Skip to main content

Benign Slab Of Oppression: “Hurting Each Other” by The Carpenters




One of the occupational hazards of writing a blog based on the charts is that sooner or later you’re going to end up writing about the same music, over and over. The Carpenters ended 1971 and begin 1972, hence becoming the first act since The Beatles to appear here with consecutive entries, and much more than Creedence, their omnipresence is becoming a tad oppressive – and we’re not done with them here yet. I have virtually nothing left to say about The Carpenters or their music; suffice it to mention that “Hurting Each Other” is a cover of a 1965 song which has been interpreted by everyone from Chad Allen and The Expressions to The Walker Brothers – although Richard seems to have been influenced by the vocal arrangements on Ruby and The Romantics’ 1969 recording. The pain remains suppressed, while the emotional low is so unbearable you could put this out on Bella Union and get a Guardian five-star review tomorrow. To paraphrase Karen, can’t we just STOP?

Date Record Made Number Two: 26 February 1972
Number Of Weeks At Number Two: 2
Record At Number One: “Without You” by Nilsson
UK Chart Position: None

Comments

Popular posts from this blog

“I Would Have Thought In The Middle Of The Atlantic In The Middle Of The Night That Rockets Must Mean Trouble”: “I’m Not In Love” by 10cc

"watching for night, with absinthe eye cocked on the lone, late, passer-by." (Sylvia Plath, "Prospect," 1956) This story begins in 1954, before most people had really recognised anything called rock, and a pop record which is half-perfect. That record, which stayed at number one in our charts for ten weeks, was “Cara Mia” by David Whitfield with Mantovani and his Orchestra and Chorus. Now, Whitfield was never the most subtle of singers and his in-your-face bellowing is somewhat distracting – it is significant that he was the first British reality media star (not from television, because at that time Opportunity Knocks was only broadcast on Radio Luxembourg) since his climactic high C at the end of “Cara Mia” is like a display of gymnastics, or an athletic field event; can he do that triple loop or throw that javelin beyond the stadium? It proves that technical prowess can often render itself unlistenable. But the magic here lies in the extraordinary ...

Hey Now, Hey Now Now, Burn This Corrosion To Me: “Fire” by The Crazy World Of Arthur Brown

More so than “Born To Be Wild,” “Fire” marks the dividing line, where pop turns into rock, where psychedelia mutates into progressive, between fun for all the family and parents keep the hell out. Number one in Britain when I was four years old, it scared the shit out of me at the time. Even in a year which could already have been classified as pop in extremis – Dave Dee’s whip on “Legend Of Xanadu,” Jagger’s sympathetic Devil make-up on “Jumping Jack Flash” – Arthur Brown’s flaming colander crown and a Top Of The Pops performance of the song which appeared to show the band burning in forests of flame gave me genuine nightmares; not to mention the moment in the long-gone Vale Café in Tollcross when I accidentally pressed the wrong button on the jukebox and “I AM THE GOD OF HELLFIRE!” roared out. Now I already had cause enough to have nightmares in 1968, for reasons with which I shan’t bore you here. It wasn’t that pleasant a year, even from my juvenile perspective. But the...

What About All The Dreams That You Said Were Yours And Mine?: “MacArthur Park” by Richard Harris

The story begins with Bones Howe, a producer who, along with Jimmy Webb, worked on the first two albums by The Fifth Dimension – Up, Up And Away and The Magic Garden . This work was a happy affair, and while putting these records together Webb regularly confided in Howe about how he would like to expand the vocabulary and structure of the popular song. Spellbound, as with so many others, by Pet Sounds and Pepper , he was looking to do something similarly (if amiably) disorientating. Upon completion of The Magic Garden , Howe urged Webb to be as good as his word and compose the epic song that was in his head. Webb responded with a twenty-minute, multi-movement cantata – i.e. one whole side of an album – which he called “MacArthur Park.” Howe instantly thought of another of his production clients, The Association, who in late 1967 were looking towards the experimental and adventurous. Webb and Howe duly approached the group with this great notion. Figuring that The Ass...