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Post by slf on Dec 8, 2015 23:46:27 GMT -5
For the week ending December 2, 1967:
40. Summer Rain/Johnny Rivers--With its sweet string arrangement and Johnny's thoughtful, soulful vocals, this stands as one of his best releases.
39. Your Precious Love/Marvin Gaye & Tammi Terrell--It's definitely a sweet, touching love song, sung with sincerity by two of Motown's finest, but it's far from Motown at its best.
38. Mr. Dream Merchant/Jerry Butler--This is one gloriously haunting soul ballad. I love how the exquisite harp intro leads to the urgent drum work, which introduces Jerry's bold, yet mellow soul vocals. All the while those strings and background vocals contribute to the gloriously tense atmosphere, as the "Ice Man" pleads with this "Dream Merchant" to make his dream come true, right up to the haunting fade.
37. Neon Rainbow/The Box Tops--Wow! Two of my favorite songs in the countdown back to back! I remember my late father playing this record when I was little, which contributes greatly to my love of this unique, superior followup to "The Letter". The late Alex Chilton's teenage vocals are quite soulful, especially in the line "Making warm the coldest night". I also get goosebumps when he lets loose in the line "life is love in a neon rainbow-ow-ow-ow". It also has one of the all time great endings to a pop song, with the tense, rat-a-tat drum leading into the release provided by the shrill organ, R&B guitar, and sweet strings to take it all home.
36. Back On The Street Again/The Sunshine Company--This is the first countdown song that I was unfamiliar with. And while it was far from spectacular, I did like the woodwinds in the background and the overall light, happy feel to it.
35. Honey Chile/Martha & The Vandellas--While not on par with "Dancing In The Street" or "I'm Ready For Love", this Motown group's final major hit was nicely sassy and spunky, and the trademark Motown production sounded as sharp as ever.
34. Glad To Be Unhappy/The Mamas And The Papas--Another song that was new to me, it was similar to the preceding song in that it another group's final Top 40 hit. And while it definitely was no "California Dreamin'", the foursome's harmonies were as enjoyable as ever.
33. Kentucky Woman/Neil Diamond--I can take it or leave it.
32. Woman, Woman/Gary Puckett & The Union Gap--This masterfully arranged pop gem is second only to "Over You" as my favorite song by this group. After its brief but dramatic intro, Gary lets loose with his amazing, operatic vocals which grab your attention until you're mesmerized. And his band, particularly the punchy horn section, provide the perfect backdrop.
31. Wild Honey/The Beach Boys--An intriguing lesser-known Beach Boys release, with a nicely intricate arrangement, something akin to material on "Pet Sounds" or presumable "Smile" (although I've never actually heard the latter album). And that thermon-based riff was quite intriguing.
30. Watch The Flowers Grow/The Four Seasons--Another song that was new to me, it was another song with an amazing, unique arrangement. And the foursome's harmonies were as rich as ever.
29. Beg, Borrow, And Steal/The Ohio Express (actually, The Rare Breed)--I was first introduced to this explosive bundle of rock 'n roll energy in the early '80's, on a weekend oldies show on WOWO, Ft. Wayne. From the start I couldn't believe that such a fantastic garage rock tune could come from the same group that gave us "Yummy, Yummy, Yummy" and "Chewy, Chewy". And last Sunday night you confirmed conclusively that it was, indeed, a different group entirely that recorded this gem. While the group sounds trememdous in the verses, they hit it out of the park in the chorus, with their "beg/(beg), borrow, and steal" call-and-response vocals, backed by a masterfully frenetic maniac on the drums. Then, as the lead singer repeats "than go back to you", first in a straight voice then exploding in a surly snarling scream, they score a rock 'n roll home run! Which begs (but not borrows or steals) the obvious question: Why didn't the execs at Buddah Records "beg" The Rare Breed to sign with them and create more rockin' masterpieces instead of turning the Ohio Express into a silly, laughable bubble gum outfit?
28. By The Time I Get To Phoenix/Glen Campbell--One of the all-time great sad pop ballads. A sweet sadness permeates the western-string arrangement, Glen's intense vocals, and the lyrics, which tell of a man who's had all he can take of his lover and follows up on his decision to leave her and travel far, far away to start all over again.
27. (Loneliness Made Me Realize) It's You That I Need/The Temptations--While this release has the usual fine polished Motown arrangement, it's also proof that more words in the title do not make for a better song. In contrast, "My Girl" is a much shorter title but a much better song.
26. Skinny Legs And All/Joe Tex--Although I had heard it a few times years ago, I never noticed the broad levity and absurdity, as well as the spontaneity, in this release. Joe and the guys in the band sound like they're having a ball in their back-and-forth. That light atmosphere makes this record fun, but not obnoxious and nasty, like his repellent hit several years later, "I Gotcha".
25. Yesterday/Ray Charles--I confess that, due to overplay, the Beatles' original rendition has lost much of its gut-wrenching punch. So it was a breath of fresh, if melancholy, air to be introduced to Brother Ray's arresting, go-for-the-juggular cover. Man, does he know how to convey heartbreak and misery with his powerful singing voice!
24. She's My Girl/The Turtles--Along with "You, Baby" and "You Showed Me", "She's My Girl" stand as Flo & Eddie & Co's crowning achievements. Their dynamic vocals, paired up with a shimmering psychedelic arrangement, create one majestic pop nugget.
23. Let It Out (Let It All Hang Out)/The Hombres--This is one fun release, with silly, rambling vocals and sharp guitar solos in the bridges. The funniest part, however, is the stereotypical preacher intro supposedly borrowed from the old novelty song "Cigareetes, Whusky, and Wild, Wild Women".
22. Stagger Lee/Wilson Pickett--Another new song to me. And while this cover of the Lloyd Price charttopper was not as good, it was still nicely energetic.
21. It Must Be Him/Vicki Carr--Although the chorus was rather whiny and over-the-top, I enjoyed her clipped, half-spoken/half-sung vocal style in the verses.
20. (The Lights Went Out In) Massachusetts/The Bee Gees--It's somewhat better than most of their late '60's ballads. The strings sound especially regal and stately.
19. Pata Pata/Miriam Makeba--It's a mildly fun, catchy song, with obvious native African music influences.
18. Expressway To Your Heart/The Soul Survivors--The song that supposedly started the Philly Soul explosion has grown on me greatly over the years. I've grown to love the assertive opening piano riff (played over and over) and I especially love the shimmering piano part in the chorus when they sing "At five o'clock, it's much too crowded". It almost sounds like a sudden rainstorm occurring.
17. Everlasting Love/Robert Knight--Months ago, I heaped massive praise on Carl Carlton 1974 cover version. It wasn't until the early '80's that I heard this original version, but I immediately fell in love with it and still love it, almost as much as the remake. My favorite parts are the tense instrumental buildups right before the first two choruses.
16. Keep The Ball Rollin'/Jay & The Techniques--I remember hearing this song many times as a child. (It's possible my dad had the record, but I'm not sure.) Then, I heard it on a Saturday morning in the summer of '82, and something clicked in my brain and I noticed the beauty, soulfulness, and grandeur of this masterful pop/soul oldie. I especially became fascinated by the parts in each verse where Jay sings, and the rest respond "Then you gotta follow it through (you gotta follow it through)." Those vocals were just so hauntingly exquisite. Only in recent years have I succeeded in finding and purchasing the original hit recording on iTunes, but it was worth the wait to finally have it on my iPod.
15. Boogaloo Down Broadway/The Fantastic Johnny C--Although not exactly fantastic, it is somewhat fun and catchy. I especially enjoy the unique R&B guitar riff between each verse. (But was it me, or did I hear popping and static, as if you were playing a vinyl record?)
14. Lazy Day/Spanky And Our Gang--What's this? ANOTHER fantastic pop gem? Man, this countdown was FULL of 'em! The sweet flute was the perfect accompaniment for Elaine and the boys' gorgeous, scat-filled harmonizing.
(BTW, what was that song between the 2nd and 3rd hour that referenced a "Voodoo Lady"?)
13. In And Out Of Love/The Supremes--A nicely dramatic release, with a sharp arrangement and nice call-and-response between Diana and whoever the women were singing backup. (This was supposedly the beginning of the use of anonymous background vocals instead of Mary Wilson and Cindy Birdsong. )
12. You'd Better Sit Down Kids/Cher--It's a unique release, with a bizarre intro (repeated in the second verse) and serious subject matter (a father breaking the news to his kids that he and mommy are divorcing and he must leave the home). Yes, the record was a sincere attempt to deal with a tragic reality that at the time was becoming increasingly common, but it was a misguided attempt, mainly due to a female singer (Cher) taking on the part of the father (What??)
11. I Second That Emotion/Smokey Robinson & The Miracles--It's safe to say that, at least in the sixties, there was no such thing as a bad or lame Motown song. That said, this is one of Hitsville, USA's lesser releases, largely due to overplay.
10. An Open Letter To My Teenage Son/Victor Lundberg--Ah, yes! That classic parental spoken word warning to not burn your draft card, if you don't want to be disowned. Although, to be fair, Mr. Lundberg sounded more open-minded than what I remember him to be on this release. He even gave his blessing on his son having long hair, so he wasn't that disagreeable. (BTW, I also enjoyed the answer record you played.)
And now for something completely different:
9. I Can See For Miles/The Who--(I wonder if Peter, Raj, John, & Moonie ever burned their draft cards. But I digress.) This majestic hard rock masterpiece has the musical explosive power of a fireworks stand in early July. And I am in jaw-dropping awe of Keith Moon's superhuman drum workout.
8. I Heard It Through The Grapevine/Gladys Knight & The Pips--I can take it or leave it. It pales in comparison to Marvin Gaye stirring, masterful version a year later.
7. Soul Man/Sam & Dave--Another soul classic that I can take or leave, mainly due to overplay.
6. Please Love Me Forever/Bobby Vinton--Although I usually don't have much good to say about the Polish Prince, this is one of his better songs. The melody and arrangment remind me somewhat of that Dean Martin classic "Everybody Loves Somebody".
5. I Say A Little Prayer/Dionne Warwicke--It's a rather fun, peppy song, with an enjoyably rousing chorus.
4. To Sir With Love/Lulu--This song has grown on me in recent years. I appreciate more and more Lulu's innocent vocals in the verses, which burst with wild emotion in the delightfully bombastic choruses.
3. Incense And Peppermints/The Strawberry Alarm Clock--This is one fun, irresistible bubble-delic smash. That memorable intro, with the psychedelic guitar followed by those sprightly harmonies, draws you in. Then those lyrics, consisting of "meaningless nouns", and further rich harmonizing, keep you mesmerized, until the big "Sha-la-la" finish.
2. The Rain, The Park, And Other Things/The Cowsills--This countdown has been chock full of amazing '60's pop and rock, but here we have the best of the bunch. That impeccable arrrangment, complete with lush harp and intriguing rain sound effects, is the perfect complement to those indescribably gorgeous harmonies (probably studio overdubbed, but oh, well) paired up with a well-composed song. This past summer, at the Indiana State Fair Free Stage, I attended an oldies concert featuring several '60's acts, including the current lineup of the Cowsills (two of the surviving brothers and a grown-up Susan). I tell you, after all these years, they still sounded GREAT!
1. Daydream Believer/The Monkees--This is probably my favorite of their songs, at least of their big hits. It has a nicely assertive piano opening and dynamic harmonies in the chorus.
And my favorite song of the countdown:
I gave it away earlier: The Rain, The Park, And Other Things (but "Keep The Ball Rollin'" and "Beg, Borrow, And Steal" are strong honorable mentions.)
One more thing: I really enjoyed hearing "Chattenoogo Choo Choo" by Harpers Bizarre again after all these years. It was the first version of the song I ever heard and I used to hear it played intermittently on, of all places, Captain Kangaroo, would you believe (One of the frog puppets lip-synced to the song).
Thank you and good night. It's so past my bedtime.
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Post by bestmusicexpert on Dec 9, 2015 8:53:09 GMT -5
The song was Voodoo Lady by Ween.
Hope you'll tune in for my year end spotlighting the top 100 of 1969.
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Post by bestmusicexpert on Dec 9, 2015 17:12:16 GMT -5
Oh and yes, you heard a record. You'll hear that a lot. If I have the 45, I rip that for use. Sounds better, especially mono mixes!
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Post by slf on Feb 4, 2016 23:08:09 GMT -5
For the week ending January 22, 1965:
I'm finally back after a multiweek absence. I've been working a lot of mandatory overtime since the start of the year, consequently I've had less time and energy to devote to writing critiques. I've successfully made the transition from the defunct Rewind Central to WBME when checking out your show. (Yours is a great internet station; I wish I had the time to listen to some of the other shows as well.) But I couldn't pass up critiquing this great mid 60's countdown, even if it's about a week late.
40. A Sweet Woman Like You/Joe Tex--I forget how it sounded, but I seemed to remember it as being mediocre musically, although the sentiments expressed were touching and sweet. So why did he go off the lyrical cliff six years later with that vile, repellent hit "I Gotcha"?!
39. Are You There (With Another Girl)/Dionne Warwick--Similarly, I forget how this song went, but I remember it was more musically interesting than the one above. I had several intriguingly dramatic and ominous piano parts.
38. Second Hand Rose/Barbara Streisand--A rather cute, amusing show tune, the kind that Ms Streisand was best known for in the mid 60's.
37. Tell Me Why/Elvis Presley--Zzzzzzz
36. Like A Baby/Len Barry--As much as I love his previous hit "1-2-3", I found this soundalike follow-up to be even better. It seemed to have an even more sharp, sparkling arrangement.
35. Under Your Spell Again/Johnny Rivers--A fun, lively cover of a Buck Owens classic that outdoes the fine original.
34. It's My Life/The Animals--This is one of my favorites from the band's pre-psychedelic period. The guitar, organ, and Eric Burdon's bluesey growl come together to create a delightfully dramatic, ominous record. And John Steel's drum work in the chorus is breathtakingly frenetic.
33. Zorba The Greek/Herb Alpert & The Tijuana Brass--Although, as I've stated before, I'm a huge Herb Alpert & TJB fan, this release, IMHO, is one of their less spectacular ones. It's OK, but it pales in comparison to most of their recordings I heard and loved as a kid and still love now.
32. Look Through Any Window/The Hollies--Along with "Bus Stop" and "On A Carousel", this stands out among my favorites by this splendid British band. The opening jangly guitar riff is just so inviting, and those top-notch harmonies keep you listening. But the band is at its most explosive when they call and respond with "Where do they go? Movin on their way; walkin down the HIGHWAYS and the BI-WAYS". That part of each verse gives me goosebumps still to this day.
31. It Was A Very Good Year/Frank Sinatra--Unfortunately, this wasn't a very good song. From the brim to the dregs, it was quite the mediocre release.
30. Lighning Strikes/Lou Christie--Musically this charttopper has an intriguing, polished arrangement, but lyrically, it's rather pathetic and sexist. Here we have a guy who is pledging his future love and devotion to his steady girl, sort of; but who also insists he must first sow his wild oats with every smokin' hot babe that catches his eye. Really, Lou?!!! Hey, steady girl: dump this jerk PRONTO and don't look back!
29. Going To A Go-Go/The Miracles--I've always enjoyed this Motown classic. The dramatic opening of drums and R&B guitar riff grab you and the sharp call-and-response between the backup members and Smokey is very catchy. In fact, I guess I was so infatuated with this song that, years ago, I gathered up several friends from a church I attended at the time and I organized a lip-synch, air-jam act of this very record for the entertainment portion of a church Christmas party. (I played Smokey.) Although entertaining before an audience isn't usually my thing, I summoned up the courage to pull it off. And we were a major hit; the audience loved our act.
28. I Got You (I Feel Good)/James Brown--Although it's undeniably catchy and energetic, it has suffered much from oveplay over the years. In contrast, his other signature song "Papa's Got A Brand New Bag" still sounds fresh and interesting.
27. Sandy/Ronny & The Daytonas--Quite possibly my favorite surf ballad of all time, besting all the Beach Boys' ballads. The acoustic guitar, backup vocals and John "Bucky" Wilkin' soulful lead combine to create one hauntingly gorgeous record.
26. Uptight (Everything's Alright)/Stevie Wonder--Although far from his best release, it's still one fun, frenetic hit. I especially love the intro's bold horn riff, repeated prior to the second verse.
25. Thunderball/Tom Jones--Sometimes Tom Jones' bombastic style is fun and enjoyable, but in this song, it's a bit much.
24. A Well-Respected Man/The Kinks--I can take it or leave it.
23. Satin Pillows/Bobby Vinton--Although I've been outspoken in my criticism of most of this guy's songs, I'll admit this song wasn't bad; it had a rather upbeat arrangement. Seven years later, country singer Jeannie Pruett would release a similarly-themed song with the title "Satin Sheets" (I wonder if the release of the latter resulted in a lawsuit?)
22. Over And Over/The Dave Clark Five--It's a mildly catchy rocker, but it's far from their best work.
21. Crying Time/Ray Charles--It's hard to be too critical of Brother Ray's soulful style, but this song comes across as too sad, sappy, and whiny.
20. Lies/The Knickerbockers--With this explosive, electrifying release, this New Jersey band set out to emulate the Beatles and, in the process, beat them at their own rock and roll game. They pack so much rapid-fire guitar, drum, and vocal energy in such a short single that Beatles fans--and probably the Fab Four themselves--had to take note with jaw-dropping awe.
19. Attack/The Toys--This was the first time I had heard this Top 20 follow-up to the beautiful "A Lover's Concerto", and I was quite amazed. It had an even sweeter arrangement than the preceding hit.
18. Spanish Eyes/Al Martino--It was an above-average easy-listening hit. It was pleasantly dramatic.
17. My Love/Petula Clark--Another great Petula Clark release. It has a very catchy, driving melody and Pet sings her heart out. And the brassy arrangement is as scintillating as ever.
16. Jenny Take A Ride!/Mitch Ryder & The Detroit Wheels--This fun bundle of energy is basically a blend of two classic '50's hits: Chuck Willis' "C. C. Rider" and Little Richard's "Jenny, Jenny". I enjoy the "Jenny, Jenny" sections best; the band plays at an amazingly spastic, breakneck pace.
15. Barbara Ann/The Beach Boys--It's OK, I guess, but overall, it's one of the band's lamer hits.
14. The Duck/Jackie Lee--I wasn't very familiar with this song, but I seem to remember liking it. I remember it had a nicely swinging feel to it.
13. Ebb Tide/The Righteous Brothers--This was the duo's last hit produced by Phil Spector and he gave this otherwise slow ballad a much-needed shot in the arm with a slightly dialed down Wall-of-Sound production. And the duo's smooth vocals added to the drama and majesty, especially the rousing ending.
12. Flowers On The Wall/The Statler Brothers--This lyrically offbeat song has always put a smile on my face. The peppy melody goes perfect with the intriguing lyrics, telling of the day in the life of an institutionalized mental patient. And, of course, with those unique, masterful, almost quirky vocal harmonies of the foursome, you know a prolific show biz future would lie ahead.
11. Just Like Me/Paul Revere & The Raiders--With its assertive organ intro and overall tense rockin' arrangement, this is one of the band's best songs.
10. You Didn't Have To Be So Nice/The Lovin' Sp00nful--To borrow a classic Chuck Berry line, this amazing release is one of the ultimate examples of a guitar being played "like a ring in a bell". That stirringly beautiful guitar-based melody line played several times sounds just like it were coming from a bell from Heaven. And it was a stroke of genius for John Sebastian's vocals to be muffled, all the better to downplay the vocals to put the emphasis on that stellar arrangement. All in all, my favorite song by this band.
9.As Tears Go By/The Rolling Stones--I can take it or leave it.
8. A Must To Avoid/Herman's Hermits--This is one of the boys' better song. It has sharp guitar parts, particularly the guitar intro and outro, and the lead and harmony vocals are smooth.
7. The Men In My Little Girl's Life/Mike Douglas--Ah, yes, I remember watching this guy's afternoon talk show all the time when I was a kid. And I remember him occasionally reciting this song on his show, as well as occasionally hearing it on the radio. It's mildly intriguing and heart-tugging, but only in small doses.
6. No Matter What Shape (Your Stomach's In)/The T-Bones--There are few pop hits of the '60's that exemplify that decade's musical sound more than this fun, bouncy instrumental. You got the irresistibly catchy guitar riff, the cheesy female backup singers, and the bossa nova organ bridge. How can a '60's music fan not love this song?
5. Day Tripper/The Beatles--It has a catchy opening guitar riff, but is otherwise so-so.
4. Five O'Clock World/The Vogues--With its lush vocal harmonies, happy sing-a-long chorus,and the gimmicky hiccupping backup vocals, this is a pretty fun song.
3. She's Just My Style/Gary Lewis & The Playboys--This is one of my favorite songs by this band. The band's harmonies are spot-in and the surf-influenced guitar work is particularly stellar, especially at the end of each chorus, when they sing "fine-e-e-e-e-e, so fine-e-e-e-e-e-e".
2. We Can Work It Out/The Beatles--A fine Beatles release with a lively, polished arrangement.
1.The Sounds Of Silence/Simon & Garfunkel--The duo's harmonies are quite stirring and dramatic, but it was a wise decision to release it with the jangle guitar rock track added to it. That's what give it the necessary ooomph to make it a charttopping hit.
And my favorite song of the countdown:
"You Didn't Have To Be So Nice", with "Lies" a close second.
Thank you and good night. It's so past my bedtime.
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Post by slf on Mar 3, 2016 22:56:39 GMT -5
For the week ending February 21, 1968:
40. The End Of Our Road/Gladys Knight & The Pips--It's not bad; it swings out nicely. But it's too much of a "Grapevine" soundalike song. (And their version of that song pales in comparison to Marvin Gaye's masterpiece, anyway.)
39. Strawberry Shortcake/Jay & The Techniques--Similarly, this record was reminiscent of the group's best known release "Apples, Peaches, Pumpkin Pie" (Man, I'm gettin' hungry again and I just ate supper!) However, I enjoyed this soundalike song better than the one at #40. It had peppy, radiant sound and a nice xylophone part.
38. Born Free/The Hesitations--I was very impressed with this soulful, exhilarating vocal cover version of the classic movie theme from two years previous.
37. Walk Away, Renee/The Four Tops--With its majestic arrangement and big-as-all-outdoors vocals (especially Levi Stubbs' lead), this cover version is even better than the Left Banke's fine original. (Of the countdown's first seven entries, this was the only one I was familiar with.)
36. There Was A Time/James Brown--So-so, at best.
35. Just As Much As Ever/Bobby Vinton--With its catchy shuffle beat, it was more interesting than your average Bobby Vinton release.
34. You/Marvin Gaye--This fine Motown release was full of stirring tension. Its melody and arrangement reminded me of the Four Tops' "7 Rooms Of Gloom" from the previous year.
33. Darlin'/The Beach Boys--Although it was far from their most successful hit, this gem just may well be my favorite Beach Boys song. I love how their rich, dramatic harmonies in the chorus lead into the sharp horn riff. And the rumbling piano background in the verses goes perfect with Carl Wilson's earnest vocals. I'm glad the band kept this song for themselves instead of giving it to that early version of Three Dog Night. (Lou Simon told that same story on his SiriusXM countdown show a couple weeks before you did.)
32. Words/The Bee Gees--Like most of their pre-Disco Era ballads, I can take it or leave it.
31. Everything That Touches You/The Association--This gorgeous ballad probably ties with the fun, peppy "Windy" as my favorite of this band's Top 40 hits (although their #80 chart classic "Goodbye Columbus" is one of my absolute favorite songs of ALL TIME!) From the assertive keyboard intro, to the dramatic harmonies that grow more so with each verse, to that vocally bombastic finish, this song gets more enjoyable with each listen.
30. Sunday Morning/Spanky & Our Gang--Another great release by a superb pop vocal group, their harmonies on this one being as rich and glorious as ever. Although you didn't play it on the show, this song has an interesting ending, where the band members seem to carry on a casual, rambling conversation. I remember, at one point, one of them yells out something like "Longhairs will rule the world!". Are you familiar with this ending?
29. I Thank You/Sam And Dave--I can take it or leave it.
28. Am I That Easy To Forget/Engelbert Humperdinck--Ditto. (The Parrot mascot on the original 45 single is more interesting than the song, if you ask me.)
27. Itchycoo Park/The Small Faces--Yeah, this song is probably about drugs, but I still love it. The organ and piano accompaniment is superb, and Steve Mariott's vocals are quite intriguing and dramatic, especially leading into the stirring "It's all too beautiful" chorus. My favorite part, however, comes toward the end, when the one guy yells "Ha", followed by that freaky psychedelic riff. Too bad these guys didn't have more hits here in the states. (I once heard another song of theirs that was also great, "Here Comes The Nice".)
26. Some Velvet Morning/Nancy Sinatra & Lee Hazelwood--Some songs are just so bizarre and out there that I can't help but love them. This is one such song. The intro, with its bombastic strings and booming percussion, sets the menacing tone. Then Mr Hazelwood's snarling, growling vocals come in, making him sound quite threatening, as he tells of the mysterious creature "Fedra". Then the arrangement shifts from menacing to enchanting, as Fedra (Nancy) introduces herself. Then another 30 seconds of Lee and his dark arrangement, and another 30 seconds of Nancy's light arrangement. Then just as you thing it couldn't get any weirder, the ending consists of back-and-forth snippets of both arrangements, made to sound just as jarring as you'd expect. I've never heard anything quite like it on the radio. (But I STILL don't know who Fedra is.)
25. Skip A Rope/Henson Cargill--This song's catchy, lighthearted arrangement belies the serious message it conveys, that of how powerful an influence parents really are to their children and how setting a bad example in word and deed is a downright tragedy.
24. Different Drum/The Stone Ponies (Featuring Linda Ronstadt)--This pleasant, well-produced hit is probably more enjoyable than nearly all of Ms Ronstadt's later solo hits.
23. Tomorrow/The Strawberry Alarm Clock--As much as I love "Incense And Peppermints", I love this followup even better. The first 30 seconds, with its echo-chamber drum work and borderline doo-wop vocals, immediately hook me. Then the sharp organ and guitar in the instrumental part similarly blow me away. But the greatest hook comes at the very end, with the distorted, psychedelic "wa-wa-wa-wa". (BTW, several years ago I got the chance to see the premiere episode of "Rowan And Martin's Laugh-In", from Jan 1968. In the midst of the plethora of comedy bits was included what can only be called a music video of this very song, I kid you not. It showed the band members' car broken down on a busy bridge. It ends with them crossing the river in a rowboat. What the video had to do with the song, I have no idea.)
22. I Can Take Or Leave Loving You/Herman's Hermits--No, it's not a take-it-or-leave-it song, as I found it to be a rather catchy pop song (but not as good as several of their other hits).
21. We Can Fly/The Cowsills--As much as I love the gorgeous "The Rain, The Park, And Other Things", this somewhat obscure followup is even better! The opening, with its stately horns and heavenly harp, sets the sweet, sunny tone. Then those stellar vocals call and respond, as well as show off their gorgeous harmonies, all backed by a sharp string, horn, and percussion arrangement. How this 2 1/2 minutes of pop perfection could be mostly ignored by oldies stations is beyond me.
20. There Is/The Dells--You can probably cut with a knife the tension that permeates from this great soul classic, especially when all the members harmonize to the repeated line "There Is, There Is, There Is...."
19. My Baby Must Be A Magician/The Marvelettes--Despite the trademark sharp Motown arrangement and the ladies' fine vocals, the gimmicky lyrics and sound effects I fine silly and off-putting.
18. Susan/The Buckinghams--The first ninety or so seconds of this record is near pop perfection, with its urgent melody, assertive piano, jazzy drums, sweet strings, rich harmonies, and, of course, those radiant horns. Then a pregnant pause gives way to the what sounds like the final 20 or so seconds of "A Day In The Life", or so it seems. Never has part of a song sounded so bizarre yet so out of place as this psychedelic interruption. Surely the producers could have come up with a better way to flesh out this song than splicing in this garbage.
17. Simon Says/The 1910 Fruitgum Company--Silly yet undeniably cute and fun bubblegum classic.
16. Chain Of Fools/Aretha Franklin--With its killer groove and Aretha's powerful soul shouting, this is one of her best songs.
15. We're A Winner/The Impressions--This was the highest-ranked song on the countdown that I was unfamiliar with. But I was impressed with its nice brass and percussion.
14. Bottle Of Wine/The Fireballs--Although I shouldn't like a song glorifying the life of a wino on skid row, it does have a certain campy charm.
13. Bend Me Shape Me/The American Breed--From the galloping drum intro, to the sharp horn arrangement, to the bold, assertive chorus, this classic is one of my favorite songs of the countdown.
12. Woman, Woman/Gary Puckett & The Union Gap--From the assertive intro, to the accusatory verses, to that urgent musical question Gary poses in each chorus, dramatic tension oozes throughout in this masterful debut single.
11. Baby, Now That I've Found You/The Foundations--I've always enjoyed this sharp, polished soul release.
10. I Wonder What She's Doing Tonite/Boyce & Hart--Similarly, I've always got a kick out of this fun bundle of energy, although I like "Alice Long" better.
9. Judy In Disguise (With Glasses)/John Fred & His Playboy Band--The pairing of a frenetic rock melody to the horn and string arrangement create one fun song, made even more so by the offbeat lyrics ("Cross your heart, yeah, with your living bra") and the abrupt, bizarre ending. (" I guess I'll just take your gla-sses")
8. Nobody But Me/The Human Beinz--I can take it or leave it. I know-know know know-know know-know-know-know I can.
7. Goin' Out Of My Head/Can't Take My Eyes Off You/The Letterman--I remember hearing this record a lot when I was real little (I think my dad had it in his collection.) It does have a brash, show-biz feel to hit, and the guys' harmonies are spot-on.
6. (Sittin' On) The Dock Of The Bay/Otis Redding--It's rather sad and pathetic that, as talented and soulful a singer as the late Otis Redding was, this is the only song most people know him by and the only one of his songs played on oldies radio. And this release, recorded only a few days before Otis' tragic early death, was to mark a change in musical direction, or so I've heard. This song is really atypical of his early catalog of hits.
5. Theme From Valley Of The Dolls/Dionne Warwick--In light of the tragic tale told in the movie this song came from, this song has a certain somber feel to it that's somewhat hard to take.
4. I Wish It Would Rain/The Temptations--A mostly average Motown single, made interesting only by David Ruffin's typical dynamic vocals.
3. Spooky/The Classics IV--Another song I can take or leave. I like their later hits better.
2. Green Tambourine/The Lemon Pipers--With its bizarre sound effects, this is one intriguing example of bubble-delic pop. (BTW, last week, before the countdown, I heard your regular show when you were featuring bubblegum pop. Thank you so much for playing the vastly superior Lemon Pipers release "Jelly Jungles Of Orange Marmalade". I LOVE that song.)
1. Love Is Blue/Paul Mauriat--This is another song from that era that I was exposed to quite a bit, on the radio and probably from my dad's record collection. It took me years to really appreciate the song, but I eventually grew to love its lush strings and stately harpsichord arrangement. All in all, well deserving of being a big hit, even though it had nothing to do with rock and roll.
And my favorite song of the countdown:
"We Can Fly" by The Cowsills (one of my favorite pop songs of all time)
Thank you and good night.
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Post by bestmusicexpert on Mar 4, 2016 6:03:47 GMT -5
Great critique! Thank you. The date BTW was 2-17-68. Always enjoy your thoughts!
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Post by slf on Mar 24, 2016 21:16:18 GMT -5
For the week ending March 14, 1970:
40. Always Something There To Remind Me/R. B. Greaves--Before I heard this countdown, I had not heard this guy's version of this song in many years. I believe, as a young kid, I was exposed equally to this and Dionne Warwick's version. I had completely forgotten about this song when, in mid-1983, I first heard Naked Eyes' techno-pop cover, and the feelings of deja vu were mighty. My fond memories of this great song were more than enough for me to love that new version, as well. As for this version, I love the burst of horns punctuating the arrangement, and R. B.'s vocals are nicely smooth. And, heck, it just has a great melody in general.
39. Up The Ladder To The Roof/The Supremes--Diana Who? Yes, most of this group's big Motown hits of the '60' with you-know-who singing lead were good or even great. But I love Mary, Cindy, & Jean's two top 10 hits of the early '70's even better. The arrangement and the vocals in each verse of this first hit exude a subtle, smouldering tension, which burst wide open with the ladies' exuberant vocals in the chorus. I'm especially blown away when Jean Terrell sings "where we can be-e-e-e-e" and the dramatic way she flattens that note. Wow! Eat your heart out, uh, what was her name again?
38. Jennifer Tomkins/The Street People--Before he wrote about canniballistic miners and sang about Pina Coladas, Rupert Holmes sang lead for this forgotten studio group. I was unfamiliar with this number until I bought a bubblegum compilation CD about 13 years ago with this song on it. I found it rather cute and catchy.
37. Something's Burning/Kenny Rogers & The First Edition--I forget how this song goes, but I seem to remember it having an appropriately smouldering, dramatic feel to it.
36. All I Have To Do Is Dream/Glen Campbell & Bobbie Gentry--I seem to remember the vocals sounding rather pleasant, almost as enjoyable as the harmonies on Don & Phil's classic original.
35. It's A New Day/James Brown--Most of Soul Brother #1's hits after 1968, to me, sound nicely funky but rather formulaic. This one seemed to stand out a little more, mainly due to his arresting spoken word opening.
34. The Bells/The Originals--It's a rather enjoyable, smooth soul ballad typical of those popular in the early '70's, but far from exceptional.
33. Walk A Mile In My Shoes/Joe South--A nicely radiant sing-a-long number with a timeless message about not judging another person too harshly until you've experienced the trials he or she has gone through.
32. Come And Get It/Badfinger--It's a pretty good debut hit with a sharp arrangement and fine vocals, but their subsequent hits, particularly "Day After Day" and "Baby Blue", are far better.
31. Do The Funky Chicken/Rufus Thomas--After having heard this and one or two other '70's dance songs by this guy, I can't help but think of him as a minor league James Brown (maybe Soul Third Cousin Twice Removed). But, to be fair, his songs, this included, are still catchy and delightfully campy. On this one, I was particularly fascinated by the stuttering guitar licks made to sound like a clucking chicken.
30. Honey Come Back/Glen Campbell--Like his other song earlier, I also forget how it sounded. But I seemed to enjoy its smooth, somewhat dramatic arrangement and Glen's spoken word parts in the verses.
29. Spirit In The Sky/Norman Greenbaum--Despite the refreshing Christian message, I have always been rather lukewarm to this song. I think I'm mainly turned off by his declaration that "I've never been a sinner/I've never sinned" Hey, Norman! You may want to crack open you Bible to Romans 3:23.
28. Venus/Shocking Blue--From the jangly opening guitar riff reminiscent of "Tommy", to the assertive vocals and guitar of the chorus, this is one of my favorite hard rock songs of the early '70's. And although I have warmed up to Bananarama's charttopping cover version in recent years, it still doesn't hold a candle to this dynamic original.
27. The Thrill Is Gone/B. B. King--The combination of B. B.'s world weary vocals, the lush strings, and the mournful cries coming out of Lucille produce one mesmerizing blues/pop standard.
26. Never Had A Dream Come True/Stevie Wonder--This was a Stevie Wonder release I was unfamiliar with. It was OK, but nothing exceptional.
25. Gotta Hold On To This Feeling/Junior Walker & The All-Stars--Similarly, I was unfamiliar with the Motown release, as well. However, I enjoyed this much better. It seemed to have an exciting, dramatic, urban-sounding production.
24. I Want You Back/The Jackson Five--Wow, back-to-back-to-back Motown! This was the one that started it all for the brothers from Gary, Indiana. And for those back then who heard that iconic opening for the first time, with its stuttering guitar, assertive rhythm, and pounding piano, followed by the wailing of 11-year-old Michael, they had to have known that this was the new sound of Motown and soul music in general.
23. Arizona/Mark Lindsey--Although the song's two verses are subdued to the point of being borderline boring, Mark belts it out mightly at the end of each verse leading into the rousing choruses. And although I still don't know what the song is all about, Mark's massive vocals make it very enjoyable, just the same.
22. Oh Me, Oh My (I'm A Fool For You, Baby)/Lulu--The sharp, polished arrangement and the quirky lyrics are enough to make this song interesting. But the fact that Lulu's vocals are particularly soulful make this good song a great song.
21. Call Me/Aretha Franklin--I seem to remember this song as being so-so, at best.
20. Celebrate/Three Dog Night--It has a sprightly arrangement and radiant harmonies, but it's far from their greatest song. And that repetitious ending does wear on me after about oh, 45 seconds.
19. Easy Come, Easy Go/Bobby Sherman--It's a shame that Bobby Sherman is usually dismissed as a lightweight bubblegum pop singer, because most of his hits had sunny, radiant arrangements and Bobby had a smooth, confident singing voice. All those elements are in full display in this song, my favorite of his hits. I also especially enjoy the sunny horns and the jazzy drum work.
18. House Of The Rising Sun/Frijid Pink--I must admit I forget how this cover version of the old blues standard (and the Animals charttopper) went, so I'll skip this one.
17. Kentucky Rain/Elvis Presley--All in all, I'm mostly lukewarm in my feelings for the King of Rock and Roll and his catalogue of hits. Of the relatively few songs of his that truly love, nearly all of them are from his comeback period of his career. From a musical standpoint this song is my favorite. The opening to each verse sets the overcast, stormy mood, especially certain minor key piano notes that are struck repeatedly throughout. The two verses maintain that ominous feeling as Elvis relays the story of wandering all over the state of Kentucky in the rain in a desparate search for his runaway sweetheart. Then, with a threatening piano riff sounding just like thunder booming, Elvis kicks it up several notches in the soulfully bombastic chorus, ending majestically with him wailing, "Searching for you-u-u-u, in the cold Kentucky rain-ai-ain-ain!" (I'm not surprised that Ronnie Milsap provided that piano thunder, because it sounds just like the piano thunder in his hit "Smokey Mountain Rain")
16. No Time/The Guess Who--A fine straight-up rocker, with scintillating guitar work in the intro and between verses, and great solo and harmony vocals.
15. Instant Karma (We All Shine On)/John Lennon--It's an above-average post Beatles John Lennon release, with earnest vocals and a very infectious, booming rhythm.
14. Raindrops Keep Falling On My Head/B. J. Thomas--I was only five going on six in mid March of 1970 and I remember hearing this song all the time! Despite the overexposure, I still to this day get taken in by this gentle, easygoing melody, and BJ's charming, relaxed vocals.
13. Love Grows (Where My Rosemary Grows)/Edison Lighthouse--If you want irresistible musical sunshine, here's your song. From the opening guitar and string riffs, to the bouncy, peppy melody, to the elaborate bombastic production, to Tony Burrows' joyous, confident vocals, this is one of the true feel-good songs of the year.
12. Psychedelic Shack/The Temptations--A very fun, frenetic psychedelic soul release. It's especially intriguing to hear all five members stepping up to the mike in seemingly rapid-fire succession. 11. Didn't I (Blow Your Mind This Time)/The Delfonics--After two of the most upbeat, fun songs of the countdown comes perhaps the saddest song of the countdown. Although it tells the sad account of a man who's about to break up with a girl who's been untrue one too many times, I still love this song. I'm mainly in awe of the production, including the opening horn and the stirring instrumental section of the third verse.
10. Evil Ways/Santana--I can take it or leave it.
9. He Ain't Heavy, He's My Brother/The Hollies--A sweet, inspirational song with impeccable harmonies and heavenly harmonica solos. What really makes this song is how the lead singer dials down his voice several notches before he sings the title. I think that adds a certain seriousness and solumnness to this message.
8. Hey There Lonely Girl/Eddie Holman--Although I cannot knock the sincerity of the singer or the message, this song I find mediocre, at best.
7. Thank You (Falettinme Be Mice Elf Agin)/Everybody Is A Star/Sly & The Family Stone--The "A" side is somewhat cute and catchy, but I prefer the "B" side. It has a dramatic feel to it, and Larry Graham's vocals are some of the best bass vocals I have ever heard.
6. Give Me Just A Little More Time/Chairmen Of The Board--It has some fine soulful energy to it, but it's far from great. (I'd probably just as soon listen to the ChairMAN of the Board---Frank Sinatra)
5. Ma Belle Amie/The Tee Set--Although far from a great song, the melody is cute, the organ playing is intriguing, and the lead singer's vocals have a certain charm to them.
4. Rainy Night In Georgia/Brook Benton--This was Mr. Benton's Top 40 Swan Song and one of the best examples of an artist saving the best for last. His world-weary, souful vocals and that dramatic orchestral arrangement combine to create one masterfully gut-wrenching song.
3. The Rapper/The Jaggerz--I can take it or leave it.
2. Travelin' Band/Who'll Stop The Rain/Credence Clearwater Revival--I can take or leave both songs.
1. Bridge Over Troubled Waters/Simon & Garfunkel--This was in its third of six consecutive weeks at number one, and it's easy to see why it spent so much time at the top. Not only does it have a powerfully inspirational message, the dramatic piano, piercing percussion, heavenly strings, and Art Garfunkel's massive tenor vocals underscore that message perfectly.
And my favorite song of the countdown:
"Up The Ladder To The Roof" by Jean Terrell & The Supremes (sorry, Diana)
Thank you and good night.
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Post by bestmusicexpert on Mar 24, 2016 21:35:46 GMT -5
Nice job as always. Arizona was explained in the January 1970 episode I did.
We'll be in 1970 again in May.
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