You’d think having a hit record would mean he could afford a shirt with buttons.
This is a classic example of the 1970s AM pop which sounds glorious blaring out of the radio of a big old American car when you’re driving to the beach on a sunny Florida day. It really does, I know from personal experience.
I don’t know if it was because things were so grim that people needed cheering up more, but there were a lot of novelty hits in the 1970s. 99.9% of them were terrible, but this one was marvelous and “My chiffon is wet, darling!” is still one of my favourite lines in pop.
“Disco Tex” was a fellow called Sir Monti Rock III and the group was the brainchild of The Four Seasons’ producer/writer Bob Crewe. This was a hit in 1974 before Disco went overground and became a cultural juggernaut so it was ahead of that curve, and its camp flamboyance was ahead of Sylvester and The Village People in being a hit that came out of gay club culture — both Rock and Crewe were gay and the record was made to sound like a live performance in a gay disco. Which just shows that even the silliest novelty record can have some sociological significance.
This track is probably my guiltiest of guilty pleasures, God help me I love it. I also confess I have a playlist of this sort of 70s Pomp Rock on my iPod that is my favourite soundtrack to workout to at the gym.
Keeping the (unintentional) dance music theme going this week. It’s a toss-up between this and “Lost In Music” for my favourite non-Chic Edwards/Rodgers production. Few records are this sublime and silly at the same time.
Shirley Bassey’s cover of “Something” got to #4 in the UK charts in 1970, the same spot The Beatles’ original reached the year before. I never heard the Fab Four’s version at the time and didn’t for years, but my mother had a 45 of the Shirley Bassey which she loved so that was the version I knew growing up. I even heard it by Frank Sinatra before the original too.
As a result I thought of “Something” as an adult standard instead of a pop song, so to my ears George Harrison sounded too young to be singing it. The Beatles’ version is great of course, but it feels more about the happy rapture of young love while Shirley brings a grown-up sensuality to it which I prefer. Instead of lovey-dovey infatuation, she sounds like she’s singing about sex.