

charts. As I'll explain momentarily,

18:17

television and the Ramones barely

18:20

touched the charts. But

18:22

if you accept, as I do, that

18:25

pop music can be anything catchy

18:28

or arresting that draws a crowd,

18:30

CBGB music was simply

18:33

the future of pop. The rest

18:35

of the world just had to catch

18:38

up.

18:48

What made 1973 the

18:51

moment when CBGB opened its

18:53

doors such a ripe time

18:55

for punk to bloom? For one

18:57

thing, some of the music already

19:00

bubbling up on the charts pointed

19:02

the way. The Stooges, the

19:04

Detroit band led by Iggy Pop,

19:07

who'd been developing punk style since

19:09

the end of the 60s, cracked

19:11

the Billboard album chart in the spring

19:14

of 1973 with raw power. Raw

19:30

power was produced by David

19:33

Bowie, who was himself

19:35

moving away from the glam of

19:37

his Ziggy Stardust period. His

19:40

single Rebel Rebel melded

19:42

anthemic rock to proto-pump.

19:54

And toward the end of 1973, the

19:56

New York Dolls widely

19:58

considered the pro-j of Punk

20:01

before it had a name took

20:03

their self-titled debut LP

20:06

to number 116 on the Billboard album chart.

20:19

All of these acts tilled

20:22

the soil where New York Punk

20:24

grew. The dolls in particular,

20:27

outrageous and cross-dressing,

20:30

were the leading lights of the downtown

20:32

New York scene, commanding the

20:34

stage at the Mercer Arts Center.

20:37

But when that building collapsed,

20:39

literally, in the summer

20:42

of 73, downtown bands

20:44

needed to find a new place to

20:46

play.

20:57

Most stories about CBGB

21:01

seem apocryphal. But

21:03

we know this much. Sometime

21:05

around the spring of 74, Hilly

21:08

Crystal was persuaded to allow

21:11

a scruffy rock foursome who

21:13

called themselves television. Guitarist

21:16

and vocalist Tom Verlaine, rhythm

21:18

guitarist Richard Lloyd, bassist

21:21

Richard Hell, and drummer Billy

21:23

Ficca to take the CBGB

21:26

stage. Televisions stripped

21:28

down, but intricate sound would

21:31

finally give the New York downtown

21:34

scene a center of gravity.

21:48

Television settled into a

21:50

Sunday night residency and

21:52

became central to the scene. Not long

21:55

after the band made their debut,

21:58

Richard Hell broke free. from television

22:01

and joined Johnny Thunders, formerly

22:03

of the New York Dolls, in his

22:06

new band, The Heartbreakers, not

22:08

to be confused with the band of the

22:10

same name that backed up Tom Petty. The

22:13

Heartbreakers recorded the first version

22:16

of Hell's composition, Blank

22:18

Generation, which became something

22:20

of an anthem for CBGB.

22:34

Hell would later re-record Blank

22:37

Generation with his own band, Richard

22:39

Hell and the Voidoids. But

22:42

television gave an even bigger

22:44

leg up to a budding rock

22:46

frontwoman who'd gotten her start

22:49

in performance art, made

22:51

her bones as an artist working

22:54

alongside her sometime lover

22:56

Robert Maplethorpe, and

22:59

had been gigging all over town

23:01

as a beat poet backed up

23:03

by a band. By the

23:05

time television brought her in

23:07

at CBGB, here the

23:10

band is backing her up, she

23:12

was building a reputation as punk's

23:15

poet laureate, Patricia

23:17

Ann Smith, better known as

23:20

Patty Smith. Born

23:32

in Chicago and raised in

23:35

New Jersey, Patty Smith

23:37

arrived at CBGB virtually

23:40

fully formed after years

23:42

of poetry readings backed by

23:44

guitarist Lenny Kay and other

23:47

sympathetic musicians. Smith

23:50

offered a unique blend of poetry

23:52

and spoken word improv with

23:55

musical backing that was equally

23:57

spontaneous. On her 19th 1974 debut

24:01

single, a cover of the rock

24:03

standard Hey Joe, backed

24:05

by this original song,

24:08

Piss Factory. Lyrics tumbled

24:11

out of Smith with what seemed

24:13

like stream of consciousness. You

24:15

might say the punkness of

24:18

Patti Smith was in her words,

24:20

not just the music. He

24:30

ain't going nowhere, he ain't going

24:33

nowhere. Another

24:38

band that opened for television

24:40

in 1974 were then called The Stilettos, fronted

24:45

by a former waitress and playboy

24:48

bunny from New Jersey named Deborah

24:51

Harry, and a Brooklyn-born

24:53

guitarist named Chris Stein.

24:56

Eventually, after some lineup

24:58

changes and several name changes,

25:01

The Stilettos rechristened themselves

25:04

Blondie. Here they are

25:07

at an early CBGB gig

25:09

trying out one of their originals

25:12

a girl should know better. The best music

25:15

you can do when a girl

25:17

should know better, I do. As

25:25

important as all these CBGB

25:28

acts were, denizens of the

25:30

scene agree that, even if they

25:32

were not first, the band that

25:34

made the greatest impression at

25:36

their 1974 debut was

25:39

a foursome from Forest Hills

25:42

Queens who all pretended

25:44

to have the same last name, a

25:47

former pseudonym of Paul McCartney,

25:49

Ramon. Leggs McNeil,

25:52

who would soon co-found Punk Magazine,

25:55

described the Ramon's this

25:57

way, quote, they were all wearing

26:00

these black leather jackets, and

26:02

they counted off this song, and

26:05

it was just this wall of noise.

26:08

They looked so striking. These

26:10

guys were not hippies. This

26:13

was something completely new."

26:16

Unquote. Perhaps

26:27

this explains why the

26:29

Ramones, more than television

26:32

or Patti Smith, defined

26:34

punk in the zeitgeist. Jeff

26:36

Hyman, aka Joey

26:39

Ramone, sang with a marvel-mouthed

26:42

sneer. John Cummings, aka

26:45

Johnny Ramone, aggressively

26:47

played only downstrokes on

26:49

his guitar. Douglas Colvin,

26:51

or D.D. Ramone, played

26:53

bass lines that were deceptively simple

26:56

but at breakneck speed. And

26:59

Thomas Urdelier, or Tommy

27:01

Ramone, switched from being the

27:04

band's manager to its drummer

27:06

because he was the only player

27:09

who could keep up with the band's relentless

27:11

tempo. If there is such a thing

27:14

as pure punk, punk

27:16

that needs no adjective, compound

27:19

word, or qualifier, the

27:21

Ramones were it. One

27:35

more band became CBGB

27:37

regulars by 1975 after they opened for

27:39

the Ramones, and clad in

27:44

Normcore polo shirts, they

27:46

could not have looked less like the

27:49

leather-clad Ramones. Talking

27:51

heads didn't sound much

27:53

like the Ramones either. At

27:56

the time, they were a trio

27:58

who'd met at the Rhode Island School

28:00

of Design, and decided to

28:02

move to New York to focus on

28:04

music, the romantic couple

28:07

of drummer Chris France and

28:09

bassist Tina Waymouth, and

28:11

a twitchy front man named David

28:14

Byrne. Here's Talking Heads

28:16

performing an early version of Psycho

28:19

Pillar at CBGB in 1975.

28:32

["T

28:40

talking

28:43

heads expanded the definition

28:46

of what punk could be. Their 1976

28:48

debut single, Love

28:52

Goes to Building on Fire,

28:54

had the stripped down minimalism

28:56

of punk structurally and lyrically,

28:59

but with a winsome arty melodicism.

29:03

Talking Heads gave punk its

29:05

quirk. ["T

29:18

by 1976,

29:20

all of the first

29:22

wave of bands that would make CBGB

29:25

famous, plus other punk

29:27

legends, like the Dead Boys, Mink

29:30

Deville, and the Shirts, were

29:32

established at the venue. Richard

29:35

Hell commemorated the moment in his

29:37

single with the Voidoids down

29:39

at the Rock and Roll Club. It

29:51

didn't take long for record label

29:53

executives to not only make

29:56

the scene, but sign several

29:58

of the CBGB bands." Their

30:01

commercial trajectories from there

30:03

would be as varied as their punk-derived

30:06

sounds. The Patti Smith

30:08

group had actually already

30:10

been signed in 1975, improbably

30:14

by Clive Davis, the

30:17

legendary impresario who

30:19

had just launched his label, Arista

30:21

Records, which would later make Barry

30:24

Manilow, Whitney Houston, and Kenny

30:26

G. famous. Smith's

30:28

seminal debut on Arista Records,

30:31

Horses, featuring an iconic

30:34

androgynous photo by Robert Maplethorpe

30:37

of Patti on the cover, landed

30:40

in the fall of 1975, and

30:42

reached an impressive number 47 on

30:45

the Billboard album chart by

30:47

February 1976.

31:01

Produced by founding Velvet

31:03

Underground member John Cale, Horses

31:06

emphasized not only the poetic

31:09

freedom of Smith's lyrics, but

31:11

also the musical eclecticism

31:14

of her band, led by her guitarist

31:17

and frequent co-writer Lenny Kay. Redondo

31:20

Beach, which is seriously

31:23

a punk reggae song, tells

31:25

a story of a tragic drowning

31:27

on a lesbian beach, yet has

31:30

an oddly perky bounce.

31:33

The LP also reinforced a frequent theme

31:35

of early punk, cover songs, and the recontextualizing

31:38

of old R&B and rock n' roll chestnuts

31:41

as punk anthems. For

31:55

the lead-off track on Horses, Patti Smith took the lead-off track

31:57

on Horses, and the lead-off track on Horses.

31:59

Gloria, an early hit

32:02

by the Irish band Them, fronted

32:05

by a young Van Morrison. And

32:18

she transformed

32:19

it into a galloping

32:22

epic.

32:33

This was Punk's ethos, rejecting

32:36

the density and instrumental wizardry

32:39

of late 60s and early 70s

32:41

classic rock, and returning

32:44

rock to its primitive roots as

32:46

hard driving R&B and rock

32:48

and roll. No one took this

32:51

mission more seriously than Joey

32:53

Ramone, who was an unabashed

32:56

fan of 50s and

32:58

60s R&B and girl group Pop.

33:01

After the Ramones were themselves signed

33:04

to Sire Records, their

33:06

self-titled debut, Ramones,

33:09

sported several tunes calling

33:11

back to early rock and roll. For

33:14

example, the 1962

33:16

number four hit by Chris Montez,

33:19

Let's Dance. The

33:32

Ramones was covered by the Ramones at

33:34

their typical hard driving tempo.

33:46

For another track on 1976's

33:49

Ramones album, drummer and

33:51

songwriter Tommy Ramone adapted

33:53

the sound of the Shangri-Laz,

33:56

one of Joey's favorite girl groups. into

34:12

the lovelorn Ramon song I

34:15

Wanna Be Your Boyfriend. Blondie

34:27

II was going for a retro

34:30

pop sound from the jump. In

34:32

one of their earliest CBGB

34:34

performances captured in 1975, Debbie

34:37

Harry was doing her best

34:40

Martha Reeves on Blondie's

34:42

cover of the Vandalas Motown

34:44

classic Heatwave. Then,

34:58

on Blondie's self-titled 1976

35:00

debut album, they,

35:03

like the Ramones, called back

35:05

to the rock and roll of their youth. To

35:07

be sure, Blondie could do snarling

35:10

straight-up punk like Rip Her

35:12

to Shreds. But,

35:25

on the album's major pop single,

35:27

In the Flesh, Debbie Harry

35:29

and Chris Stein, who co-wrote

35:32

the song, emulated the slow

35:34

dances

35:34

of their high school years.

35:46

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All of these catchy ditties

37:35

and allusions to the pop

37:37

of yesteryear were bound

37:39

to have an effect on the CBGB

37:42

band's chart performance sooner

37:44

or later. The Ramones, in

37:46

particular, were not shy

37:49

about reaching for a pop sound.

37:51

Not only did they include the word bop

37:55

in the title of their very first single,

37:57

1976's Blitzkrieg. They

38:11

muddled the song's memorable

38:13

chant, Hey, Ho, Let's

38:15

Go, which graces baseball

38:18

stadiums to this day, on

38:20

the chant that leads off the Bay City

38:22

Rollers punk-ish single Saturday

38:25

Night, which topped the Hot 100 in early 76,

38:27

just weeks before the Ramones released Blitzkrieg

38:33

Wap. Unlike

38:44

Saturday Night, Blitzkrieg Wap

38:46

went nowhere near the Hot 100. Hmm,

38:50

maybe it was the references to German

38:52

war strategy and the line

38:55

about shooting enemies in the back

38:57

now. In

39:08

any case, the first country

39:11

to give the Ramones a Top 40 hit

39:13

was England, where punk,

39:16

in the wake of the Sex Pistols, caught

39:18

on as a pop force sooner than

39:21

it had in America. Swallow

39:23

My Pride, a single from

39:25

the band's second LP, Leave

39:28

Home, reached number 36 on the

39:31

UK chart in 1977. The

39:47

Ramones continued to build

39:50

infectious chants into their

39:52

singles. The B-side to Swallow

39:54

My Pride, the deliberately demented

39:57

Pinhead, led off with a Gabba

40:00

Gabba, We Accept You, One of Us

40:03

mantra, that the band borrowed

40:05

from the classic 1930s horror

40:08

exploitation film Freak. It

40:21

wasn't until the summer of 77, and

40:24

a single from their third album,

40:26

Rocket to Russia, that the Ramones

40:29

finally cracked the American pop

40:31

chart. The Surf meets Bubblegum,

40:34

Sheena is a punk rocker, broke

40:37

onto the Hot 100, peaking at number 81.

40:52

Before the Rocket to Russia LP,

40:55

the band was given

40:56

a bigger production budget by Sire

40:58

Records, whose president Seymour

41:01

Stein was looking to capitalize

41:03

on the punk hype of 77. The

41:06

year when acts from the Sex Pistols

41:08

to The Clash to Richard Hell

41:11

all scored recording contracts. In

41:14

some ways, the hype helped. The

41:16

Ramones' two previous albums could

41:19

get no higher on the Billboard album

41:21

chart than number 111. But

41:25

Rocket to Russia climbed all the

41:27

way to number 47, and

41:29

rode the chart for nearly half

41:32

a year. Even if Sheena

41:34

is a punk rocker, wasn't destined

41:36

to be counted down on American

41:39

Top 40, the horror's reputation

41:42

as the archetype of punk was

41:44

starting to make waves. Also

41:56

benefiting from Punk's class

41:58

of 77. hype were

42:01

Talking Heads, who also

42:03

signed to Seymour Stein's Sire

42:05

Records and actually titled

42:08

their debut LP, Talking

42:10

Heads 77. It

42:12

was their first recording as a quartet

42:15

after adding multi-instrumentalist

42:18

Jerry Harrison, formerly of

42:20

Boston band The Modern Lovers.

42:23

The first single from Talking Heads 77

42:26

was the slap-happy strutting, Uh-Oh,

42:29

Love Comes to Town, which

42:31

did not trump.

42:46

However, it was a second

42:49

single, the aforementioned

42:51

song about a psycho-killer. That

42:54

the Heads were playing as a trio at

42:56

CBGB as far back as 1975

42:58

that they had now formally recorded

43:02

in the studio. That finally

43:05

began to get Talking Heads some

43:07

radio and retail attention.

43:20

Released in December 1977, Psycho

43:24

Killer, still with its incongruous

43:26

French lyrics and nonsense fa

43:28

fa fa fa refrain,

43:31

debuted on the Hot 100 in February 1978.

43:36

In its five-week run, it only

43:38

got as high as number 92. Still,

43:45

that

43:48

was good enough to

43:51

make Talking Heads a little more popular.

44:00

heads the second CBGB

44:02

band to crack the big pop

44:04

chart, after the Ramones,

44:07

who, by the way, had moved onto

44:09

a second hit by early 78. Rockaway

44:13

Beach, the band's homage to

44:15

the Beach Boys, but in a punk

44:18

idiom, reached number In

44:31

fact, for three weeks in the winter

44:33

of 78, the Ramones and

44:36

talking heads were sharing space

44:39

on the bottom rung of the Hot 100. After

44:42

the radar, CBGB punk

44:44

was going pop. As

44:58

I said earlier, the commercial

45:00

fates of the CBGB bands were

45:02

on a spectrum. Some acts

45:05

were an easier sell in a pop

45:07

context than others. Television,

45:10

the band that had essentially birthed

45:12

the scene, produced sprawling

45:15

jams that resisted label interest

45:17

at first. The band even recorded

45:20

a demo for Island Records with

45:22

producer Brian Eno in 1975, yet

45:24

the label decided

45:28

not to sign television. Tom

45:30

Verlaine's quartet eventually

45:33

signed with Electro Records, and

45:35

in 1977 put out an

45:38

LP still considered a punk

45:41

era masterpiece,

45:42

even if

45:43

it is not exactly punk.

45:57

Marki Moon, anchored by the band's

45:59

its nearly 10-minute title

46:02

track still engenders

46:04

debate over what genre

46:06

it belongs to, postpunk, progressive

46:09

rock, art punk, new

46:11

wave. What it definitely

46:14

is is universally acclaimed.

46:17

Critics praised the intricate guitar

46:19

interplay of Tom Verlaine and

46:22

Richard Lloyd, and the album

46:24

ranked third in 1977's

46:27

Pazz and Jop Critics Poll, behind

46:30

only the Sex Pistols and Elvis

46:32

Costello. That was a better

46:35

chart performance than television

46:37

managed in Billboard, where

46:40

Marky Moon failed to appear

46:42

on the top LP's chart in

46:44

whole.

46:53

The title track was

46:56

a number 30 single,

47:01

and the second track,

47:20

the catchier and more radio-friendly

47:22

Prove It, got as high as number 25.

47:35

In America, television only

47:37

appeared

47:38

in Billboard on their second

47:40

LP, 1978's Adventure, and

47:43

even then the

47:44

album bubbled under the top

47:47

LP's chart, just missing

47:49

at number 201.

48:01

As for Blondie, at first

48:03

they were not doing much better. Their 1976

48:06

self-titled LP, distributed by

48:10

the smaller label Private Stock,

48:12

missed the charts entirely. And

48:15

even after signing to the larger

48:17

label Chrysalis Records, their 1977

48:19

follow-up Plastic Letters took several months

48:24

to climb to number 72.

48:27

Blondie's singles, including

48:29

the Francophone love song Dennis

48:31

or Deni as Debbie Harry

48:33

sang it, went nowhere near

48:36

the Hot 100.

48:48

In the UK however, Deni

48:50

was a number two hit, and

48:53

the follow-up, I'm Always Touched

48:55

by Your Presence, Dear, also

48:58

cracked the British top ten.

49:08

Patti Smith was starting to make

49:10

an impression with rock audiences,

49:13

if not yet pop audiences. A

49:15

deep cut from her Horses LP

49:18

called Free Money, gained

49:24

wider

49:26

attention in 1977 when

49:35

it was covered by, no kidding,

49:37

Sammy Hagar, who'd just

49:39

gone solo from the hard rock band

49:42

Montrose and was years

49:44

away from fronting Van Halen.

49:56

bigger

50:00

rockstar that finally

50:02

got Patti Smith onto

50:04

the singles charts

50:05

and gave the CBGB generation

50:08

its first

50:09

actual Top 40 hit. They

50:12

can't

50:12

touch me now. They can't

50:14

touch me now. They can't

50:16

touch me now.

50:20

We hope tonight belongs

50:23

to you. As I

50:25

discussed in our Bruce Springsteen

50:27

episode of Hit Parade, Because

50:30

the Night started as a song

50:32

fragment, the boss recorded

50:35

as a demo in 1977, but he was having

50:37

trouble completing it.

50:41

His engineer,

50:42

Jimmy Iovine, was

50:45

also producing a new album by

50:47

Patti Smith, Easter, and

50:50

he was looking for a song that

50:52

could sound credibly like Smith,

50:55

but also play on the radio.

50:58

Springsteen agreed to let Iovine

51:00

have Because the Night, which

51:03

only had a title, some mumbled

51:05

lyrics, and, most important,

51:08

the bones of its melodramatic,

51:11

romantic melody.

51:14

Because the night belongs

51:16

to you. Though

51:23

both Springsteen and Smith are

51:25

credited as songwriters on

51:27

Because the Night, the finished song

51:30

was not a direct collaboration.

51:33

Patti Smith wrote most of the lyrics

51:36

and recorded it with her typically

51:38

fiery vocals. It blended

51:40

Patti's punk poetry with

51:43

Bruce's home-spun romance.

51:56

In December 1977, Patti Smith

51:59

debuted Because the Night at

52:02

CBGB's Theater Annex

52:04

Space, accompanied by Springsteen

52:07

himself on guitar and

52:09

harmony vocals. Four months

52:11

later, in April 1978, Because the Night cracked

52:13

the Hot 100, Patti

52:18

Smith's first ever pop hit.

52:20

Then it kept climbing.

52:37

A month later, it broke into

52:39

the top 40, the first single

52:41

by any CBGB act

52:43

to do so.

52:44

It finally peaked at number 13

52:46

in June 1978,

52:50

far higher than any Ramones

52:52

or Talking Heads single ever had.

52:55

This pop success didn't seem

52:57

to tarnish CBGB's reputation,

53:01

if anything it enhanced it. What

53:03

had been a punk scene by 1978 had

53:07

become a rock mecca, even

53:10

though the stage was still small

53:12

and the bathroom still foul. For

53:15

bands on the come up, a gig

53:17

at CBGB became a rite

53:20

of passage. When the police,

53:22

for example, the British trio

53:25

of Stuart Copeland, Andy Summers,

53:27

and Sting arrived in

53:29

New York City in October 1978, their

53:33

first stop was CBGB. They

53:36

played an acclaimed set that

53:38

was the closest the police would ever

53:40

come to straight up punk. And

53:51

as we discussed in our B-52

53:54

episode of Hit Parade, the Campy

53:56

Band from Athens, Georgia was

53:59

especially well received at the

54:01

venue that had already welcomed Blondie's

54:04

and the Ramon's own retro pitch.

54:07

By 1978, the Ramon's were still casting a wide

54:12

net for unlikely pop material they could

54:22

turn into punk. For

54:24

their follow up to Rockaway Beach,

54:27

the Ramon's took Bobby Freeman's 1958 top 5

54:29

hit Do

54:32

You Want To Go, which had already

54:34

been remade in the

54:36

early 70s by Bette

54:40

Midler. Her

54:48

version was a number 17 hit, and the band

54:51

Ramon'sified it, pumping

54:55

up the

54:59

tempo and

55:05

giving it a thrashy rhythm. The

55:08

Ramon's Do You Want To Dance reached

55:10

number 86 in the spring of 1978. Though

55:26

they couldn't have known it at the

55:28

time, this would be the Ramon's

55:30

last dance with the Hot 100. But

55:34

for Talking Heads, the pop crossover

55:37

was just beginning. In 1978,

55:47

Talking Heads returned with

55:50

a sophomore album produced by

55:52

iconoclastic producer Brian

55:55

Eno. More songs about

55:57

buildings and food balanced

55:59

the track. trademark David Byrne quirk

56:02

with increasingly accessible

56:04

rhythms on tracks like Thank

56:06

you for sending me an angel and

56:09

the girls want to be with

56:11

the girls More

56:23

songs about buildings and food

56:26

got talking heads into the album

56:28

charts top 40 for the first

56:30

time where it peaked at number 29

56:34

What ultimately pushed the album up

56:36

the charts was the group's first ever

56:38

cover song and their

56:41

first ever top 40 hit While

56:43

the Ramones and Patti Smith had shown

56:46

how covers could be fully reinvented

56:49

Reportedly David Byrne had

56:51

to be talked into trying a cover

56:53

by Brian Eno Who thought

56:56

that the heads could give this

56:58

Al Green deep cut a unique

57:01

spin In

57:12

its original 1974 version

57:15

take me to the river fused

57:18

Al Green's secular R&B and Lusty

57:22

lyrics with gospel and

57:24

spiritual imagery it

57:26

had a strutting tempo But

57:29

talking heads slowed it down

57:31

to a lurch Which oddly

57:33

made the song into a kind of

57:36

soul punk

57:50

Talking heads take me to the

57:52

river broke into the top 40

57:55

the week before Christmas 1978 Casey

57:58

casem counted

57:59

it down. Back in 1975 David Byrne, Chris

58:01

Franz and Martina

58:05

Weymouth were all students at the prestigious

58:07

Rhode Island School of Design. According

58:10

to David, we were all artists working

58:12

in the visual and conceptual arts, but

58:14

we were disenchanted. So David,

58:17

Chris and Martina decided that they

58:19

just might be able to express their artistic

58:21

ideas better as musicians. They

58:23

formed a rock band. Within two years

58:26

they added a keyboard player, recorded their first

58:28

album and changed their name. Currently,

58:31

these former art students have their first Top 40

58:33

hit at number 28. The former

58:36

artistic who are now called the

58:38

Talking Heads. Their first hit

58:40

is Take Me to the River. A

58:46

few weeks later, Take Me to the River

58:49

topped out at number 26. By

58:52

the start of 1979, while Talking

58:55

Heads and Patti Smith had scored

58:57

American Top 40 hits, Blondie

59:00

still had it. For their first

59:02

half decade, Blondie's eclecticism

59:05

seemed to work against them. In

59:07

Europe and Australia, they had

59:10

become reliable hitmakers, helped

59:12

by Chris Stein and Debbie Harry's Good

59:15

Ear for covers. For example,

59:18

they took a Power Pop song that

59:20

was first recorded by California

59:22

band The Nerves, called

59:24

Hanging on the Telephone. And

59:35

they turned it into bracing New

59:38

York punk pop. Blondie's

59:40

Hanging on the Telephone, an early

59:43

single from their acclaimed New Wave

59:45

album Parallel Lines, hit

59:47

the UK Top 5. Nothing

1:00:00

in America, however. But

1:00:03

buried deep on side two

1:00:05

of the parallel lines album was

1:00:08

a song that would change everything

1:00:10

for Blondie, and arguably

1:00:13

the whole post-punk scene.

1:00:15

You do know what I've always

1:00:18

been and I've always

1:00:21

been mine. Once

1:00:26

I Had a Love was a song

1:00:28

Blondie

1:00:28

had been demoing since 1974,

1:00:30

and it never worked. They

1:00:35

had tried it as a ballad, as reggae,

1:00:38

and nothing sounded right. Because

1:00:41

it had a rudimentary version

1:00:43

of a disco beat, Debbie Harry

1:00:46

and Chris Stein nicknamed it the

1:00:48

Disco Song. Playing

1:00:50

it in 1978 for parallel

1:00:53

lines producer Mike Chapman,

1:00:55

the band were persuaded by Chapman

1:00:58

to give it one more try. As

1:01:00

it happened, rock bands trying

1:01:03

disco were having a moment.

1:01:15

The Rolling Stones hit

1:01:17

number one in the summer of 78

1:01:20

with the disco adjacent Miss

1:01:22

You.

1:01:22

Six months later, Rod Stewart

1:01:25

went to number one with his gleefully

1:01:28

sleazy disco song, Do You

1:01:30

Think I'm Sexy? Unlike

1:01:42

some punks or guitar rock

1:01:44

bands of the time, Blondie

1:01:46

were not opposed to disco.

1:01:49

They'd even covered songs by

1:01:51

Donna Summer and Gloria Gaynor

1:01:54

live. So encouraged

1:01:56

by Mike Chapman, they rethought

1:01:59

Once I Had a Love. as Heart

1:02:01

of Glass, giving it a synth-driven

1:02:04

Eurodisco beat that

1:02:06

was meant to sound like Kraftwerk,

1:02:10

only it wound up sounding like

1:02:12

Glittering Disco and

1:02:15

massively hooky pop.

1:02:28

Released as the third single

1:02:30

from Parallel Lines in the winter

1:02:32

of 1979, Heart of Glass was

1:02:36

Blondie's first ever single

1:02:39

to crack the Hot 100. Remember

1:02:41

that to this date, the Ramones

1:02:44

had cracked the chart three times, albeit

1:02:47

below the top 40. Talking

1:02:49

Heads had scored one top 30 hit.

1:02:52

Patti Smith had briefly broached

1:02:54

the top 20. Blondie

1:02:56

did a whole lot

1:03:09

better

1:03:12

than that. The Parallel Lines

1:03:14

album soared into the top 10, a

1:03:17

first for any CBGB

1:03:19

band, and peaked at number six

1:03:22

and went platinum. And

1:03:25

in its 11th week on the Hot 100, Heart of

1:03:27

Glass went

1:03:29

all the way. Casey Kasem

1:03:31

counted it down. Blondie

1:03:34

got its start three years ago in New York City

1:03:36

playing punk rock clubs like CBGB's

1:03:38

and Max's Kansas City. But Blondie's

1:03:41

albums just weren't selling in America. European

1:03:44

audiences have a reputation for being more receptive

1:03:46

to new trends and styles. Within

1:03:49

a year, Blondie was striking gold

1:03:51

and platinum in Germany, England,

1:03:53

France, Holland, and Belgium. Well,

1:03:56

in time, word trickled back to the US

1:03:58

and Blondie's first single to make the Hot 100. the Top 40

1:04:01

is now the most popular song

1:04:03

in America. Moving up

1:04:05

from number three last week to number one

1:04:08

the biggest selling song in the USA, Klandi

1:04:11

and Heart of Glass.

1:04:22

If there was any downside

1:04:24

to Heart of Glass hitting number

1:04:27

one, well besides the

1:04:29

punk true believers who sneered

1:04:31

that blondie had sold out but

1:04:33

never mind them, it was that

1:04:36

Heart of Glass appeared to be

1:04:38

an unrepeatable phenomenon. It offered

1:04:41

no roadmap to the other CBGB

1:04:44

bands. The Ramones for

1:04:46

example around the same time offered

1:04:49

their catchiest ever punk pop

1:04:51

song, a pogoing ditty

1:04:54

about being lonely on the road

1:04:56

called I Wanna Be Sedated.

1:05:10

Released only as a UK

1:05:13

B-side and a deep

1:05:15

cut on the Ramones album Road

1:05:17

to Ruin, I Wanna Be Sedated

1:05:20

didn't chart anywhere. Or

1:05:23

what about Patti Smith? She

1:05:25

tried to follow up her 1978 hit

1:05:28

Because of the Night with the Springsteen-esque 1979

1:05:32

single Frederick. Frederick

1:05:36

did crack the Hot 100

1:05:38

but it

1:05:41

peaked at number 90.

1:05:42

Talking

1:05:48

Heads tried to become more danceable

1:05:51

in 1979 in their own unique fashion

1:05:55

with their Brian Eno produced

1:05:57

album Fear of Music. It

1:06:00

featured the aforementioned Life

1:06:02

During Wartime, which proclaimed

1:06:05

This Ain't No Disco, but

1:06:07

was the closest thing to a banger

1:06:10

the talking heads had produced. It

1:06:12

reached number 80. This ain't

1:06:14

no party. This ain't no

1:06:16

disco. This ain't no... Another

1:06:24

deep cut on Fear of Music, the

1:06:27

Afrobeat-flavored IZYMBRA,

1:06:30

was even closer to club music,

1:06:33

and it brought talking heads to Billboard's

1:06:35

disco chart, where it reached

1:06:37

number 28.

1:06:47

Not even Blondie themselves

1:06:49

knew how to follow up their number

1:06:51

one hit, at first. In

1:06:53

the UK, where Heart of Glass

1:06:56

also reached the top, Blondie

1:06:58

went right back to number one immediately,

1:07:01

with the frothy, continental Sunday

1:07:04

girl.

1:07:17

In America, however, Blondie

1:07:20

tried reasserting their punk cred,

1:07:22

with the snarling One Way or Another.

1:07:26

Though it is considered a power-pop

1:07:28

classic, One Way got only

1:07:30

as high as number 24 on the Hot 100.

1:07:43

Looking to maintain

1:07:46

their momentum, Blondie went right

1:07:48

back into the studio with Mike

1:07:50

Chapman, to record a quick

1:07:52

follow-up album, 1979's

1:07:55

Eat to the Beat, though it

1:07:57

only reached number 17, less

1:08:00

well-remembered than parallel lines,

1:08:03

Eat to the Beat rode Billboard's

1:08:05

Top LPs chart for about a year

1:08:08

and spun off several medium-sized

1:08:10

hits, including the Aba-esque

1:08:13

Dreaming, a number 27 hit. The

1:08:17

story you are holding

1:08:19

here is

1:08:22

really, really, really

1:08:24

good. And the

1:08:27

funk rocker, The Hardest Part,

1:08:29

which only reached number 84. The

1:08:33

Hardest Part Of

1:08:37

the Hardest Part For

1:08:41

Bondi to truly replicate

1:08:44

their massive success with Heart of Glass,

1:08:47

they were going to have to turn further

1:08:49

away from the CBGB sound,

1:08:52

getting more synthetic, more

1:08:54

glossy, more electronic.

1:08:57

As the 80s dawned, they became

1:09:00

shape-shifters, and briefly,

1:09:02

the biggest pop band in

1:09:04

America. I

1:09:07

love you, I love you, I

1:09:10

love you, I love you, I love you. When

1:09:16

we come back, Bondi becomes

1:09:18

a hit-making jukebox. The

1:09:21

Ramones fully commit to selling

1:09:23

out, and talking heads

1:09:26

stop making sense and start

1:09:28

scoring hits. Non-Slate

1:09:30

Plus listeners will hear the rest of this episode

1:09:33

in two weeks. For now, I

1:09:35

hope you've been enjoying this episode

1:09:38

of Hit Parade. Our show was written,

1:09:40

edited, and narrated by Chris Melanci,

1:09:43

that's me. My producer is

1:09:45

Kevin Bendis. Derek John

1:09:47

is executive producer of narrative podcasts,

1:09:50

and we had help from Joel Meyer.

1:09:53

Alicia Montgomery is VP of audio

1:09:55

for Slate Podcasts. Check out

1:09:58

their roster of shows at Slate. You

1:10:02

can subscribe to Hip Parade wherever

1:10:04

you get your podcasts, in addition

1:10:07

to finding it in the Slate Culture feed.

1:10:10

If you're subscribing on Apple Podcasts,

1:10:12

please rate and review us while you're there.

1:10:15

It helps other listeners find the show. Thanks

1:10:18

for listening, and I look forward to leading

1:10:20

the Hip Parade back your way. We'll

1:10:22

see you for Part 2 in a couple

1:10:24

of weeks. Until then, keep

1:10:26

on marching on the one. I'm Chris

1:10:28

Mulanvey.

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