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Barry Manilow ON TODAY’S Show!
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In terms of both record sales and career longevity, Barry Manilow is one of the most successful adult contemporary singers ever. That success hasn’t necessarily translated to respect (or even ironic hipster appreciation) in most quarters;

Manilow’s music has been much maligned by critics and listeners alike, particularly the romantic ballads that made his career, which were derided as maudlin schlock even during his heyday. It’s true that Manilow’s taste for swelling choruses and lush arrangements often bordered on bombastic, but unlike many of his MOR peers, Manilow wasn’t aiming to make smooth, restrained background music — he conceived of himself as a pop entertainer and all-around showman in the classic mold, and his performances and stage shows were accordingly theatrical. Manilow dominated pop music during the latter half of the ’70s like few other performers, spinning off a long series of hit singles (including 13 number-one hits on the adult contemporary charts) and platinum albums that essentially made the Arista label. The well began to run dry by the early ’80s; no longer a superstar expected to deliver blockbuster hits, Manilow was free to explore his long-held taste for swing, pop standards, and Broadway show tunes, which dominated his albums from the mid-’80s on. He has continued to record steadily, and his popularity never completely eroded, as evidenced by the number three chart debut of his 2002 greatest-hits package, Ultimate Manilow. In an extremely rare radio interview (1 of 6 total in 10 years) Manilow speaks with Shadoe Steele regarding his individual hits, entertainment career and personal life.
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When the Little River Band formed in 1975, Australia immediately took
notice. The key band members were already well-known to Australians.
Lead singer Glenn Shorrock had made his name in mid-’60s group the
Twilights, a Beatles-sounding pop group who scored a national number one
record with their version of the Velvelettes’ “Needle in a Haystack.”
When that group broke up in 1969 Shorrock became lead singer of Axiom,
whose “A Little Ray of Sunshine” is still an Australian classic rock
staple. LRB’s Beeb Birtles had been the bass player for a popular
Twilights-era pop group called Zoot (Rick Springfield was a latter
member). Glenn Shorrock joins Shadoe from his home in Sydney.

Host:JADonnelly

Musicologist: Shadoe Steele

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B.J. Thomas (born Billy Joe Thomas) straddled the line between pop/rock and country, achieving success in both genres in the late ’60s and ’70s. At the beginning of his career, he leaned more heavily on rock & roll, but by the mid-’70s, he had turned to country music, becoming one of the most successful country-pop stars of the decade.

Thomas began singing while he was a child, performing in church. In his teens, he joined the Houston-based band the Triumphs, who released a number of independent singles that failed to gain any attention. For the group’s last single, Thomas and fellow Triumph member Mark Charron wrote “Billy and Sue,” which was another flop. After “Billy and Sue,” Thomas began a solo career, recording a version of Hank Williams’ standard “I’m So Lonesome I Could Cry” with producer Huey P. Meaux. Released by Scepter Records in early 1966, the single became an immediate hit, catapulting to number eight on the pop charts. Although he had a series of moderate follow-up hits, including a re-release of “Billy and Sue,” Thomas failed to reenter the Top Ten until 1968, when “Hooked on a Feeling” became a number-five, gold single. The following year, he scored his biggest hit with Burt Bacharach and Hal David’s “Raindrops Keep Fallin’ on My Head,” taken from the hit film Butch Cassidy and the Sundance Kid. It was followed by a string of soft rock hits in the next two years, including “Everybody’s Out of Town,” “I Just Can’t Help Believing,” “No Love at All,” and “Rock and Roll Lullaby,” which featured guitarist Duane Eddy and the vocal group the Blossoms.

After “Rock and Roll Lullaby,” Scepter Records went out of business and B.J. Thomas headed to Paramount Records. At Paramount, Thomas had no hits, prompting the singer to pursue a new country-pop direction at ABC Records. “(Hey Won’t You Play) Another Somebody Done Somebody Wrong Song,” his first single for ABC, became his second number-one record on the pop charts, as well as establishing a country career for the vocalist. For the next decade, he continued to have hits on the country charts, with a couple of songs * most notably “Don’t Worry Baby” * crossing over into the pop charts. During this period, he switched record companies at a rapid pace, but it did nothing to slow the pace of his hits. Thomas hit his country peak in 1983 and 1984, when he had the number-one hits “Whatever Happened to Old Fashioned Love” and “New Looks From an Old Lover,” as well as the Top Ten hits “The Whole World’s in Love When You’re Lonely” and “Two Car Garage.” Throughout the ’80s, B.J. Thomas recorded a number of hit gospel records for Myrrh concurrently with his country hits.

At the end of the ’80s, the hits began to dry up for Thomas, but he continued to tour, and put out the occasional country and gospel record in the ’90s.

Host: JADonnelly
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Musicologist: Shadoe Steele