During my early music collecting days as a college student, I had purchased a compilation disc of mostly ’70s output from Paul McCartney, including work with his band Wings. This was years before I took any serious interest in the Beatles. It wasn’t that I didn’t like the Beatles or the message behind much of their music, but rather it was the association with my mom having liked them in the sixties when she was roughly my same age at the time that had muted my interest. Beatles songs were still getting semi-regular rotation into the ’90s on some of the adult-oriented rock stations that had found their way into my radio presets, so I had constant exposure to their music without a break. Combined with their popularity with my tie-dye-wearing peers who had discovered their music when we were teenagers, my tendency toward adverse selection against popular things meant that until my forties, I would own just a bargain-bin, nine-track Beatles compilation on cassette.
However, I liked probably 90% of the tracks on this McCartney compilation called All The Best, which I considered an excellent hit ratio, given that I had been familiar with only a handful of those songs prior to that purchase. “Live And Let Die” was a favorite, reminding me of the James Bond movie of the same name. “Ebony & Ivory”, a hit duet recorded with Stevie Wonder, reminded me of my interracial family of origin, and also of riding the bus to school when that song was a hit. “Band On The Run” still makes me think of one particularly fun night out with friends as a teenager. The surprises, though, were the songs I had never heard before. One of them was the 1979 stand-alone single, “Goodnight Tonight“, where McCartney & Wings did disco. It was a solid hit on both sides of the Atlantic, peaking at No. 5 both on the Billboard Hot 100 and also on the main chart in the UK.
At first, I didn’t like this song, which seemed like a dancey outlier amid this rock-oriented collection. Later, though, something just clicked and it became one of my favorite songs of McCartney’s entire output. French DJ Bob Sinclar seemed to confirm this forgotten track’s excellence when he included it in one of his mixed CD sets from 2007 on the Defected label, a copy of which I acquired last summer. There’s the smooth bass, the tight percussion, the flamenco guitar, and even the use of voice effects in the break. It’s gloriously fun, late-’70s fluff, and not at all what someone would expect from an ex-Beatle.
Former bandmate John Lennon was reported to have said he didn’t care for this song, but that he enjoyed McCartney’s bass playing, or something to that effect. Whether you love this song, hate it, or fall somewhere in between (I honestly don’t think it’s as polarizing as some songs), what becomes instantly apparent after the first listen is that “Goodnight Tonight” is a hard pivot from McCartney’s work from ten to fifteen years earlier with the Fab Four.
What’s also apparent from looking at the ’74 Stingray is how far removed from the Sting Ray (two words) from a decade earlier it seemed by the third-generation’s seventh model year. I wasn’t around to experience the C2 as a new car, but from most accounts I’ve read, it was seen as a powerful, futuristic-looking, nimble, great-performing sports car that was universally respected.
The Corvette’s standard 327 V8 had 250 horsepower starting in ’62. With the advent of government-mandated smog controls in the early ’70s, and by ’74, the standard, four-barrel L-82 350 V8 had only 195 horses, with the optional, enhanced Turbo-Fire Special version yielding 250 hp. Seventy-four would also be the last year for availability of the 454 big block, which had only 20 more horsepower than the high-spec 350. To be clear, even the base, L82-engined ’74 Corvette was still plenty quick, able to do 0-60 miles per hour in about seven and a half seconds, and top out at 125 mph.
The C2 Sting Ray’s success in its mission was like the Beatles’ chokehold on the pop charts in the ’60s. The week of April 4, 1964, and decades before streaming made such feats less impossible, their songs occupied all five top spots of the Billboard Hot 100 with their early rock and roll that was at once energetic, urgent, and melodic. By the mid-’70s, the Corvette had become quieter and more focused on luxury and creature comforts, with increased sound insulation, redesigned seatbelts, and upgrades to components like the power steering pump and the automatic transmission.
By contrast to the brash, hungry, beastly C2 that had come before it, the C3 of ’74 had carved out a much different identity as a grand tourer. It even looked a little softer, with a rounded, pliable, two-piece rear bumper cover to replaced the concave rear panel and chrome bumperettes that been part of the car’s rear look since ’68. Around that same time period, Paul McCartney was now also recording adult contemporary ballads, and Ringo Starr was singing about abstinence from illicit substances. (“The No No Song” from the latter is also a favorite of mine.)
Pondering this ’74 Corvette as a metaphor for the McCartney of the ’70s, it got me thinking about which four American cars of the ’60s could be likened to the “Fab Four” among domestic automotive royalty. The Corvette and Mustang are obvious choices. What would be the other two? Pontiac GTO seems like a contender. What other car would represent the high point of popularity or acclaim among domestics of the ’60s? Plymouth Road Runner? The reason I ask is just to illustrate how much had changed after the ’60s had become the ’70s, among both cars and the musical output of the former Beatles.
The night of this car spotting, I had just had dinner with a friend whom I hadn’t seen in person in about a year and a half up to that point. It’s becoming increasingly difficult in my mind to remember with crystal clarity just how claustrophobic pandemic-related quarantine had felt at the time, given that it has already been four years since all of that had first gone down. Just to sit across from Laura at an actual table in a restaurant and laugh, joke, and catch up with each other in non-pixelated, hand-held form had felt incredible that night in August, almost three years ago. There was a part of me that didn’t want our visit to end, but I also recognized that there would be increasingly more opportunities to socialize in ways that I had sorely missed.
“Don’t say it… don’t say it…
Say anything, but don’t say goodnight tonight..♪♫”
By 1974, the third-generation Corvette had been in production for seven model years of an eventual fifteen. It’s like the C3 didn’t want to simply end the evening and go away quietly, even as teasers from General Motors had made it seem like the mid-engined Aerovette was going to arrive by the end of the decade. The ’74 sold just over 37,500 copies, a number which was at the time behind only the ’69 model’s 38,800 total, representing a difference of only about 3%. Corvette sales would peak at around 53,800 units for ’79.
The C3 had increased in popularity in the middle of a very unpopular decade for car enthusiasts. Similarly, ex-Beatle Paul McCartney (and Wings) continued to rack up over two dozen top-40 hits on the Billboard Hot 100 chart, including six number ones. Neither McCartney nor the Corvette were doing exactly what they did in the previous decade, but both were proven quantities and still very entertaining.
Earlier this year, I was in a vintage store in Michigan with one of my best and earliest childhood friends and her teenage daughter, who is now a Beatles fan. As the three of us looked for anything Beatles-related among the aisles of booths, I heard the flourish of the flamenco guitars in the intro to “Goodnight Tonight” as it started playing on the radio in the store. “Oh, cool!” I said. “This is one of my favorite songs from a former Beatle.” My friend’s daughter looked at me quizzically but without outward judgment before we all silently continued in our searches. This song or the ’74 Corvette may not be the most memorable to many, but they’re both evidence of how life goes on. Ob-La-Di, Ob-La-Da.
Andersonville, Chicago, Illinois.
Tuesday, August 17, 2021.
Brochure photos were sourced from www.oldcarbrochures.org. “Goodnight Tonight” single cover art sourced from www.discogs.com.
This and the 1975 (with an aftermarket hard plastic tail replacing the droopster) were the prettiest Corvette Convertibles.
I especially like the ’74 and ’75 convertibles for their relative rarity, having this basic back end for just two model years in convertible form (with the ’74 having that vertical seam).
Very clever analogy between ex- Beatles work and Corvettes. I always wondered why their songs’ creativity simply plummeted after the band ended.
For another example of an American car that changed a lot I would say Buick Riviera.
Thank you. I agree that like the Corvette, the Riviera definitely also had its share of changes over its history. Looking at a ’71 and an ’86 side-by-side, the only common denominator I could identify is the stylized “R” emblem.
I was just having this conversation with my friend at work. I think John and Paul smoothed out each other’s worst impulses; in other words, Paul kept John from getting too political or bleak and John nudged Paul away from the twee stuff he sometimes produced in the ’70s. John notoriously disliked stuff like Paul’s “Honey Pie” from the White Album. It could also be that musicians often produce their best stuff fairly early in their careers.
George was just happy to get some songs on the albums. Still, I like Paul’s solo stuff the best (excepting George’s All Things Must Pass), and almost nobody makes a better case for nature overpowering nurture when it comes to talent. That guy could come up with a better melody than almost anyone, and he made it seem so effortless.
GREAT analogy as always Joe!! I remain a huge Beatles fan (always discovering something new about their music as various releases are remixed, etc); I was always a Paul fan, feeling that he was the most musically talented and adventurous of the four (don’t get me wrong; Lennon and Harrison also pushed boundaries, and Ringo’s drumming was subtly amazing). McCartney’s run in the ’70s was pretty amazing as well – certainly lighter (even many times fluffier) than his time with the Beatles, but very solid music and hooks. Comparing his music from the ’60s to the ’70s and beyond, you can see how his partnership with Lennon benefited both of them tremendously.
Perhaps my favorite McCartney release post-Beatles is the album Ram. Every cut sounds like he’s having a blast with his new-found friends. As well, his alter-ego recordings as The Firemen are pretty cutting edge for their varied eras.
Thanks so much, Dave! The “Uncle Albert/Admiral Halsey” mini-suite off of “Ram” is fantastic. Paul definitely seemed the most melodic. I recently acquired a Lennon solo compilation, and I’m starting to get into it, but I was a McCartney fan arguably before I was a Beatles fan, decades after their popularity.
Goodnight Tonight was HOT when I was in the seventh grade, and I remember it always being played at school dances. Fast forward to college, and I bought the 12-inch, used, at a record store. Man, I wish I still had it. That 12-inch contained the whole actual song, by the way; what was played on the radio and was on the 7-inch single was an edit.
Also, the B side was a fantastic song called Daytime Nighttime Suffering, which was good enough to be an A side.
Jim, thanks for this, and now I’m going to find the 12″ single version of “Goodnight Tonight” online (as well as the other song you mentioned). The interesting thing is that on the Bob Sinclar compilation I referenced in the essay, that version of “Goodnight Tonight” was slightly different than the radio version that I was used to hearing. I’d love to hear how it sounds extended.
Nicely written and with great photos! Fascinating how the Vette turned the new bumper regs into a styling asset. Well ahead of its time. Have always liked that year’s car, especially the convertible.
Thanks, Paul! Being the age I am (late 40s), this revised tail on the C3 is the one that has always seemed like the “baseline” to me. The earlier ones with their original, concave rear panels were thinner on the ground by the early ’80s when I was a kid starting to pay attention to them.
I had never thought about this, but the parallel you draw is great. Both McCartney and Chevrolet were great talents who had a really strong run in the 1970’s.
Confession: I listen to any singer as I would listen to an instrumentalist, and I have never cared for McCartney voice. I’m pretty sure nobody else shares this opinion. He was great in a group, but I am not a fan of his solo work. I much prefer his automotive counterpart. 🙂
Thanks, JP. I hadn’t thought that hard about Chevrolet’s great run in the ’70s as a whole, but this also fits. Pre-Citation.
I just can’t get past that rear bumper seam. I think the 74s suffer just a bit in value too, not sure if it’s that or some other reason. Strictly casual observation of course.
The seam is hard to unsee once you’ve noticed it. At the same time, I like it for being there and an identifier of the uniqueness of the ’74.
Excellent writing, and beautiful photography Joseph. Very nice pics! And a great choice in a McCartney song, you have warmed up to.
Count me, as a big Paul McCartney fan, since childhood. With a Little Luck will perhaps remain one of my favourites. I also loved ‘Jet’ from 1973, as a very young child.
Another song released in 1979, from the Back to the Egg album, might pique your interest, based upon what I know of your musical tastes. Arrow Through Me wasn’t a big hit, peaking at #29 in the US, and #27 in Canada. But I loved its unique smooth sound, for AM radio. It doesn’t appear on any of McCartney’s greatest hits albums.
I recall Dr. Johnny Fever played the intro to Arrow Through Me, in an episode of WKRP IN Cincinnati. And it sounded great.
Loved this song at the time. Partly, because it was a low key hit.
I thought Another Day from 1971, was one of his most underrated songs.
Another catchy hit, you might enjoy. Somewhat considered a comeback in 1986. Nice song and video.
Thanks so much, Daniel! I definitely need to preview tracks from “Back To The Egg”, and thanks for linking that song below. From what I read, “Goodnight Tonight” was recorded for those sessions, but left off the finished album because McCartney didn’t think it fit in with the rest of the songs.
“Another Day” has always depressed me, at least lyrically. Almost like a slightly updated “Eleanor Rigby”, but less overtly bleak. The lyrics convey an ennui at odds with the fun, boppy instrumentation.
Joseph: In addition to everything that has already been said, I’d just like to add that it’s gotten to the point to where I look at the lead photo and instantly know that I’m in for a brilliant juxtaposition of two themes merging together for a tasty treat! Bravo! 🙂
Thank you so much, Moparman!
Even as a preteen, before significant cost cutting had visibly saturated into engineering at the big three, I could see hints of cheapness creeping into otherwise mostly unchanged versions of models carrying over to subsequent years mostly from Ford and GM. Things like established standard features disappearing and pieces which had been made of metal and now plastic hinted to me that pride and integrity in execution might be starting to wane. The ‘buttcrack’ Vette (hey, I did say preteen) was the epitome of automotive blasphemy to me at that time. As a purist I generally prefer stuff to be original and quirks are part of the history and endearment of a given car but in my later teens I held no judgement for ’74 Corvette owners who upgraded to a later rear fascia.
Haha – “‘Buttcrack’ Vette” is now probably sticking in my mind for the ’74. I wonder how the interior stacked up to its earlier counterparts. When I’ve read about the gradual decontenting of GM products starting generally in the ’70s, the thing I usually read about first is how the interiors were a big tell. Or maybe that was just with Cadillacs…
I’m curious if your McCartney compilation includes “Mull of Kintyre”; it was a monster hit – in Britain, where it was for almost a decade the best selling single ever until “Do They Know It’s Christmas” outsold it in the ’80s. But the song went nowhere in the US or Canada, save for the lower rungs of the easy-listening or adult-contemporary charts.
As for which Beatle would be likened to which American ’60s car, is the 1960 Edsel the Pete Best of cars? Nah that’s mean, and also incorrect since Best was popular with fans in the early ’60s. Perhaps a Corvair then? As for Stu Sutcliffe, maybe a Studebaker Avanti or GT Hawk, which were in early on the pony car/muscle car/personal luxury coupe ethos but didn’t live to see the immense popularity they helped influence.
All The Best does not include “Mull Of Kintyre”, which makes me think that compilation was geared toward U.S. audiences. I had read that statistic about that song before, and listening again to a little bit of it now, I can see how the regional pride embedded in the song didn’t quite translate here in the U.S.
I’m always fascinated by what gives a popular song “dual citizenship” as a hit on different continents. And thanks for taking on the metaphors!
Ah, the Beatles. So much could be said about their place and influence on popular music, but not by me. I am no musicologist; I merely have ears with a mostly-functional brain attached. Throughout the Beatles years I was feeding that soul-hunger by listening to the radio, not by buying records. That came later, and thus was more selective.
I do have Sergeant Pepper – fun, and genius in parts. A compilation CD of their number one hits – patchy; while their earlier work is catchy it lacks the musical depth of their later works, some of which maybe had too much depth for me. Of Wings, I have Band on the Run – also fun with episodes of genius. My kids grew up with both of these, and have their own copies.
I had totally forgotten about Goodnight Tonight. I’ve heard it before, but it left no mark; it had airplay for a time, but (in my case) lacked whatever it takes to be memorable. You make a good case for it as an evolving sound, a link to a changing genre; one might almost call it an attempt to remain relevant. It was about this time my own musical tastes veered away from the popular radio station common to Melbourne teens and started exploring the wider world of musical sound. We’re among friends here, so I’ll admit I found the disco beat boring after a short while, and was ready to move on.
The Corvette? Although I had never seen one, I knew what it was. And yes, the Stingray needed an update after five years almost unchanged, then the strange “half and half” ’73 (smooth nose and chrome bumper rear looked weird). Objectively the Vette didn’t need a big block; even desmogged the small block gave good enough performance for most driving. But you were left with the sense that its glory days were behind it, as I was with all American cars. Good enough for the times, but you couldn’t help remembering it used to be better. Well, in a straight line, anyway.
‘Your’ car looks great in silver, with the shop neons reflecting on it, really accenting the 3D curvature of that body. My ’75 is a coupe, for a roadster the best I can do is a this red one, supposedly a ’77.
Peter, I always look forward to your insights. The “half and half” syndrome for ’73 seemed to afflict not only the Corvette, but so many other American cars. The best example I can think of right now is the Ford Torino. I like the frontal restyle, but it’s completely at odds with the original back end. The Corvette seems like less of an offender because, well, Corvette. But I totally see your point.
And I always look forward to your responses, Joseph. I had to sit on this for a day and think about it. Your referring to the Beatles and Paul McCartney made it a must-reply post for me, touching as you did on one of my once-favourite bands/artists.
I’ve had an unusually-tiring week, with two big family birthday parties (son and daughter-in-law four days apart) and my next CC post lobbing tomorrow, which will mean hours of reading and replying to comments (always good fun). Then there’s my writing group assignment due today, which took hours of thought and planning. These days I try to approach each theme set from an unexpected angle, the spillover of which which might explain why my CC-in-scale posts vary so much! I don’t want to be too formulaic. 🙂
A great article Mr. Dennis ;
I find it interesting that many here consider some tunes ‘bleak . I know many Americans think the same of The Blues when it’s not . it’s celebrating the survival in spite .
I remember the Beatles when they landed with a splash in……?1962? . so long ago .
All my old Vinyl LP’s are badly worn but I still love ’em .
I’ve never had the opportunity to put a ‘Vette (any ‘Vette) through it’s paces in the nearby good roads, it seems to me to be a heavy car for sporting pretensions .
-Nate
John Lennon was a very good musician yes but also a seriously bad asshole, he was aware of this and tried to change, several songs reflect this .
-Nate