#1974 Countdown

[vinyl-connection]

1974 COUNTDOWN | #20 — #16

#20 STEELEYE SPAN — NOW WE ARE SIX This is the LP where the British folk-rockers really emphasised the latter. Now We Are Six rocks! “Thomas the Rhymer” bolts out of the gate at a gallop, and the pace and energy are maintained through the hilarious “Two Magicians” and mythic “Seven Hundred Elves”. Indeed, common wisdom has it that, but for the dreadful “Twinkle Twinkle” (yes, that one) and lame…

[crazyworldofemmamarie]

Dr. Rammstein's Countdown to Halloween:

Day #30: The Texas Chainsaw Massacre, 1974 (dir. Tobe Hooper): Chainsaws, Hippies, Hot Summer Days and Mayhem: ‎‘The Texas Chain Saw Massacre’ review by BIRDBRAIN_1974 • Letterboxd

Well, we all knew this was coming. Come on, it's the greatest horror flick of all time that is undisputed for sure!

[radiomaxmusic]

Classic Countdown / Top 50 Hits of January 26, 1974, with Ron Kovacs / 12pm ET

[radiomax]

Thursday, July 6, 2023 12pm ET: Classic Countdown: Top 50 Hits July 6, 1974 with Ron Kovacs

[laufeysons]

Countdown to Christmas -> The Year Without A Santa Claus (1974) Dir. Jules Bass, Arthur Rankin Jr.

[thisapplepielife]

Written for @steddiebingo and @steddiesongfics.

When I Think About Seventeen

Countdown to Midnight Prompt: Ball | Steddie Song Fics Prompt: New (Springsteen by Eric Church) | Word Count: 2795 | Rating: T | CW: Language, Sexual Innuendo | POV: Eddie | Tags: Baseball, Big Dreams, Canon Divergent Interactions: Childhood, Post-S1, Post-S4, Time Skips, Eddie Munson Lives, Crossing Paths Over The Years, Acquaintances to Friends to Lovers

Also right here on ao3.

I bumped into you by happenstance, You probably wouldn't even know who I am, But if I whispered your name, I bet, Still be a spark, And back when I was gasoline, And this old tattoo had brand new ink - Springsteen, Eric Church

1974

Eddie wiggles his four fingers, calling the pitch from behind the plate. A change-up. Harrington's the only pitcher on their team that even has different pitches. With everyone else, Eddie just needs to try and catch whatever wild throw comes free of their hand as they pretend they did it on purpose. 

Not Steve Harrington, though. Steve can place the ball, and it's no different today when the championship is on the line.

Steve nods, accepting the call Eddie's made.

The final pitch hits Eddie's mitt, a strike, the third out. 

It's over, the Hawkins Hawks are finally done for the summer.

And Eddie's done forever.

The rest of the team is jumping all over Steve Harrington on the mound, Tommy Hagan hanging off him, as they all wait for their little gold trophies, and Eddie waddles back to the dugout. He starts stripping off his catcher's gear. The leg guards, and the chest pad. It's all borrowed, not his own, and never quite fit perfectly, anyway.

He lays it in the corner, up next to the chain link fence near the bats. Coach will take it, get back where it needs to go.

Because he's done.

Eddie promised Wayne he'd make it through the season, and he did that. 

But now he's done.

He doesn't like these boys, or this sport, not anymore. And he's not going to force himself to play next year.

Or ever again, for that matter.

He exits the dugout, not sticking around for the trophy presentation or the group picture. 

Wayne doesn't try to make him, just puts an arm around his shoulders as they walk towards his truck. 

"Proud of you, kid. You did it," Wayne says.

Eddie did do it, and now he'll never have to do it again.

1984

Someone is playing Springsteen. Loudly. Eddie doesn't recognize the songs, but the voice, definitely. School's out for summer. Eddie should be done for good, but he failed his senior year and now he's moping about it. 

There shouldn't be anybody at the school right now. He's only here because he had a meeting at the picnic table earlier, and just stayed to draw some. But now Eddie stands near the edge of the woods, and watches Steve Harrington practicing all by himself. He's pitching into a net, and then having to collect all the baseballs himself before starting the whole process over again.

This goes on for several rounds, until Eddie finally can't take it. He's too nosey. 

"What are you doing?" Eddie hollers, and Steve jumps, clearly having no idea he wasn't all alone on the field. His head whips around, looking for the voice that startled him.

"Goddamn, you scared me, Munson," Steve says, when he lays eyes on him, finally.

Eddie chuckles, walking across the field towards him, "Isn't baseball over?"

Steve nods his head, "Yeah. I just…"

"What?" Eddie prods. There's no way Steve Harrington is worried about his starting position for next year. It's summer. He should be playing Babe Ruth, and enjoying his last summer league season before he ages out. Even with whatever weird vibes he's got with Tommy Hagan and the rest of the asshole jocks these days. Eddie has eyes. He knows something is up with all of them.

Eddie doesn't give a shit about sports, the jocks and their problems, but even he knows that Steve Harrington is captain of the swim team, a basketball starter, and has been the starting pitcher since before Eddie got dumped in town.

This is all non-negotiable.

"They're having exhibition baseball at the Olympics this summer."

Eddie laughs, "And you thought, what? As a high school pitcher from Hawkins High, you'd be a shoe-in?"

Steve laughs at that, "No. Not at all. I just, well, what if it isn't an exhibition in 1988? Or 1992?"

Eddie can't argue with that. It's a lofty dream, but shit, Eddie's got some pretty absurd dreams himself. But as far as Eddie knows, Steve isn't even being recruited for college baseball, or anything else for that matter, so the Olympics seem a little far-fetched.

"Well, good luck, I guess?" Eddie says, and turns to head back towards his office in the woods.

"Hey, wait. Would you want to catch a few pitches?"

Eddie thinks Steve must have lost his mind. 

"I don't know anything about baseball, Harrington."

Steve cocks his head to the side, looking more like a confused dog than anything else, "You didn't catch for me?"

Eddie nearly chokes. He'd catch for him, all right, and all the filthy jokes rattle through his brain, like a rapidly fluttering Rolodex, where he can't decide which one to choose. Which one would make Harrington stumble over his words and blush and–

"In Little League. When we were kids? That a different Eddie Munson?" 

Instead of any of those witty comebacks, what comes out is, "You remember that?"

Steve laughs, and offers up a grin, "Was I not supposed to? You were the scrappiest catcher I've ever played with. Nothing snuck between your legs."

Well, that's an image.

Eddie thinks he might be the one blushing. Sports weren't for him. But it's true, balls rarely hit the dirt with him behind the plate. He gave it up because he hated the team aspect. Hated the other boys, and never really felt like he belonged with any of them. Not after losing his mom. Not after moving to this shitty town where the only bright spot has been Uncle Wayne.

But he was good behind home plate.

His own island. Them, all facing one way, and him facing the other.

Seems apt, maybe even more so today.

"I'm sure I'm rusty," Eddie answers, because, you know, it might be fun to see if he's still got it. Just for a minute. What could it hurt, besides his ego and pride? He just failed high school. Those things have already been trampled into the dirt.

"Rusty's fine. You gotta be better than the net," Steve teases, and digs through his baseball bag until he finds a catcher's mitt, tossing it to Eddie.

Eddie squats down, getting into the stance he hasn't been in, in a long time. He pounds his fist into his glove and really hopes he doesn't take one square between the eyes.

Or in the shin. That fucking hurts.

Or, god forbid, his nuts.

He doesn't.

It's like riding a bike. Steve throws strike after strike, dead-on, and Eddie catches them. Steve's better now. Can throw faster. Harder. But Eddie still keeps up. It's muscle memory, even if those muscles haven't been used in a very long time.

"What is this?" Eddie hollers, as Springsteen shouts about baseball and glory days. It's all very on the nose. 

"Springsteen," Steve hollers back.

"No shit, Harrington. What album?"

"Oh," Steve says, "I stopped by Klein's today and bought it."

Steve reaches down and grabs the tape case and brings it over to Eddie. It's Springsteen's ass in blue jeans, a hat shoved in his back pocket. Eddie's pretty up to date on music, all music, and he's never seen this in his life.

"Is it new?"

"Yeah, out today," Steve says, taking it back.

They reset, Steve throws him another fastball, and Eddie throws the ball back again. It hurts a little, he'd just gotten a new tattoo over the weekend. Black bats, stark against his skin, on this throwing arm. He ignores it.

Then, Eddie calls pitches. Sometimes Steve will agree, and sometimes he'll argue silently. Holding up his glove, waving it to indicate what he wants to throw. Eddie lets him. This is his rodeo. Eddie's just along for the ride.

They play, and Eddie feels ten years old. It's actually kind of fun. He's not into sports, not anymore, but there's no pressure here. Just the two of them. Batterymen.

It all ends when it finally gets too dark to see. 

"I know it's a pipe dream," Steve says, soft and low as they pack up the equipment, "I just need out of this town."

Eddie glances over at him, "Me too, Harrington. Me, too."

They part ways, and Eddie doesn't really think about Steve Harrington again until two years later, when he's in a boathouse, running for his life, a broken bottle pressed to Steve's neck.

He lives, they all live, and then part ways.

Such is life, he supposes.

1996

Another bar, another gig on this never ending van tour they've been on for years. It's not good money, but they can make a living playing music, and not everyone can say that. They've been making it work for several years, and they'll keep at it until the wheels fall off.

They aren't famous, will never be famous. But that's okay. They get to do what they love.

Eddie looks up at the television mounted on the wall behind the bar, and it's the Olympics. Baseball.

He smiles, because it suddenly makes him think of Steve Harrington. Makes him think of him at seventeen, at nine, at nineteen. He wonders if he made it. Wonders if he's doing what he loves. Wonders if he'd even remember Eddie if they ran into each other. It's been ten years.

"Hey, it's baseball," Eddie says, and the guy behind the bar chuckles.

"It is."

"Is there, like, a lineup? Who's pitching for the US?"

The guy next to him turns, like he's been waiting for this his entire life. He starts listing off players, and where they're from, what colleges, giving far more information than Eddie wants, but Eddie quickly realizes they're all about twenty-one. College kids, headed for the draft, maybe. 

Steve's nearly as old as him.

There are definitely no thirty-year-old former high school pitchers on Team USA.

Eddie's a little disappointed, and he doesn't know why. It wasn't his dream. He's living his dream. He just thinks Steve should have gotten to live his, too. That's all.

He sits down on the open stool, then gets right back up again, heading to the payphone stuck in the back corner of the bar. He calls Henderson.

"You got a number for Harrington?" Eddie asks, not giving the kid a chance to get wound up about the fact that he hasn't heard from him in a while.

Henderson harasses him, of course he does, but he still coughs up the digits and Eddie drops more change into the slot, then dials.

Steve answers, and Eddie doesn't even greet him, just asks, "What are you watching?"

"Baseball. The Olympics. The United States is trouncing Japan." 

Steve doesn't ask who Eddie is, but Eddie knows he already knows.

"Well, that's funny. Me too. And I wondered if Steve Harrington was their pitcher."

Steve laughs, "Definitely not. I can't believe you even remembered that. That was dumb."

It wasn't dumb, and of course Eddie remembered. He's never forgotten anything about Steve Harrington, especially not after that spring break. He saved his fucking life, and then waved it off like it was nothing.

It wasn't nothing. It was everything.

"You still play?" Eddie asks.

"Baseball? Well, I'm on a co-ed slow pitch softball team with Robin. She's still so uncoordinated, it's ridiculous. Nothing's changed there. But it's fun."

Eddie laughs, "Oh, that hurts my knees to think about."

Steve Harrington giggles in his ear, and Eddie's glad he called. Glad he saw that baseball game and thought of him.

They lull into a bit of silence, and Eddie wonders if this is wrapping up. If it's gonna be over as soon as it started.

"Well, if you're ever in town, come play catch with me. We'll catch up."

Eddie laughs, but mocks his bad pun, "That was awful."

Steve doesn't care. Just laughs like he's absolutely delighted that Eddie called.

Eddie decides he wants to cover Glory Days during their set, and the band goes along with his whim without asking questions. He sings about his friend that was a baseball player in high school, and the band has to know what this is about. 

When he transitions into I'm on Fire, he knows he'll get shit, but he doesn't care. He's gonna sit in this nostalgia for a minute. He's got a bad desire.

A couple months later, fall is cooling everything down, and the band finally have a long enough break to justify venturing away from each other, and he finds Steve in another small town, not all that different from Hawkins. Except, the bad memories aren't tainting it. It's nice. The town, his house.

Eddie climbs the steps to the porch, and knocks. Steve's not expecting him. He might not even be home. But the door opens, and Eddie just holds up his mitt.

The smile that crosses Steve's face is blinding, and Eddie has butterflies. It's unexpected, but not really. Steve swings open the screen door, letting it snap closed behind him, as he yanks Eddie into a hug, like this is something they do.

Maybe it is.

Eddie hugs back. Steve Harrington is an old friend of his, somehow. Ten-year-old Eddie, who hated everything about that damn baseball team, wouldn't believe this turn of events.

Steve ushers him inside, and digs his glove and a ball out of his hall closet.

In his nice, fenced-in yard, Eddie's knees crack when he gets into his stance, and he laughs. He's a rough thirty-one. He knows that. Muscles gnawed away at by bats doesn't leave you exactly the same, Steve knows that, too, but Eddie thinks he's still capable. Maybe. But when that first pitch hits Eddie's hand through leather, Eddie feels at home in a way he didn't even know he could. Not anymore.

Eddie tries to call a pitch, and Steve keeps shaking his head. Fine.

Steve winds up, and the ball seems to float, doing unpredictable shit, before Eddie's able to snag it at the last second.

"Was that a fucking knuckleball?!" Eddie yells. Steve didn't have a knuckleball at nine, that's for damn sure. And he didn't have one at seventeen either, at least not that he showed Eddie during that one, weird afternoon.

"Maybe," Steve teases, coyly. 

"You're trying to trip me up with a passed ball, ruin my stats, is that it?" Eddie accuses, but he's grinning. "Not on my watch, asshole."

Steve just grins, "Well, don't worry. You still got it, old man. We were always a pretty good battery. You and me."

They were. Eddie smiles, and throws the ball back. 

Maybe they've both still got it. Together.

Eddie catches a few more, then stands up, "You got a boombox?"

Steve nods, and they lay down their mitts and go inside. Eddie squats in front of Steve's rack of CDs. Not tapes, not now. Times have changed.

"What are you looking for?" Steve asks.

"Mind your own business, Harrington," he quips and Steve shakes his head.

"Fine, I'll take this out. If you find something acceptable, you bring it on out."

They aren't in any order that Eddie can discern, but finally finds what he's looking for. He knew he'd have it. At least, he hoped he would.

Outside, Eddie shoves it into the top of the boombox. Then he advances through until he gets to track ten. Steve just looks amused, and then he laughs when The Boss's voice fills the air.

"Seems fitting. I, too, had a high school friend that played baseball."

Eddie squats, and his knees don't betray him this time, but Steve's just standing there, looking at him. Not throwing the ball.

Eddie pats his glove. Only short of offering him an engraved invitation to throw the ball.

Steve just looks at him.

"What?" Eddie asks. But he knows what. That look on his face. Eddie understands that look. A hungry heart.

Oh shit.

Eddie swallows.

Steve throws his glove to the ground, and stalks towards him. It should look intimidating, but it doesn't. Eddie knows what's about to happen, and falls back onto his ass in the grass.

Steve sinks to his knees, and then crawls forward, leaning in, and he's gonna kiss him. He's gonna do it. Eddie reaches up, sliding his hand into Steve's hair, inviting him to please do.

And then he's kissing Steve Harrington, lips, tongues as Steve presses him back into the grass, covering Eddie's body with his own. Eddie lets his thighs fall open, letting Steve slot in between his legs, and goddamn.

He didn't.

He hoped.

But he didn't actually expect this. 

Eddie can't believe it is happening. Him and Steve Harrington. Though, it seems kind of fitting that The Boss is currently growling out of the speakers that you can't start a fire without a spark.

And what a spark this is.

If you want to sign up for a future bingo event or see more entries for this challenge, pop on over to @steddiebingo and @steddiesongfics and follow along with the fun! ⚾

Notes: If you aren't an Olympic junkie, baseball has always came and went. And in 1984 it was back, after a twenty year hiatus. So, the first time in Steve's lifetime. At first I was like...maybe? Pros still couldn't play in 1996, but then I really looked at that 1996 roster. They really were all about 21 years old, born between 1974-1976. The oldest, the catcher, was born in 1973. So, Steve was just too old. I was like, could he coach?? And even that seemed far-fetched, so I went this way, which I think turned out far more realistic, anyway.

Lots of Springsteen references abound in this one, lol. Born in the U.S.A. came out June 4th, 1984. It had the song of the same name, Glory Days and Dancing in the Dark, on it.

[wheels-of-despair]

Evil Woman, Don't You Play Your Games With Me (Same fics as the other list, but in chronological order.)

If you are a blank or ageless blog who interacts with a fic that contains as Do Not Interact (DNI) warning, you will be blocked.

🧡 - Regularly scheduled light-hearted fun. 🖤 - Shit just got real. 💛 - IDK man, this one just kind of wrote itself. 💖 - Wait, there's romance now?

1984 Three Days 🖤🧡 Evil Woman, Don't You Play Your Games With Me 🧡 The Ups and Downs of Dating a Trash Panda 🧡 I Hate Mondays 🧡 Go Get 'Em, Tiger 🧡 The Nerd King Cops a Feel 🧡 Flying Monkeys Couldn't Drag Me Away 🍂🧡 Stargazer 🧡 Best Seat in the House 🧡 The Best $7 Eddie Munson Ever Spent 🧡 The Long Con 🧡 It's Okay If You Are 🧡 Wrapping Paper 🎅🧡 The First and Last Breakup of Eddie Munson and Evil Woman 🖤

1985 Tangled 🖤 Boys Are Idiots 🖤 (Alternate Version) Classy Girl and the Scruffy Boy 🧡 Have You Ever Choked a Chicken? 🧡 Werewolf Children 🧡 Eddie Munson and the Best Anti-Valentine's Day Ever 💝🧡 Pinch Proof 🍀🧡 The Breakfast Club 🧡 Bloodletting 🖤🧡 I'm Gonna Love You Forever 🖤🧡 This Is Better 🧡 It's the Easter Dragon, Eddie Munson 🐣🧡 A Situation 🍍🧡 Eddie Munson Is My Babydaddy 🧡 Knock 💛 Smoke Break 🧡 The Case of the Missing Eddie 🖤🧡 Look At Him Now 🧡 A Very Important Date 🎂🧡 Evil Woman and Baby Bro vs. The Worst Summer Vacation Ever 💛 The Little Air Conditioner That Could 🔥🧡 Secret Weapons 🧡 Can't Take You Anywhere 🧡 The Fuck Did You Just Say to Me? 💛💖 Who's Your Fucking Daddy? 💛💖 You're the Fucking Worst 💛💖 Fangs for the Mammaries 💖🧡 Don't Move 💖 Late 🖤 The Last First Day 🧡 The First Lazy Thanksgiving 🦃🧡 The Family Holiday 🎅🖤 I Promise 🎅🧡 A Slightly Late Munson Christmas 🎅🧡 The First Countdown 🎇🧡

1986 Did I Forget to Mention That? 🖤🧡 The Freak and His Evil Woman Do Valentine's Day 🧡💘 I Touched Banana Bubblicious For You 🖤 Evil Woman's Tit-Warming Service 🧡 Me Without You 🖤🧡 Moment of Truth 🖤🧡 Revenge of the Freaks 🧡 A Proposal 🧡 Evil Woman Sees (Big) Red 👊🖤 Taking Matters Into Your Own Hands 🧡 The Fastest Fix-It 🧡 The Devil's Trip 🧡 What If Real Life Is the Nightmare? 🖤 What If Real Life Is Good? 🧡 The Letter 🖤🧡 Insatiable 💖 Heaven and Hell (Or: Eddie and Evil Woman Do… Prom?!) 🧡 How to Get a Hot Date 🖤🧡 Brawl in Hallway B 👊 Gonna Need A Bigger Bathtub 🧡🐠 Munson v. O'Donnell 🖤🧡 Wake-Up Call 🧡 Corroded Coffin v. Slip 'n Slide 🧡 The Legend of Lobster-Dick 🧡 Sweet New Tatty 🧡 Ghost-Fuckers 🧡👻 The Sacrifice 🧡🦇

AUs, Not the 80s, Misc. Eddie Munson and the Worst Valentine's Day Ever (1974) 💝🖤 Fucking Fireworks (1987 AU) 🖤🎇 It's a Wonderful Life (Even in Hawkins) 🖤🎄 Clown Around and Find Out (1990) 🤡💛 Draw Me Like One of Your Dwarf Girls, Eddie (1998) 🧡

[mydaddywiki]

Carroll O'Connor

Physique: Average/Husky Build Height: 5′ 10½″ (1.79 m)

John Carroll O'Connor (August 2, 1924 – June 21, 2001; aged 76) was an American actor whose television career spanned over four decades. O'Connor found widespread fame as Archie Bunker (for which he won four Emmy Awards), the main character in the CBS television sitcoms All in the Family (1971–1979) and its continuation, Archie Bunker's Place (1979–1983). O'Connor later starred in the NBC/CBS television crime drama In the Heat of the Night (1988–1995), where he played the role of police chief William "Bill" Gillespie. In the late 1990s, he played Gus Stemple, the father of Jamie Buchman (Helen Hunt) on Mad About You. In 1996, O'Connor was ranked number 38 on TV Guide's 50 Greatest TV Stars of All Time. He won five Emmys and one Golden Globe Award.

Carroll was born in Manhattan and raised in Forest Hills, a borough of Queens, New York. After graduating from high school in 1942, O'Connor joined the Merchant Marines and worked on ships in the Atlantic. In 1946, he enrolled at the University of Montana to study English. While there, he became interested in theater. During one of the amateur productions, he met his future wife, Nancy Fields, whom he married in 1951. They would later adopted their only child while in Rome, Italy in 1962 while he filmed Joseph L. Mankiewicz’s Cleopatra.

I first fell in lust with O'Connor for his role as crusty police chief William 'Bill' Gillespie on the crime drama "In the Heat of the Night." O'Connor captured my imagination so much that he still remains one of the key templates of what a daddy should be like to me. Chubby, grey hair, gentle features but with a hint 'I'll fuck you up if you cross me' added for good measure. But as hot as he looked on the show, he looked insanely gorgeous as Archie on reruns of "All in the Family." Yes a rarity for me. Liking a man when they were younger.

Even though O'Connor was nothing like his alter ego, Archie. Being shy, soft-spoken, introverted, intellectual and liberal. He had a charm that would have had me on my knees in minutes of speaking with him. Just sheer daddy perfection. He may not have been traditional-leading-man handsome, but I’ve always found Mr. O'Connor as nice looking. Listed as #20 on TV Land’s Top 50 TV Icons Countdown, but in the top five on my all time actors that I’d like to fuck senseless. O'Connor died at the age of 76 on June 21, 2001, in Culver City, California, from a heart attack brought on by complications from diabetes.

RECOMMENDATIONS: Return to Me (2000) In the Heat of the Night (TV Series 1988–1995) Archie Bunker's Place (TV Series 1979–1983) All in the Family (TV Series 1971–1979) Law and Disorder (1974) Kelly's Heroes (1970) Waterhole #3 (1967)

[haveyouseenthishorrormovie]

Stats from Movies 1-100

Top 10 Movies - Highest Number of Votes

Rocky Horror Picture Show (1975) had the most votes with 2,493 votes.

The 10 Most Watched Films by Percentage

Coraline (2009) was the most watched film with 89.41% of voters saying they had seen it.

The 10 Least Watched Films by Percentage

Halloween (2007) was the least watched film with 64.13% of voters saying they hadn't seen it.

The 10 Most Known Films by Percentage

Coraline (2009) was the best known film with only 0.08% of voters saying they'd never heard of it.

The 10 Least Known Films by Percentage

Shrooms (2007) was the least known film with 74.77% of voters saying they'd never heard of it.

The movies part of the statistic count and their polls below the cut.

Carrie (1976) Scream (1996) Hereditary (2018) It (2017) Candyman (1992) Killer Klowns from Outer Space (1988) The Texas Chain Saw Massacre (1974) The Babadook (2014) Paranormal Activity (2007) An American Werewolf in London (1981)

Misery (1990) The Fly (1986) Black Swan (2010) House of 1000 Corpses (2003) The Devil’s Rejects (2005) 3 from Hell (2019) Repo! The Genetic Opera (2008) Halloween (1978) Halloween (2007) Re-Animator (1985)

My Bloody Valentine (1981) Tucker and Dale vs Evil (2010) Little Shop of Horrors (1986) Scary Movie (2000) Birdemic: Shock and Terror (2010) Psycho (1960) Train to Busan (2016) Thelma (2017) The Dark (2018) Ravenous (1999)

Shrooms (2007) Let the Right One In (2008) It Follows (2014) Martyrs (2008) The Wicker Man (1973) The Descent (2005) Dead End (2003) Fear Street trilogy (2021) The Ring (2002) Bride of Re-Animator (1990)

Frankenstein (1931) Broken (1993) NoroI: The Curse (2005) The Eyes of My Mother (2016) Jacob's Ladder (1990) Phenomena (1985) Ichi the Killer (2001) Nightbreed (1990) Braindead (1992) Hatching (2022)

Wait Until Dark (1967) The Host (2006) Oculus (2013) Skinamarink (2022) We're All Going to the World's Fair (2021) Perfect Blue (1997) The Night House (2020) Lake Mungo (2008) Rocky Horror Picture Show (1975) Phantom of the Paradise (1974)

The Cabin in the Woods (2011) Devour (2005) My Bloody Valentine 3D (2009) Unfriended (2014) Choose or Die (2022) The Ritual (2017) Countdown (2019) The Wretched (2019) House (1977) Suspiria (1977)

Hatchet (2006) Hell House LLC (2015) The Taking of Deborah Logan (2014) The Exorcist (1973) Poltergeist (1982) Gremlins (1984) Child's Play (1988) A Nightmare on Elm Street (1984) Audition (1999) Cam (2018)

Jennifer's Body (2009) Ready or Not (2019) Dracula (1931) Freaks (1932) Alien (1979) Saw (2004) House of Wax (2005) Parasite (2019) Nope (2022) The Lost Boys (1987)

Hellraiser (1987) Ghost Ship (2002) Triangle (2009) Talk to Me (2022) Terrifier (2016) Coraline (2009) Monster House (2006) Mama (2013) Pulse (2001) Midsommar (2019)

[frankendykes-monster]

Countdown to Halloween 2024 ranked

54. The Willies (1990)

53. Hell High (1987)

52. Face of The Screaming Werewolf (1964)

51. Terrifier (2016)

50. The Last Halloween (1991)

49. Cathy's Curse (1977)

48. The Last Shark (1981)

47. Godzilla × Kong: The New Empire (2024)

46. Creepozoids (1987)

45. The Horror of Frankenstein (1970)

44. Frankenstein's Castle of Freaks (1974)

43. Man Beast (1956)

42. Tourist Trap (1979)

41. Daughter of Dr. Jekyll (1957)

40. Fiend (1980)

39. Vampyros Lesbos (1971)

38. Devil Girl From Mars (1954)

37. Halloween Hall o' Fame (1977)

36. Nightmare (1981)

35. The Lost Skeleton of Cadavra (2001)

34. Peeping Tom (1960)

33. Violent Shit (1989)

32. Invaders From Mars (1986)

31. Eggshells (1969)

30. Night of The Ghouls (1959)

29. Scream, Blacula, Scream (1973)

28. The Strange World of Planet X (1958)

27. The Colossus of New York (1958)

26. The Scooby-Doo Project (1999)

25. Night of The Living Doo (2001)

24. Scooby-Doo! and The Reluctant Werewolf (1988)

23. The Great Bear Scare (1983)

22. The Wasp Woman (1995)

21. The Cyclops (1957)

20. Frankenstein and The Monster from Hell (1974)

19. The Tingler (1959)

18. The Boogey Man (1980)

17. The Dragon Lives Again (1977)

16. Quatermass and The Pit (1967)

15. The Brain That Wouldn't Die (1962)

14. Mad Love (1935)

13. The Alien Factor (1978)

12. The Walking Dead (1935)

11. Dr. Caligari (1989)

10. The Deadly Spawn (1983)

9. Invaders From Mars (1953)

8. Alucarda (1977)

7. Uzumaki (2024)

6. Sole Survivor (1984)

5. Nosferatu the Vampyre (1979)

4. Shock Waves (1977)

3. Frankenhooker (1990)

2. Invasion of The Body Snatchers (1978)

1. Godzilla vs. Mechagodzilla (1974)

What a productive year. October lasts all of 30 seconds which is why I have to start watching these in July if I want to make any decent headway (31 films is not enough). I desperately tried to make this a year of "have not seens" after last year's top spots being flooded with films I already loved; we mostly did it, mostly. Another top heavy year with relatively few abysmal entries, let's get started.

The Willies is the grand shitshow for this year. It feels like it's an evolutionary precursor to something like Goosebumps or Are You Afraid of The Dark?, but it mostly plays to gross out rather than scares. I don't normally care for anthology horror films to begin so to start off a film with brief segments like a woman eating a deep fried rat or a little white dog being microwave exploded and then doing extended stories on monsters hiding in the school bathroom does not do it for me. The most minimal points possible for some decent lighting and special effects but they are not enough by any means to make this worth watching. Stay away.

Onto the 1980's horror: Hell High is what happens when a film crew asks "what if we put a woman into a situation and didn't stop". I want to call it misogynistic torture porn, but I don't want to devalue that phrase for when I use it for a film later on here, but suffice to say a woman is tortured. Emotionally. For very little reason. Universal was right to block The Last Shark from US theatrical distribution. Not because it's a very blatant Jaws ripoff and they wanted to protect their copyright, but because it's abysmal and nobody should have to pay money to see this. I think the stock footage of sharks juxtaposed with the unmoving props between shots is funny, and some of the soundtrack elevates the experience, like the high shrill drones when the shark attacks a helicopter. Creepozoids is an odd one because 1987 was a bit late for a Mad Max/Escape from New York/Alien knockoff but also too early for some Full Moon tier/softcore porn adjacent 1990's production, so it loses out on both fronts. Fiend I'm struggling to even recall, I feel like Don Dohler had one movie in him (see: his plethora of alien invasion films) and him trying to branch out did him no favors. Nightmare is one I want to enjoy because it's beautifully shot but I feel like I've seen one too many slasher adjacent films at this point that include plot points like the killer having a troubled relationship with his mother or him moonlighting as a regular guy (still better than Pieces mind you). Same with Violent Shit. I feel like my tastes are pretty attuned to films that are just gore effects showcases but this one doesn't have any zany concepts to justify or compliment it, so it just falls flat.

The Boogey Man belongs to that tirade of Halloween knockoffs that flooded theaters up till about 1984 or so, but it puts in some extra effort like having a ghost be the main antagonist and a symbolic interest in mirrors, which is much more than could be asked of films like Terror Train which came out the same year. Dr. Caligari is the obligatory "this is what Tim Burton thinks he's doing" film of this year; its sets and its performances are perfectly otherworldly to a humorous degree. It's something of a quasi-sequel to the 1920 film but its relationship with logic is attuned to such a frequency that it's not a hindrance. Very hard to objectively quantify, you're either in the target audience or you aren't, so of all films here take its tier placement the least seriously. The Deadly Spawn is such a gloriously gross film. The house it's shot in isn't supposed to be disgusting on purpose, it's just one of those century's old buildings where I feel like I'd revulse if I had to touch any surface, and that's before fleshy alien monsters break in and start shredding people to bits. Sole Survivor is one of those magical "missing link" horror films, we've finally found what comes between Carnival of Souls and Final Destination. The actual scares in this film are incredibly minimal as it prioritizes atmosphere that balances between comfort and unease, something incredibly rare for films of virtually any genre. Don't go in expecting ghosts and you'll be pleasantly surprised.

Taking a brief-ish detour to the 1960's, Face of The Screaming Werewolf is one of those films I'm more angry at than anything because it's one of those films that's just the combined stray footage of multiple previous films. Rare for these to be produced in the western market (most of the examples I think of are from (south)east Asia) but it's infuriating nonetheless to see something only to discover it's a worse version of multiple better things you could be seeing. Peeping Tom is our "most overrated" entry winner, I don't know why so many people applaud this one, I feel like barely anything of substance happens to such a degree that any ounce of suspense you could draw from this just disappears, and what a shame with the concept at play here that feels as if it would take another decade for everyone else to catch up. Eggshells is the directorial debut of Tobe Hooper and while cohesive narrative is virtually nonexistent here, the amount of experimental editing keeps this going throughout the entire runtime, you can definitely see where The Texas Chainsaw Massacre came from down the line. I feel like I'm somewhat disappointed with Quatermass and The Pit (not sure what "The Pit" refers to now that I think of it) mostly becasue the first two Quatermass films are among the best 1950's science fiction films. All three are theatrical remakes of television mini-series and that's most felt here with how so much of the film takes place in the single location of an unearthed Martian ship in the heart of London. I do love that we have a science fiction film positing that humans are partly the genetic ancestors of aliens prior to people taking that seriously with books like Chariot of The Gods. The Brain That Wouldn't Die is magical, sometimes those oft hated 1950's/1960's science fiction films have something to give back to the rest of us. Here it's a man so obsessed with his own work that he sees his wife's death as an opportunity to try and kill other women so that he can use their bodies as grounds to bring her back. Which sounds like something else I watched...

...said film being Frankenhooker, which has largely the same plot but now functions as a dark comedy. God. I hate so much that the capitalist enclosure on the production and distribution of film prevented us from getting so much more from Frank Henenlotter. The man is one of the best to ever direct horror, and anyone who thinks this film or any of his other work are "bad movies" just flat out do not know what they're talking about. I think compared to Basket Case and Brain Damage however, Frankenhooker is the one that "keeps giving". You think you've seen everything the film has to offer and then something like a hotel room full of women combusts as they succumb to the effects of exploding crack or Elizabeth (the titular character) has her head punched back and starts spewing smoke and electricity everywhere. Film is a magical medium of art.

Terrifier is what I held onto "misogynistic torture porn" for. No narrative, no character work, just opportunities to show Art the Clown dismember and murder women in revolting ways. It's one of those films that vindicates everyone that doesn't like this genre and makes me wonder what I'm doing sitting side by side with people that like this shit. I think Art cutting off a woman's breasts and scalp and attaching them to his nude body to disguise himself as another prior female victim of his is when my mouth went agape and audibly asked what the fuck am I watching, cannot stress enough how much it takes to get that reaction out of me. There's an upfront showcase that Terrifier knows that it's trash and revels in it, I mean there's an early scene where we see Art has spelled out his name in his own shit, and I'm not sure how to interpret that other than I feel like I might be landing in a Duchamp's Urinal trap. For reasons that allude even me I am still eyeing the prospect of watching both sequels.

I think my overall reaction to Godzilla x Kong: The New Empire is one of "whatever". A passably bad film is a definite improvement from the abomination that was Godzilla vs. Kong but it's admittedly easy to rise up when you start from the bottom. Adam Wingard more or less sucked all the joy I could muster out of the Monsterverse, I truly do not care anymore. If anything can be gleaned from this film it's that this is a film made to reconfirm people's existing biases of "I hate the boring human scenes, I'm only watching this for the monsters." Kong is the best actor in this film because the special effects team have to have him actually emote in response to a given situation, which is more than could be asked of anyone actually on the set, apparently. It's a miracle that this came out in the shadow of Godzilla Minus One than on its own terms.

The glut of 1950's science fiction films are a perennial staple of the Halloween countdown but they don't have a huge showing this year. Man Beast is one I'm going to confuse with all the other yeti movies of the decade though having a main antagonist that's actually a human hybrid gets it some points for originality. Daughter of Dr. Jekyll infuriates me because women who become monsters in film never get to be "hideous" and "scary" like their male counterparts, I'm throwing tomatoes at this one. Devil Girl From Mars is mostly memorable for having a giant clunky robot a la Gort, but the actual titular antagonist doesn't "serve cunt" enough to warrant interest, she should have taken notes from The Astounding She-Monster. The Lost Skeleton of Cadavra is an honorable mention because it's a feature-length pastiche of the z-grade films of this era. I don't think it's particularly funny and I kind of wish they lampooned a "good" film of this type rather than make something that fits in line with the middling genre efforts. Night of The Ghouls is the last horror film directed by Ed Wood and I feel like I enjoy it slightly more than Plan 9 From Outer Space. It's far more competent in producing that lulling insomniac reaction than Wood's prior efforts but I still don't "get" the attention his work consistently gets. The Strange World of Planet X gets a special pass from me just because the finale has a bunch of giant bugs attacking stuff. Moving on.

The Colossus of New York is an oddball modern Frankenstein of sorts with a guy being transformed into a giant robot and struggling to maintain some attachment to his former life. It doesn't always work but once again giant clunky robots are giant clunky robots. I'm something of a Bert I. Gordon apologist so something like The Cyclops is going to hit harder for me than it does for most people. I just like people wandering around Bronson Cave and poor matte shots of giant animals moving in and out of frame, okay? The Tingler was the oddest revisit I've had in a while. I don't think I fully "get" William Castle's approach to film but what stuck out to me is how this one takes place in largely two locations and how Vincent Price's character is kind of the antagonist, experimenting on animals, himself, and other people (resulting in a murder) to get at the Tingler. Much like in House on Haunted Hill I'm not wholly sure how some of the spooky things in this film actually work and I don't think I'm meant to, adding to the bizarre nature of the entire series of affairs here.

Invaders From Mars...oh yes. One of the absolute best 1950's science fiction films is also the most lyrical and dreamlike. It reads at times like a Soviet parody of an American child's story would be like; a boy sees every institution designed to protect him as a child and as an American turn against him on account of some nefarious foreign invader, so his only course of action is to get the US military involved. It plays out so well because it's a POV piece from a young boy, which eases over any leaps in logic both in terms of form and content of this film. Which is more than can be said of the remake, part of the diminishing returns of Tobe Hooper's then contract with Cannon. The film largely follows the same plot structure but decenters the frame through which we see it unfold giving it a "the military is legit" vibe. It also is just a bit more mean-spirited in ways that are designed to taunt the audience versus the original film's more hardened edge to it. I think a great summation of the difference between the two is that the 1953 film had Martian bodyguards that are clearly guys in fuzzy green pajama suits, but they're more threatening than the ones in the 1986 film which are giant quadruped Stan Winston monsters. I digress. Had this come out 20 years later it would be classified as part of the wave of "why are they remaking everything?"

Speaking of remakes, briefly want to mention the 1995 Wasp Woman. It's The Wasp Woman for the 1990's, now with explosions and softcore sex scenes. I can't wholly defend the original 1959 film despite my affinity for it, so let's just say this one is of comparable quality.

The 1930's are a delightful treasure trove for horror but sadly we only have two up for offer. Mad Love makes me curious as to how other adaptations of The Hands of Orlac handle the material; I was convinced a guy got his head surgically reattached and with artificial hands to boot. Always good to see Colin Clive and Peter Lorre. The Walking Dead feels like a dry run for what Boris Karloff would do later that decade in the much better The Man They Could Not Hang, just with him as the victim here and not the mastermind. Truly some of his best work as an actor as he has to float through the world not being allowed to live or die, that shit sticks with you.

We watched a scant few Halloween specials proper, I always feel like I want to watch every Halloween special possible but sometimes the enthusiasm leaves me. The Last Halloween is trash, but that's on me for thinking something made for very small children would appeal to me as an adult. It crams far too much into its brief 22 minute runtime, so the only thing that manages to escape into the zone of interest is that the CGI aliens are actually very well done for a 1991 television production, had this been all about them (voiced by Hanna Barbara stalwarts such as Frank Welker and Don Messick, along with Paul Williams), this would have been far more tolerable. Halloween Hall o' Fame is the first of apparently several Disney television specials that repackaged their theatrical shorts inside a live-action framing device. It's quaint but this format would live and die by the quality of the shorts included; I'm not intimately familiar with Disney's back catalogue solely because they've barely released anything on home media but I absolutely adore the one where Pluto goes to Hell and is put in a kangaroo court with cats on the jury. I feel like the novelty of The Scooby-Doo Project and Night of The Living Doo have carried them along further than their actual quality have, stray artifacts from when Warner Bros was briefly testing to see if Scooby could be an adult property now, doomed to the same fate as Harvey Birdman: Attorney at Law. The latter of these two specials made me come to terms with the fact that David Cross was "a big deal" at some point. The Great Bear Scare is the winner here. How could you not like an animated special where bears have to stand up and be brave against an oncoming horde of Halloween monsters? What makes this an oddity (sort of an obligation for me and Halloween specials) is that this is animated 100% without in-betweens, so every character in every scene cross-dissolves in real time between their keyframes. Depending on who you are it could be ridiculously distracting or make you step back and appreciate how hard animation is.

Clearing out our remaining animated showings, I felt like I would really get back into Scooby-Doo and The Reluctant Werewolf. In the mid-late 2000's when Cartoon Network was desperately trying to excise showing anything from their backlogs, this is one of those films that was on repeat constantly as midday viewings especially over summer. It's just so far removed from what Scooby-Doo "proper" is that it's an enigma, I go to bat to defend each of the "red shirt Shaggy" movies but this is brain melting at times, there is no mystery to solve, monsters are real, Fred/Daphne/Velma are completely absent, half the film is dedicated to a drag race, it goes on and on and on that I feel numb after a bit. Uzumaki...it's good. I feel like the fact that this was in production hell for five years following the first trailer release made me stop caring so all the shenanigans regarding the reaction to the animation dropping off (the production team got screwed over, how the fuck do studios not have the money for FOUR EPISODES, David Zlasv strikes again) brushed off of me. Regardless of that I think the actual pacing would have restricted this given how much sequential material from the manga now has to occur concurrently. It gets by solely because it's Uzumaki and as such it channels such a foreboding sense of dread and despair that is unreal. This more than anything is the true epitome of cosmic horror because there is no "source" or "identity" behind the threat that is warping reality around you, there is nothing to oppose and be defiant against, which was true of the manga and it remains true here. Bravo.

The 1970's prove to be another sporadic decade for horror. Cathy's Curse proves that no matter how good technical effects are, do not watch any Carrie knockoffs. Blah. Frankenstein's Castle of Freaks...you took a movie where a Frankenstein monster fights a caveman and made it boring, congratulations. In the interim between 2021's viewing of Curse of Frankenstein and now, I've made the effort to watch the entirety of the Hammer Frankenstein series. They make for a brilliant reinterpretation of the source material with Frankenstein effectively being antagonist: he kills consistently for his experiments, which often time warp and alter people's identities along with their bodies. The "holy triumvirate" of the series as referred to by me would be The Revenge of Frankenstein, Frankenstein Created Woman, and Frankenstein Must Be Destroyed, all for showcasing new stuff that can be done with the character and any prior influences such as the Universal films being absent. Then comes The Horror of Frankenstein, a soft remake of Curse of Frankenstein, with Terence Fischer and Peter Cushing both absent. It's a dry and tedious affair that just rehashes what Curse already did, just now with a black comedic angle and no real consequences for Frankenstein himself. It's easily the worst of the series and why I'm glad Hammer backtracked for Frankenstein and The Monster From Hell. This is probably the first instance in film history where a sequel has consciously ignored a preceding remake, and while it's not wholly original either, it's comfort food for fans of this series, and now employs a darker more claustrophobic setting in an ~insane asylum~. Not the best ending for the series, but Hammer, along with Toho and Ray Harryhausen's efforts with Columbia, sort of represented the "old" styles of horror that were pretty quickly being replaced as the decade went on. This film specifically came out the same year as the likes of The Texas Chainsaw Massacre, it was a transitional period where what horror once was was cast away. Still not sure why the monster in this film looks like a Neanderthal man but that's just me.

Tourist Trap desperately tries to be one part Psycho and one part Texas Chainsaw, and it admittedly starts off with a nice hook of animatronic puppets being the main focus of the film, but it falls through the cracks and just becomes another random 1970's horror film. Vampyros Lesbos makes me realize that my infatuation with Zombi 3 last year did not mean I'm suddenly infatuated with Lucio Fulci's overall filmography, exceptions are not the rule. Come to think I don't think I've seen a single lesbian vampire film that I'm smitten with, how do you make this boring and not sexy at all, fuck you. Scream, Blacula, Scream is the obligatory Blacula cash-in sequel, nothing worthwhile to see here and none of the charm and significance of the first film is carried forward here, sigh. "DEDICATED TO THE MILLIONS THAT LOVE BRUCE LEE," The Dragon Lives Again is one of the plethora of films featuring Lee impersonators following his death, showing Lee in Hell as he has to find a way back to Earth while also fighting off The Godfather, Dracula, The Man with No Name, Emanuele, Zatoichi, and James Bond while allying himself with Popeye and Dr. Who. No I am not making any of this up, yes, this film was made with very little money so it sounds far more interesting than it actually ends up being, but it's a cute film, I can't be mad at a film made for me, nor can a movie showing Popeye eat spinach to fight mummies or Bruce Lee knocking out Dracula with his "third leg" be something you don't go out of your way to watch.

The Alien Factor is Don Dohler's first and best film. I love the fact that a dozen people made a small scale alien invasion/slasher film in their backyards with actually solid special effects for something that was probably made on the weekends. You can't hate this film, it's made from pure love for what was already decades old genre material. Had some of the script and acting been tightened up this could have become one of the more widely recognized independent films of the decade. Oh...Alucarda. I hate when they make a lesbian devil worshiper film between girls coming to terms with theirs sexual orientation and then they aren't the heroes of the story. We've come a long way since then.

Given that the Eggers film is still a few months out, I'd say Nosferatu the Vampyre is my preferred interpretation of the story (not my favorite Dracula adaptation overall mind you). Let me say that I think remaking Nosferatu is ridiculous solely because you're just doing Dracula, again, just with some stylistic details brought on from a specific prior Dracula. But this film goes all out. It's one of those times where I'm reminded of why slowly paced films with shots that last minutes at a time are so great. It relies very little on narrative (the extent/nature of Dracula's power of the geographic barriers between Wismar and Transylvania go unexplained) but you get so thoroughly sucked into the setting and the characters that you can't complain. This has undeniably the best portrayal of Mina in any Dracula film, she's effectively the protagonist by the second half and each of her encounters with Dracula are on her terms, he's effectively powerless against her even if she ensures they both die in the end. Also, rats. So many rats. Everywhere. The plague is in town.

Shock Waves is just great 1970's horror. Shoot on location, hold the camera in hand the entire time, do it cheap, have a dreamy distant narrator, and make it grisly. I do find the concept of Nazis engineering platoons of super soldiers and we only seeing just the one in this film is probably the scariest thing about it, it invites you to think about what else is happening out of sight. My favorite first watch of the year.

1978's Invasion of The Body Snatchers is also a phenomenal remake. This one is difficult for me to talk about because it just pushes all my buttons, I felt like I wanted to cry throughout the duration of this viewing, it is an incredibly mean film. Someone you know just one day turns on you, and then everyone else follows suit. You think you know your surroundings and your city but everything is flipped upside down and you can't even describe why. From the very start when you see the premature pods land on Earth it's made immediately clear that no one is making it out of here, it was too late as soon as it started.

But there can only be one #1, and this year it's Godzilla vs. Mechagodzilla. Another instance of "nothing is going to beat this" as soon as I rewatched it. I feel like I'm alone in considering this one of the absolute best in the series, I feel like between the espionage and exploration and blood and laser fights that this is just one of the films that reminds you of why we make and why we watch movies, you get to have some semblance of every possible human emotion watching this. There's not much more you can ask for.

[vinyl-connection]

1974 COUNTDOWN | THE LIST

Here is the entire 1974 COUNTDOWN, with links to the original posts. Following this are the other 1974 posts including live albums, film soundtracks and jazz. And here is an invitation to add their your own favourite 1974 albums in the Comments… ranked or unranked, two or twenty, curated our plucked out of the ether, whatever tickles your fancy. I’m sure those who have stuck with the 74 FROM ’74…

[crazyworldofemmamarie]

Dr. Rammstein's Countdown to Halloween:

Day #7: Black Christmas, 1974 (dir. Bob Clark): Not Your Average Holiday Season: Not Your Average Holiday Season: ‎‘Black Christmas’ review by BIRDBRAIN_1974 • Letterboxd

This is for all you folks just waiting on the holidays! This is a personal favourite and I tend to watch during both seasons as it's not only a great Christmas film, but an awesome slasher as well.

[radiomaxmusic]

Classic Countdown / Top 40 Hits November 23, 1974, with Ron Kovacs / 12pm ET

[radiomax]

Tuesday, June 6, 2023 8am ET: Classic Countdown: Top 50 Albums of 1974

[laufeysons]

Countdown to Christmas -> 'Twas The Night Before Christmas (1974) Dir. Jules Bass, Arthur Rankin Jr.

[howardhawkshollywoodmusic]

We are halfway through the countdown, with 1,000 big hits highlighting the top 100 hits each year 1964-73. It comes as no surprise that The Beatles had the most entries, by far. What is most surprising is that the second, third, fourth, and fifth places are all held by Motown.

Each single pictured here spent the most weeks at number one for each artist, with total points as a tiebreaker.

After the second half when the top 100 hits each year 1974-83 are revealed, honorable mentions will then be presented. First up, chronologically, will be all the other notable hits that made the top 40. For example, Imagine by John Lennon peaked at number three but only charted for nine weeks, failing to accumulate enough points to make the top 100 of 1971. Finally, other notable songs that charted but failed to make the top 40 will include Truckin by The Grateful Dead and River Deep Mountain High by Ike and Tina Turner.

Hey Jude by The Beatles debuted Sep 68 and was number one for nine weeks. They have 26 big hits.

Baby Love by The Supremes debuted Oct 64 and was number one for four weeks. They have 16 big hits.

Can't Get Next to You by The Temptations debuted Aug 69 and was number one for two weeks. They have 14 big hits.

I Heard It Through the Grapevine by Marvin Gaye debuted Nov 68 and was number one for seven weeks. He has 12 big hits.

You Are the Sunshine of My Life by Stevie Wonder debuted Mar 73 and was number one for one week. He has 11 big hits.

Honky Tonk Women by The Rolling Stones debuted Jul 69 and was number one for four weeks. They have 10 big hits.

Joy to the World by Three Dog Night debuted Mar 71 and was number one for six weeks. They have 10 big hits.

(They Long to Be) Close to You by Carpenters debuted Jun 70 and was number one for four weeks. They have nine big hits.

I Get Around by The Beach Boys debuted Mar 64 and was number one for two weeks. They have eight big hits.

Mrs Brown You've Got a Lovely Daughter by Hermans Hermits debuted Apr 65 and was number one for three weeks. They have eight big hits.

Tied with seven entries each are Chicago, The Dave Clark 5, The 5th Dimension, Aretha Franklin, Elvis Presley, and Dionne Warwick.

The Beach Boys, Stevie Wonder, and Marvin Gaye also had big hits in 1963. The Beach Boys had the number 13 hit of 1963, Surfin USA, the number 44 hit, Surfer Girl, and the number 98 hit, Be True to Your School. They also had the number 53 hit of 1962 - Surfin Safari. Stevie had the number seven hit of 1963, Fingertips (Part 2), and Marvin had the number 76 hit, Can I Get a Witness, and the number 81 hit, Pride and Joy.