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Post by bestmusicexpert on Sept 10, 2015 5:04:48 GMT -5
Outsiders will get played on the Tuesday mix. You like it so far?
The b side spotlight is relatively random. But to be honest I usually pick a song I dig.
Glad you're all enjoying the show! Much more to come and at the end of the year. We've got a 1960's year end top 100 coming!
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Post by bestmusicexpert on Sept 10, 2015 10:03:59 GMT -5
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. The countdown "Bonus Tracks" I introduce are on all of the airings. The last 5-8 minutes each hour are for Rewind Central only. But picked by me. Just oldies to fill the hour. The features are done every week though sometimes omitted if time doesn't allow.
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Post by mitchm on Sept 14, 2015 20:19:50 GMT -5
since I declared that 1967 was one of my favorite all-time years, I should probably do a critique on the 09/09/67 countdown. There is really no year between 1956 and 2015 that I really don't like some of the music, but my favorite streak of years would be 1964-1967. I wasn't listening to the radio very much in 09/1967, I started doing that about 2 months later, so there are several songs I was hearing for the first time on this countdown. I was just starting 8th grade in 09/1967.
40 Davie Allen-Blue's Theme. One of the best instrumentals from this period. I don't think I have heard it since the 60's. I saw all the motorcycle movies from this era - most of the movies stunk, but my friends liked them. 39 Martha & the Vandellas-Love Bug Leave My Heart Alone. I had never heard before. I liked most of Martha's songs, but this is one of her weakest. 38 Dean Martin-Little Ole Wine Drinker Me. Typical Dean Martin song I think I heard a few times in the 60's. I do like Dean's voice. 37 Bee Gees-To Love Somebody. I didn't like this song in the 60's but I appreciate it more now. Too slow. 36 Hollies-Carrie Anne. Not one of the Hollies best, but I liked it. "Bus Stop" is much better.
35 Simon & Garfunkel-Fakin It. I liked most Simon & Garfunkel songs, and this one is OK. I much prefer Garfunkel's voice. 34 Rascals-A Girl Like You. It peaked at #10, but I like it as well as most any Rascals song. 33 Brenton Wood-Gimme Little Sign. One of the better Soul songs of 1967. 32 Dionne Warwick-Windows of the World. This was the first time I heard this song. Dionne usually did better - I really like "I Say a Little Prayer". 31 Booker T-Groovin. An instrumental following a #1 song by 3 or 4 months? I don't mind it since I am so familiar with the original and first heard this 3 or 4 years ago, but too soon.
30 Frank Sinatra-The World We Knew. Never heard this song before. Frank is one of my favorites from the 40's, not the 60's. 29 Tommy James-Getting Together. Probably the best song on the countdown I had never heard before. Tommy knows how to rock. 28 Grass Roots-Things I Should Have Said. An underplayed favorite of mine. (BME, please note). 27 Mamas & Papas-Twelve Thirty. Typical song for them. I really like their sound. 26 Peter Paul & Mary-I Dig Rock n Roll Music- OK song, but I wish they hadn't dissed the Beatles.
25 Association-Never My Love. One of the best songs of one of my favorite groups. It still holds up well. 24 Paul Revere-I Had a Dream. I had never heard before (I think), and I wasn't that impressed. I love "Kicks" and "Hungry" by them. 23 Tremeloes-Silence is Golden. I still like this song quite a bit, but it is a little too "sugary" for me now. I completely understand why many people hate songs like this. 22 Stevie Wonder-I Was Made to Love Her. One of my favorite 60's Stevie songs, but his best songs were still years away. 21 Beach Boys-Heroes & Villians. How sad that he worked on this song for so long and only came up with this poor excuse. It has received little airplay since 1967.
20 Parliaments-I Wanna Testify. Not my kind of music. I don't even remember it well enough (after listening to the countdown twice) to comment on it. 19 Jackie Wilson-Your Love Keeps Lifting Me Higher and Higher. Jackie is one of my favorite early 60's soul singers. This song is a big reason why. 18 Wilson Pickett-Funky Broadway. I didn't like Wilson's music back in the 60's, but now I appreciate him much more. This is classic Wilson. 17 Donovan-There Is a Mountain. Typical Donovan nonsense, but I like the music. 16 Turtles-You Know What I Mean. One of my least favorites of one of my great groups. My most common complaint - the beat is too slow.
15 Neil Diamond-Thank the Lord For the Nighttime. Neil consistently put out good songs for his whole career. This one fits the pattern nicely. 14 Van Morrison-Brown Eyed Girl. My favorite song by Van. Overplayed, but that doesn't bother me a bit. 13 Monkees-Pleasant Valley Sunday. I really like this song, but my little sister loved it and played it all the time in the summer of 67. Now that I only hear it once a month, its OK. 12 Monkees-Words. One of my favorite Monkees songs. I don't think I heard it between 1975-2010. Always happy when they play it now. 11 James Brown-Cold Sweat. James was just too soulful for me back in the 60's. I thought James was one of the worst singers on the planet back then. Now I laugh at myself for feeling that way back then.
10 Animals-San Franciscan Nights. I'm not a big fan of songs where they talk as much as sing, but I like this one. It is more about the words than the voice in this song. 9 Jay & the Techniques-Apples Peaches Pumpkin Pie. Although Jay's career was short, I really liked this song and "Keep the Ball Rollin". 8 Doors-Light My Fire. A contender for my favorite song of 1967. Greatly overplayed in the opinion of many, but I will always love it. 7 Temptations-You're My Everything. I had never heard before. It didn't make much of an impression on me. 6 Beatles-All You Need Is Love. An OK song, but I got spoiled by their early rockers.
5 Box Tops-The Letter. I still can't believe the lead singer was only 16. Good, but not good enough that it should have been #1 for 4 weeks. 4 Aretha Franklin-Baby I Love You. Aretha doesn't impress me much with this song. "Respect" was the only song by her I liked back in the 60's. 3 Bobby Vee-Come Back When You Grow Up. Probably my favorite song by him. 2 Supremes-Reflections. This doesn't rank among their best work. 1 Bobbie Gentry-Ode to Billie Joe. Way too country for my taste. Hard for me to believe it was #1 for 4 weeks. It would have peaked at #25 or so if I ran the charts.
My 5 favorite songs on this countdown are:
5 Neil Diamond-Thank the Lord for the Nighttime 4 Box Tops-The Letter 3 Association-Never My Love 2 Monkees-Words 1 Doors-Light My Fire (#1 by a wide margin)
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Post by mkarns on Sept 15, 2015 16:34:56 GMT -5
Speaking of 60s biker/motorcycle films, Casey Kasem appeared in three of them ("The Glory Stompers", "Wild Wheels", and "The Cycle Savages".) Needless to say, these did not launch him (or probably any other aspiring actors) onto Hollywood's A-list. But in 1969 Hanna-Barbera found a better use for his talents, and we all know what he was helping develop for a mid-1970 launch.
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Post by slf on Sept 24, 2015 10:09:11 GMT -5
For the week ending September 19, 1964: 40. Let It Be Me/Betty Everett & Jerry Butler--Although it's hard to knock the heavenly harmonies of the Everly Bros, this cover version of one of their hits beats the original. I love the dramatic strings and any song is better with the Ice Man's stirringly soulful voice. 39. Rhythm/Major Lance--This was the first of several songs that were new to me. And I was most impressed, as it sounded similar to his excellent Chicago soul classic "The Monkey Time". 38. You'll Never Get To Heaven If You Break My Heart/Dionne Warwick--I can take it or leave it. The Stylistics did a much more gorgeous and soulful version in the '70's. 37. From A Window/Billy J. Kramer & The Dakotas--On an earlier '60's critique, I made the assertion that many early British Invasion songs/groups exuded the same innocent charm as the teen idols they replaced on the U.S. charts. This song is perfect case-in-point. It's brimming with that gently rockin' yet happy, lighthearted sound which defined the Merseybeat groups. 36. Always Together/Al Martino--It was mildly pretty and sweet, but mostly forgettable. 35. Some Day We're Gonna Love Again/The Searchers--Like #39, this wonderful rocker was another great discovery. It has even more of the innocent Merseybeat charm as the great Billy J. Kramer number at #37. 34. When I Grow Up To Being A Man/The Beach Boy--Another fine Beach Boy classic with the usual stellar doo-wop style harmonies. I'm also intrigued by the mature, introspective lyrics and how the guys, especially at the end, count up in order (22..23...24..etc) their future birthdays, as if to say, "I'd better make some important decisions about my life soon, because the clock is ticking". 33. You Must Believe Me/The Impressions--It was a fairly smooth R&B song, but far from exceptional. 32. Matchbox/The Beatles--This Ringo-fronted Carl Perkins cover was so-so, at best. It pales in comparison to most of the great Beatles hits from their monumental breakout year in America. 31. How Do You Do It/Gerry & The Pacemakers--Another cute, fun Merseybeat rocker, although not as great as the ones at #35 and #37. 30. A Summer Song/Chad & Jeremy--A couple of this fine British duo's hits, "Yesterday's Gone" and "Willow Weep For Me" rank as some of my all-time favorite British Invasion songs. This one, although not quite rising to the heights of the other two, is still hauntingly beautiful, with stirring strings and sharp harmonies. [And now for something completely different] 29. Out Of Sight/James Brown--A fun, exhilarating early funk number. I have read numerous times that "Papa's Got A Brand New Bag" was the R&B song that revolutionized the genre, that broke the rules in that, for the first time, the beat was put on the 1st and 3rd notes, verses the 2nd and 4th. This song, to me, sounds like "Papa" before the rule change took place. 28. And I Love Her/The Beatles--It's a pleasant, touching love ballad, but, in general, I love the more upbeat early Beatles song better. 27. You Never Can Tell/Chuck Berry--This catchy, intriguing story song is my favorite of Chuck Berry's three comeback hits of 1964. It's also refreshing to hear a pop/rock song celebrating marriage and domestic life. 26. It's All Over Now/The Rolling Stones--A slightly above-average Stones release with nicely-menacing guitar work. I remember in the early '80's this song was covered by, of all people, honky-tonk country singer John Anderson, best known for "Swingin" on the front porch with little Charlotte. 25. I'm On The Outside Looking In/Little Anthony & The Imperials--This sparse arrangement, the smooth backup harmonies, and the slight echo chamber production make this soul number beautifully haunting. 24. Under The Boardwalk/The Drifters--A mostly mediocre, overplayed oldie, although Johnny Moore's lead vocals are enjoyably smooth. I have read from more than one source that Rudy Lewis was scheduled to do those vocals, but died either the night before or a few nights before the recording session was to take place. So an obviously distraught Johnny Moore had to step up and do them. That must have been a gut-wrenching task for him. 23. C'mon And Swim/Bobby Freeman--A fairly lively dance song, with brash, assertive horns. 22. Maybe I Know/Lesley Gore--With the possible exception of "California Nights" this is my favorite song by this singer. The chorus is just so catchy, yet, on a dime, turns dramatic at Lesley warbles "maybe I know that he's been untrue", with subtle yet powerful backup vocals between "that" and "he's". Producer Quincy Jones was smart to open the song with this powerful chorus hook. (BTW, RIP Lesley Gore! You were a great singer.) 21. Funny How Time Slips Away/Joe Hinton--So-so at best, but I did like the spoken-word parts. 20. We'll Sing In The Sunshine/Gale Garnett--I cannot knock the charms of this breezy, sing-along folk number, but the basic message of this song is ridiculous. Here we have a woman who tells a guy she likes that, basically, she'll never marry or otherwise commit to a man, but she'll stick around exactly one year. (Huh?) How did she decide on that arbitrary length of time? My advice to this man: don't take the bait. In fact, run for the hills! 19. In The Misty Moonlight/Jerry Wallace--This smooth, pleasant record is another one of those that I remember my late father owning and playing, along with another Jerry Wallace record "Primrose Lane". Mr. Wallace has a smooth, creamy voice and the female backups sound heavenly. 18. Save It For Me/The Four Seasons--I can take it or leave it. This group had some good-to-exceptional songs, but this is not one of them. 17. Clinging Vine/Bobby Vinton--Another week, another boring Bobby Vinton song. At least the title is rather intriguing. 16. It Hurts To Be In Love/Gene Pitney--This is one frenetic pop song, with a booming beat, delightfully shrill organ, radiant female backup singers, and, of course, Mr. Pitney's over-the-top wailing. In spite of all this, some of the lyrics hit too close to home, especially when he sings, "It hurts to love her so/When deep down inside you know/she will never want you/No matter what you do". That, my friends, is unrequited love in a nutshell, something I know about all too well. 15. Baby, I Need Your Lovin'/The Four Tops--With a crashing of drums and an iconic doo-wop riff, the pop music world was introduced to one of the finest R&B vocal groups. And although this is far from my favorite of their songs, it's still enjoyably dramatic. 14. Haunted House/Jumpin' Gene Simmons--The frenetic horn riff paired with campy, yet creepy lyrics combine to produce a very fun Halloween classic. 13. Maybelline/Johnny Rivers--Although not as good as Chuck Berry's iconic original, it has a nice rockin' feel, and Johnny's Cajun-influenced vocals seem to fit the song nicely. 12. A Hard Day's Night/Although it has suffered from much overplay (like so many of the Beatles' iconic hits), I still find it a fun, exuberant rocker. My favorite parts are the two bridges, especially where John (I believe) hits the high notes on "feeling you holding me tight". 11. Selfish One/Jackie Ross--This is one of my favorite songs of the countdown and a great lost oldie. It begins with an arresting, bombastic orchestral opening (repeated twice), then you hear Ms. Ross' fine, slightly-hoarse vocals (sounding very similar to Mary Wells, IMHO), in which she pleads to the oblivious-acting object of her desire to stop ignoring her. Obviously, her pleadings did the trick, because the song ends happily, with the couple getting together. 10. Dancing In The Street/Martha & The Vandellas--This is one of Motown Records' best-loved and most highly-regarded hits of the '60's, and it's easy to see why. The opening drum roll and blast of horns hook you from the start. While the Funk Brothers continue the momentum, Martha's sassy, assertive vocals kick in, soon joined by her very capable soul sisters. My favorite feature of this song, however, is how the ladies sing the title. Martha sings "Dancin", then the others join in on "in the", then leave as Martha solos on "street". That whole way of singing it creates its own built-in rhythm which gives me goosebumps. 9. Do Wah Diddy Diddy/Manfred Mann--This is another of those oldies that has suffered from much overplay, but that does not completely diminish this song's many charms, including the vocal/rolling drum call-and-response parts and the overall sunny lyrics and spirit of the song. 8. Because/The Dave Clark Five--With its smooth vocals and irresistible bossa nova organ, this song proves that these rockers can knock one out of the park with a mellow number, as well. 7. Remember (Walkin' In The Sand)/The Shangri-Las--The drama queens of the girl group sound launch their career with this catchy, yet over-the-top sad love ballad. I especially love the splendid call-and-response delivery of the title in the chorus, with the sound of seagulls augmenting the beach atmosphere. 6. Everybody Loves Somebody/Dean Martin--This beautiful number is another soundtrack song from my early childhood, courtesy of my dad's record collection. The bombastic orchestral arrangement and Dean's sloppy yet sincere vocals combine to produce a stirring pop masterpiece that competed ably with the British musical onslaught. (It is quite ironic that in the Year Of The Beatles we also had charttoppers by Mr. Martin, Louis Armstrong, and Lorne Greene.) 5. G. T. O./Ronny & The Daytonas--It's OK, but pales in comparison to most Beach Boy songs. 4. Oh, Pretty Woman/Roy Orbison--Like "Do Wah Diddy Diddy", this has also been played to death on oldies radio over the years. But I still can't help but enjoy Roy's operatic vocals and the song's encouraging ending, where the "pretty woman" returns to the singer. 3. Where Did Our Love Go/The Supremes--This song is the perfect example of one group's "junk" being some other group's treasure. Because "junk" is exactly what Gladys Horton of the Marvelettes called this song and why she refused to record it. So this Holland-Dozier-Holland composition was given to the struggling Supremes and the rest is history. (I bet it wasn't long before Gladys had a "D-oh" moment! ) As for my opinion of the song, I love its incessant stepping beat and Diana's purring vocals. 2. Bread And Butter/The Newbeats--A fun, campy hit with delightfully stupid lyrics. Is it safe for me to assume, however, there's a naughty undercurrent to the innocent-sounding lyrics, as if they're not really praising bread and toast? 1. House Of The Rising Sun/The Animals--This haunting rock classic, with its menacing organ, has grown on me over the years. I love how the tension builds verse by verse, until the final verse is just overwhelming. And my favorite song of the countdown: I'd say it's a tie between a Motown classic (Dancing In The Street) and a great song that sounds like it came from Motown (Selfish One). Thank you for reading.
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Post by mitchm on Sept 24, 2015 11:15:27 GMT -5
For the week ending September 19, 1964: 22. Maybe I Know/Lesley Gore--With the possible exception of "California Nights" this is my favorite song by this singer. The chorus is just so catchy, yet, on a dime, turns dramatic at Lesley warbles "maybe I know that he's been untrue", with subtle yet powerful backup vocals between "that" and "he's". Producer Quincy Jones was smart to open the song with this powerful chorus hook. (BTW, RIP Lesley Gore! You were a great singer.) Thank you for reading. I am glad to see you are also a Lesley Gore fan. "California Nights" is my favorite song by Lesley. And I will even go so far as to say that it is probably my favorite all-time song by any female. People laugh at me when I tell them this because it only reached #16 in 1967 and was her final top 40 hit, and she is definitely best remembered for her first songs, but I don't care - I just love her voice when she sings the chorus. I played this song all the time in the 70's and 80's. Lesley is probably also one of my top 5 female singers of all time, and I did get to hear her sing live at a concert in 1987 (she was opening for the Turtles, I believe).
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Post by bestmusicexpert on Sept 24, 2015 15:55:16 GMT -5
I also love her songs especially California Nights.
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Post by 1finemrg on Sept 24, 2015 21:23:34 GMT -5
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Post by slf on Oct 15, 2015 22:12:59 GMT -5
For the week ending October 9, 1965:
40. Hungry For Love/The San Remo Golden Strings--I had never heard this instrumental before, but I thought it was quite beautiful, with stirring staccato strings in the main melody line. Didn't you say or imply that this group, or some members of it, played on many Motown hits of that era? This song did have a Motown feel to it.
39. Dawn Of Correction/The Spokesmen--For years, I had heard of this "Eve Of Destruction" answer record, but had never actually heard it until you played it on this countdown. And I must say I was very impressed at how these guys were able to simulate the lyrical structure, the vocal delivery, and the folk music arrangement (harmonica and all) of the original song. Some interesting trivia I gleaned from my "Top Pop Singles" book: One member of this vocal trio was in Danny & The Juniors and another member wrote their #1 hit "At The Hop". What a study in contrasts!
38. Unchained Melody/The Righteous Brothers--It's mildly pretty and stirring, but man, between years of oldies radio overplay and its re-release in 1990, I think I've had more than my fill of this song, thank you.
37. Make Me Your Baby/Barbara Lewis--I love this song's lush and dramatic arrangement, especially in the chorus, when the powerful drums come in at the end of the phrase "paradise is waiting for you and me".
36. I Knew You When/Billy Joe Royal--I also like the dramatic tension in this song, especially when he belts out "Yeah! Yeah! Yeah! Yeah-i-yeah!" in the opening and several other times. (RIP, Billy Joe!)
35. Heartaches By The Number/Johnny Tillotson--Nice remake of the Ray Price country classic, even using the same trademark "shuffle beat" arrangement.
34. Positively 4th Street/Bob Dylan--See my critique of the following song.
33. Like A Rolling Stone/Bob Dylan--Man, where and how do it begin to comment on this monumental epic? It's depressing, yet irresistibly majestic, full of tension and release moments, and perhaps the most lyrically cryptic rock song until "American Pie" came along. And like the Don McLean epic, a massive hit despite being twice the length of a typical pop song. Correct me if I'm wrong, but the song seems to tell the tale of a well-off young lady who goes prodigal, loses it all, and ends up a homeless street hooker. And isn't the "diplomat" described in the third verse a street pimp? However one interprets the mystifying lyrics, Dylan sings them with such soulful sadness and despair in his voice, it's impossible not to be moved by the sad tale he tells. In his followup, "Positively 4th Street", his mood shifts from pity to nail-spitting anger, as he tells a fake friend in no uncertain terms to take a flying leap. I find the hard-hitting tone of this latter hit to be a bit much, as it's hard not to feel like he's rebuking ME.
32. My Town, My Guy, And Me/Lesley Gore--This is one song by this lady that I was unfamilar with, but I was most impressed by its punchy, effervescent sound.
Countdown Extra: Don't Talk To Strangers/The Beau Brummels--I was very impressed by this lost hit. It had a hard-driving garage rock sound and glorious vocal harmonies.
31. Kansas City Star/Roger Miller--Still another song I had never heard before. I found this tale of a kid's TV show host as cute and amusing as most of this guy's other 60's novelty hits.
30. Agent Double-O-Soul/Edwin Starr--I enjoy this song's sharp, punchy Motown-style arrangement, especially the slight echo chamber effect. Actually, this and "Hungry For Love" were released by Ric-Tic, a small record company that would soon be acquired by Motown. (I don't know if you noticed, but there was not a single Motown song on this countdown. Considering how ubiquitous Motown acts were on the charts in the '60's in general, it's amazing how Berry Gordy's company was completely shut out this week. Unless Ric-Tic was already under the Motown umbrella by this time.)
29. It Ain't Me Babe/The Turtles--It has a rather pleasant folk-rock feel to it, but it was a tad too angry and confrontational for me. Their truly great songs were yet to come.
28. Home Of The Brave/Jody Miller--Like "Dawn Of Correction", this was another song I had heard about years earlier, but never actually hear until the countdown. And although I did not completely agree with the mother's sentiments (Her son didn't deserve to be beat up, but she shouldn't be complacent about his disregard for school policies, either. Let him wait til he's an adult before he gets to grow his hair, I say.), I was touched by her emotional vocal delivery. And the song was beautifully produced, as well.
(BTW, what was that delightfully creepy garage band song after "Get Off My Cloud" at the end of the first hour?)
27. With These Hands/Tom Jones--Still another song that was new to me. Although it was far from great, I enjoyed the nicely bombastic piano arrangement.
26. Heart Full Of Soul/The Yardbirds--With its sitar-influenced guitar parts, the haunting echo chamber production, and the galloping rhythm of the chorus, this is one intriguing, enjoyable hit.
25. Ride Away/Roy Orbison--Another new song. And although I enjoyed the lush, yet subdued western arrangement, it was otherwise so-so.
24. Everybody Loves A Clown/Gary Lewis & The Playboys--A peppy, mildly appealing hit, but not as good as "Count Me In" or "She's Just My Style". That was quite an interesting-sounding flip side cut you played, though: Gary does indeed sound like his old man in the 2nd half, so much so it was downright creepy.
23. Mohair Sam/Charlie Rich--A very enjoyable song with an infectious, rollicking piano accompaniment.
22. You're The One/The Vogues--A sharp, well-produced pop song with sweet, sincere lyrics of true love and devotion.
21. I'll Make All Your Dreams Come True/Ronnie Dove--I can take it or leave it. This and the upcoming Elvis song were the least interesting of the many songs on the countdown I heard for the first time.
20. Just You/Sonny & Cher--Still another new song, but much better than the previous one. I was amazed by the wall-of-sound production, which was particularly exquisite after the title was sung at the end of each chorus.
19. A Lover's Concerto/The Toys--This Johanne Sebastian Bach adaptation is one of my favorite songs of the countdown. The piano opening, the exuberant horns, the heartfelt lead vocals, and the stirring backup vocals combine to create one gorgeous hit song.
18. Liar, Liar/The Castaways--A fine garage rock classic with a delightfully haunting organ/guitar riff.
17. We Gotta Get Out Of This Place/The Animals--Although Eric Burdon & Co's menacing, bluesy style is appealing in some of their songs, this is not one of them. Hearing Eric talking about his dying daddy and hearing the leaden, dreary vocal delivery of the chorus rubs me the wrong way. (BTW, this song does remind me of a funny moment from Hollywood Squares from several years back. Tom Bergeron was asking Gilbert Gottfried what was the official rock song of the state of Ohio. Gilbert, in his trademark abrasive tone of voice, responded with this song. The correct answer was "Hang On Sloopy", which is coming up.)
16. Laugh At Me/Sonny--While this release has an overall important, even spiritual message, it's just a tad too preachy for me. And can we all agree that Sonny, God rest his soul, just wasn't all that great a singer.
15. Help!/The Beatles--Another fine, solid Beatles classic. The dramatic, pleading intro grabs you from the get-go, and their harmonies and guitar licks keep you hooked.
14. Keep On Dancin'/The Gentrys--With its electrifying drum intro and infectious organ, this is a pretty fun record, overall.
(BTW, what was that jazz rock song after "Downtown" at the end jof the 2nd hour?)
13. Some Enchanted Evening/Jay & The Americans--This beautiful show tune from "South Pacific" fits this band's style--and Jay Black's grand, operatic vocal style--perfectly.
12. Just A Little Bit Better/Herman's Hermits--A fairly catchy song that expresses touching sentiments, but not as good as most of their earlier hits.
11. I'm Yours/Elvis Presley--Another sleepytime Elvis ballad that sounds like dozens of others he's done. Ho-hum.
10. Do You Believe In Magic/The Lovin' Sthingyful--With its assertive guitar intro and overall sharp folk rock arrangement, this is one fine debut single.
9. You Were On My Mind/The We Five--Another fine song. Beverly Bivens gives a strong vocal performance and the others harmonize nicely with her. And the jangly guitar ending is icing on the cake. 8. Baby Don't Go/Sonny & Cher--It's a mildly enjoyable song. They harmonize well in the chorus and the harmonica part is interesting. Fortunately, Cher is the only one singing solo this time.
7. You've Got Your Troubles/The Fortunes--It's a pretty good song, with tight harmonies, but it's not nearly as great as their majestic "Here Comes That Rainy Day Feeling Again" that would come six years later.
6. Catch Us If You Can/The Dave Clark Five--A fairly fun rocker with tight drum work.
5. The "In" Crowd/The Ramsey Lewis Trio--It's somewhat enjoyable, but I actually like Dobie Gray's vocal version from earlier in the year much better. Actually, Young & Holt were far better when they did their "Soulful Strut" away from Ramsey Lewis about three years later.
4. Eve Of Destruction/Barry McGuire--Although not a great as Dylan's "Like A Rolling Stone", my feelings are similar in that, while it is quite depressing, the production and vocal delivery are so powerfully irresistible. And he's spot on in his indignation of kids being "old enough to kill but not for votin'" and the presence of more hate in Selma, Alabama than in Red China.
3. Treat Her Right/Roy Head--While this song does have a catchy rhythm, it has some of the most dopey, trite lyrics I've ever heard in a pop song. He starts out wanting to tell us a story, but he really doesn't tell one. He just proceeds to tell us if we want a woman's lovin tonight, we got to start real slow (Isn't that an inherent contradiction?) He then gives a couple of generic, nonspecific tips and then refers to it as his "method". At least the song ends on a catchy, instrumental note.
2. Hang On Sloopy/The McCoys--I can take it or leave it.
1. Yesterday/The Beatles--I know it's one of the best-loved Beatles hits, not to mention one of the most covered songs in history, but I've never been all that fond of it. It's just to sad and depressing to me.
And my favorite song of the countdown:
The epic "Like A Rolling Stone" by Bob Dylan.
Thank You and Good Night!
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Post by bestmusicexpert on Oct 15, 2015 22:19:27 GMT -5
I'll have a look and get back to you on that one. I rarely remember seconds after I compile the show what I put in to fill the hour with.
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Post by bestmusicexpert on Oct 16, 2015 11:30:52 GMT -5
Ok. After Get Off My Cloud was:
South End Incident by The Beacon Street Union. Their album The Eyes Of The Beacon Street Union is great. Hard to find but its worth it.
After Downtown was:
Persuasion by Santana.
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Post by slf on Nov 8, 2015 10:15:42 GMT -5
For the week ending November 2, 1968: Forgive me for being a little late with this critique. I had started it last Thursday, but about 20% into it I accidentally turned off my computer, which, of course deleted my work and I was too disgusted and tired to start from scratch that night. Anyway, this was quite a fascinating countdown with a wide variety of music, most of which I like or love. However, there is one musical trainwreck that I simultaneously detest yet have a perverse fascination of. I'll get to it later. 40. Baby Come Back/The Equals--Fine, catchy song with sharp, reggae-influenced guitar work. Eddy "Electric Avenue" Grant was one of the guitarist in the group. I used to think that he sang lead (It sure sounds like him), but that honor went to Derv Gordon. 39. Gentle On My Mind/Glen Campbell--Although not as spectacular as his Jimmy Webb-penned masterpieces, this is still a great song, with crisp guitar pickin' and a smooth, flowing feel to it. 38. Take Me For A Little While/Vanilla Fudge--I like or love many late '60's psychedelic-style bands, but this is not one of them. They have too much of a lethargic, plodding sound to them which rubs me the wrong way. 37. Always Together/The Dells--This is the second song in a row that was new to me, and it was a definite improvement over the first one. I found it to be a sharp, smooth soul ballad. 36. Chewy, Chewy/The Ohio Express--This release exemplifies perfectly why I'm not very fond of most hard-core bubblegum pop. The vocals are abrasively cutesy, and the lyrics are mind-numbingly trite and dopey. 35. Abraham, Martin, And John/Dion--On the other hand, I've always loved this breath-taking tribute to these three American statesmen cut down tragically. From the oboe (or trumpet) intro, to the lush strings, to the stirring harp, to Dion's soulful, yet restrained vocals, this is one majestic record. 34. Keep On Loving Me, Honey/Marvin Gaye & Tammi Terrell--This was another song new to me, but it sounded like your typically exquisite Motown song. Certainly no compaints here! 33. Lalena/Donovan--On the other hand, I was not similarly impressed with hearing this for the first time. The instrumental break was sweetly classical-sounding, but Donovan's vocals were lethargic and lifeless. 32. Chained/Marvin Gaye--Still another Motown song new to me. And it was also good, but not quite as good as the above duo with Ms. Terrell. 31. Shoot 'Em Up, Baby/Andy Kim--Overall, I found it to be lightweight fluff, but it was still somewhat likeable. 30. In-A-Gadda-De-Vida/Iron Butterfly--Although this psychedelic band was even more lethargic and plodding than Vanilla Fudge, this classic had a nicely dramatic organ intro and infectious melody line that was expertly played (eventually to death) by the keyboardist and guitarist. (But, doggonnit, would it have killed you to play the full 17 minute version? ) 29. Who's Making Love/Johnny Taylor--A fairly fun, catchy soul classic, with great guitar licks (by Steve Cropper, I presume). 28. Bang-Shang-A-Lang/The Archies--This bubblegum release was almost as lame as "Chewy, Chewy" and just as annoying, in certain parts of the song. But the following year, this studio group would redeem themselves nicely with the fun, breezy megahit "Sugar, Sugar". 27. Hi Heel Sneakers/Jose Feliciano--This dull, lame release was a major step down from his scintillating, soulful cover of "Light My Fire". 26. Court Of Love/The Unifics--This was the third song in a row that was new to me (the ninth so far in the countdown) and the only one of the three that was good. In fact, it was a gorgeously dramatic soul ballad. I also was blown away by the spoken word intro and conclusion, which set the tense, serious tone of the song, like one was actually inside a court of law. (Note to bestmusicexpert: What was the extra song at the end of the first hour with the chorus that repeated the phrase "In jeopardy"?) 25. All Along The Watchtower/Jimi Hendrix--Overall, a masterful-produced, dramatic rock classic with a arresting intro that gets your attention from the get-go. And the ominous lyrics (penned, of course, by Dylan) paint an unflattering portait of people in high places who oppress the hard-working little guy and a not-so-rosy fate for those oppressors in the song's conclusion. I guess if Hendrix was fated to have only one Top 40 hit, this was the one to have! 24. Time Has Come Today/The Chambers Brothers--Another amazing psychedelic classic with delightfully bizarre opening (cuckoo noises followed by guitar pyrotechnics). Then the high energy verses kick in, with powerful, menacing vocals, and that guitar going at a breakneck pace. (That brief solo part between the first and second verse almost grabs me by the throat, and I love it!) Then, at least in the shorted version, the tempo slows for that dramatic, yet campy close, with the three sharp percussion strikes followed by the singers bellowing out "TIME", till that laughable drugged-out groan brings on the bombastic close, times three. This is probably the ultimate example of a pschedelic hit that's so over-the-top, you gotta love it. 23. Fool For You/The Impressions--This is the last song on the countdown that was new to me. And while it was pretty and smooth, it was not as good as the soul ballads by the The Dells and The Unifics. 22. Shape Of Things To Come/Max Frost & The Troopers--The intro, consisting of an ominous organ followed by a trippy guitar followed by the same ominous organ, sets one up for the menacing, threatening vocals, which warn of major societal changes coming, many of which don't sound so pleasant. That same dark, dramatic tone, combined with overall rockin' energy, makes this a guilty pleasure for me, nevertheless. 21. Sweet Blindness/The Fifth Dimension--This Laura Nyro-penned number, which brazenly celebrates getting drunk, is another guilty pleasure for me. The group's vocals are as sharp and masterful as ever, and the brassy arrangement is as stirring as ever. I am expecially fixated by that bombastic final brass note. Wow! 20. Say It Loud--I'm Black And I'm Proud/James Brown--While it has a great message, this release is otherwise just so-so. 19. Revolution/The Beatles--It's a fairly energetic, enjoyable Beatles B-side, actually better than the overrated A-side (more on that later). I especially enjoy towards the end of each verse where Ringo's tense pounding leads to the line "you know it's gonna be", then John finishing with "Alright". Another great example of tension-and-release. 18. Hey, Western Union Man/Jerry Butler--Produced and co-written by Gamble and Huff, this was their finest creation prior to their Philadelphia International years. That string-and-piano intro grabs you dead in your tracks, then the Ice Man's powerful vocals over that exquisite Philly Soul arrangement have you. I am especially blown away by the insistent staccato "Send a telegram, send a telegram" segments. 17. My Special Angel/The Vogues--Overall, a nicely lush, smooth cover of the '50's classic by Bobby Helms (actually an improvement, since I always found Helm's singing voice to be borderline annoying, anyway.) 16. I've Gotta Get A Message To You/The Bee Gees--Although there's no denying that the chorus is well-produced and delightfully dramatic, I find the subject matter (a murderer on death row about to be executed) rather depressing, which interferes with my enjoyment of the song. (But I guess it's pointless to quibble about the song's subject matter; it is what it is.) 15. Girl Watcher/The O'Kaysions--I can take it or leave it. 14. Harper Valley PTA/Jeannie C. Riley--This sassy, spunky charttopper is one of the all time great story songs, taking a justified swipe at self-righteous pillars of virtue who really have feet of clay. 13. Piece Of My Heart/Big Brother & The Holding Company--Although Janis Joplin's performance here is rather over-the-top, it's still dramatically enjoyable. The fall of '68 saw both Joplin and Hendrix at their commercial apex, at least while alive. They both had their first (or only) top 40 hit, each coming from charttopping albums. 12. Magic Carpet Ride/Steppenwolf--I can take it or leave it. 11. Suzie Q/Credence Clearwater Revival--Ditto. 10. White Room/Cream--Although not quite reaching the glorious heights of the magnificent "Sunshine Of You Love", this is still one bouncy, yet dramatic rock classic. I especially love the haunting intro, repeated twice in the song. I always assumed it was Clapton singing lead on the number, but when Jack Bruce passed on (RIP), one of his obits said he sang lead on this. I guess Jack and Eric had similar sounding voices. 9. Love Child/Diana Ross & The Supremes--This splendid Motown smash marked a change for the Supremes in that the arrangement (impeccable as usual) was more ominous-sounding, made to reflect the serious subject of teenage pregnancy. And I'm gratified that the song's message was that teens should wait to have sex until marriage, or at the very least, until one or both parties are financially stable. Boy, do we need more pop hits these days to impart such a message! 8. Hold Me Tight/Johnny Nash--Mildly catchy, but mostly mediocre. 7. Over You/Gary Puckett & The Union Gap--Of all the fine, sparkling hits this great band had, this was their best. Gary's voice is as powerful as ever, but it's the arresting chorus that's the song's high point, particularly when he belts out "all of my time, out of my mind", then the band drops out and Gary finishes solo with "over you". 6. Elenore/The Turtles--A cute pop hit with a energetic, big-as-all-outdoors sing-a-long chorus. 5. Midnight Confession/The Grass Roots--Although it has a sharp arrangement typical of this fine pop band, I don't care much for this song, at least lyrically. I guess unrequited love aspect of the song hits too close to home with me, especially the sad line "There's another before me/You'll never be mine/I'm wasting my time". Yet, as disturbing as this song is, it's nothing compared to........ 4. Fire/The Crazy World Of Arthur Brown--Forget "My Ding-A-Ling" being Chuck Berry's only charttopper. The biggest rock era Top 40 mystery is how this ghastly, downright evil record, with the blood-curdling intro from the bowels of Hell, ever became such a huge hit (going to #2!). It's totally beyond my comprehension. I guess, being the absolute train wreck that it is, that I can tolerate listening to the meat of the song, or even the hellish intro, if I know it's coming. But there's been so many times over the year of listening to oldies radio, when that- that-that "God Of Hell Fire" scream has taken me by surprise and left my skin on the floor for me to reattach. Where's the FCC when you need 'em? (Although, I will admit, the flip side song was not bad) 3. Little Green Apples/O. C. Smith--Except for the gentle, muted horn interlude, this song is so-so, at best. (Oh, BTW, being that I live in the Indianapolis metro area, I can vouch for the fact that it does indeed rain here in the summertime.) 2. Those Were The Days/Mary Hopkins--A somewhat sweet, pleasant, if melancholy ballad. 1. Hey Jude/The Beatles--Here we have, IMHO, the most overrated Beatles song, not deserving of even one week at #1, let along NINE! Yes, the production isn't bad, and Paul's message to Julian about accepting John's new love Yoko is admirable, but overall, the main part of the song is mostly average and the extending, repetitious ending is largely obnoxious. The best thing I can say about this song is this: two weeks earlier, it was the only song keeping that repellent POS "Fire" from being a charttopper. Man, did we dodge a bullet there! And my favorite song of the countdown: Jerry Butler's Philly Soul masterpiece "Hey Western Union Man" Thank you for reading.
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Post by bestmusicexpert on Nov 8, 2015 18:36:09 GMT -5
Thanks for the critique.
Iron Butterfly had some great tunes, sadly none that weren't plodding were even close to being hits.
The song was In Jeopardy by Roger Hodgson, formerly of Supertramp. Great solo tune. Saw him live a year ago. It was AMAZING!
It was hard about Hey Jude, I have a policy to not shorten the #1 song. I at least waited for the drumroll close to the end...
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Post by slf on Nov 22, 2015 10:20:37 GMT -5
For the week ending November 12, 1966:
I've had a busy week, which is why I'm just now writing this critique, but I couldn't resist commenting on such a great '60's countdown with such a wide variety of fantastic songs. This countdown is Exhibit A on why I believe the mid-to-late '60's was the best period ever for pop music.
40. Spinout/Elvis Presley--I had never heard this movie song before, but I found it fairly lively and fun. (BTW, are you familiar with another cut from that soundtrack album called "Smorgasbord"? I've never actually heard it, but I once heard a movie critic mockingly sing part of it in his scathing review of the film. What few lyrics I remember from it were rather laughable.)
39.Ain't Gonna Lies/Keith--His biggest hit came several months later with the great "98.6", but this radiant, beautiful, horn-laden pop confection was even better. And lyrically, it was quite touching; he seemed to want to end the relationship with his beloved with grace, dignity, and, yes, honesty. In all, it was a very mature breakup song.
38. Louis, Louis/The Sandpipers--When the smooth "Guantanamera" was all over the radio, who could have guessed that this vocal trio's followup hit would be a cover of the raucous, controversial (at the time) "Louis, Louis"?! But, hey, these guys harmonized so well, they could make any song sound sweet.
37. Secret Love/Billy Stewart--Another song new to me, I found it very lively, with assertive horns and that great trademark vocal trill.
36. The Great Airplane Strike/Paul Revere & The Raiders--Still another new song, it was overall a catchy rocker with a cool buzzing intro.
35. I Can Make It With You/The Pozo Seco Singers--This is a wonderful lost hit that I'm blessed to have on a '60's compilation CD. It has a booming intro, great, complex drum work, fun sing-a-long chorus, and smooth, warm vocals by a fine singer who would go on to have an amazing career in country music--the Gentle Giant, Don Williams.
34. I'm Ready For Love/Martha & The Vandellas--As great as their legendary "Dancing In The Street" is, THIS is their true crowning achievement. It opens with the inauspicious sound of drum sticks hitting each other, seemingly. Then Martha delivers restrained, yet smouldering soulful vocals, which soon explode with wild emotion as the Motown house band ramps things up to keep up with her. The next two verses follow the same exhilarating pattern. Overall, it's three minutes of pure dramatic radiance.
33. Psychotic Reaction/The Count Five--Wow! Three of my favorite songs of the week back to back to back. This innovative, mind-blowing classic outdoes even "Louis, Louis" among garage rock hits. The stuttering guitar and harmonica-wailing intro grabs you from the get-go, then a jangly lead guitar joins in to form that infectious trademark riff, which sounds delightfully cheesy. (It reminds me of some generic rock song that might be played in an innocent school dance scene from some '60's sitcom, a la "Gidget" or "Patty Duke Show"). Then the campy vocals chime in, bemoaning his failure to win over a girl. Then the psychedelic rave-up kicks in, spinning out of control with help of that same shrill harmonica and amazing guitar pyrotechnics. This is truly a one-of-a-kind '60's hit.
32. Cherish/The Association--Although this isn't my favorite song by this fine band, it's definitely their most touching love song, at least among their hits. The humble sentiments expressed in this powerful ode to unrequited love are rather gut-wrenching.
31. Stop, Stop, Stop/The Hollies--Although this British band had some truly fantastic hits, this is not one of them. This story song about a horny jerk who can't keep his hands to himself is mildly intriguing, but is a major letdown from the previous hit, the splendid "Bus Stop".
30. But It's Alright/J. J. Jackson--This is one of the greatest soul hits of the '60's that didn't come from Motown (although it sounds like it did). That defining guitar riff is so assertive, you can't turn away. Then J. J.'s gritty, angry vocals make you glad you didn't. Then that brassy build-up to the chorus just blows you away. How this powerful soul singer never had another major hit is beyond me.
29. Fa Fa Fa Fa (Sad Song)/Otis Redding--This soul legend's vocals are nicely soulful, but the song is otherwise so-so.
28. The Hair On My Chinny Chin Chin/Sam The Sham & The Pharoahs--A very spunky organ-based garage rock song with clever lyrics, better than their better-know previous hit, "Little Red Riding Hood".
(BTW, what was that horn-laden song you played between the Billy Cosby song and "Wichita Lineman"? It was great!)
27. B-A-B-Y/Carla Thomas--In comparing the two big R&B record companies of the '60's--Motown and Stax--I have always preferred Motown by far. (I guess I prefer sweetened soul over raw, earthy soul.) But this Stax hit stands out over the others. I guess it just has a fresher, more alive sound, which makes me appreciate the sharp gospel piano, squawking organ, and crisp guitar.
26. I Just Don't Know What To Do With Myself/Dionne Warwick--It had a pretty arrangement, but it was otherwise so-so.
25. Look Through My Window/The Mamas & The Papas--Although not nearly as great as "California Dreamin" or "I Saw Her Again", it still had the same great harmonies and a nicely smooth arrangement.
24. You Don't Have To Paint Me A Picture/Gary Lewis & The Playboys--Although I enjoyed the harmonies in the bridge, this song demonstrated a major step down in quality over their previous exquisitely-produced hits.
23. C. C. Rider/The Animals--With its frenetic organ intro (repeated twice) and overall bouncy rhythm, this is one of this band's better, more interesting hits.
22. Who Am I/Petula Clark--From a lady who had many enjoyable hits, this is one of her best. It has a massive, sparkling, symphonic arrangement, and Ms. Clark's sharp, rapid-fire vocals are as amazing as usual.
21. Lady Godiva/Peter & Gordon--Gee, what's up with these British groups releasing songs with randy subject matter. You have Allan Clarke of the Hollies accosting a belly dancer at #31, now you got this duo singing about a stripper appearing in a "Certificate X" movie. If this song's subject matter weren't so provocative, I would probably appreciate the fine harmonies and pleasant arrangement.
20. Coming On Strong/Brenda Lee--With its brassy intro, stirring backup singers, dynamic arrangement, and Brenda's heartfelt vocals, this is one terrific "forgotten song" that a certain Dutch rock band must have also loved, as they chose to reference it in a certain song called "Radar Love". My only complaint is that it's too short (barely 2 minutes long). This writer surely could have added another verse to this wonderful country pop hit.
19. Go Away Little Girl/The Happenings--Of the three versions of this song that charted, this is the only one that didn't go #1. Yet, ironically, this is the only one I like. This group delivers great doo-wop harmonies and the sped-up arrangement is lively and fun.
18. What Becomes Of The Broken-Hearted/Jimmy Ruffin--A powerfully dramatic, moody Motown ballad which demonstrates ably that David Ruffin's older brother is also a musical force to be reckoned with.
17. Born Free/Roger Williams--Although I love the pop, hard rock, and soul represented in this countdown, I also cherish easy listening hits like this masterpiece. Mr. Williams excellent piano work gives this fine movie song extra meaning. And when the chorus joins in on the second verse, the drama and grandeur reaches spectacular heights.
16. Have You Seen Your Mother, Baby, Standing In The Shadows/The Rolling Stones--The horn section gives this Stones release an assertive punch.
15. Rain On The Roof/The Lovin' Sthingyful--I can take it or leave it.
14. Hooray For Hazel/Tommy Roe--A fairly catchy pop song about a spoiled prima donna who's heading for a much-deserved comeuppance.
13. Love Is A Hurtin' Thing/Lou Rawls--A mostly average soul song, made interesting only by Mr Rawls rich baritone vocals.
12. Walk Away Renee/The Left Banke--The classical string arrangement is pretty, but I like this group's follow-up "Pretty Ballerina" better.
11. Reach Out, I'll Be There/The Four Tops--This Motown masterpiece is widely regarded as one the company's greatest songs and it's easy to see why. The dramatic, moody arrangement includes a sweet flute for added effect. But it's the urgent vocals, particularly Levi Stubbs' soulful shouting, that makes this hit. The pregnant pause right before they belt out "I'll Be There" was a stroke of genius.
10. I'm Your Puppet/James & Bobby Purify--This is one of the all-time greatest soul ballad. The singer's vocals are big as all outdoors, but the thing that truly makes this song memorable is the echo chamber. That gives the song haunting splendor and makes it the perfect song to listen to in your car at night, whether cruising down the highway or just parked somewhere.
9. Devil With A Blue Dress On & Good Golly Miss Molly/Mitch Ryder & The Detroit Wheels--Due to typer's cramp, I'll make it brief: so-so
8. If I Were A Carpenter/Bobby Darin--I can take it or leave it. Although it was good that Bobby Darin was able to have a comeback hit, I like his pre-Beatles hits better.
7. You Keep Me Hangin' On/The Supremes--This is one of the group's best hits of the '60's. It has a arresting guitar intro that instantly grabs you, and the trio's sassy vocals continue the adrenaline rush.
6. Winchester Cathedral/The New Vaudeville Band--It's a mildly cute, intriguing novelty hit, but it's easy to see why the band was a one-hit wonder. The Roaring Twenties-style gimmicky arrangement obviously didn't have much staying power alongside The Rolling Stones, The Monkees, and Motown.
5. Dandy/Herman's Hermits--Typical cute, bouncy hit by this happy-go-lucky British band, but it's far from their best.
4. Good Vibrations/The Beach Boys--This classic used to be back in the pack on my list of favorite Beach Boys songs, but in recent years, I've grown to appreciate the intricate, elaborate arrangement, the sincere vocals, and the typical stellar harmonies. I cannot believe this masterpiece only spent one week at #1, but that lightweight "Winchester Cathedral" spent three weeks at the top spot.
3. 96 Tears/? And The Mysterians--Fun, catchy garage-rock hit with an irresistibly cheesy organ riff. It's amazing that this early punk-rock classic was released by, of all record companies, Cameo/Parkway, the home of teen idol Bobby Rydell.
2. Last Train To Clarksville/The Monkees--This TV band's debut hit was mildly fun and catchy, but not as good as most of their later hits. I listened to this song hundreds of times over the years before I learned that the lyrics tell of a man about to be shipped off to Vietnam, hence the line "and I don't know if I'm ever coming home".
1. Poor Side Of Town/Johnny Rivers--A sweet, stirring ballad in which the singer urges his former girlfriend to come back to him. It's ironic that this singer, who released so many cover songs that fell short of the top spot, finally succeeds with a song he actually wrote. So why did he revert back to cover songs?
And my favorite song of the week:
"I'm Ready For Love" with the polar opposite "Psychotic Reaction" a close second.
Thank you for reading.
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Post by bestmusicexpert on Nov 28, 2015 11:35:49 GMT -5
That was Third Man Theme by Herb Alpert & Tijuana Brass
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