Music Expert Retro Countdown Chart Critiques

[slf]

For the week ending May 25, 1968:

After several weeks of enjoying these fascinating countdowns Sunday nights on Rewind Central, I thought, why not try my hand at critiquing one of these countdowns for a change.  As much as I love '70's Top 40, I love mid-late '60's Top 40 even more.  I remember vividly or subconsciously so many of those songs from my early childhood, which explains my obscession with that era of pop music.  So here we go:

40. I Love You/People--This hauntingly elegant organ rock classic is a perfect example of less-is-more.  The arrangement is sparse, but somehow it sounds so complete and spot-on.

39. Paying The Cost To Be The Boss/B. B. King--This is the first of several songs in the countdown that I was unfamiliar with.  And while I was impressed with the swinging feel of it, boy, are the lyrics definitely sexist!  Although I didn't read all the obits and tributes to B. B. when he recently left us (RIP), it's probably a safe bet this politically incorrect cut was ignored.

38. Playboy/Gene & Debbie--A gorgeous, stirring ballad with a simple, yet sweet melody.  It's reassuring that the back and forth exchange starts out accusatory and ends up with the couple getting together.

37. Ain't No Way/Aretha Franklin--I was unfamiliar with this song as well, but found it sweet and tension-filled.

36. I Wanna Live/Glen Campbell--It was OK, I guess, but it paled in comparison to his other, better-known late '60's hits, particularly those penned by Jimmy Webb (one of whose compositions is coming up.)

35. My Girl/Hey Girl/Bobby Vee--With its sharp arrangement and Mr Vee's solid vocals, this is by far the best of his comeback hits.

34. MacArthur Park/Richard Harris--Ah yes, the '60's version of "You Light Up My Life", a song everybody loves to hate.  In fact, according to a 1993 Dave Barry column, when he gave the results of a reader survey, he declared this the most hated pop song of all time.  And, years ago, when I first heard this overwrought, bombastic release, I was inclined to agree with that assessment.  But, over the years, I have gradually grown fond of the song's beautiful, intricate arrangement.  My favorite part, however, is the fun, frenetic instrumental part towards the end.  Still, the prevailing melancholy of the song is still hard to take if I'm already in a bad mood.

33. Summertime Blues/Blue Cheer--A rather intriguing cover song, with thunderous drum work and electrifying psychedelic guitar playing.  I especially am fixated by how the band replaces the humerous adult spoken parts of Eddie Cochran's original with talking guitar parts, seemingly inspired by the Charlie Brown TV shows in which adults have that "wah-wah" nonsense voice.

32. Sweet Inspiration/The Sweet Inspirations--I can take it or leave it.  It would take Cissy Houston's illustrious daughter Whitney to achieve true greatness and lasting stardom.

31. Lady Madonna/The Beatles--Although far from their best release, this is still a fun, rollicking hit.  I especially love the dramatic harmonies in the line "See how they runnnnnnnn!"

30. Master Jack/Four Jacks And A Jill--The version I most remember hearing as an oldie had a beautiful, haunting acoustic guitar produced with an echo chamber effect.  However, the version that was played, while sounding similar to what I remember, was a different recording that wasn't as good.

29. Does Your Mama Know About Me/Bobby Taylor and the Vancouvers--Another song I can take or leave.  (BTW, wasn't he the same guy who asked Mrs. Johnson for a date seven times, and whose wife sure seems to use a lot of ice whenever he's away)

28. I Will Always Think About You/The New Colony Six--This gem is one of the best songs on the countdown.  The harmonies are flawless and heartfelt and the horn accompaniment is sweet yet appropriately understated.  (BTW, this Chicago-based group started out as rockin' garage band, but the closest they got to national fame with their rockers is their fantastic "Love You So Much" (#61).  They even released a disturbing single, "At The River's Edge", which tells of a man's suicide.)

27. This Guy's In Love With You/Herb Alpert--In case I've never mentioned it, I'd like to state that I'm a massive fan of Herb Alpert & The Tijuana Brass, owning three TJB CD's.  Thanks to my late father, I was exposed to a lot of their music when I was little, hence explaining my fondness for the band's happy, hard-driving brass sound.  So it's rather disheartening that it took this obviously inferior release to give Herb Alpert his first charttopper. (Although, to be fair, it does have a sweet, heartfelt feel to it.)

26. If I Were A Carpenter/The Four Tops--Although not as great as earlier masterpieces like "Bernadette" or later ones like "Ain't No Woman...", this is still a solid Motown release, with a shimmering, yet catchy arrangement.  And Levi Stubb's vocals are as powerful as ever.

25. The Happy Song (Dum-Dum)/Otis Redding--The song overall is mediocre, at best, but it has the typically fine Stax arrangement and Otis delivers his usual brilliant soulful vocals.

24. Yummy, Yummy, Yummy/The Ohio Express--This bubblegum standard is so annoying, with lyrics that are so stupid and vapid, it's only tolerable as high camp.

23. Soul Serenade/Willie Mitchell--So-so, at best.

22. I Could Never Love Another (After Loving You)/The Temptations--It's always a treat to hear one of the lesser-known, forgotten Motown hits for the first time, like this nicely-arranged release.  And David Ruffin's vocals are as masterful as always.  Too bad he was about to be expelled from the group (it might have already happened).

21. Delilah/Tom Jones--Although he had some enjoyable hits, to me, his bombastic style is not a good fit for a murder ballad.   I'll take Porter Wagonner's "The Cold Hard Facts of Life" anyday if I'm in the mood for that kind of song.

20. I'd Like To Get To Know You/Spanky & Our Gang--This band released some terrific pop songs, but this is their magnus opus.  It opens with an exquisite piano and string intro.  Then the first two verses consisting of a fine call-and-response between a fine male voice singing the title and the rest of the group. Then Elaine makes her dynamic, sassy entrance in the bridge, which leads to her belting out the title repeatedly, with the backing vocals and the lush arrangement combining with her vocals to create frenetic pop music nirvana.  Then, with a shrill flute, the tempo slows down and the strings sweeten to bring on the concluding vocals.  This contrast of the frenetic summit and the relaxed conclusion seems, to me, a metaphor for a hard-partying Saturday night and a Sunday Morning Coming Down, even if you don't drink or do drugs.

19. Cry Like A Baby/The Box Tops--A fine song with soulful vocals and great twangy guitar work.

18. Funky Street/Arthur Conley--Another song I was unfamiliar with.  But I was impressed with its slapping beat.

17. I Got The Feeling/James Brown--Although his funky formula would eventually get stale and repetitous, this release does a splendid job of showcasing all the elements of that formula: the snappy drums, the tight guitar licks, the punchy horns, and, of course, the Godfather's fun shouting.

16. Think/Aretha Franklin--Although this ubiquitous oldie is overrated and overplayed, it still has a stirring piano intro and Lady Soul delivers some fun vocal pyrotechnics.

15. She's Looking Good/Wilson Pickett--Wow! Three soul legends back-to-back-to-back.  Anyway, this was a fairly solid, catchy song, with assertive brass.

14. Love Is All Around/The Troggs--A pleasant, soothing ballad.  It's hard to believe these were the same guys who unleashed "Wild Thing" to the world two years earlier.

13. Young Girl/Gary Puckett & The Union Gap--Another excellent hit by this group, with dynamic, punchy horns and stirring, almost operatic vocals by Mr. Puckett.  I saw him perform at a free oldies concert at the Indiana State Fair two years ago, and, man, he's still got an amazing set of pipes.

12. Mony, Mony/Tommy James & The Shondells--It's mildly fun and catchy, but it's still very overrated.  I think Billy Idol's obnoxious studio cover version ruined this song for me, especially when I overheard that vulgar chant that some young people sang to it. (You know, "Let's get ****, get *****!")

11. Take Time To Know Her/Percy Sledge--Although it has a sound message, it's too slow and sad for me.

10. Do You Know The Way To San Jose/Dionne Warwick--A fine, peppy song with intriguing lyrics about the grass not always being greener on the other side.

9. Shoo-Be-Doo-Be-Doo-Da-Day/Stevie Wonder--Although far from his best song, it still has the basic sunny arrangement and soulful vocals of a typical uptempo Stevie Wonder release of that era.

8. Ain't Nothing Like The Real Thing/Marvin Gaye & Tammi Terrell--Similarly, this isn't Marvin & Tammi at their best, but even a relatively ordinary Motown hit is still a thing of beauty.

7. The Unicorn/The Irish Rovers--Although this cute story song is fun in small doses, I wouldn't want to hear it every day.  (I was astonished to hear you say that the song's author, Shel Silversteen, also wrote, of all songs, "Queen Of The Silver Dollar".  On the one hand, he wrote about cute unicorns; on the other hand, he wrote "Her scepter is her wine glass, and a barstool is her throne."  Wow!)

6. Cowboys To Girls/The Intruders--A great, groundbreaking soul release with a dramatic, string-laden arrangement.  I am also intrigued by the lyrics, which the singer tell of how he beat up girls as a boy, but has grown up, done an about-face, and is now kissing his female contemporaries. 

5. Honey/Bobby Goldsboro--When I said earlier that "MacArthur Park" was the most derided song of the '60's, I forgot that this sappy ballad was another strong contender for that dishonor. (In fact, that Dave Berry column gave honorable mention to this song, as well as another countdown song, Gary Puckett's "Young Girl".)  As for my opinion of this song, I don't think it's so bad.  I do have some appreciation for the tender, hearttugging lyrics.  In fact, she sounds like a woman I wouldn't mind being married to, provided the angels DON'T come for her at a young age.

4. The Good, The Bad, And The Ugly/Hugo Montenegro--I remember my father playing this bizarre release when I was a wee lad, when he wasn't playing the Tijuana Brass.  So, consequently, I have the same soft spot for this exotic, spaghetti-western instrumental.  It has amazing guitar, strings, horns, and harmonica.

3. A Beautiful Morning/The Rascals--This is one of this group's best singles.  It has a shimmering intro, a solid melody, fun call-and-response vocals, and stirring horns.

2. Mrs. Robinson/Simon & Garfunkel--A fun, energetic megahit with rather mysterious, profound lyrics.

1. Tighten Up/Archie Bell & The Drells--A fun, lighthearted dance song with, yes, a tight rhythm.  As enjoyable as this song is, their follow-up, "I Just Can't Stop Dancing" is even better, mainly because it has an actual melody line to work with.

And my favorite song of the countdown (drum roll):

The majestic "I'd Like To Get To Know You", by the wonderful Spanky & Our Gang

Thank you for reading.

[mkarns]

The same chart was counted down by Lou Simon on Sirius XM's 60s on 6 nearly two weeks ago. Early in June he'll do a show from June 1970--about a month before Casey Kasem started counting down.

[bestmusicexpert]

Thanks for the critique. Looking forward to more, especially on the special countdowns.

We have a few 70's shows coming and more 1970 planned for early next year.

Thanks for listening!

This Sunday the Top 50 Rain Songs!

[slf]

For the week ending June 3, 1967:

Thanks for the terrific countdown this past weekend, bestmusicexpert.  So many great songs from so many genres: soft rock, acid rock, adult easy listening, novelty, intrumental, and, of course, Motown at its artistic zenith.  And thanks for the words of encouragement.  I can't promise a critique every week, but I'll try to write one or two a month.

40.  Tramp/Otis Redding & Carla Thomas--Although the trademark Stax arrangement is as sharp as usual, I was less than impressed with this song.  Carla, to me, just sounded like a hostile, nagging shrew, and, for some reason, I couldn't make out Otis' vocals too well; they sounded muffled.

39. Ain't No Mountain High Enough/Marvin Gaye & Tammi Terrell--Aaah, now THIS is more like it; a happy, and happily-in-love, male/female vocal duo.  With its sparkling intro, joyously energetic arrrangement, tension-filled bridge, and powerfully soulful vocals, this Motown gem was the perfect antidote to the previous song.

38. Casino Royale/Herb Alpert & The Tijuana Brass--It just so happened that I had this illustrious band's greatest hits CD playing in my car last weekend and I heard this scintillating selection earlier that day.  It's one of my favorite songs on that CD, and that's saying a lot.  The interspersing of  assertive strings at the end of each verse was a unique touch.

37. Hip Hug-Her/Booker T. & The M.G.'s--This soul instrumental was slightly above average, but it paled in comparison to  other hits by this band, particularly "Hang 'Em High" and "Time Is Tight". (Both magnificent songs.)

36. Let's Live For Today/The Grass Roots--It's OK, I guess, but I like their more sunny-sounding pop songs that came later, like "Temptation Eyes" and "Glory Bound".  I also don't care much for the reckless, irresponsible message this song conveys.  Hey, those others who "plan their future" carefully are usually the ones who "don't worry about tomorrow". (Funny how that works out.)

35. Alfie/Dionne Warwick--I can take it or leave it.

34. My Girl Josephine/Jerry Jaye--It was a fine, sharp slice of rockabilly, but talk about a song sounding out-of-place on the charts in the Summer Of Love!  Did he hop on a time machine in the year 1957 and order it to time travel him to ten years in the future?  

33. Can't Take My Eyes Off Of You/Frankie Valli--It has a sharp arrangement with punchy, assertive horns, but it's those arrestingly direct lyrics in the verses, sung with touching sincerity, that really blow me away.

32. Too Many Fish In The Sea/Three Little Fishes/Mitch Ryder & The Detroit Wheels--Electrifyingly energetic cover version of an energetic, fun Motown hit by the Marvelettes, who will grace the countdown later on, this time with a smooth, stirring ballad.

31. Sunshine Girl/The Parade--A magnificent example of late '60's sunny pop fluff.  Each verse begins with a sparse arrangement and a whispering male lead vocal.  Then the tempo speeds up and his voice becomes more urgent, until that bouncy, radiant chorus bursts forth just exuding musical "sunshine".  It's a shame this fine group never had another hit.

30. Seven Rooms Of Gloom/The Four Tops--This must be the song you write and record if that "Sunshine Girl" walks out on you.  And although the mood and lyrics are markedly darker and gloomier, I enjoyed this dramatic release almost as much as the previous song.  The lush strings and smooth back-up vocals add enough sweetness to balance out Levi's glorious, yet desparate wailing.

29. Come On Down To My Boat/Every Mother's Son--I can take it or  leave it.  (And, besides, my mother's son has never owned a boat.)

28. Windy/The Association--Despite the song's mysterious lyrics (supposedly about a female groupie), this peppy, cheerful song is sung so urgently and with such beautiful harmonies, one cannot help but love it.  A future charttopper and very much deserving of that honor.

27. Sunday Will Never Be The Same/Spanky And Our Gang--This Chicago pop group's debut hit is one of the best debut hits ever.  The sweet strings, the jazzy drums, and those angelic harmony vocals (as well as Elaine's brash vocals) combine to create one of the best songs of the countdown. Elaine (Spanky) was once quoted as saying that the intro, with its stirring harmonies, borrowed heavily from the chorus to the Christmas hymn "Angels We Have Heard On High".  I had never noticed that before but, by golly, I do notice the similarities.

26. Do It Again A Little Bit Slower/Jon & Robin & The In-Crowd--Although far from a great song, the group's gentle, feather-light vocals have a certain charm to them.

25.  Shake A Tail Feather/James & Bobby Purify--Although it's somewhat fun and catchy, hearing these guys sing the title as a command to the girls, to me, sounds most obnoxious and cringe-worthy.

24. Happy Jack/The Who--The childlike nature of the lyrics and the cute, acoustic guitar opening riff combine with Pete's jagged guitar and Keith's drum explosion to create one intriguing, enjoyable hit.  One minor complaint:  I was hoping you would play the very ending where Pete yells out to Keith Moon, "I saw ya!"

23. When You're Young And In Love/The Marvelettes--This is the song I alluded to earlier at #32.  I was blessed that my two favorite Marvelettes songs are both represented, so to speak, on this countdown.  I love the smooth beauty of the verses in this song, followed by the soulful urgency of the dramatic choruses.  BTW, do you know (you probably do) what sitcom actor had  a minor hit with this song in the mid-70's?  Ralph Carter, who played younger son Michael on "Good Times".  (I would love to hear that version.)

22. Don't You Care/The Buckinghams--What is it about the city of Chicago that produced so many great pop, rock, and soul groups and singers?  The Buckinghams were one of the finest of that city's groups and this pop gem is them at their best.  From the jazzy drum opening, to those followup horns (equally assertive and jazzy), to the mellow crooning of Dennis Tufano in the verses, to the brass buildup leading to the majestic harmonies asking the title question,  this it horn pop at its finest, an important precursor to a certain horn rock group waiting in the wings that would take the name of that certain windy city on the lake.

21. Close Your Eyes/Peaches & Herb--This lovely, romantic ballad is almost as great as Marv & Tammi duet hit at #39 and, I hate to say it, even more heart-melting.  When Francine Barker (RIP) warbles "I love you, I love you!" ,man, that gets to me every time, especially when she pours out her heart at song's end, with the tight strings wrapping it all up.

20. I Was Kaiser Bill's Batman/Whistling Jack Smith--This is another of those lost songs that I remember my late father playing and I thought it was bizarre even then.  But it's just so darn cute, with its monotone organ, marching band arrangement, and, of course, the cheery whistling, that it can't help but put a smile on my face.

19. Six O' Clock/The Lovin' Sthingyful--It has that light, casual feel of most of this band's hits, but it's not nearly as good as "Summer In The City" or "Do You Believe In Magic".

18. Friday On My Mind/The Easybeats--It's a somewhat fun, raucous rocker, but far from exceptional.

17. Little Bit Of Soul/The Music Explosion--I can take it or leave it.

16. Something Stupid/Frank & Nancy Sinatra--Another song that I love by default because my dad owned and played it.  Their vocals sound like tension-laden murmuring, and the lush, but jazzy orchestration, to me, resembles the great Percy Faith Orchestra.

15. On A Carousel/The Hollies--This group is one of the my favorite British bands of the '60's and this is their greatest hit.  I especially love the tension that builds up in the second half of each verse (when they exquisitely harmonize and elongate the last syllable), then release that tension in the chorus as they belt out "On a carou-SELLLLLL!"

14. She'd Rather Be With Me/The Turtles--Although far from my favorite by this band, this is still one fun, exuberrant, sing-a-long hit.  I think Flo & Eddie are once again coming to the Free Stage at the Indiana State Fair this August, so I must make arrangements to visit the Fair on that day if at all possible.

13. Here Comes My Baby/The Tremeloes--All my life, I have known their lush ballad "Silence Is Golden"  (once again, courtesy of my dad's record collection).  It wasn't until much later that I first heard this irresistibly catchy, upbeat song, and I couldn't believe it was the same guys.  That rhythm, particular as each verse leads into the chorus, reminds me of an ocean current ready to suck somebody under, it's that threatening (in a good way, of course.)

12. Girl, You'll Be A Woman Soon/Neil Diamond--Although this pales in comparison to most songs in the countdown, the strings and acoustic guitar make it somewhat enjoyable, much more so than his sleepytime ballads of the '70's.

11. Mirage/Tommy James & The Shondell--I believe you said that this song was basically "I Think We're Alone Now" backwards, constructed based on what Tommy heard when he accidentally played a tape of the other song backwards.  For being the other song's mirror image, IMHO this song is a vast improvement, probably due to lush, gorgeous harp accompaniment in the dramatic chorus.

10. All I Need/The Temptations--Man, I believe it's impossible to overstate the joy, beauty, and fun unleashed to all the world by Berry Gordy Jr.'s Motown Records.  This gem is perfect case in point.  From the shimmering horn intro, to the Funk Brother's solid, tight accompaniment, to the tight harmonies, to David Ruffin's top-notch gruff vocals, this could be the definitive Motown single. Maybe not the absolute finest, but maybe the most definitive.  I would have loved to have been in the studio then this bundle of energy was recorded.  (I have heard those recording sessions were often Motown family affairs.)

9. Somebody To Love/Jefferson Airplane--This is another amazing, albeit vastly different, hit single. Percussion, bass, psychedelic guitar, and Grace Slick's massive vocals combine to create a majestic psychedelic "Wall Of Sound" that's irresistible.

8. Sweet Soul Music/Arthur Conley--A mildly catchy upbeat soul release that name-drops a who's who of the soul music world at the time (curiously omitting Motown artists, which is a travesty).

7. The Happening/The Supremes--Although I like or love most Supremes songs of the '60's, this peculiar-sounding release is actually my favorite of their Diana Ross-led hits.  I think the swinging, show-tune feel of the song, although quite a departure for them, is what intrigues me about it.  BTW, as I mentioned on a post months ago, it was co-written by Frank Devol, who also composed the theme for "My Three Sons" and other TV show.

6. Him Or Me --What's It Gonna Be?/Paul Revere & The Raiders--This electrifying rocker is my favorite song by this band.  I'm mainly love the chorus, especially the call-and-response of "Him or me" and "La-la-la-la-la".  That exchange intrigues me partly because it sounds like it should be the song's ending, but it isn't.  (BTW, do you believe, as I do, this group is way overdue for induction into the R&R Hall Of Fame?)

5 Creeque Alley/The Mamas & The Papas--A very intriguing autobiographical story song.  I still get a kick out of that now-politically incorrect line "And no one's gettin' fat 'cept Mama Cass."
(Actually, I believe the late Cass Elliott also got a kick out of the line, too.)

4. Release Me/Engelbert Humperdinck--I guess even the best of countdowns has to have one bad apple, and this dreary release gets this week's dishonor.  And while Mr H had a few decent songs (most owned and played by my dad, Parrot label and all)  this tedious ballad about a dying romance is just too depressing for me.

3. I Got Rhythm/The Happenings--I love the rich harmonies and sunny arrangement of this cover of the classic George and Ira Gershwin standard.

2. Groovin/The Young Rascals--It's hard not to like this smooth, mellow ballad, but they had much better hit songs.

1. Respect/Aretha Franklin--Another massive hit and perrenial oldie that's hard not to like, but, let's face it, it's been WAY overplayed over the years.  I actually prefer the arrangement used on Otis Redding's original version.

And my favorite song of the countdown (Drum roll):

Lots of contenders this week, but I got to go with the gorgeous "Don't You Care" by the Buckinghams.

Thank you and good night. It's way past my bedtime.
  

[bestmusicexpert]

Another great critique! Thanks. This weekend is 6-12-65 and much more greatness to come. I also wonder what you think of the b side spotlight, #1 album cut and extended flashback tunes. Curious what people think of those features.

[slf]

For the week ending June 12, 1965:

Sorry that I'm a week late with this critique.  Last week was rather busy and hectic, mainly due to mandatory overtime at my main job.  I did listen to part of the Queen countdown last night, and it was rather interesting to check out Queen songs that I'd never heard before.  But as far as critiques go, I'm going to stick with weekly Top 40 countdowns.

40. Yes, I'm Ready/Barbara Mason--Although I'm no huge fan of either hit version of this song, I like this version better than the one by Teri Desario & KC, mainly because of the lush strings augmented by a slight echo chamber effect.

39. Count Me In/Gary Lewis & The Playboys--This release is in a tie with "She's Just My Style" as my favorite song by this group.  The keyboard (or was it a marimba) intro, and the sprightly keyboard instrumentation throughout, gives this song a sunny, lively feel that always puts a smile on my face.

38. You Were Made For Me/Freddie & The Dreamers--I think lots of rock fans associate the beginning of the British Invasion with the end of rock's innocent years, but actually many mid-60's British pop/rock hits (including many Beatles songs) exude just as much polite charm and innocence as the squeaky-clean teen idols they replaced in the Top 40.  This sweet single is perhaps the ultimate case in point.  I hadn't heard it in years before the countdown, and I had forgotten how charming and pleasant this little ditty was, with Freddie & Co harmonizing so beautifully and the sparse Mersey-influenced arrangement complementing the vocals without overpowering them.

37. Voodoo Woman/Bobby Goldsboro--This catchy, pulsating rocker should be sufficient proof that the singer who would later give us "Honey" and "Watching Scotty Grow" started out  as a genuine rock and roll performer.  I have heard that in the mid '60's, he even was an opening act for a certain up-and-coming British band you may have heard of---The Rolling Stones.  (who, BTW, will be playing the Indianapolis Motor Speedway on July 4th.  Without Mr. Goldsboro, of course)

36. Cast Your Fate To The Wind/The Sounds Orchestral--A great piano-jazz instrumental in which each verse starts out mournfully slow, then gets lively and catchy.   This was originally a hit by the Vince Guaraldi Trio (of Peanuts fame) and this group's rendition borrows heavily from the original.

35. Concrete & Clay/Eddie Rambeau--I'm very familiar with the Unit 4+2 version (which is coming later in the countdown) but was mostly unfamiliar with Eddie's version.  I still have murky memories of how this version sounds, but seem to remember it sounding just as fun and lively, with possibly better vocals.

34. (Remember Me) I'm The One Who Loves You/Dean Martin--No, Dean, I'm afraid I don't remember you, at least how this record of yours sounded.   But I seem to remember it having an appealing big band arrangement.

33. Three O' Clock In The Morning/Bert Kaempfert--Rather pretty but largely forgettable.  (Surely this wasn't one of the "mad hits" the Barenaked Ladies were referring to in their song "One Week")

32. Bring It On Home To Me/The Animals--Although I like "House Of The Rising Sun" and several other songs by Eric Burden & Co., this remake was lame compared to the fine original by Sam Cooke and call-and-response partner Lou Rawls.  Did Eric actually think he could outdo or even keep up with those two soul masters?

31. Catch The Wind/Donovan--I can take it or leave it.

30. You Were Only Fooling (While I Was Falling In Love)/Vic Damone--Ditto

29. A Walk In The Black Forest/Horst Jankowski--Here is still another great forgotten oldie that I remember my late father loving and playing often back in the day.  The sprightly, uptempo piano and the staccato strings give this instrumental its irresistible appeal.

28. Concrete & Clay/Unit 4+2--I love the strong Latin rhythm of this and the earlier version of this song on the countdown. Both should have been bigger hits.

27. Shakin' All Over/The Guess Who (aka Chad Allen & The Expressions) ---A pretty fun, raucous rock classic with powerful drum work and an intriguing opening guitar riff that is repeated often throughout the song.

26. Do The Freddie/Freddie & The Dreamers--I can't believe I'm saying this, but Freddie & The Dreamers have some of the best songs on this countdown.  From the happy blast of horns that open the song, to Freddie Garrity's gregarious vocals, to the electrifying background vocals at the end of the first two verses, this is one catchy, enjoyable hit.  (Although I could have done without the the two annoying bursts of cackling laughter.)

25. Before & After/Chad & Jeremy--Although I knew several of this British duo's hits (I especially love "Yesterday's Gone" and "Willow Weep For Me") I had never heard this song before.  But I was impressed with its smooth, sweet arrangement, and even more impressed with the intriguing lyrics, which deal with the heartbreak of a relationship ending.

24. Nothing Can Stop Me/Gene Chandler--Likewise, I was unfamiliar with this song, but was similarly impressed.  A very sharp, punchy R&B song, almost as enjoyable as his 1970 comeback song, "Groovy Situation".

23. Baby, The Rain Must Fall/Glenn Yarbrough--A great MOR hit song, with rich, strong lead vocals and a thrilling, big-as-all-outdoors western arrangement.

22. L-O-N-E-L-Y/Bobby Vinton--B-O-R-I-N-G

21. Just Once In My Life/The Righteous Brothers--Although it's basically "You've Lost That Lovin' Feeling, Part Deux", I enjoy it far more than that mightily overplayed predecessor.  I guess because it's played less often, it sounds newer and fresher to me, all the better to notice and appreciate the many glories of Phil Spector's Wall Of Sound production (echo chamber, multi-layered instruments, etc)

20. Queen Of The House/Jody Miller--Although this "King Of The Road" parody/answer record is cleverly written, it has a dreary, humdrum feel to it, IMHO.  I mean, isn't it inherently more exciting to be on "The Road" than to  be stuck in "The House"?

19. True Love Ways/Peter And Gordon--Although this cover version is pleasantly dramatic, how can you top Buddy Holly?

18. Silhouettes/Herman's Hermits--This very successful Britpop group was widely dismissed by critics as lightweights, but they still put out many highly enjoyable hits, this cover song being one of them.  The highlight of this release is the opening guitar riff repeated throughout the song (provided by an up-and-coming guitarist by the name of Jimmy Page, who would conquer the rock universe several years later with his band Led Zeppelin.)

17. I'll Never Find Another You/The Seekers--A great love song featuring gorgeous harmonies.

16. Last Chance To Turn Around/Gene Pitney--With its full, punchy, dramatic arrangement, and typical over-the-top vocals, this is one of Gene Pitney's best songs.

15. She's About A Mover/The Sir Douglas Quintet--With its infectious, organ-drenched rhythm, this is a highly enjoyable example of Tex-Mex rock.

14. Hush, Hush, Sweet Charlotte/Patti Page--Mildly sweet and soothing, but far from great.

13. For Your Love/The Yardbirds--The influencial British Invasion band had a very unique sound, very much evident in this debut hit. It opens with a heavy, hypnotic organ riff, followed by catchy congas. That riff continues as Keith Relf sings the opening verse, which leads into that stirring, dramatic chorus.  Then booming drums lead into a hard-rockin' bridge, then a return to the hypnotic organ and congas.  Then verse two and that stirring chorus one more time. All in all, a most unique rock classic.

12. It's Not Unusual/Tom Jones--An irresistible bundle of musical energy.  I especially love the guitar riff in the instrumental break before the third verse.

11. Mrs. Brown, You've Got A Lovely Daughter/Herman's Hermits--With its sparse arrangement and Peter Noone's exaggerated British accent, on paper this should never have been a big hit.  (This song, reportedly, had been a popular music hall standard in the UK for years prior to 1965.)
But Peter's charm, and the fine vocal harmonies (and that same understated arrangement) are probably what make this cute song so doggone appealing.

10. Just A Little/The Beau Brummels--It has some fine harmony vocals at the beginning and end, but is otherwise average, at best.  I like "Laugh, Laugh" much better.

9. Ticket To Ride/The Beatles--With its scintillating guitar intro and the sharp, tension-filled  production, this is one of the Fab Four's better charttoppers.

8. Wonderful World/Herman's Hermits--Wow, three hits on the same countdown for the Hermies!
(I wonder what John, Paul, George, & Ringo were thinking at the time?!) Although it was as fun and lighthearted as most of their hits, it was the least enjoyable (relatively speaking) of their three songs.  And they were about as successful as the Animals were at covering a Sam Cooke classic, that is, not very.

7. Engine, Engine #9/Roger Miller--I was not all that familiar with this Roger Miller song, but I remember it as being confidently catchy and bouncy.

6. Mr. Tambourine Man/The Byrds--With its crystal-clear 12-string guitar intro, spot-on harmonies, wacked-out Dylan-penned lyrics, and overall cosmic feel, this is one rock classic that I love more and more every time I hear it.

5. Help Me, Rhonda/The Beach Boys--Another great Beach Boys hit, with a sharp surf-guitar based arrangement and those trademark harmonies.

4. I Can't Help Myself/The Four Tops--Although it has suffered from overplay over these many years, one cannot deny the majesty of that arresting intro, the staccato strings, the rhythm of the Funk Brothers, and Levi's mighty shouting (with reinforcements by Duke, Obie, and Lawrence).
 
3.Crying In The Chapel/Elvis Presley--It's a refreshing change of pace to hear the King have a big hit with a mellow, stripped down gospel song.

2. Wooly Bully/Sam The Sham & The Pharoahs--With its Spanglish intro, bouncy, peculiar organ, and Sam's ridiculous vocals, this is one of the greatest campy hits of all time.

1. Back In My Arms Again/The Supremes--Another great Supremes hit (their FIFTH charttopper in a row, as a matter of fact)  I love the sharp intro and the assertive, powerful vocals of Diana, Mary, and Flo. (Not to mention Diana's name dropping of her singing partners in the third verse.)

And my favorite song of the countdown (Drum roll):

I'm probably the only person on the face of the earth who would choose this song, but I'm just crazy about "Do The Freddie" (I've never actually done that dance; I just love the song.)

Thank you and good night!

P. S. to bestmusicexpert:  I hope you're not disappointed that I didn't critique the other songs you played on the show; it's just that I take so long with these critiques as it is.  I will say that I loved "Lipstick Traces (On A Cigarette)" by the O'Jay's.  It was almost as good as their Philly Soul hits of the '70's.

[slf]

For the week ending June 28, 1969:

40. I Wanna Testify/Johnny Taylor--I had never heard this version, although I have always enjoyed the Motown-influenced original by the Parliaments, the straightforward vocal group founded by George Clinton, who would ultimately take the group in new and bizarre directions, to say the least.
As for this version, it was pretty good, and Johnny gave a nicely soulful vocal delivery.

39. Day Is Done/Peter, Paul, & Mary--Another release that I had never heard before, but one that I was similarly impressed by.  It sounded gently sweet and pleasant.

38. I Can Sing A Rainbow/Love Is Blue/The Dells--Wow, three songs in a row that were new to me.  This was probably my favorite of those three.  It was intriguingly soulful, and I was fascinated to hear, probably for the first time, a vocal version of that gorgeous charttopping instrumental "Love Is Blue".

37. Baby, I Love You/Andy Kim--This was the first of two remakes of Ronettes songs he would release in a year's time. And not to disparage the  group or Phil Spector, Andy outdoes the Ronettes on both songs.  I particularly love this release for the lush tension created by the dense wall-of-sound production.

36. With Pen In Hand/Vicki Carr--Still another song I had never heard before, although I liked her dramatic top ten hit "It Must Be Him".  (Her singing style and the overall arrangement are similar in both songs.)  What I found most intriguing about this song are the profound lyrics, which told of a divorce and the mother's heartwrenching decision to give custody of her daughter to the father, which, at the time, was probably highly unusual.

35. In The Year 2525/Zager & Evans--This massive hit must be proof positive that the record-buying public that summer had way too many mind-altering substances in their brains to embrace this gloomy, yet lyrically laughable piece of excrement.  It's a shame, because, actually, the arrangement, with its strong acoustic guitars and dramatic strings, isn't bad, but the annoying vocals and those hideous, apocalyptic lyrics are the dirty fingers in otherwise would be a rather tasty pie (to borrow from Don Henley).

34. The Popcorn/James Brown--This funky, peppy instrumental was the first of five "popcorn" songs by the Godfather to make the charts.  (A second one appears later in the countdown.)

33. Guitarzan/Ray Stevens--Cute, clever novelty hit that always puts a smile on my face.  Ray Stevens has quite a talent for creating novelty songs that are funny without being offensive or vulgar.

32. I Turn You On/The Isley Brothers--So-so, at best.

31. No Matter What Sign You Are/Diana Ross & The Supremes--Although I couldn't care less about astrology, I did love this song.  It had a very radiant sound, with great guitar work.  I alway enjoy discovering a lost old school R&B song like this one.

30. Atlantis/Donovan--I have always enjoyed this haunting, dramatic release, with its soft-spoken recitation in the first half and the stirring chorus in the second half, repeated over and over.  I have always wondered if there is any credible evidence that Atlantis actually existed, or if it just existed in folklore.

29. Oh, Happy Day/The Edwin Hawkins Singers--This powerfully sung gospel release is proof that one should never underestimate the appeal of a fine black gospel number.  This song makes me wish that more such songs would be released in the secular market.  I refuse to believe this record was a mere fluke.

28. See/The Rascals--I seem to recall that this was a nicely energetic psychedelic number, and the vocals made them sound like Mouse & The Traps (Remember that group?  They had a minor hit with the Dylan-influenced "A Public Execution", a great song I have on my "Nuggets" box set, along with another of their songs, "Maid Of Sugar, Maid Of Spice".)

Hey, a big shout out to you, bestmusicexpert, for playing two great records between hours 1 & 2.
First, thanks for playing "The Flying Saucer, Pts I & II", that hilarious groundbreaking break-in record!  Also, I loved that great instrumental that followed it, with its punchy horns.  If you remember what that song was, can you please fill me in on title and artist? Thank you.
Now back to the countdown.

27. Moody Woman/Jerry Butler--Another great old school R&B song that I discovered for the first time.  It had a hard-driving Philly Soul sound, typical of the Ice Man's style at the time.

26. Aquarious/Let The Sunshine In/The Fifth Dimension--The year 1969 was probably the first in which my memories are somewhat clear and vivid (I was five at the time).  And there are very few songs that leave as big a musical footprint on that year as this majestic, gorgeously sung megahit; it was all over the radio.  I love the exotic opening, the punchy horns, and those larger-than-life harmonies.

25. Medicine Man/The Buchanan Brothers--Mildly catchy, but far from great.

24. Let Me/Paul Revere & The Raiders--This probably ties with "Him Or Me" as my favorite song by this band.  The hard-driving rhythm and call-and-response vocals in that infectious chorus just blows me away!  I had once heard that Revere or Mark Lindsay wrote and/or produced it solely to create a shallow, disposable pop hit but with an irresistible hook.  I would say they succeeded, not that there's anything wrong with a shallow pop hit done right.

23. Everyday With You Girl/The Classics IV--A very smooth, gentle pop hit with sweet lyrics.  The saxophone part in the middle spices up the arrangement nicely.

22. My Cherie Amour/Stevie Wonder--A sweet, stirring Motown classic, with a gorgeous, string-and-flute infused arrangement, and soulful, heartfelt vocals by an artist at the top of his vocal game.  How can one not love hearing that "Da da DA DA DA DA!" opening?

21. More Today Than Yesterday/The Spiral Staircase--This is one peppy, sunny, radiant horn-pop classic.  And, yes, its lyrical theme is similar to the above Classics IV hit.

20. Don't Let The Joneses Get You Down/The Temptations--Still another soul release that I was discovering for the first time.  It was similar to its two predecessors ("Cloud Nine" and "Runaway Child, Running Wild") in that it was nicely upbeat and had a sound message.

19. Mother Popcorn (You Got To Have A Mother For Me)/Well, even though I was still full from eating a big supper, you still had to serve me more popcorn .   That's OK, though; I'm never too full for a good helping of infectiously funky James Brown music.

18. Crystal Blue Persuasion/Tommy James & The Shondells--This fine song, with its sharp guitar riff and soulful vocals, is another of those ubiquitous songs I remember vividly from that summer.   I have read that Tommy James got the "crystal blue" reference from the Bible (that phrase being a synonym for truth).

17. These Eyes/The Guess Who--With its sharp, jazzy organ, beautiful strings, and Burton Cummings' massive vocals, this is one of my favorite songs by this group.

16. What Does It Take (To Win Your Love)/Junior Walker & The All Stars--Mr. Walker's tremendous sax parts blend in well with the easy, relaxed arrangement.

15. Love Me Tonight/Tom Jones--Oh, how I remember my late father playing lots of 45 singles by this guy and the similar-sounding Engelbert Humperdinck, each of whose records featuring a smiling Parrot with top hat and cane, symbolizing the record label.   As for this release, the nostalgia factor makes it somewhat fun and appealing, but his brash personality does wear on me after a while.

14. Black Pearl/Sonny Charles & The Checkmates, Ltd--A beautiful song with a delightfully dense arrangement (courtesy of Phil Spector) and sincere, soulful vocals.  This is another song that I remember vividly at the time.

13. Color Him Father/The Winstons--Man, is the best of old school R&B represented heavily in the  countdown or what?  Between the assertive strings, exquisite vocal harmonies, and the inspirational lyrics dedicated to one fine, loving father, this is a highly enjoyable lost R&B hit.

12. Love Can Make You Happy/Mercy--This smooth, heavenly-sounding ballad is still another song that takes me back to that summer.

11. The Ballad Of John & Yoko/The Beatles--On the other hand, I don't remember this song at the time and it's just as well.  I find it trite, whiny, and sacreligious. (John, please, don't even TRY to compare yourself to Jesus Christ!)

10. Grazing In The Grass/The Friends Of Distinction--There are few songs that earn the label "musical sunshine" more than this exhilarating, joyous soul hit.  It has an irresisibly punchy horn intro, high-octane arrangement, and delightfully spastic vocals, singing the "I can dig it, he can dig it" part so fast, it's almost a superhuman feat.

9. Israelites/Desmond Decker & The Aces--At the time, and for years afterwards, I considered this unique single to be too bizarre and freakish to enjoy.  I used to think "What does this song have to do with God's chosen people in the Old Testament?"  I eventually learned the Rastafarian explanation and grew to enjoy the reggae rhythm and arrangement.  And although I even ultimately learned the impossible-to-decipher lyrics, I still love how cryptic they sound.  (It's funny how the "Bonnie and Clyde" reference is one of the few lines that is clear.)

8. Good Morning, Starshine/Oliver--Another sweet, highly enjoyable hit I remember clearly from that summer.  I love the strong melody, Oliver's powerful delivery, and the nonsense words sprinkled throughout.

7. In The Ghetto/Elvis Presley--The King gives a strong vocal delivery on this fine record which tells the tragic tale of a poor inner city kid who never got a chance to grow up and lead a happy life.

6. Spinning Wheel/Blood, Sweat, & Tears--It has a nicely dramatic brass arrangement, but I like their other two runner-up songs from that year better.

5. One/Three Dog Night--I can take it or leave it.  They would release vastly better songs later.

4. Too Busy Thinking About My Baby/Marvin Gaye--Simultaneously funky yet beautifully smooth, this is another solid Marvin Gaye release.

3. Get Back/The Beatles w/Billy Preston--Although an improvement over that obnoxious song at #11, this is still basically a song I can take or leave.

2. Bad Moon Rising/Credence Clearwater Revival--This annoying honky-tonk release is perfect case-in-point as to why I consider this band to be sometimes enjoyable, but mostly overrated.

1. Love Theme  From "Romeo & Juliet"/Henry Mancini--If the typical pop/rock fan can get over the fact that this unlikely hit is neither pop nor rock but neo-classical, it's not hard to grow fond of the sweet, stellar orchestral arrangement.  

And my favorite song of the countdown (Drum roll):

The electrifying "Grazing In The Grass"

Thanks for reading. Have a great holiday.
  
 

[bestmusicexpert]

The song was Cotton Candy by Al Hirt.

I pick the in between hours music so if ever any questions. I'd be able to tell you.

Thanks again, love reading these.

[slf]

For the week ending August 31, 1968:

OK, after a two month drought, I'm finally going to summon the ambition to do another critique. (I came close to doing one for the 1966 countdown, but felt just too wore out, or maybe lazy, that week.)  Like most weekly countdowns from the mid-late '60's, there were many old favorites and newly-discovered goodies. So here we go:

40. You Met Your Match/Stevie Wonder--This countdown began with three fine R&B songs that I was unfamiliar with, beginning with Motown's by then 18-year-old genius.  And although this song was sharp, happy, and sprightly, the lyrics struck me as sexist and hostile, almost as if Stevie was singing from the perspective of one who wanted to force himself on a woman .

39. Special Occasion/Smokey Robinson & The Miracles--Although this selection sounded musically generic and formulaic, that's not necessarily a bad thing when it's the mighty tasty Motown formula with that appealing Smokey aroma.

38. Love I Like A Baseball Game/The Intruders--I forget exactly how this song went (in truth, I forget exactly how the two preceding songs went as well), but I remember it sharing  the same stirring Philly-Soul arrangement as "Cowboys To Girls", complete with the bold strings and assertive horn blasts.

37. Tuesday Afternoon/The Moody Blues--This song, along with "Ride My Seesaw", were what made me a solid fan of this truly splendid art-rock band.  I love how the haunting, ethereal first part of the song gives way to the carefree, acoustic-strumming part two, then back to the first arrrangement, then the acoustic fadeout accompanied by a sweet flute.  Who could have guessed that, four years later, the album this song came from (Days Of Future Passed) would have a second cut released from it, "Nights In White Satin", which would be this group's biggest hit ever?

36. Down At Lulu's/The Ohio Express--I was unfamiliar with this song, but I found it just as mediocre as most of this studio group's bubblegum hits. (The only hit credited to this band that I like is the infectiously rockin' garage band classic "Beg, Borrow, And Steal", which is on Disc 3 of my "Nuggets" box set.  But the liner notes say it was by a group called The Rare Breed.  But I had heard the song many times in the past on the radio and it was always introduced as by The Ohio Express.  Since you are the "bestmusicexpert", can you please fill me in on what's what with that song?) Sorry for digressing; back to the countdown:

35. I Get The Sweetest Feeling/Jackie Wilson--Another lost soul hit that was new to me, but I was impressed with the fun, swinging Motown feel of the song.  It's so sad that such a massive musical talent and showman should die at such a young age.  If he were alive today, who knows; he still might be a concert draw, like Tony Bennett or Stevie Wonder.

34. The Eyes Of A New York Woman/B. J. Thomas--This lively, sweet love song is one of my favorite songs by this guy.  I also enjoy the twangy guitar parts; they remind me of the twangy guitar from "Cry Like A Baby", the Box Tops hit from earlier in the year.

33. Mr. Businessman/Ray Stevens--WOW! The artist best known for wild, zany novelty songs gets dead serious and downright indignant in this powerful Top 40 admonition.  Which, to me, makes him the perfect singer to release a message song like this.  If you ask me, it's far more jarring and gut-wrenching to be rebuked by an otherwise happy-go-lucky clown than by a normal person.

32. Magic Bus/The Who--With its sharp percussion, charmingly understated guitar and bass, powerful harmonies, and lighthearted yet mysterious lyrics, this legendary band releases another winner.  But this band's best was yet to come. (Tommy, "Won't Get Fooled Again", etc)

31. Lady Willpower/Gary Puckett & The Union Gap--Although Gary's operatic voice is as grand as ever, as is the big-band arrangement, this song isn't quite as good as "Woman, Woman" or "Young Girl".

30. Halfway To Paradise/Bobby Vinton--As bland as all his other hits not titled "Blue Velvet".

29. Slip Away/Clarence Carter--Although the soulful arrangement isn't bad, I've never cared much for this song, mainly due to the sordid, illicit nature of the relationship described in the lyrics.  (But at least he doesn't whine and whimper like he does in the sappy "Patches".)

28. Pictures Of Matchstick Men/The Status Quo--With its bold, ubiquitous, twangy guitar riff, and its unique psychedelic arrangement, this is one memorable, fun lost oldie. This is another of those British groups, like T. Rex, that were one-hit wonders in the states, but were hit-making machines in their native UK, with a hit streak that stretched even into the '80's.

27. Alice Long (You're Still My Favorite Girlfriend)/Tommy Boyce & Bobby Hart--Great lost hit!  I particularly love the powerful chorus, which just chugs along like a steam locomotive. BTW, it's hard to see this song title and not think of the similarly named Alice Lon. (Remember her? She was Lawrence Welk's original Champagne Lady before he fired her.  I guess she wasn't HIS favorite girlfriend

26. Please Return Your Love/The Temptations--Another pretty, string-drenched Motown ballad.    I believe this was the group's last chart hit before turning psychedelic.  I noticed Eddie Kendricks took the lead, with David Ruffin nowhere to be heard.  I have a feeling he had gotten the boot by this time and Dennis Edwards had not yet joined, meaning that there were only four Tempts on this record.  Am I right?

25. I Say Little Prayer/Aretha Franklin--The Queen of Soul's top-notch wailing and her call-and-response with the backup singers make this cover version of the Dionne Warwick standard more interesting than the original.

24. Do It Again/The Beach Boys--It mystifies me how one of the group's most lame and  monotonous hits can both hit #1 on the British charts and be one of Brian Wilson's favorite Beach Boy songs. Gimme the Steely Dan song with the same title any day over this.

23. Hurdy Gurdy Man/Donovan--Now I know why this song sounds so delightfully exotic and hypnotic. Mr Leitch had 3/4 of the future band Led Zeppelin backing him up. I wonder if Jimmy Page has ever been tempted to buy the rights to this recording and re-release it with Donovan's vocals replaced by Robert Plant's, and put it on a Led Zeppelin album.  That would be an interesting listen, to say the least. (Although various people and record companies probably wouldn't allow such a recording to see the light of day.)

22. Stone Soul Picnic/The Fifth Dimension--This is a typical gorgeous 5D release, with the usual stellar harmonies and punchy horn production.

21. Dream A Little Dream Of Me/Mama Cass--With a sparse but sweet arrangement, rich vocals by Mama Cass, and pleasant backup vocals (I believe courtesy of her three ex-vocalmates) it's impossible not to like this pop music lullaby.  But, again, Mama Cass' best solo recordings were yet to come, IMHO.

20. The House That Jack Built/Aretha Franklin--It's a fairly fun, lively soul number, but I like Aretha's other countdown hit better.

19. Sealed With A Kiss/Gary Lewis & The Playboys--Boy, talk about ending your recording career with a whimper!  The same group that gave us sharp, sparkling singles like "Count Me In", "She's Just My Style", and "My Heart's Symphony" let us down with their last Top 40 release, which is embarrassingly lame and wimpy.

18. The Fool On The Hill/Sergio Mendes & Brasil 66--I love this mellow, exotic, Latin-tinged hit
almost as much as their previous hit "The Look Of Love".  I especially love how the female vocalists let the tension build as they elongate the word "worl-l-l-l-d" , then provide the release with the phrase "spinning round" followed by the mellow horn.

17. Soul Limbo/Booker T. & The MG's--Although not quite rising to the heights of "Hang 'Em High" or "Time Is Tight", this soul instrumental is still a winner, with its fine organ melody line and Caribbean rhythm.

16.  Journey To The Center Of The Mind/The Amboy Dukes--Wow, is this one of the most electrifying psychedelic hits of all time or what?  It opens with an explosion of cymbals, and the rhythm guitar, bass, and drums begin the amazing musical locomotive ride.  Then Ted Nugent's blistering guitar wails on for several mesmorizing seconds before John Drake's menacing vocals tell of this "journey" he wants to take us on (probably with the help of certain illegal substances.)  The devoutly anti-drug Nugent was once quoted as saying he had no idea that the song was written about drugs.  (Huh?)  For this reason, I really ought not love this song, but it has such power and hard rock majesty, I just  can't resist.

15. Love Makes A Woman/Barbara Acklin--Here we have back-to-back one-hit wonders and this one is almost as fantastic as the previous one.  The basic R&B riff play over and over is one of the finest, catchiest ones in the history of soul music.  This song deserves better than its obscure oldie status and the late Ms Acklin deserved to have many hits, not just this one.

14. Hush/Deep Purple--This is one wildly fun, frenetic rocker.  I think I heard Casey Kasem himself say once that this song opens with the actual sound of wolves howling. 

13. Classical Gas/Mason Williams--I remember this instrumental hit being quite ubiquitous on the radio when I was a wee lad in the late '60's.  I guess that's why I grew to love it as one of my favorite late '60's oldies.  The song's joyous rhythm is first powered by Mr. Williams' eloquent acoustic guitar, then taken over by a delightfully bombastic orchestra, which sounds like an early incarnation of Trans-Siberian Orchestra.  The majesty of this amazing instrumental is just intoxicating.  It's one of the perfect songs to jam to while cruising along the interstates above a big city, like Indy or Chicago, on a sunny summer afternoon; it has that perfect big-city feel.

12. 1,2,3 Red Light/1910 Fruitgum Company--I can take it or leave it.

11. Turn Around, Look At Me/The Vogues--Although I find it a tad boring, I do enjoy the group's impeccable harmonies and the bombastic ending.

10. Stay In My Corner/The Dells--Another sweet, lush orchestrated ballad, like the previous song but sounding fresher.

9. I Can't Stop Dancing/Archie Bell & The Drell--The group's charttopper from earlier that summer "Tighten Up" was a fun, catchy dance song, but it was a bit trite and repetitious.  They didn't achieve true greatness until they gave us this song. It has the same, even better musicianship, but, more importantly, it has a more complete melody with actual intelligent lyrics. My favorite parts of the song are the ends of each verse, which feature what sounds like sweet xylophone or marimba solos.

8.You're All I Need To Get By/Marvin Gaye & Tammi Terrell--Another amazing duet by the Sweethearts of Motown.  Each verse begins softly and gently, then the drama builds until their voices let loose gloriously in the choruses. 

7. Harper Valley PTA/Jeannie C. Riley--Here it is!  The song that, at least for many years, held the record for making the biggest leap within the Hot 100---74 notches!  (As knowledgeable as you are, do you have any explanation for the massive surge in popularity of this song in a week's time. Was it due to a much-watched TV performance, or some other singular event?)  As for the song, it is indeed one of the all time great story songs.  The way Mrs. Johnson "Socks it to" the townsfolk for their hypocrisy was probably greatly admired by the anti-establishment crowd, which no doubt contributed to it being a massive pop hit as well a country hit.

6. You Keep Me Hangin' On/Vanilla Fudge--This cover version of the Supremes classic is too outrageous not to be somewhat interesting, but the plodding, lumbering feel of the song wears on me real fast.

5. Sunshine Of Your Love/Cream--Next to "Layla", this is probably my favorite Eric Clapton song.  While it has some of the sluggish feel of the previous song, the classic bouncy riff played throughout gives this classic a fun, happy feel lacking in the Vanilla Fudge song.
 (BTW, was it Clapton or the late Jack Bruce singing lead, or did they alternate.)

4. Hello, I Love You/The Doors--Although the musicians of the band are as sharp as ever, this Doors hit is not nearly as interesting as "Light My Fire", "Touch Me", or "LA Woman".

3. Light My Fire/Jose Feliciano--This legendary Latin performer, using mostly just his soulful voice and his blistering acoustic guitar, set this Doors megahit "on fire", delivering a breathtaking cover version.

2. Born To Be Wild/Steppenwolf--It's a fairly enjoyable rocker, but it has suffered greatly from overplay through the years.

1. People Got To Be Free/The Rascals--A fairly pleasant song with an overall nice message about peace and brotherhood, but one thing in the lyrics sticks in my crawl.  It's the line "and I will do unto you what you do to me."  I think Felix & the boys betray their ignorance on what the Golden Rule REALLY says, which is:  Do unto others as you would HAVE THEM do unto you.

And my favorite song of the countdown:
 
Again, lots of contenders, but I gotta fill my tank with "Classical Gas"

Thank you and good nigh!

[bestmusicexpert]

Great critique always!

To answer questions.

Ohio Express was always faceless studio players. Rare Breed was probably selected for that song.

Motown stuff is always hard to identify. I mean, who knew that once they were Diana Ross & The Supremes, she was the only "Supreme" on their records? It isn't as if that was advertised.

As for Harper Valley PTA, not sure but being a crossover hit helped I'm sure.

[mitchm]

I have decided to do an occasional review of these countdowns, and this is one I just can't skip. I was new to listening to radio at 08/31/1968, having started listening regularly about 11/1967, so this is less than a year later. On 08/31/1968, I was just starting 9th grade in Sioux Falls, SD, (a life-long resident in Sioux Falls).

40. Stevie Wonder-You Met Your Match. I hadn't ever heard this song until this countdown - I'm not that impressed. Ok, but not that memorable.
39. Smokey Robinson-Special Occasion. I had never heard this one either - nothing special.
38. Intruders-Love Is Like a Baseball Game. Didn't hear in 1968. Only heard a few times before. I wanted to like the song because I have been a big baseball fan, but I was disappointed.
37. Moody Blues-Tuesday Afternoon. Only heard a few times in the 60's. I love the song. I think it holds up well vs. any other Moody Blues song. Should have gotten much higher than #24 (maybe #5?).
36. Ohio Express-Down at Lulu's. Haven't heard much since 1968, but I liked it then and still like it. Bubblegum was a short-lived craze and was already ending, but I never got sick of it.

35. Jackie Wilson-I Get the Sweetest Feeling. OK song - wasn't played much in Sioux Falls in 1968. I appreciate it a lot more now in 2015 than I did back then.
34. B.J. Thomas-Eyes of a New York Woman. I really liked this song then and now, but it didn't do much nationally (#28). It reached #3 in Sioux Falls, I believe. In 1968 it was hard to find out how a song was doing nationally (no Casey Kasem show, no internet, etc.), so I was surprised and disappointed to learn it wasn't a big national hit when I found that out a few years later.
33. Ray Stevens-Mr. Businessman. I really liked this song but it has received very little airplay since 1968. I think I've heard it 3 or 4 times now in the last 2 months, which is probably more than I had heard it in the previous 40 years.
32. Who-Magic Bus. I kind of like the song, but I thought the words were silly when I first heard it, and it still seems like a weak idea for a song (at least to me).
31. Gary Puckett-Lady Willpower. I have always loved this song (along with "Woman Woman" and "Young Girl"). One of my 5 favorite songs of the decade. The 3 songs are pretty much interchangable.

30. Bobby Vinton-Halfway to Paradise. I don't believe I had ever heard this song until this countdown, which surprises me. Bobby Vinton was very popular in Sioux Falls, but I suspect the program director didn't like him (the PD was from Philadelphia - Bobby may have been less popular there. The PD liked "American Bandstand"/dance type music.)
29. Slip Away-Clarence Carter. Not my kind of music in 1968. I tolerate it a lot better now, but I was pretty negative towards it back then.
28. Status Quo-Pictures of Matchstick Men. I really like the opening instrumental part - I wish more of their music had been played in the USA.
27. Boyce & Hart-Alice Long. I like it, but it has aged poorly. I am glad to hear it occasionally, which is why I like countdowns. This song gets no airplay without countdowns.
26. Temptations-Please Return Your Love to Me. I had never heard this song before either. Not one of the Temptations better songs.

25. Aretha Franklin-I Say a Little Prayer. I never heard this in the 60's, so I much prefer Dionne Warwick's version.
24. Beach Boys-Do It Again. I like this song, but it is surprising to me that the Beach Boys thought so highly of it. I had never heard that before.
23. Donovan-Hurdy Gurdy Man. I am not a big Donovan fan - I'm surprised this song reached #5 nationally.
22. Fifth Dimension-Stoned Soul Picnic. I liked the 5th Dimension, and this song is just one of their typical songs.
21. Mama Cass-Dream a Little Dream of Me. I sure miss Mama Cass - I liked all of her songs. This is one of her better ones.

20. Aretha Franklin-House That Jack Built. This song also received zero airplay. I've heard it 5 times or less, but I am not that impressed. I liked 80's Aretha much better than most of her 60's songs.
19. Gary Lewis-Sealed With a Kiss. Never play in Sioux Falls in 1968. I usually liked all Gary's songs, but this is one of his poorest, if not the poorest.
18. Sergio Mendes-Fool on the Hill. I like this song as much by Sergio as by the Beatles. But it is just a middle of the road song by both of them.
17. Booker T-Soul Limbo. I am not a big instrumental fan. This song struck me as very non-memorable.
16. Amboy Dukes-Journey to the Center of the Mind. This is the song on this Top 40 that has improved the most for me from 1968 to 2015. I just now have a much greater appreciation of rock guitar songs.

15. Barbara Acklin-Love Makes a Woman. This is the first time I had ever heard any song by Barbara. It didn't grow on me at all.
14. Deep Purple-Hush. I liked this in 1968 and I like it better now.
13. Mason Williams-Classical Gas. The first 10 times I heard this in 1968, I thought it was a "golden oldie" (because of the title). Pretty good for an instrumental.
12. 1910 Fruitgum Company-1,2,3 Red Light. Another end-of-era bubble gum song. Quite a drop-off from "Simon Says".
11. Vogues-Turn Around Look at Me. One of the few songs that I liked better in 1968 than I do now. The only songs I got sick of were the "sugary" songs like from Vogues/Lettermen/Bobby Vinton, etc. My defense is I was just a kid - what did I know? My musical tastes weren't permanent yet.

10. Dells-Stay in My Corner. Never heard this before and didn't like it. The one Dells song I can think of that I liked was "There Is" and this one did much better. My opinion is that everyone else is wrong.
9. Archie Bell-I Can't Stop Dancing. This was a step up from "Tighten Up", but I really disliked "Tighten Up" in 1968. I like them both better now.
8. Marvin Gaye/Tammi Terrell-You're All I Need to Get By. I liked most of Marvin's songs, this one included.
7. Jeannie C Riley-Harper Valley PTA. I guess my anti-country biases weren't fully developed in 1968, because I kind of liked this song then. It is much too country for my taste now.
6. Vanilla Fudge-You Keep Me Hanging On. Too slow for my taste. I would like it a lot more if they had picked up the pace, but Vanilla Fudge didn't ever do that.

5. Cream-Sunshine of Your Love. Another song I didn't really care for in 1968, but by the mid-80's I appreciated this kind of music much more.
4. Doors-Hello, I Love You. One of the Doors better songs, but falls way short of "Light My Fire".
3. Jose Feleciano-Light My Fire. Speaking of Light My Fire, I absolutely hated Jose's version of this song in 1968. I tolerate it better now, but it is still by far my least favorite song in this week's Top 40. I was very glad Jose had a short career. I heard this song a lot between 1968 and 1973, but thankfully not much since.
2. Steppenwolf-Born to Be Wild. I liked this song in 1968, but it wasn't until I saw the movie "Easy Rider" in 1969 that I loved this song. What an adreneline rush!! It was that movie that made this song the overplayed classic it still is today.
1. Rascals-People Got to Be Free. The words to this song didn't really reach me in 1968, so I considered this a lesser song by the Rascals. I'm still not a big fan of the music, but the words mean much more these 47 years later.

I have a theory that everyone likes the music that comes out when you are 13 or 14 years old, and the five or so people I have talked to about this all agree with me 100% that when they were 13 or 14, it was a very good year musically for them. That would be 1967 and 1968 for me, and 1967 is certainly a contender for my favorite year ever, with 1968 not too far behind. There were a lot a mediocre songs in those two years, but the classics were among the best ever. Does anyone know anybody who disliked the music when they were that age?

I promised myself I would only list my 5 favorite songs from this countdown, but I could easily list 15 as 08/1968 had many great songs. Here are my top 5 for this Top 40.

5. Amboy Dukes-Journey to the Center of the Mind
4. B.J. Thomas-Eyes of a New York Woman
3. Steppenwolf-Born to Be Wild
2. Moody Blues-Tuesday Afternoon
1. Gary Puckett-Lady Willpower

[mitchm]

Here are my thoughts on some of the extras that were played on the 08/31/1968 Countdown. I think the extras are only played on the runs by Rewind Central.

Outsiders-Help Me Girl. Great song. Please play some Outsiders in your Two-fer-Tuesday mix. I think they had 4 hits.

#1 songs of 08/1958. I like this feature of going back 10 years. Please keep it up.

B-Side Spotlight. Please be sure to specify why this one was picked when you usually have 40 options. Most of them have been pretty good choices.

Spanky & Our Gang-Give a d**n. I must have seen the Smothers Brothers show where this was played, because I know I never heard the song on the radio (didn't realize it had been banned) and I do remember watching it on TV once. I watched the Smother Brothers most of the time.

#1 Album. Good feature. I am glad you usually pick a song that receives little or no airplay.

[slf]

Great critique, mitchm!  I've been hoping that my critiques would inspire others to join me and give their opinions, whether they agree or disagree.  I'd love for this thread to be as widely followed as the "Chart Critiques" thread on the "AT40 Classics" page.  I'm like you in that some of my all-time favorite pop songs are also from the late '60's.  However, I was only a small child (preschool age) at the time, therefore, with me, my tastes were formulated during those impressionable years.  In other words, my absolute favorites were hits in my early childhood, not in my early teen years, contrary to your hypothesis.  (Your theory may be true for many, just not everybody.)  I hope to read more chart summations from you and other readers.

[1finemrg]

Sept 7, 2015 14:49:35 GMT -5 mitchm said:

Outsiders-Help Me Girl. Great song. Please play some Outsiders in your Two-fer-Tuesday mix. I think they had 4 hits.

Two bits of trivia about "Help Me Girl" (sorry if previously mentioned)...

- The Outsiders version had to compete with a second version by Eric Burdon & The Animals. The Animals version debuted 4 weeks after the Outsiders, and ended up peaking higher (#29 versus #37).
- The Outsiders version was produced by Charles (Chuck) Mangione who would have Top 40 success in the late 70s.

[mitchm]

Sept 9, 2015 5:09:22 GMT -5 1finemrg said:

Sept 7, 2015 14:49:35 GMT -5 mitchm said:

Outsiders-Help Me Girl. Great song. Please play some Outsiders in your Two-fer-Tuesday mix. I think they had 4 hits.

Two bits of trivia about "Help Me Girl" (sorry if previously mentioned)...

- The Outsiders version had to compete with a second version by Eric Burdon & The Animals. The Animals version debuted 4 weeks after the Outsiders, and ended up peaking higher (#29 versus #37).
- The Outsiders version was produced by Charles (Chuck) Mangione who would have Top 40 success in the late 70s.

Thanks for commenting on my comment.  I have never heard the "Animals" version of this song and didn't even know it existed.