Songs from Adverts

650. ‘The Joker’, by The Steve Miller Band

/ UK #1s blog / 10 Comments

If the most important chart trend of the late-eighties/early-nineties was the emergence and dominance of dance, then the second was surely the random re-releases…

The Joker, by The Steve Miller Band (their 1st and only #1)

2 weeks, from 9th – 23rd September 1990

Such as this! There are usually two reasons for a golden oldie like ‘The Joker’ making number one years after its original release: use in a movie, or use in an advert. Place your bets… Yes, it was an advert this time, for Levi’s, that gave the Steve Miller Band their biggest hit, a mere twenty-five years into their career.

There’s little point in analysing this record from a musical point of view. It’s a strange little country, bluesy, slightly psychedelic number, recorded in 1973; and so in terms of its style and its production values it sounds a world away from ‘The Power’ (I will leave you to decide whether or not that is a good thing). It’s also very silly, with one of rock and roll’s great opening lines: Some people call me the space cowboy, Some call me the gangster of love…

Who is Maurice (wheep whoop)? What is a pompatus? They are references to earlier songs by Steve Miller but also, perhaps, the real answer lies in the Eaglesy chorus: I’m a joker, I’m a smoker, I’m a midnight toker… Yes, it’s an ode to ganja, and the joys of the doobie. It’s ironic that in 1990, as Britain’s youth raved their nights away, it took a seventeen year old AM radio staple to bring the drug references to the top of the charts…

It’s a fairly random, but very welcome, chilled-out, interlude in our countdown. There’s a great solo, played through some cool vocal effects, as well as the ridiculous cat-call effect in the verse. And a wonderfully filthy line towards the end: I really love your peaches, Wanna shake your tree… It didn’t make the UK charts in 1973, but it did make #1 on Billboard, meaning that Steve Miller Band now holds the record for longest gap between transatlantic chart-toppers. (The ‘band’ is basically Steve Miller, and a revolving door of supporting musicians. He’s still going, and was inducted into the Rock and Roll Hall of Fame in the mid-2010s).

They had already come close a decade earlier, when the equally fun ‘Abracadabra’ had peaked at #2. Except, in finally making #1, ‘The Joker’ caused some controversy. It sold what appeared to be exactly the same number of copies as that week’s number two single, Deee-Lite’s fabulous ‘Groove Is in the Heart’. But, rather than have two songs share the top position – as had happened often enough in the 1950s – Steve Miller won out thanks to having seen the largest sales increase over the previous week. You could bemoan the fact that a crusty old re-release beat a fresh and innovative dance number on a technicality – aren’t the charts supposed to be for what’s current and all that? – but ‘The Joker’ is fun and lively enough to get a pass from me. Plus, the chart compilers eventually confirmed, presumably after several recounts, that it had in fact sold a whopping eight copies more than Deee-Lite, and was there on merit. Just…

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615. ‘He Ain’t Heavy, He’s My Brother’, by The Hollies

/ UK #1s blog / 10 Comments

A big feature of the late eighties and early nineties, aside from all the dancing, the sampling and the acid house, was classic re-releases…

He Ain’t Heavy, He’s My Brother, by The Hollies (their 2nd and final #1)

2 weeks, from 18th September – 2nd October 1988

One such re-release means that The Hollies score their second #1 single, a full twenty-three years after their first. And like the two most recent belated chart-toppers – ‘Stand By Me’ and ‘Reet Petite’ – this is a classic in every sense. It’s pop as classical music: stately, grandiose, full of portent and power… The road is long, With many a winding turn…

In fact, I’d file this up there with ‘Hey Jude’, and ‘Bridge Over Troubled Water’, as pop music working as a hymn for the secular. And not just because the band do their best impression of a gospel choir towards the end, but also because the title line is from a Christian tale about a sister carrying her brother on her back, uncomplaining. Interestingly, ‘Stand by Me’ also features lines from the bible (while ‘Reet Petite’ does not, unless I missed that particular week of Sunday School…)

The climax is the middle eight, the If I’m laden… At all… part, that positively soars. In fact, it perhaps soars too much, for my tastes. For a band that spent most of the sixties releasing perfectly crafted, snappy pop tunes – from ‘Just One Look’, to their previous #1 ‘I’m Alive’, to ‘Bus Stop’ and on – this is quite the departure. I have to admit that I prefer their pop stuff to this, as impressive as it is, in the same way that ‘Hey Jude’ and ‘Bridge Over Troubled Water’ are not my all-time favourites either.

This song originally came not long after Graham Nash had left the band, to form Crosby, Stills & Nash, leaving the band more reliant on outside songwriters. ‘He Ain’t Heavy…’ had been written for US singer Kelly Gordon, a few months before The Hollies made #3 with it in 1969. (Fun fact: not only is it a belated 2nd #1 for The Hollies, it’s a 2nd #1 for Elton John, who played piano on the track as a pre-fame session musician!) And, for a song with such religious connotations and gospel leanings, it took a much more prosaic reason to finally get it to #1: an advert for Miller-Lite.

In 1969, this hit set the band up to keep going well into the 1970s, something that very few of the big ‘60s acts managed. Their ‘final’ big hit was ‘The Air that I Breathe’ in 1974 (a song I do kind of wish had had the big re-release treatment, instead of this…) And unless I’m missing something obvious, this song’s second round of success meant that The Hollies achieved the longest gap between chart-topping singles, a record they kept for quite a while. On a personal note, and quite fittingly, this was #1 on the day that my own brother was born (but I will refrain from commenting on his heaviness…)