Looking back on my original prediction for this year, I can see that I was right. 1959 was dominated, chart-wise, by soft-pop ballads, as opposed to Rock And Roll and R&B. It just goes to show how what is a big #1 hit of a year may not necessarily be considered the best of that year in 50 years time.
One thing I noted after listening to all 15 number one songs from 1959, is that I have now forgotten how quite a few of the songs from this year sounded. There were certainly a few really good songs, two or so poor songs, but there were a whole bunch of songs that are just totally neutral for me. Maybe it's because they all blend together in a year full of dated soft-pop sugar and cheese.
Again, not that these more neutral songs are bad, but when you have a whole year dominated by that genre, it's hard to later go back and pick out the standout good, and bad songs. Luckily a select few songs standout and I've decided which are the best and worst. So, drumroll please...
Best #1 Hit Song Of 1959 - "Stagger Lee" - Lloyd Price.
This song came neck to neck with Elvis Presley's "A Big Hunk o' Love". However, while Elvis' song is indeed a great song, I just feel that the music, vocal performance, and overall tone of "Stagger Lee" came out on top. Again though, both songs are fantastic and stand the test of time better than most of the 1959 songs on the list.
Worst #1 Hit Song Of 1959 - "The Three Bells" - The Browns.
Now where the best song of this year was nearly earmarked for "Stagger Lee", I had no idea which song would be the worst, as many of these songs were new to me. My first instinct was, "The Battle Of New Orleans", by Johnny Horton, and then much later, "Why" by Frankie Avalon. However, the former, while cheesy, at least didn't take itself seriously and was mildly humorous. On the other hand, the latter song, while easily the most sugary on the list, was too INNOCENT to take seriously. I found in the end it was, "The Three Bells", that I enjoyed the least. The song is too serious in tone, it sounds way too conservative and old fashioned for my taste, and it's lethargically mellow tone I found way too dull. So that song gets my pick as the worst #1 hit song of 1959, and the worst #1 so far.
With that, we end 1959, and the 1950's entirely. We enter a new year and a new decade next. A decade in which music, pop culture, and the world, would forever change. We've still got a ways to go from "The Twist" to "Woodstock", so join me, as we start truckin' through one of the best decades of twentieth century music!
Coming Up Next - 1960 Overview.
Until Next Time - Dr. Rock -
Saturday, August 31, 2013
Song #23 - "Why" - Frankie Avalon
#1 for week of December 28, 1959.
"Why", is the final #1 hit song of the 1950's. Once the turbulent and counter-cultural 1960's rolled around, the music world would render most of the softer music from this time period obsolete and irrelevant. It is fitting that for the final song of 1959, a year full of #1 soft pop hits, we end with what is easily the most saccharine and over-sugary of them all.
There's nothing wrong with writing a sweet love song. In fact, we will get to songs later in this list that are purposely full of cliched love song lyrics, but have wonderful musical melodies. However, "Why", perhaps goes a bit too far in the sugar department.
Lyrically, the word, "love", is used so often in the song to the point that any chance of deeper lyrical complexity is rendered non-existent. When a later verse of the song features Frankie and a female singer singing lines back and forth like a love letter, the song's mushiness gets too unbearable for my taste.
Musically, the song features the standard soft-pop instrumentation of a stripped down band, and backing singers. Despite there being no strings, the inclusion of an xylophone adds to the song's overly innocent romantic ballad quality. I just find that all these elements together make the song way too sappy and sweet.
This does not mean that all sweet sounding love songs are bad. For example, "Cherish", by The Association, while a very gentle sounding tune indeed, features incredibly complex lyrics that describe, nearly in poetic quality, an enduring love for someone without just saying, "I love you and you love me too". Of course it helps that the song is musically complex as well. More on that when we get to 1966...
Furthermore, simplistic love lyrics are also not necessarily bad. "I Want You To Want Me", by Cheap Trick features simple lyrics, but since the song has such an energetic, and exciting melody, the simplicity of the lyrics compliment the song. "Why", on the other hand, combines simple cliched lyrics AND melody, and this does not help the song stand the test of time.
Final Verdict - As mentioned before, this song's music and especially lyrics are too sweet and easy-listening for my taste. If you are into sweet romantic soft-pop ballads, you may like this song. However,to anyone else, you'll most likely want to pass.
Coming Up Next - 1959 Reflection.
Until Next Time - Dr. Rock -
"Why", is the final #1 hit song of the 1950's. Once the turbulent and counter-cultural 1960's rolled around, the music world would render most of the softer music from this time period obsolete and irrelevant. It is fitting that for the final song of 1959, a year full of #1 soft pop hits, we end with what is easily the most saccharine and over-sugary of them all.
There's nothing wrong with writing a sweet love song. In fact, we will get to songs later in this list that are purposely full of cliched love song lyrics, but have wonderful musical melodies. However, "Why", perhaps goes a bit too far in the sugar department.
Lyrically, the word, "love", is used so often in the song to the point that any chance of deeper lyrical complexity is rendered non-existent. When a later verse of the song features Frankie and a female singer singing lines back and forth like a love letter, the song's mushiness gets too unbearable for my taste.
Musically, the song features the standard soft-pop instrumentation of a stripped down band, and backing singers. Despite there being no strings, the inclusion of an xylophone adds to the song's overly innocent romantic ballad quality. I just find that all these elements together make the song way too sappy and sweet.
This does not mean that all sweet sounding love songs are bad. For example, "Cherish", by The Association, while a very gentle sounding tune indeed, features incredibly complex lyrics that describe, nearly in poetic quality, an enduring love for someone without just saying, "I love you and you love me too". Of course it helps that the song is musically complex as well. More on that when we get to 1966...
Furthermore, simplistic love lyrics are also not necessarily bad. "I Want You To Want Me", by Cheap Trick features simple lyrics, but since the song has such an energetic, and exciting melody, the simplicity of the lyrics compliment the song. "Why", on the other hand, combines simple cliched lyrics AND melody, and this does not help the song stand the test of time.
Final Verdict - As mentioned before, this song's music and especially lyrics are too sweet and easy-listening for my taste. If you are into sweet romantic soft-pop ballads, you may like this song. However,to anyone else, you'll most likely want to pass.
Coming Up Next - 1959 Reflection.
Until Next Time - Dr. Rock -
Friday, August 30, 2013
Song #22 - "Heartaches By The Number" - Guy Mitchell
#1 for weeks of December 14, and 21, 1959.
I should start this review off by saying that if you intend to read my lists by simultaneously listening along to the song, via something like youtube, I implore you to make sure you are looking up the ORIGINAL version of the song in question. With, "Heartaches By The Number", I probably ran into 2 different versions with a distinct 1980's production, plus many covers, before stumbling across the original.
With that out of the way, this song and artist were totally new to me. I purposely didn't look up what genre this tune was, in order to be truly surprised. Well, the song is a late 1950's country shuffle, despite Guy Mitchell not originally being a Country singer. Again, not my favorite genre of music, and this song wouldn't be considered something I would regularly listen to.
Lyric-wise, the song deals with the singers's many heartbreaks, (Three to be exact), with one lover of his. So in other words, due to the genre's near endless supply of heartbreak songs, its lyrics can come across to some as a bit cliche'd.
Musically, there are country sounding guitars prominent, and what appears to be banjo playing. However, the banjo playing is strummed as opposed to plucked, and the vocals do not contain any Country accent. In other words, it is a very mainstream, (For the time period at least), Country song, which explains how it ended up on the pop chart.
For me personally, this song doesn't hold my interest. Even its melody, while not necessarily uninteresting just doesn't wow me like some of the other more neutral songs from this year have. Still, it's not the weakest song I have heard so far.
Final Verdict - If you are a Country music fan, you will most likely appreciate this song. Otherwise, it's not an essential listen.
Last Up For 1959 - "Why" by Frankie Avalon.
Until Next Time - Dr. Rock -
I should start this review off by saying that if you intend to read my lists by simultaneously listening along to the song, via something like youtube, I implore you to make sure you are looking up the ORIGINAL version of the song in question. With, "Heartaches By The Number", I probably ran into 2 different versions with a distinct 1980's production, plus many covers, before stumbling across the original.
With that out of the way, this song and artist were totally new to me. I purposely didn't look up what genre this tune was, in order to be truly surprised. Well, the song is a late 1950's country shuffle, despite Guy Mitchell not originally being a Country singer. Again, not my favorite genre of music, and this song wouldn't be considered something I would regularly listen to.
Lyric-wise, the song deals with the singers's many heartbreaks, (Three to be exact), with one lover of his. So in other words, due to the genre's near endless supply of heartbreak songs, its lyrics can come across to some as a bit cliche'd.
Musically, there are country sounding guitars prominent, and what appears to be banjo playing. However, the banjo playing is strummed as opposed to plucked, and the vocals do not contain any Country accent. In other words, it is a very mainstream, (For the time period at least), Country song, which explains how it ended up on the pop chart.
For me personally, this song doesn't hold my interest. Even its melody, while not necessarily uninteresting just doesn't wow me like some of the other more neutral songs from this year have. Still, it's not the weakest song I have heard so far.
Final Verdict - If you are a Country music fan, you will most likely appreciate this song. Otherwise, it's not an essential listen.
Last Up For 1959 - "Why" by Frankie Avalon.
Until Next Time - Dr. Rock -
Song #21 - "Mr. Blue" - The Fleetwoods
#1 for week of November 16th, 1959.
This is the first of many times on this list that a previous talked about artist reappears. In this case, it's The Fleetwoods, the same soft-pop vocal trio who produced, "Come Softy To Me".
Some of the upsides, and downsides for, "Softly", are still present in, "Mr. Blue". Just like the former, "Mr. Blue", is a very mellow soft pop song. It features a set lead singer, and two backing vocalists who sometimes add counter and companion melodies to the song. The overall sound and tone of both songs sounds very dated, and to a modern audience fueled by loud or beat-heavy tunes, this song probably won't do much for them. Even when the psychedelic age rolled around, this type of music sounded anachronistic.
But here, I try to find a silver lining in every tune I listen to. For one, this song has a much more interesting and complex melody than, "Softly", and while it still borders on being a lullaby, "Mr. Blue" is a bit more upbeat sounding. There's actually a solid band in the background instead of just an off-tempo guitar and car key percussion. However, the band is very laid back and it is clear that the vocals are what is on display in the song.
So despite the fact that the song is another easy-listening pop ballad, it's carefree unpretentious singing style and lyrics make it better than other soft pop fare from this year such as, "The Three Bells". In fact, if this song had been covered in the 1960's with a more folk-rock or even British Invasion arrangement, with its melody intact, I could see it as something I would be proud to have in my record collection.
Final Verdict - While this song and genre are again not my usual cup of tea, I still know a good melody when I hear one, and this song is very melodic. Sugary, but not too sweet, unfashionable, but not pretentious. Who knows, maybe it's right up your alley.
Coming Up Next - "Heartaches By The Number" by Guy Mitchell.
Until Next Time - Dr. Rock -
This is the first of many times on this list that a previous talked about artist reappears. In this case, it's The Fleetwoods, the same soft-pop vocal trio who produced, "Come Softy To Me".
Some of the upsides, and downsides for, "Softly", are still present in, "Mr. Blue". Just like the former, "Mr. Blue", is a very mellow soft pop song. It features a set lead singer, and two backing vocalists who sometimes add counter and companion melodies to the song. The overall sound and tone of both songs sounds very dated, and to a modern audience fueled by loud or beat-heavy tunes, this song probably won't do much for them. Even when the psychedelic age rolled around, this type of music sounded anachronistic.
But here, I try to find a silver lining in every tune I listen to. For one, this song has a much more interesting and complex melody than, "Softly", and while it still borders on being a lullaby, "Mr. Blue" is a bit more upbeat sounding. There's actually a solid band in the background instead of just an off-tempo guitar and car key percussion. However, the band is very laid back and it is clear that the vocals are what is on display in the song.
So despite the fact that the song is another easy-listening pop ballad, it's carefree unpretentious singing style and lyrics make it better than other soft pop fare from this year such as, "The Three Bells". In fact, if this song had been covered in the 1960's with a more folk-rock or even British Invasion arrangement, with its melody intact, I could see it as something I would be proud to have in my record collection.
Final Verdict - While this song and genre are again not my usual cup of tea, I still know a good melody when I hear one, and this song is very melodic. Sugary, but not too sweet, unfashionable, but not pretentious. Who knows, maybe it's right up your alley.
Coming Up Next - "Heartaches By The Number" by Guy Mitchell.
Until Next Time - Dr. Rock -
Thursday, August 29, 2013
Song #20 - "Mack The Knife" - Bobby Darin
#1 for weeks of October 5, 12, 19, 26, November 2, 9, 23, 30, and December 7th, 1959.
That's quite a chart run isn't it? Nine non-consecutive weeks at #1, (Broken up by the next song on the list). One has to wonder what kept this song up on top for so long. Let's find that out shall we?
Bobby Darin was already an established singer, primarily in the Rock And Roll genre, with "Splish Splash", from 1958, being his most well known hit from this era. Then, that same year, Bobby branched out his sound quite a bit, first by covering, "Beyond The Sea", and then at the tail end of the year, covering another big band jazz standard - "Mack The Knife".
This song, originally from The Threepenny Opera, is a perfect example of lyrical dissonance. Without paying attention to the lyrics, the song has a happy musical melody, and a Sinatra-like big band arrangement. Bobby also adds enough gusto to his vocal performance to make the song his own. Pay attention to the lyrics, however and you'll realize "Mack The Knife" is actually about a serial killer. Quite a contrast indeed!
It is interesting that a straight up 1940's-style swing tune not only topped the Billboard charts at the tail end of the 1950's, but was also so popular. Perhaps due to the temporary decline of Rock And Roll and people possibly getting sick of soft ballads, this song sounded like fresh air.
Bobby Darin would become less active musically during the 1960's, and become associated, politically, with another Bobby, of the Kennedy variety. Sadly, just as Bobby Kennedy would have his life tragically cut short, Bobby Darin lost his life too, following a failed heart operation at only age 37, in 1973.
Final Verdict - This is one of the definitive recordings of this standard, (Louis Armstrong has another notable cover as well). Due to its big band jazz sound, it sounds rather timeless, and should be easily appreciated, especially if you are a jazz fan.
Coming Up Next - "Mr. Blue" by The Fleetwoods.
Until Next Time - Dr. Rock -
That's quite a chart run isn't it? Nine non-consecutive weeks at #1, (Broken up by the next song on the list). One has to wonder what kept this song up on top for so long. Let's find that out shall we?
Bobby Darin was already an established singer, primarily in the Rock And Roll genre, with "Splish Splash", from 1958, being his most well known hit from this era. Then, that same year, Bobby branched out his sound quite a bit, first by covering, "Beyond The Sea", and then at the tail end of the year, covering another big band jazz standard - "Mack The Knife".
This song, originally from The Threepenny Opera, is a perfect example of lyrical dissonance. Without paying attention to the lyrics, the song has a happy musical melody, and a Sinatra-like big band arrangement. Bobby also adds enough gusto to his vocal performance to make the song his own. Pay attention to the lyrics, however and you'll realize "Mack The Knife" is actually about a serial killer. Quite a contrast indeed!
It is interesting that a straight up 1940's-style swing tune not only topped the Billboard charts at the tail end of the 1950's, but was also so popular. Perhaps due to the temporary decline of Rock And Roll and people possibly getting sick of soft ballads, this song sounded like fresh air.
Bobby Darin would become less active musically during the 1960's, and become associated, politically, with another Bobby, of the Kennedy variety. Sadly, just as Bobby Kennedy would have his life tragically cut short, Bobby Darin lost his life too, following a failed heart operation at only age 37, in 1973.
Final Verdict - This is one of the definitive recordings of this standard, (Louis Armstrong has another notable cover as well). Due to its big band jazz sound, it sounds rather timeless, and should be easily appreciated, especially if you are a jazz fan.
Coming Up Next - "Mr. Blue" by The Fleetwoods.
Until Next Time - Dr. Rock -
Song #19 - "Sleep Walk" - Santo & Johnny
#1 for weeks of September 21, and 28th, 1959.
MUCH better than the previous song, a breath of fresh air even. I use the air analogy because this is a steel guitar-based instrumental tune which sounds as refreshing as a warm summer's breeze.
Brothers Santo & Johnny Farina's original number, "Sleep Walk", is quite a unique song which, is a slow-dance rock number in a 3/4 waltz time, with a Doo-Wop chord progression. The centerpiece of the song, and what gives it its uniqueness is the steel guitars. The guitars play in harmony throughout the song giving it a very tropical feel.
In fact, I would even go as far as to call this song a proto-Surf Rock tune, due to the fact that it sounds very summery, and brings to mind montages of crashing surf waves on a hot summer's day in California. Pretty good, considering the brothers were from New York City.
That the song's first week at #1 was the final week of the summer of 59, it adds a feeling of melancholia in that these times won't last forever. One other song that evokes this feeling is "Theme From Endless Summer" by The Sandals, but we still have a little ways to go before this style of music became popular. For now, Surf music was still brewing, and it would still be a year or two before that keg was fully tapped.
Final Verdict - This song is the perfect soundtrack to a lazy summer. Its laid back atmosphere makes it good music to relax to, and savor the day. Give this one a few spins.
Coming Up Next - "Mack The Knife" by Bobby Darin.
Until Next Time - Dr. Rock -
MUCH better than the previous song, a breath of fresh air even. I use the air analogy because this is a steel guitar-based instrumental tune which sounds as refreshing as a warm summer's breeze.
Brothers Santo & Johnny Farina's original number, "Sleep Walk", is quite a unique song which, is a slow-dance rock number in a 3/4 waltz time, with a Doo-Wop chord progression. The centerpiece of the song, and what gives it its uniqueness is the steel guitars. The guitars play in harmony throughout the song giving it a very tropical feel.
In fact, I would even go as far as to call this song a proto-Surf Rock tune, due to the fact that it sounds very summery, and brings to mind montages of crashing surf waves on a hot summer's day in California. Pretty good, considering the brothers were from New York City.
That the song's first week at #1 was the final week of the summer of 59, it adds a feeling of melancholia in that these times won't last forever. One other song that evokes this feeling is "Theme From Endless Summer" by The Sandals, but we still have a little ways to go before this style of music became popular. For now, Surf music was still brewing, and it would still be a year or two before that keg was fully tapped.
Final Verdict - This song is the perfect soundtrack to a lazy summer. Its laid back atmosphere makes it good music to relax to, and savor the day. Give this one a few spins.
Coming Up Next - "Mack The Knife" by Bobby Darin.
Until Next Time - Dr. Rock -
Song #18 - "The Three Bells" - The Browns
#1 for weeks of August 24, 31, and September 7, and 14th, 1959.
Once again, we're back in, "Safe", territory for this song. Very safe territory actually, Ned Flanders territory even! Whereas songs like, "Come Softly To Me", were even mellower than this one, lyrically and musically it is, "The Three Bells", a gospel-tinged Country ballad, that meets the exact criteria of what I personally don't like in a pre-British Invasion soft-pop song. However, I will still try to judge the song with an open mind.
I'll get the good aspects out of the way. Lyrically, the song is divided into three sections, or, "Three Bells", if you will. Describing the life of one Jimmy Brown, the sections are divided into his birth, marriage, and death. Backing vocal-wise, the two Brown sisters imitate the sound of a ringing church bell, which certainly is creative. Also, to further drive the feeling of the church atmosphere, the pre-verses are sung as if it is a hymn. If this is the atmosphere The Browns were trying to create, they succeeded.
However, what turns me off to the song is the whole combination of the tone and context. Musically, it is very easy-listening in the sense that the melody is extremely simple and non-challenging. The lead vocals are sung in an accent-less country croon that gives the song an almost hymn-like feel which to me sounds very sleepy, almost lethargic.
This song isn't just dated sounding, it's a total mystery to me as to why this was a #1 Pop hit in the first place, let alone a whole month! I could see this being a big hit on the Country or Easy Listening charts as the song borders on non-secular music. However, just the fact that this song was considered prime for the pop market of this time period mystifies me.
Final Verdict - If someone was a fan of this type of soft early Country music and its themes, I could easily see them liking this song. As for fans of Rock, modern day, and edgier music, this song will most likely not be of interest to you. It is the first song on this list that I have no interest in hearing again.
Coming Up Next - "Sleep Walk" by Santo & Johnny.
Until Next Time - Dr. Rock -
Once again, we're back in, "Safe", territory for this song. Very safe territory actually, Ned Flanders territory even! Whereas songs like, "Come Softly To Me", were even mellower than this one, lyrically and musically it is, "The Three Bells", a gospel-tinged Country ballad, that meets the exact criteria of what I personally don't like in a pre-British Invasion soft-pop song. However, I will still try to judge the song with an open mind.
I'll get the good aspects out of the way. Lyrically, the song is divided into three sections, or, "Three Bells", if you will. Describing the life of one Jimmy Brown, the sections are divided into his birth, marriage, and death. Backing vocal-wise, the two Brown sisters imitate the sound of a ringing church bell, which certainly is creative. Also, to further drive the feeling of the church atmosphere, the pre-verses are sung as if it is a hymn. If this is the atmosphere The Browns were trying to create, they succeeded.
However, what turns me off to the song is the whole combination of the tone and context. Musically, it is very easy-listening in the sense that the melody is extremely simple and non-challenging. The lead vocals are sung in an accent-less country croon that gives the song an almost hymn-like feel which to me sounds very sleepy, almost lethargic.
This song isn't just dated sounding, it's a total mystery to me as to why this was a #1 Pop hit in the first place, let alone a whole month! I could see this being a big hit on the Country or Easy Listening charts as the song borders on non-secular music. However, just the fact that this song was considered prime for the pop market of this time period mystifies me.
Final Verdict - If someone was a fan of this type of soft early Country music and its themes, I could easily see them liking this song. As for fans of Rock, modern day, and edgier music, this song will most likely not be of interest to you. It is the first song on this list that I have no interest in hearing again.
Coming Up Next - "Sleep Walk" by Santo & Johnny.
Until Next Time - Dr. Rock -
Wednesday, August 28, 2013
Song #17 - "A Big Hunk o' Love" - Elvis
#1 for weeks of August 10, and 17th, 1959.
FINALLY, the king makes an appearance on this list! Elvis' absence from this list so far is no doubt due to the fact that his 2 years of military service prevented him from recording whenever he wanted. In fact, this song was recorded over a year prior, on June 10th, 1958 during a leave of absence, and proved to be Elvis' ONLY recording session during his time in the army.
While I am familiar with quite a few of Elvis' songs, this one surprisingly eluded me. Knowing that after he came back from the military, his sound and personality were forever changed, I didn't know what side of Elvis would be present on this song: The classic 1950's rocker Elvis, or the more laid back post-army Elvis. Luckily, and wonderfully, this song is the former, and how!
From the beginning to the end, this song is a powerhouse rockabilly tune. One interesting part throughout the song is a very low, almost non-human bass vocal which almost predates the sound of the Moog synthesizer! Solo-wise, the piano player, Floyd Crammer, absolutely pounds those ivories, and lead guitarist Hank Garland gives a nice vintage Rock And Roll solo. Add onto all that the icing on the cake, Elvis' spirited and vigorous lead vocals.
This song is nigh on impossible not to like. Sure, lyrically it's not a masterpiece, but that wasn't what Elvis songs were like during his prime. What makes Elvis so remembered today is the fact that his singing style and energy, not to mention, his moves on stage, influenced everyone from The Beatles, to The Who, to Led Zeppelin, to even modern day bands like The Red Hot Chili Peppers.
What makes this song a bit sad is that it is essentially the swan song of Elvis' classic phase. He would never be the same, both personality and music-wise after he came back from the army. So for now, forget about such later period events of his career, like how chummy he was with Richard Nixon. Instead remember him by songs like this.
Final Verdict - This song is so nice to hear in a year mostly dominated by soft pop. "Hunk o' Love" is full of that classic Elvis sound: Powerful vocals, strong instrumentation, and full energy. This song deserves to be part of your record collection.
Coming Up Next - "The Three Bells" by The Browns.
Until Next Time - Dr. Rock -
FINALLY, the king makes an appearance on this list! Elvis' absence from this list so far is no doubt due to the fact that his 2 years of military service prevented him from recording whenever he wanted. In fact, this song was recorded over a year prior, on June 10th, 1958 during a leave of absence, and proved to be Elvis' ONLY recording session during his time in the army.
While I am familiar with quite a few of Elvis' songs, this one surprisingly eluded me. Knowing that after he came back from the military, his sound and personality were forever changed, I didn't know what side of Elvis would be present on this song: The classic 1950's rocker Elvis, or the more laid back post-army Elvis. Luckily, and wonderfully, this song is the former, and how!
From the beginning to the end, this song is a powerhouse rockabilly tune. One interesting part throughout the song is a very low, almost non-human bass vocal which almost predates the sound of the Moog synthesizer! Solo-wise, the piano player, Floyd Crammer, absolutely pounds those ivories, and lead guitarist Hank Garland gives a nice vintage Rock And Roll solo. Add onto all that the icing on the cake, Elvis' spirited and vigorous lead vocals.
This song is nigh on impossible not to like. Sure, lyrically it's not a masterpiece, but that wasn't what Elvis songs were like during his prime. What makes Elvis so remembered today is the fact that his singing style and energy, not to mention, his moves on stage, influenced everyone from The Beatles, to The Who, to Led Zeppelin, to even modern day bands like The Red Hot Chili Peppers.
What makes this song a bit sad is that it is essentially the swan song of Elvis' classic phase. He would never be the same, both personality and music-wise after he came back from the army. So for now, forget about such later period events of his career, like how chummy he was with Richard Nixon. Instead remember him by songs like this.
Final Verdict - This song is so nice to hear in a year mostly dominated by soft pop. "Hunk o' Love" is full of that classic Elvis sound: Powerful vocals, strong instrumentation, and full energy. This song deserves to be part of your record collection.
Coming Up Next - "The Three Bells" by The Browns.
Until Next Time - Dr. Rock -
Song #16 - "Lonely Boy" - Paul Anka
#1 for weeks of July 13, 20, 27, and August 3rd, 1959.
As the summer of '59 reaches its midway point, we have another hit by a teen idol. Paul Anka is best known for his song he recorded at 15 years old, "Diana", which, though it now sounds dated, still was a deserved hit, due to its very catchy chorus and melody. Now nearly at age 18, he had his first #1 on the Billboard Hot 100 with, "Lonely Boy", which both succeeds, and fails at following, "Diana".
Where the song succeeds is its more stripped down and personal sound. A twangy guitar is most prominent in the verses, and the choruses have a small string section as the most prominent instrument. Also, one important thing to remember is Paul Anka himself actually wrote the song, not an outside composer. With that in mind, any emotional response Paul sings is actually genuine and he does sound very heartfelt in his vocal performance.
However, the lyrics are often rather simplistic, and sometimes a bit sugary. Also, the backing vocals during the chorus and the overall simple chord progression add to this sugar-factor. This is understandable though as this was recorded by a then-seventeen year old. You couldn't expect someone so young to write a song as emotionally resonant as, "Layla", during this time period.
In the end though, I still consider, "Diana", to be the superior song of Paul's. The fact that this song was new to me shows how it has slipped through the cracks of music over the years.
Final Verdict - Despite this song bordering on saccharine at times, it is nonetheless impressive that a 17 year old could produce such a surprisingly personal song. It is because of the latter factor that, "Lonely Boy", is worth a listen.
Coming Up Next - "A Big Hunk o' Love" by Elvis.
Until Next Time - Dr. Rock -
As the summer of '59 reaches its midway point, we have another hit by a teen idol. Paul Anka is best known for his song he recorded at 15 years old, "Diana", which, though it now sounds dated, still was a deserved hit, due to its very catchy chorus and melody. Now nearly at age 18, he had his first #1 on the Billboard Hot 100 with, "Lonely Boy", which both succeeds, and fails at following, "Diana".
Where the song succeeds is its more stripped down and personal sound. A twangy guitar is most prominent in the verses, and the choruses have a small string section as the most prominent instrument. Also, one important thing to remember is Paul Anka himself actually wrote the song, not an outside composer. With that in mind, any emotional response Paul sings is actually genuine and he does sound very heartfelt in his vocal performance.
However, the lyrics are often rather simplistic, and sometimes a bit sugary. Also, the backing vocals during the chorus and the overall simple chord progression add to this sugar-factor. This is understandable though as this was recorded by a then-seventeen year old. You couldn't expect someone so young to write a song as emotionally resonant as, "Layla", during this time period.
In the end though, I still consider, "Diana", to be the superior song of Paul's. The fact that this song was new to me shows how it has slipped through the cracks of music over the years.
Final Verdict - Despite this song bordering on saccharine at times, it is nonetheless impressive that a 17 year old could produce such a surprisingly personal song. It is because of the latter factor that, "Lonely Boy", is worth a listen.
Coming Up Next - "A Big Hunk o' Love" by Elvis.
Until Next Time - Dr. Rock -
Tuesday, August 27, 2013
Song #15 - "The Battle Of New Orleans" - Johnny Horton
#1 for weeks of June 1, 8, 15, 22, 29, and July 6th, 1959.
Not including Country-flavored pop songs such as, "It's Only Make Believe", this is the first time a true Country tune makes this list. I've never been a huge fan of the genre, (Johnny Cash is an exception), however, vintage Country certainly is more enjoyable for me to listen to than the overly patriotic, and/or, Pop-Country genres that are popular in these modern times.
Actually, this song is more of a banjo pickin' tune, and borders on folk. The song is essentially a big history lesson on the 1815 Battle Of New Orleans against the British. However, the song is very tongue in-cheek in tone, and does not take itself too seriously. In particular, there is one part where Johnny Horton purposely almost sings, "Hell", which made me chuckle. Perhaps that is why this song spent a whopping 6 weeks at #1.
Even though humor is the key to this song, it sounds a bit corny, especially during some of the verses where the singers mimic a drill march. However, one thing I can't deny, despite the song's cheesiness, is that the chorus of the song is very catchy. Having the backing vocals singing an octave lower than Johnny gives the song some added muscle.
Music-wise, the entire song is reminiscent of a 19th century Civil War-era wartime tune complete with banjo, marching drums, and authoritative backing vocals. Overall, Johnny Horton did a good job at capturing the time period in the music. Sadly, Horton's career would not last much longer however, and the following year, he died in a car accident at only age 35.
Final Verdict - This song's novelty factor does not really give it much longevity, and to most people, I feel the song will come across as corny, or irrelevant. It is worth hearing mainly as a curiosity, especially if you are a fan of Civil War-era music.
Coming Up Next - "Lonely Boy" by Paul Anka.
Until Next Time - Dr. Rock -
Not including Country-flavored pop songs such as, "It's Only Make Believe", this is the first time a true Country tune makes this list. I've never been a huge fan of the genre, (Johnny Cash is an exception), however, vintage Country certainly is more enjoyable for me to listen to than the overly patriotic, and/or, Pop-Country genres that are popular in these modern times.
Actually, this song is more of a banjo pickin' tune, and borders on folk. The song is essentially a big history lesson on the 1815 Battle Of New Orleans against the British. However, the song is very tongue in-cheek in tone, and does not take itself too seriously. In particular, there is one part where Johnny Horton purposely almost sings, "Hell", which made me chuckle. Perhaps that is why this song spent a whopping 6 weeks at #1.
Even though humor is the key to this song, it sounds a bit corny, especially during some of the verses where the singers mimic a drill march. However, one thing I can't deny, despite the song's cheesiness, is that the chorus of the song is very catchy. Having the backing vocals singing an octave lower than Johnny gives the song some added muscle.
Music-wise, the entire song is reminiscent of a 19th century Civil War-era wartime tune complete with banjo, marching drums, and authoritative backing vocals. Overall, Johnny Horton did a good job at capturing the time period in the music. Sadly, Horton's career would not last much longer however, and the following year, he died in a car accident at only age 35.
Final Verdict - This song's novelty factor does not really give it much longevity, and to most people, I feel the song will come across as corny, or irrelevant. It is worth hearing mainly as a curiosity, especially if you are a fan of Civil War-era music.
Coming Up Next - "Lonely Boy" by Paul Anka.
Until Next Time - Dr. Rock -
Song #14 - "Kansas City" - Wilbert Harrison
#1 for weeks of May 18, and 25th, 1959.
If you're wondering, yes, this is the first half of the song better known today as, "Kansas City/Hey, Hey, Hey, Hey". The second part of that medley is a Little Richard song from 1956, and it was this year, (1959), that Richard returned with the combined version of the two songs. This review, of course, will only cover, "Kansas City".
The song was one of the many compositions by the renowned songwriting team of lyricist Jerry Lieber, and music composer Mike Stoller, who will certainly crop up in more spots on this list as we go along. It's also a nice medium tempo Rock And Roll tune in the style of a 12-bar blues.
This version has its own unique sound to it, unlike Little Richard's version, which is best known today by The Beatles' 1964 cover of it. Wilbert almost swings his vocals during the final 3rd of each of the 12-bar verses, and it creates an almost ska-like feel. Despite the song being more of a restrained rocker, there is still a nice guitar solo section. However, it is the piano pounding out triplets throughout the tune which is the musical highlight.
With that being said, I do still prefer the Little Richard arrangement of this song, if only due to the fact that it takes this medium rocker and adds some extra spice and pizzazz to it. Wilbert's version, however, sounds more like it is rooted in the blues, and that genre is always welcome on this list.
Final Verdict - While I feel that Little Richard's, and The Beatles' versions, are superior because they add even more personality to the song, Wilbert Harrison's version should not be missed as well, as it a fine blues-inspired rocker with unique vocals and a stellar piano track. Check out all the versions of it and see which one you like best!
Coming Up Next - "The Battle Of New Orleans" by Johnny Horton.
Until Next Time - Dr. Rock -
If you're wondering, yes, this is the first half of the song better known today as, "Kansas City/Hey, Hey, Hey, Hey". The second part of that medley is a Little Richard song from 1956, and it was this year, (1959), that Richard returned with the combined version of the two songs. This review, of course, will only cover, "Kansas City".
The song was one of the many compositions by the renowned songwriting team of lyricist Jerry Lieber, and music composer Mike Stoller, who will certainly crop up in more spots on this list as we go along. It's also a nice medium tempo Rock And Roll tune in the style of a 12-bar blues.
This version has its own unique sound to it, unlike Little Richard's version, which is best known today by The Beatles' 1964 cover of it. Wilbert almost swings his vocals during the final 3rd of each of the 12-bar verses, and it creates an almost ska-like feel. Despite the song being more of a restrained rocker, there is still a nice guitar solo section. However, it is the piano pounding out triplets throughout the tune which is the musical highlight.
With that being said, I do still prefer the Little Richard arrangement of this song, if only due to the fact that it takes this medium rocker and adds some extra spice and pizzazz to it. Wilbert's version, however, sounds more like it is rooted in the blues, and that genre is always welcome on this list.
Final Verdict - While I feel that Little Richard's, and The Beatles' versions, are superior because they add even more personality to the song, Wilbert Harrison's version should not be missed as well, as it a fine blues-inspired rocker with unique vocals and a stellar piano track. Check out all the versions of it and see which one you like best!
Coming Up Next - "The Battle Of New Orleans" by Johnny Horton.
Until Next Time - Dr. Rock -
Song #13 - "The Happy Organ" - Dave "Baby" Cortez
#1 for week of May 11th, 1959.
Now here's something totally different than what we've heard before! This is the first instrumental on the list, it's the first tune to sound like a traditional 1950's Rock And Roll song, and it's the first one to prominently feature an electric organ.
Despite not being initially familiar with this song, part of the melody is directly lifted from the traditional song, "Shortnin' Bread", which perhaps makes this song a VERY primitive and early example of sampling? Also, the initial piano run is reminiscent of Bobby Freeman's, "Do You Wanna Dance?".
As for what is not lifted off of other sources, there is very prominent piano, sax, drums, and a GUITAR SOLO, FINALLY!! Although it's more of a subdued solo and is also mixed down pretty quiet in the mix, it is more than refreshing to hear. The organ in the song mostly acts as the primary soloing instrument and appears to drop out all together anytime the guitar comes in.
Due to the very vintage rock nature of the song, it certainly sounds like a product of the times, although it's nowhere near as dated sounding as the previous reviewed song. It's nice to finally hear an upbeat song that screams 50's nostalgia.
Final Verdict - The sampling of other song's melodies does not make this a very original song, but it certainly is a unique and fun entry. Guitar solos and rock instrumentals are very welcome on this list, and this piece will certainly get your toes tapping. Now if you'll excuse me, I feel like heading down to the ol' malt shop and bringing along a bag of quarters to put in the jukebox.
Coming Up Next - "Kansas City" by Wilbert Harrison.
Until Next Time - Dr. Rock -
Now here's something totally different than what we've heard before! This is the first instrumental on the list, it's the first tune to sound like a traditional 1950's Rock And Roll song, and it's the first one to prominently feature an electric organ.
Despite not being initially familiar with this song, part of the melody is directly lifted from the traditional song, "Shortnin' Bread", which perhaps makes this song a VERY primitive and early example of sampling? Also, the initial piano run is reminiscent of Bobby Freeman's, "Do You Wanna Dance?".
As for what is not lifted off of other sources, there is very prominent piano, sax, drums, and a GUITAR SOLO, FINALLY!! Although it's more of a subdued solo and is also mixed down pretty quiet in the mix, it is more than refreshing to hear. The organ in the song mostly acts as the primary soloing instrument and appears to drop out all together anytime the guitar comes in.
Due to the very vintage rock nature of the song, it certainly sounds like a product of the times, although it's nowhere near as dated sounding as the previous reviewed song. It's nice to finally hear an upbeat song that screams 50's nostalgia.
Final Verdict - The sampling of other song's melodies does not make this a very original song, but it certainly is a unique and fun entry. Guitar solos and rock instrumentals are very welcome on this list, and this piece will certainly get your toes tapping. Now if you'll excuse me, I feel like heading down to the ol' malt shop and bringing along a bag of quarters to put in the jukebox.
Coming Up Next - "Kansas City" by Wilbert Harrison.
Until Next Time - Dr. Rock -
Monday, August 26, 2013
Song #12 - "Come Softly To Me" - The Fleetwoods
#1 for weeks of April 13, 20, 27, and May 4th, 1959.
The Fleetwoods? Sorry to say but this ain't the Fleetwoods of the, "Mac" variety. In fact, both the group and song were totally alien to me. So let's do something completely different. This review will be divided into four sections, my first impressions before hearing it, and each of my three listens to it.
Initial impressions - Just the name alone, "Come Softly To Me", left me with little doubt that this would be another quieter number. Hearing that this group was considered one of the most successful of the year in which Rock And Roll had a creative dip, and seeing pictures of the group from this time period dressed in fancy evening dress as opposed looking like they came straight out of Happy Days, does not hold much promise. This should be interesting.
First listen - This trumps, "Venus" as the most mellow song on the list so far. In fact, Frankie Avalon sounds like Ozzy Osbourne in comparison. Very minimalist instrumentation, sounds out of sync with the vocal melody in some places, and it doesn't particularly hold my interest, but let's see if some more listens will change that.
Second listen - Still as quiet as ever, almost sleepy, but you know what, the two ladies singing lead and backing vocals, (Gretchen Christopher and Barbara Ellis), really are growing on me, and they stand out the most as the song progresses. Song almost has a latin-jazz feel to it. It reminds me of "The Girl From Ipanema".
Third listen - You know what, the softness I feel actually is this song's strong point. The song comes across as subtle and subdued. Gretchen and Barbara's vocals whenever they sing, "Stay", or, "Say", is as heavy as the vocals get. It seems also this song was initially recorded acapella with lead singer Gary Troxel's car keys being the only instrumentation at the time. Only much later in the year, (1958), were acoustic guitars added. This explains why they sometimes lose time in the music. Overall, not bad, not what I would pick as a major #1 hit, and not something I'd frequently listen to, but it grew on me for each listen.
Final Verdict - This song just goes to show why a song deserves a minimum of three listens before you make your final verdict. While it's still not my normal cup of tea, it is a rare case where its softness and gentleness actually is its strong point. It's pleasing to listen to, and given time, it grows on you. If you're in a mellow mood, you need music for your yoga class, or the time calls for softer music to be played, you can give this song a spin. Fans of edgier and/or modern day music might want to pass.
Coming Up Next - "The Happy Organ" by David "Baby" Cortez
Until Next Time - Dr. Rock -
The Fleetwoods? Sorry to say but this ain't the Fleetwoods of the, "Mac" variety. In fact, both the group and song were totally alien to me. So let's do something completely different. This review will be divided into four sections, my first impressions before hearing it, and each of my three listens to it.
Initial impressions - Just the name alone, "Come Softly To Me", left me with little doubt that this would be another quieter number. Hearing that this group was considered one of the most successful of the year in which Rock And Roll had a creative dip, and seeing pictures of the group from this time period dressed in fancy evening dress as opposed looking like they came straight out of Happy Days, does not hold much promise. This should be interesting.
First listen - This trumps, "Venus" as the most mellow song on the list so far. In fact, Frankie Avalon sounds like Ozzy Osbourne in comparison. Very minimalist instrumentation, sounds out of sync with the vocal melody in some places, and it doesn't particularly hold my interest, but let's see if some more listens will change that.
Second listen - Still as quiet as ever, almost sleepy, but you know what, the two ladies singing lead and backing vocals, (Gretchen Christopher and Barbara Ellis), really are growing on me, and they stand out the most as the song progresses. Song almost has a latin-jazz feel to it. It reminds me of "The Girl From Ipanema".
Third listen - You know what, the softness I feel actually is this song's strong point. The song comes across as subtle and subdued. Gretchen and Barbara's vocals whenever they sing, "Stay", or, "Say", is as heavy as the vocals get. It seems also this song was initially recorded acapella with lead singer Gary Troxel's car keys being the only instrumentation at the time. Only much later in the year, (1958), were acoustic guitars added. This explains why they sometimes lose time in the music. Overall, not bad, not what I would pick as a major #1 hit, and not something I'd frequently listen to, but it grew on me for each listen.
Final Verdict - This song just goes to show why a song deserves a minimum of three listens before you make your final verdict. While it's still not my normal cup of tea, it is a rare case where its softness and gentleness actually is its strong point. It's pleasing to listen to, and given time, it grows on you. If you're in a mellow mood, you need music for your yoga class, or the time calls for softer music to be played, you can give this song a spin. Fans of edgier and/or modern day music might want to pass.
Coming Up Next - "The Happy Organ" by David "Baby" Cortez
Until Next Time - Dr. Rock -
Song #11 - "Venus" - Frankie Avalon
#1 for weeks of March 9, 16, 23, 30, and April 6, 1959.
And we're back to ballad land with this song, which is often used as an example, when discussing the history of this year in music. This is mainly due to the fact that Frankie Avalon traded in a rock sound for a symphonic pop sound with this song. Because of this, it can be seen as an indicator that Rock And Roll was losing popularity.
Today, besides this being one of his signature songs, Frankie Avalon is best remembered for appearing in a lot of 1960's, "Beach Party", movies, most notably with the late Annette Funicello. The more modern generation knows him, not necessarily by name, for singing, "Beauty School Dropout", in the 1978 film adaptation of Grease.
Now, one thing I feel I should clarify is that I do NOT hate soft-pop ballads. Despite having talked down about the genre often on this list, "It's All In The Game", and "Smoke Gets In Your Eyes", while very gentle songs, still have powerful R&B vocals that make them pleasing to listen to. "Venus", which heavily features orchestral choir backing vocals certainly falls firmly into the easy-listening symphonic pop vein.
But is this really a death kneel for the song? Not at all. It most certainly is listenable, and that is a positive trait that will rapidly diminish once we reach more modern pop music. Plus, fact of the matter is Frankie Avalon's has a great singing voice. However he doesn't have the same emotional resonance in this song that some of the more R&B ballads I have reviewed have featured. Plus, the backing vocals and very quiet arrangement have dated this song quite a bit.
After closer listening to the music track, there are a few surprises. For one, it actually features electric guitar, (non-distorted), and most importantly HARPSICHORD! Does that make this song one of the first Baroque Pop songs? It really wouldn't be until Brian Wilson developed as an arranger that harpsichord would be more widely used in pop music so it is certainly neat to hear. Also, despite this being an orchestral-sounding song, there is not a heavy wall of sound or massive string section like some of the other songs on this list.
Final Verdict - Despite this song being very much a, "Safe", #1 hit for 1959, and being a very innocent, naive, and easy-listening pop song, the key emphasis is "listening". It is very listenable, although not overly complex. Still, it is considered a treasured pop song from this time period, so if this is your cup of tea, give it a listen.
Coming Up Next - "Come Softly To Me" by The Fleetwoods
Until Next Time - Dr. Rock -
Song #10 - "Stagger Lee" - Lloyd Price
#1 for weeks of February 9, 16, 23rd, and March 2nd, 1959.
Now, THIS is what I'm talking about. The first truly upbeat song on this list. And it just simply ROCKS!
It is ironic that I call this an, "Upbeat", song as it is actually based on a traditional folk murder ballad which was published in 1911, and based on a true story depicted in the song itself. Everyone from Woody Guthrie, to The Grateful Dead, to Nick Cave and the Bad Seeds, has played or recorded a version of this song.
What makes Lloyd Price's version so great though is the pure energy and passion contained within, and this is helped by its brief quieter intro. If I wasn't already very familiar with this song, I would've assumed this would be another soft ballad, but then the song kicks into full gear, and it never runs out of gas.
Musically, "Stagger Lee" is a nice piano and sax-led boogie with spirited backing vocals and of course, Lloyd Price's powerful charismatic lead vocal. All these ingredients together make this a recipe for a timeless and thoroughly enjoyable song. You would have to have a cold heart not to enjoy it in some way!
Oh, and forget about the whole, "3 listens a piece", I have been listening to this song on repeat while typing this review. Maybe just after 9 mostly mellow or downbeat songs, this is a breath of fresh air!
Final Verdict - FULLY deserving of #1 hit status, and proof that R&B music of this time period was king. This is a must listen/own song!
Coming Up Next - "Venus" by Frankie Avalon.
Until Next Time - Dr. Rock -
Now, THIS is what I'm talking about. The first truly upbeat song on this list. And it just simply ROCKS!
It is ironic that I call this an, "Upbeat", song as it is actually based on a traditional folk murder ballad which was published in 1911, and based on a true story depicted in the song itself. Everyone from Woody Guthrie, to The Grateful Dead, to Nick Cave and the Bad Seeds, has played or recorded a version of this song.
What makes Lloyd Price's version so great though is the pure energy and passion contained within, and this is helped by its brief quieter intro. If I wasn't already very familiar with this song, I would've assumed this would be another soft ballad, but then the song kicks into full gear, and it never runs out of gas.
Musically, "Stagger Lee" is a nice piano and sax-led boogie with spirited backing vocals and of course, Lloyd Price's powerful charismatic lead vocal. All these ingredients together make this a recipe for a timeless and thoroughly enjoyable song. You would have to have a cold heart not to enjoy it in some way!
Oh, and forget about the whole, "3 listens a piece", I have been listening to this song on repeat while typing this review. Maybe just after 9 mostly mellow or downbeat songs, this is a breath of fresh air!
Final Verdict - FULLY deserving of #1 hit status, and proof that R&B music of this time period was king. This is a must listen/own song!
Coming Up Next - "Venus" by Frankie Avalon.
Until Next Time - Dr. Rock -
Sunday, August 25, 2013
Song #9 - "Smoke Gets In Your Eyes" - The Platters
#1 for weeks of January 19, 26th, and February 2, 1959.
If you don't include "The Chipmunk Song", which started its top of the chart run in late 1958, and continued into this new year, then The Platters' cover of the old show-tune, "Smoke Get In Your Eyes", is the first #1 hit exclusive to 1959.
It's also the softest and most lush sounding ballad so far on this list. It certainly is the antithesis of Rock And Roll and 1950's pop music in general. Due to the fact it is a cover from the 1933 musical, Roberta, it sounds as if it could have easily been a hit in the 1940's. To someone of the post 1980's generation, the song has little relevance, and after listen one, I wasn't hooked.
However, upon re-listens I started to hear the song with a more open mind. For one, lead singer Tony Williams' voice takes this soft pop song and gives it a lot of robust character. It alternates between a romantic croon and a vigorous cry. Unique voices, no matter the genre, always make any song stand out in my opinion, and hearing this song performed with such character is a big plus.
Music-wise, it is strictly orchestral, with the only percussion being a snare drum with brush sticks. Harp, strings, stand up bass, and piano, are the most audible instruments. It certainly gives the song more of a timeless Broadway feel, as opposed to a 1950's soft R&B feel. Although the doo-wop inspired vocals give the tune a bit more character of its own as well.
Final Verdict - This is the softest and most mellow song on the list so far. Had this song come out in any other later time period, I couldn't see it even remotely considered to be a #1 hit. However, the lead vocal performance is full of emotion, and the group as a whole does a good job with their rendition of the tune. Give it a listen or two when it's late in the evening and you're looking for a quiet, peaceful, relaxing night.
Coming Up Next - "Stagger Lee" By Lloyd Price.
Until Next Time - Dr. Rock -
If you don't include "The Chipmunk Song", which started its top of the chart run in late 1958, and continued into this new year, then The Platters' cover of the old show-tune, "Smoke Get In Your Eyes", is the first #1 hit exclusive to 1959.
It's also the softest and most lush sounding ballad so far on this list. It certainly is the antithesis of Rock And Roll and 1950's pop music in general. Due to the fact it is a cover from the 1933 musical, Roberta, it sounds as if it could have easily been a hit in the 1940's. To someone of the post 1980's generation, the song has little relevance, and after listen one, I wasn't hooked.
However, upon re-listens I started to hear the song with a more open mind. For one, lead singer Tony Williams' voice takes this soft pop song and gives it a lot of robust character. It alternates between a romantic croon and a vigorous cry. Unique voices, no matter the genre, always make any song stand out in my opinion, and hearing this song performed with such character is a big plus.
Music-wise, it is strictly orchestral, with the only percussion being a snare drum with brush sticks. Harp, strings, stand up bass, and piano, are the most audible instruments. It certainly gives the song more of a timeless Broadway feel, as opposed to a 1950's soft R&B feel. Although the doo-wop inspired vocals give the tune a bit more character of its own as well.
Final Verdict - This is the softest and most mellow song on the list so far. Had this song come out in any other later time period, I couldn't see it even remotely considered to be a #1 hit. However, the lead vocal performance is full of emotion, and the group as a whole does a good job with their rendition of the tune. Give it a listen or two when it's late in the evening and you're looking for a quiet, peaceful, relaxing night.
Coming Up Next - "Stagger Lee" By Lloyd Price.
Until Next Time - Dr. Rock -
1959 Overview
This year in music history is most infamously known for the events of February 3rd, 1959. Buddy Holly, Ritchie Valens, and The Big Bopper, all at the peaks of their career, suddenly gone.
Besides losing three of the most prominent names in 1950's Rock And Roll, the genre itself entered a bit of a dark age. Chuck Berry would be arrested in December of the year. Little Richard, once a signature sound in the genre, was still in his Born Again Christian phase and had disowned both Rock And Roll, and his own previous work. Elvis was in the army, Jerry Lee Lewis' personal life was now in controversy, and many Rock And Roll singers such as Frankie Avalon started to mellow out their sound. It really was the day the music died.
From what I personally know of this year, there were a lot of ballads and easy listening tunes which, due to the creative dip of Rock And Roll, started to flourish even more than usual. This would continue until a certain invasion of the British variety 5 years later...
This does not mean of course the year was one of the worst in music, far from it. The R&B genre absolutely FLOURISHED during this year. For one, it saw the first Motown single released - Barrett Strong's "Money", written by Berry Gordy, Jr. Himself. The Coasters and The Drifters (the latter now with Ben E King as their lead singer) released some timeless tunes, such as the former's, "Poison Ivy" and, "There Goes My Baby", by the latter. The Isley Brothers released, "Shout", Sam Cooke gave us, "Wonderful World", and of course Ray Charles gave us the legendary, "What'd I Say?" Unfortunately in certain parts of the country, these were still racially segregated times and so much of this great music was still alien to the whitebread market, and thus, did not feature as heavily on the billboard charts of the time.
Despite the genre not being heavily covered in this blog, it is worth noting two classic jazz albums were recorded and released this year as well - Miles Davis' "Kind Of Blue" and the Dave Brubeck Quartet's "Time Out". Also, another genre of music had its seeds sown this year when The Fireballs recorded "Bulldog", one of the first examples of what would soon become known as "Surf Rock".
So as you can see, this year can be summed up just like the 1980's are today in that, what was commercially successful wasn't necessarily the best music being produced. I'm expecting to review a lot of soft ballad-y songs for this year, but hoping to find some R&B or early Rock And Roll remnants. Let's find out shall we?
First Up - "Smoke Gets In Your Eyes" by The Platters.
Until Next Time - Dr. Rock -
Besides losing three of the most prominent names in 1950's Rock And Roll, the genre itself entered a bit of a dark age. Chuck Berry would be arrested in December of the year. Little Richard, once a signature sound in the genre, was still in his Born Again Christian phase and had disowned both Rock And Roll, and his own previous work. Elvis was in the army, Jerry Lee Lewis' personal life was now in controversy, and many Rock And Roll singers such as Frankie Avalon started to mellow out their sound. It really was the day the music died.
From what I personally know of this year, there were a lot of ballads and easy listening tunes which, due to the creative dip of Rock And Roll, started to flourish even more than usual. This would continue until a certain invasion of the British variety 5 years later...
This does not mean of course the year was one of the worst in music, far from it. The R&B genre absolutely FLOURISHED during this year. For one, it saw the first Motown single released - Barrett Strong's "Money", written by Berry Gordy, Jr. Himself. The Coasters and The Drifters (the latter now with Ben E King as their lead singer) released some timeless tunes, such as the former's, "Poison Ivy" and, "There Goes My Baby", by the latter. The Isley Brothers released, "Shout", Sam Cooke gave us, "Wonderful World", and of course Ray Charles gave us the legendary, "What'd I Say?" Unfortunately in certain parts of the country, these were still racially segregated times and so much of this great music was still alien to the whitebread market, and thus, did not feature as heavily on the billboard charts of the time.
Despite the genre not being heavily covered in this blog, it is worth noting two classic jazz albums were recorded and released this year as well - Miles Davis' "Kind Of Blue" and the Dave Brubeck Quartet's "Time Out". Also, another genre of music had its seeds sown this year when The Fireballs recorded "Bulldog", one of the first examples of what would soon become known as "Surf Rock".
So as you can see, this year can be summed up just like the 1980's are today in that, what was commercially successful wasn't necessarily the best music being produced. I'm expecting to review a lot of soft ballad-y songs for this year, but hoping to find some R&B or early Rock And Roll remnants. Let's find out shall we?
First Up - "Smoke Gets In Your Eyes" by The Platters.
Until Next Time - Dr. Rock -
Friday, August 23, 2013
1958 Reflection
After reviewing all 8 songs to hit #1 on Billboard's Hot 100 in 1958, it is interesting to see that despite the year being remembered in the present day for being full of Rock And Roll, there wasn't a single true Rock And Roll song that hit number one. The closest we got to the genre was "Little Star", and even then, that song is too gentle to be considered any form or Rockabilly or Rock And Roll.
The good thing about these hit songs is all of them were listenable When I eventually get to reviewing modern auto-tuned pop songs with repetitive melodies and refrains, I'm sure I will long for when I was reviewing songs like these from 1958, despite their lyrical cheesiness.
However, I should also mention that about half of these songs did not leave a big lasting impression on me. They were all pleasant but also very laid back and dated sounding. It really ironic that even though R&B and Rock And Roll music were not topping the charts, both genres have continued popularity today. It just goes to show you that chart success does not necessarily equal longevity.
Best #1 Hit Song Of 1958 - "Tom Dooley" - The Kingston Trio.
Right as soon as I saw this song on the list, I practically earmarked it for the top spot, although I gave the remaining 7 songs a generous listen as well. The song is really one of the few timeless songs on the list and lyrically it is by far the best one of the bunch, no contest.
Worst #1 Hit Song Of 1958 - "The Chipmunk Song" - The Chipmunks With David Saville.
There were no truly, "Bad", or "Worst", songs of this year. Every song was listenable in some form or another, so this is more of the "Weakest" song. With that logic in place, I debated putting "It's All In The Game" in this slot. However, the song has a nice melody and can be listened to more than three times. On the other hand, I could barely listen to "The Chipmunk Song" three times. It just doesn't come across to me as one of the top songs of an entire year, and its novelty factor gets old fast. Again, not a bad song, but it's the weakest of the 8.
With that, we end 1958, and move on first to my own personal overview and thoughts of 1959.
Until Next Time - Dr. Rock -
The good thing about these hit songs is all of them were listenable When I eventually get to reviewing modern auto-tuned pop songs with repetitive melodies and refrains, I'm sure I will long for when I was reviewing songs like these from 1958, despite their lyrical cheesiness.
However, I should also mention that about half of these songs did not leave a big lasting impression on me. They were all pleasant but also very laid back and dated sounding. It really ironic that even though R&B and Rock And Roll music were not topping the charts, both genres have continued popularity today. It just goes to show you that chart success does not necessarily equal longevity.
Best #1 Hit Song Of 1958 - "Tom Dooley" - The Kingston Trio.
Right as soon as I saw this song on the list, I practically earmarked it for the top spot, although I gave the remaining 7 songs a generous listen as well. The song is really one of the few timeless songs on the list and lyrically it is by far the best one of the bunch, no contest.
Worst #1 Hit Song Of 1958 - "The Chipmunk Song" - The Chipmunks With David Saville.
There were no truly, "Bad", or "Worst", songs of this year. Every song was listenable in some form or another, so this is more of the "Weakest" song. With that logic in place, I debated putting "It's All In The Game" in this slot. However, the song has a nice melody and can be listened to more than three times. On the other hand, I could barely listen to "The Chipmunk Song" three times. It just doesn't come across to me as one of the top songs of an entire year, and its novelty factor gets old fast. Again, not a bad song, but it's the weakest of the 8.
With that, we end 1958, and move on first to my own personal overview and thoughts of 1959.
Until Next Time - Dr. Rock -
Song #8 - The Chipmunk Song (Christmas Don't Be Late) - The Chipmunks With David Seville
#1 for weeks of December 22 and 29th, 1958, and January 5 and 12th, 1959.
The first novelty song on this list, and the only Christmas #1 for the US Billboard Hot 100. It is not that common that novelty or holiday songs reached #1 in the states, (This was much more common in the UK).
It is a bit weird to see this song on this list, considering its novelty factor. Still, the song is a timeless nostalgic song that many people are familiar with, and during the holidays, it certainly acceptable to hear. It's also refreshing to hear something done under the Alvin and the Chipmunks name by its original creator, Ross Bagdasarian Sr, before the franchise became the bastardized, CGI, pop culture obsessed mess that it is today.
However, while giving the song the mandatory 3 listens minimum I give every song on this list, (despite me being quite familiar with the song), I found that by the second listen, any novelty factor had worn off, and by the 3rd listen, It was more of a chore to sit through. Because of this, I can't see how this was number one for a whole month. It's a song that's best taken in small doses, and of course, listening to it in August doesn't help either.
It's worth noting that "The Witch Doctor", credited to David Seville, (The voices of David Seville and the Chipmunks were really Bagdasarian), was a #1 hit earlier in the year. However, this was based on the recently defunct, 'Best Sellers' chart (ended in October of 1958), so it doesn't count for this list.
Final Verdict - While this song certainly is a tune most people are familiar with, and is reveled around the holidays, I can't see how or why this got to #1. The novelty factor wears off after a few listens and the fact that this was still being regularly played through January of 1959 really perplexes me. This song is only good in strict moderation and when it's played in December.
Coming Up Next - 1958 Reflection.
Until Next Time - Dr. Rock -
The first novelty song on this list, and the only Christmas #1 for the US Billboard Hot 100. It is not that common that novelty or holiday songs reached #1 in the states, (This was much more common in the UK).
It is a bit weird to see this song on this list, considering its novelty factor. Still, the song is a timeless nostalgic song that many people are familiar with, and during the holidays, it certainly acceptable to hear. It's also refreshing to hear something done under the Alvin and the Chipmunks name by its original creator, Ross Bagdasarian Sr, before the franchise became the bastardized, CGI, pop culture obsessed mess that it is today.
However, while giving the song the mandatory 3 listens minimum I give every song on this list, (despite me being quite familiar with the song), I found that by the second listen, any novelty factor had worn off, and by the 3rd listen, It was more of a chore to sit through. Because of this, I can't see how this was number one for a whole month. It's a song that's best taken in small doses, and of course, listening to it in August doesn't help either.
It's worth noting that "The Witch Doctor", credited to David Seville, (The voices of David Seville and the Chipmunks were really Bagdasarian), was a #1 hit earlier in the year. However, this was based on the recently defunct, 'Best Sellers' chart (ended in October of 1958), so it doesn't count for this list.
Final Verdict - While this song certainly is a tune most people are familiar with, and is reveled around the holidays, I can't see how or why this got to #1. The novelty factor wears off after a few listens and the fact that this was still being regularly played through January of 1959 really perplexes me. This song is only good in strict moderation and when it's played in December.
Coming Up Next - 1958 Reflection.
Until Next Time - Dr. Rock -
Song #7 - "To Know Him Is To Love Him" - The Teddy Bears
#1 for weeks of December 1, 8, and 15th, 1958.
Might as well get a statement out of the way for this review, and this review only. Simply because the writer, main performer, arranger and producer of this song will no doubt pop up throughout the first half of the 1960's. I'm of course talking about Phil Spector. No beating around the bush, Phil Spector today is a convicted murderer, and while once considered an eccentric personality, is now considered a madman.
However, before he willingly, (or perhaps due to his madness), killed Lana Clarkson, before he held The Ramones hostage in the recording studio, fired a gun in the ceiling of the studio while working with John Lennon, and before he mixed and overproduced, "The Long And Winding Road", much to Paul McCartney's dismay, Phil Spector was a renowned music producer, songwriter, and arranger who pioneered the "Wall of Sound" technique.
The wall of sound technique meant that instead of having a simple guitar, bass, drums, piano, etc, setup for recording a pop song, you had numerous guitars and basses, multiple drummers, a brass section, lots of pianos, and this was all recorded in mono so that you heard this huge rush of sound the same in both ears.
Everyone from Brian Wilson, to Billy Joel, to even The Clash, (listen to London Calling's "The Card Cheat"), were influenced by Spector's arranging and production techniques. It is a result of the wall of sound technique that so much 1960's pop, while lyrically simple, is beyond amazing to listen to musically. If you don't believe me, then listen to The Ronettes' "Be My Baby". So despite what my, (and many people's) current feelings are about Phil due to the way he is today, there is no denying back then that he was a musical genius.
Now, onto the song itself. This features the first female lead vocals for the US Billboard Hot 100 and they are provide by songwriter Carol Connors, (known then as Annette Kleinbard). Spector sings backing vocals and plays all of the instruments, bar drums, which are played by Sandy Nelson. Even with this being Spector's first production, you can already hear the Wall of Sound. There is a lot of power in the instrumentation, although the Wall of Sound still is in its infancy. We have a long way to go till "You've Lost That Loving Feeling".
As for vocals, this song's backing vocals for once don't sound very dated at all. During the bridge of the song where there is a nice key change, they take on an almost ethereal quality. The song itself is mostly a simple doo-wop style song with simple love song lyrics, (reportedly some of which come from words written on Spector's father's tombstone). Again, the best moment of the song is the bridge where everything just clicks into place and the lead vocals become more sincere and powerful.
This song has been covered numerous times over the years, and my first time hearing it was on The Beatles' Live At The BBC album. Their version, from 1963, titled "To Know Her Is To Love Her" is well worth hearing.
Final Verdict - For every time he pops up on this list, we will temporarily put aside who Phil Spector is today, and focus on the way he was THEN. This song, while primitive in his production style, and lyrically simple, has an amazing music production and a haunting bridge that comes out of nowhere. Give this song a listen as it's an important piece of music history.
Last Up For 1958 - "The Chipmunk Song (Christmas Don't Be Late)" - The Chipmunks With David Seville.
Until Next Time - Dr. Rock -
Might as well get a statement out of the way for this review, and this review only. Simply because the writer, main performer, arranger and producer of this song will no doubt pop up throughout the first half of the 1960's. I'm of course talking about Phil Spector. No beating around the bush, Phil Spector today is a convicted murderer, and while once considered an eccentric personality, is now considered a madman.
However, before he willingly, (or perhaps due to his madness), killed Lana Clarkson, before he held The Ramones hostage in the recording studio, fired a gun in the ceiling of the studio while working with John Lennon, and before he mixed and overproduced, "The Long And Winding Road", much to Paul McCartney's dismay, Phil Spector was a renowned music producer, songwriter, and arranger who pioneered the "Wall of Sound" technique.
The wall of sound technique meant that instead of having a simple guitar, bass, drums, piano, etc, setup for recording a pop song, you had numerous guitars and basses, multiple drummers, a brass section, lots of pianos, and this was all recorded in mono so that you heard this huge rush of sound the same in both ears.
Everyone from Brian Wilson, to Billy Joel, to even The Clash, (listen to London Calling's "The Card Cheat"), were influenced by Spector's arranging and production techniques. It is a result of the wall of sound technique that so much 1960's pop, while lyrically simple, is beyond amazing to listen to musically. If you don't believe me, then listen to The Ronettes' "Be My Baby". So despite what my, (and many people's) current feelings are about Phil due to the way he is today, there is no denying back then that he was a musical genius.
Now, onto the song itself. This features the first female lead vocals for the US Billboard Hot 100 and they are provide by songwriter Carol Connors, (known then as Annette Kleinbard). Spector sings backing vocals and plays all of the instruments, bar drums, which are played by Sandy Nelson. Even with this being Spector's first production, you can already hear the Wall of Sound. There is a lot of power in the instrumentation, although the Wall of Sound still is in its infancy. We have a long way to go till "You've Lost That Loving Feeling".
As for vocals, this song's backing vocals for once don't sound very dated at all. During the bridge of the song where there is a nice key change, they take on an almost ethereal quality. The song itself is mostly a simple doo-wop style song with simple love song lyrics, (reportedly some of which come from words written on Spector's father's tombstone). Again, the best moment of the song is the bridge where everything just clicks into place and the lead vocals become more sincere and powerful.
This song has been covered numerous times over the years, and my first time hearing it was on The Beatles' Live At The BBC album. Their version, from 1963, titled "To Know Her Is To Love Her" is well worth hearing.
Final Verdict - For every time he pops up on this list, we will temporarily put aside who Phil Spector is today, and focus on the way he was THEN. This song, while primitive in his production style, and lyrically simple, has an amazing music production and a haunting bridge that comes out of nowhere. Give this song a listen as it's an important piece of music history.
Last Up For 1958 - "The Chipmunk Song (Christmas Don't Be Late)" - The Chipmunks With David Seville.
Until Next Time - Dr. Rock -
Thursday, August 22, 2013
Song #6 - "Tom Dooley" - The Kingston Trio
#1 for week of November 17th, 1958.
The first folk song on the list, and the first real classic song as well. I'm quite familiar with this song, and was pleasantly surprised to see it on here. The Kingston Trio were one of the best and most beloved folk groups of all time. What is is though that makes this song so timeless and haunting?
First the obligatory history. The song dates way back to the late 1800's and is an old Appalachian folk song about convicted murder Tom Dula. The vocal performance by the trio adds emotional resonance to the dark lyrics, which describe the real life murder of Laura Foster and Dula's subsequent hanging.
After a spoken introduction, (which gives a brief history of the song's subject matter), we have the trio's vocals alternating between gentle and mournful, and powerful and gospel-like. Additionally, as the song progresses, we gain harmonies and counter-melodies during the chorus.
The music is very stripped down, just acoustic guitar, banjo, and stand up string bass, and that is all the song needs. All these elements combined create quite a vivid picture, and it all transports the listener back to 1866. Classic folk music remains timeless and this song is no exception. Lyrically and musically, it is flawless. It is simple, yet robust in character.
Final Verdict - "Tom Dooley" is not just one of the best, if not THE best, hit of 1958, it's one of the greatest songs, and adaptations of all time. Easily worth owning, and listening to many many times.
Coming Up Next - "To Know Him Is To Love Him" - The Teddy Bears.
Until Next Time - Dr. Rock -
The first folk song on the list, and the first real classic song as well. I'm quite familiar with this song, and was pleasantly surprised to see it on here. The Kingston Trio were one of the best and most beloved folk groups of all time. What is is though that makes this song so timeless and haunting?
First the obligatory history. The song dates way back to the late 1800's and is an old Appalachian folk song about convicted murder Tom Dula. The vocal performance by the trio adds emotional resonance to the dark lyrics, which describe the real life murder of Laura Foster and Dula's subsequent hanging.
After a spoken introduction, (which gives a brief history of the song's subject matter), we have the trio's vocals alternating between gentle and mournful, and powerful and gospel-like. Additionally, as the song progresses, we gain harmonies and counter-melodies during the chorus.
The music is very stripped down, just acoustic guitar, banjo, and stand up string bass, and that is all the song needs. All these elements combined create quite a vivid picture, and it all transports the listener back to 1866. Classic folk music remains timeless and this song is no exception. Lyrically and musically, it is flawless. It is simple, yet robust in character.
Final Verdict - "Tom Dooley" is not just one of the best, if not THE best, hit of 1958, it's one of the greatest songs, and adaptations of all time. Easily worth owning, and listening to many many times.
Coming Up Next - "To Know Him Is To Love Him" - The Teddy Bears.
Until Next Time - Dr. Rock -
Song #5 - "It's Only Make Believe" - Conway Twitty
#1 for weeks of November 10th and 24th, 1958.
"Ladies and gentlemen , Mr. Conway Twitty!" - At least that's now how the modern generation knows Mr. Twitty; as an overused Family Guy punchline.
Truth of the matter is, it is he who was the ACTUAL inspiration for Conrad Birdie. Conway started off as a singer in the Elvis-vein, and just like Ricky Nelson, the king, and the eponymous Bye Bye Birdie character, he was a teenage heartthrob. However, he is most known for being a pure country singer, especially from the 1960's till his passing in 1993. Not being a diehard country fan, I can't profess to being a fan of his work or knowing his songs.
"It's Only Make Believe", on the other hand showcases more of his early years, and is a doo-wop'y pop song featuring a lot of the hallmarks seen on the songs reviewed such far - mildly outdated sounding backing vocals, a laid back but strong instrument section, and most importantly, a unique sounding vocalist.
The song also gradually builds into something special. The first seconds or so did not make much of an impression on me. Then about 45 or seconds in, Conway's vocal went from being a laid back croon to a resounding plea for the lover he sings about to feel the same way he does about her. It is THAT which really makes a song for me, feeling the emotion that the vocalist sings about. The song just builds more and reaches a full peak at the end. And thus, we have the first song on here that really impressed me.
I should mention that my first version of this song I heard is the Hollies' version recorded in 1963. Their's has a more Merseybeat feel, (a style of early British Invasion music), than Conway's does and is worth a listen, but Conway's has a more sincere lead vocal. Besides, to quote his fictional alter ego Conrad Birdie, "You, gotta be sincere!"
Final Verdict - Proof that you should not judge a song upon first glimpses, this one has a strong emotional resonance to it. Yes, it's dated, but then again, that is how all of the reviewed songs so far have sounded. This version, as well as the Hollies version are well worth listening to.
Coming Up Next - "Tom Dooley" By The Kingston Trio.
Until Next Time - Dr. Rock -
"Ladies and gentlemen , Mr. Conway Twitty!" - At least that's now how the modern generation knows Mr. Twitty; as an overused Family Guy punchline.
Truth of the matter is, it is he who was the ACTUAL inspiration for Conrad Birdie. Conway started off as a singer in the Elvis-vein, and just like Ricky Nelson, the king, and the eponymous Bye Bye Birdie character, he was a teenage heartthrob. However, he is most known for being a pure country singer, especially from the 1960's till his passing in 1993. Not being a diehard country fan, I can't profess to being a fan of his work or knowing his songs.
"It's Only Make Believe", on the other hand showcases more of his early years, and is a doo-wop'y pop song featuring a lot of the hallmarks seen on the songs reviewed such far - mildly outdated sounding backing vocals, a laid back but strong instrument section, and most importantly, a unique sounding vocalist.
The song also gradually builds into something special. The first seconds or so did not make much of an impression on me. Then about 45 or seconds in, Conway's vocal went from being a laid back croon to a resounding plea for the lover he sings about to feel the same way he does about her. It is THAT which really makes a song for me, feeling the emotion that the vocalist sings about. The song just builds more and reaches a full peak at the end. And thus, we have the first song on here that really impressed me.
I should mention that my first version of this song I heard is the Hollies' version recorded in 1963. Their's has a more Merseybeat feel, (a style of early British Invasion music), than Conway's does and is worth a listen, but Conway's has a more sincere lead vocal. Besides, to quote his fictional alter ego Conrad Birdie, "You, gotta be sincere!"
Final Verdict - Proof that you should not judge a song upon first glimpses, this one has a strong emotional resonance to it. Yes, it's dated, but then again, that is how all of the reviewed songs so far have sounded. This version, as well as the Hollies version are well worth listening to.
Coming Up Next - "Tom Dooley" By The Kingston Trio.
Until Next Time - Dr. Rock -
Wednesday, August 21, 2013
Song #4 - "It's All In The Game" - Tommy Edwards
#1 for weeks of September 29th, October 6, 13, 20, 27th, and November 3rd, 1958.
The first song on this list I recognize. it is also a prime example of the syrupy ballads I've been knocking in favor of rock and roll. The funny thing is, I don't hate this song. Really, I expected to knock this song quite a lot, so I'm a bit surprised that my opinion of it isn't as bad.
Alright, don't get me wrong, the arrangement is downright lethargic at times and the backing vocals really make the song sound dated. However, Tommy Edwards' lead vocal is what saves the song for me. It has a nice R&B sound to it unlike other ballad singers of the time, and I certainly prefer a ballad with an R&B tinge to one that has a country or soft pop tinge.
I was really surprised to see that this song's basic arrangement goes back to 1911, and one of the 2 co-credited writers is Charles Dawes, aka President Coolidge's vice president. So this song is the ONLY #1 hit song that has a co-commander in chief credited as songwriter!
Again though, the song hasn't aged that well, and it's relevance is more one of nostalgia. However, I could easily see it being a song on a romantic compilation album due to its innocent lover-type lyrics, and gentle melody.
Final Verdict - Undeniably a very dated and sometimes too mellow song for my taste. Tommy Edwards' lead vocal sounds really unique and special though and saves the song. so if you are having a quiet night, or you're trying to romanticize the mood, put this on your stereo.
Coming Up Next - "It's Only Make Believe" By Conway Twitty.
Until Next Time - Dr. Rock -
The first song on this list I recognize. it is also a prime example of the syrupy ballads I've been knocking in favor of rock and roll. The funny thing is, I don't hate this song. Really, I expected to knock this song quite a lot, so I'm a bit surprised that my opinion of it isn't as bad.
Alright, don't get me wrong, the arrangement is downright lethargic at times and the backing vocals really make the song sound dated. However, Tommy Edwards' lead vocal is what saves the song for me. It has a nice R&B sound to it unlike other ballad singers of the time, and I certainly prefer a ballad with an R&B tinge to one that has a country or soft pop tinge.
I was really surprised to see that this song's basic arrangement goes back to 1911, and one of the 2 co-credited writers is Charles Dawes, aka President Coolidge's vice president. So this song is the ONLY #1 hit song that has a co-commander in chief credited as songwriter!
Again though, the song hasn't aged that well, and it's relevance is more one of nostalgia. However, I could easily see it being a song on a romantic compilation album due to its innocent lover-type lyrics, and gentle melody.
Final Verdict - Undeniably a very dated and sometimes too mellow song for my taste. Tommy Edwards' lead vocal sounds really unique and special though and saves the song. so if you are having a quiet night, or you're trying to romanticize the mood, put this on your stereo.
Coming Up Next - "It's Only Make Believe" By Conway Twitty.
Until Next Time - Dr. Rock -
Song #3 - "Little Star" - The Elegants
#1 for week of August 25th 1958.
Yet another new song to me. The beginning made me think this was going to be a sleepy sugary ballad song, but I was surprised when the drums and full band came in and the song picked up into a laid back but uptempo doo-wop number!
Lyrically it's a bit corny, (alright, more than a bit!), with lyrics taken out of "Twinkle Twinkle Little Star", and the chorus is mostly a bunch of syllables as opposed to lyrics. Then again, for this early in pop and rock history, it's forgivable. Despite its simplicity and naivety, the song is the most enjoyable so far for me. Perhaps it's just that it's the closest to rock and roll so far on this list!
Interestingly, the melody and beat are VERY similar to the 1962 song "Little Girl (Miss America)" first performed by Dante and his Friends, and more successfully covered that same year by The Beach Boys on their first album. In fact the second verse of "Little Star" and the verses of "Little Girl" are exactly the same musically!
Doo-Wop would continue to grow and flourish through the rest of the 1950's and into the early 1960's, and it's songs like this which are among what we picture the 1950's as musically.
Final Verdict - Despite the fact that lyrically this is a bit simplistic, safe, and yes, quite corny, the music and beat of the song are melodic and extremely catchy and make up for the lyrics. This one's certainly worth more than one play, (preferably on a vintage jukebox!)
Coming up next - "It's All In The Game" By Tommy Edwards.
Till Next Time - Dr. Rock -
Yet another new song to me. The beginning made me think this was going to be a sleepy sugary ballad song, but I was surprised when the drums and full band came in and the song picked up into a laid back but uptempo doo-wop number!
Lyrically it's a bit corny, (alright, more than a bit!), with lyrics taken out of "Twinkle Twinkle Little Star", and the chorus is mostly a bunch of syllables as opposed to lyrics. Then again, for this early in pop and rock history, it's forgivable. Despite its simplicity and naivety, the song is the most enjoyable so far for me. Perhaps it's just that it's the closest to rock and roll so far on this list!
Interestingly, the melody and beat are VERY similar to the 1962 song "Little Girl (Miss America)" first performed by Dante and his Friends, and more successfully covered that same year by The Beach Boys on their first album. In fact the second verse of "Little Star" and the verses of "Little Girl" are exactly the same musically!
Doo-Wop would continue to grow and flourish through the rest of the 1950's and into the early 1960's, and it's songs like this which are among what we picture the 1950's as musically.
Final Verdict - Despite the fact that lyrically this is a bit simplistic, safe, and yes, quite corny, the music and beat of the song are melodic and extremely catchy and make up for the lyrics. This one's certainly worth more than one play, (preferably on a vintage jukebox!)
Coming up next - "It's All In The Game" By Tommy Edwards.
Till Next Time - Dr. Rock -
Song #2 - "Volare" - Domenico Modugno
#1 for week of August 18th And September 1, 8, 15, 22, 1958
The first foreign language #1 for the US Hot 100. The full title of this song is "Nel Blu Dipinto Di Blu (Volare),which is Italian for, "In The Sky Painted Blue (To Fly)". This is another song I have never heard before, although Domenico Modugno is reportedly considered a pioneering Italian pop singer. In fact, I imagine for many families, he is quite a beloved household name.
The song has a very lounge-jazz feel alternating between gentle and at times a bit operatic verses and an extremely melodic and catchy and upbeat swing-style chorus. On the other hand, the ending of each chorus and the song itself, where the title is sung, sounds a bit too sugary and easy-listening for my taste, but it's the chorus where the song won me over.
Musically it reminds me of Frank Sinatra, or Dean Martin. (In fact, both of them covered the song, not to mention countless other artists have over the years). Lyrically, the singer sings about being free, and flying high up in the sky, away from all the troubles of the world.
The song, in the context of how we view the 1950's in pop music is a bit of irrelevance. It's not quite a typical 50's ballad, but it's certainly not anywhere remotely rock and roll. The song's success was no doubt due to it winning the Eurovision song contest of that year over all the other competing international artists. Not only that, but this was voted the best song of the year by billboard.
While I can understand its cultural and historical significance there were so many other better and more lasting songs from that year. "Volare" certainly would not have hit #1 during any other subsequent decade. During the divided "Rock vs Ballads" 1950's, this song certainly owes its success to the latter group and must have been a very safe choice at the time to reach #1.
Final Verdict - Culturally and historically significant, with a nice upbeat and catchy jazzy chorus, but the song comes across as very dated, and sometimes too easy-listening for my taste. It's not by any stretch the best song of 1958, nor do I feel it should have been voted the top hit, but it is most certainly worth a listen.
Coming Up Next - "Little Star" By The Elegants.
Till Next Time - Dr. Rock-
The first foreign language #1 for the US Hot 100. The full title of this song is "Nel Blu Dipinto Di Blu (Volare),which is Italian for, "In The Sky Painted Blue (To Fly)". This is another song I have never heard before, although Domenico Modugno is reportedly considered a pioneering Italian pop singer. In fact, I imagine for many families, he is quite a beloved household name.
The song has a very lounge-jazz feel alternating between gentle and at times a bit operatic verses and an extremely melodic and catchy and upbeat swing-style chorus. On the other hand, the ending of each chorus and the song itself, where the title is sung, sounds a bit too sugary and easy-listening for my taste, but it's the chorus where the song won me over.
Musically it reminds me of Frank Sinatra, or Dean Martin. (In fact, both of them covered the song, not to mention countless other artists have over the years). Lyrically, the singer sings about being free, and flying high up in the sky, away from all the troubles of the world.
The song, in the context of how we view the 1950's in pop music is a bit of irrelevance. It's not quite a typical 50's ballad, but it's certainly not anywhere remotely rock and roll. The song's success was no doubt due to it winning the Eurovision song contest of that year over all the other competing international artists. Not only that, but this was voted the best song of the year by billboard.
While I can understand its cultural and historical significance there were so many other better and more lasting songs from that year. "Volare" certainly would not have hit #1 during any other subsequent decade. During the divided "Rock vs Ballads" 1950's, this song certainly owes its success to the latter group and must have been a very safe choice at the time to reach #1.
Final Verdict - Culturally and historically significant, with a nice upbeat and catchy jazzy chorus, but the song comes across as very dated, and sometimes too easy-listening for my taste. It's not by any stretch the best song of 1958, nor do I feel it should have been voted the top hit, but it is most certainly worth a listen.
Coming Up Next - "Little Star" By The Elegants.
Till Next Time - Dr. Rock-
Tuesday, August 20, 2013
Song #1 - "Poor Little Fool" - Ricky Nelson
#1 for week of August 4 and 11, 1958.
It's fitting that the first song I review is one I have never heard in my life. However, I do know who the artist is. Ricky Nelson could be considered a real life Conrad Birdie in the sense that he was viewed as a teenage heartthrob. His song "Believe what you say" is a nice rockabilly tune that's worth checking out, and also his psychedelic country-esque tune "Marshmallow Skies" from 1967 shouldn't be missed.
Nowadays when we think of teen pop stars, we may picture Disney or American Idol groomed kids who don't write their own songs and turn into train-wrecks once they are past 21. But back in the 1950's, they could aspire to be rockabilly stars.
Funny enough, this song wasn't written by Ricky Nelson and instead written by a songwriter named Sharon Sheeley who was only 15 when she wrote it, thus making this an authentic teen pop song, but thankfully free of modern day production techniques and songwriting style.
"Poor Little Fool" blends the softer side of early rock and roll with the "I, vi, IV, V" Doo-Wop progression, set to a country-esque melody. Lyrically, the singer sings about falling in love and blowing every chance he gets, calling himself the "poor little fool".
It's a bit of a grower, at first I found it to be a bit too easy-listening, but gradually the melody grew on me. Still, there were better songs done by both the artist, and others throughout the year.
Final Verdict - Not classic, a bit too easy-listening at times, but still a likable song. Worth a listen.
Coming up next - "Volare" By Domenico Modugno.
Till next time - Dr. Rock -
It's fitting that the first song I review is one I have never heard in my life. However, I do know who the artist is. Ricky Nelson could be considered a real life Conrad Birdie in the sense that he was viewed as a teenage heartthrob. His song "Believe what you say" is a nice rockabilly tune that's worth checking out, and also his psychedelic country-esque tune "Marshmallow Skies" from 1967 shouldn't be missed.
Nowadays when we think of teen pop stars, we may picture Disney or American Idol groomed kids who don't write their own songs and turn into train-wrecks once they are past 21. But back in the 1950's, they could aspire to be rockabilly stars.
Funny enough, this song wasn't written by Ricky Nelson and instead written by a songwriter named Sharon Sheeley who was only 15 when she wrote it, thus making this an authentic teen pop song, but thankfully free of modern day production techniques and songwriting style.
"Poor Little Fool" blends the softer side of early rock and roll with the "I, vi, IV, V" Doo-Wop progression, set to a country-esque melody. Lyrically, the singer sings about falling in love and blowing every chance he gets, calling himself the "poor little fool".
It's a bit of a grower, at first I found it to be a bit too easy-listening, but gradually the melody grew on me. Still, there were better songs done by both the artist, and others throughout the year.
Final Verdict - Not classic, a bit too easy-listening at times, but still a likable song. Worth a listen.
Coming up next - "Volare" By Domenico Modugno.
Till next time - Dr. Rock -
1958 Overview
Admittingly, I am not as knowledgeable with the history of these pre-British invasion, pre-classic rock years. In fact, that is one of the reasons why my original radio show, "Holding Down The Rock" went only from 1963 till the late 70's. Still, enough is known about this period of music for me to do a personal overview of it.
If 1954-1956 were the birth of early rock and roll and rockabilly with Elvis, Bill Haley, and Chuck Berry as kings, then 1957 and 58 saw its popularity continue to bloom with new artists showing up on the scene. Although these years were when the backlash to rock and roll caused the genre to be scorned and treated as, "Devil's Music". As a result, this is where the "Sappy Ballad" really started to emerge as well. The "Safe" alternative to that rock and roll.
Nowadays it's laughable that rockabilly and rock and roll were looked at this way. A song like "Rumble" by Link Wray and his Ray Men was banned by so many stations due to their fears of the song causing a riot. (You could almost say THIS was proto-punk!) This year in rock music also had classics by such greats as: Buddy Holly, Ritchie Valens, The Everly Brothers. There were songs such as Danny And The Juniors' "At The Hop" and Bobby Freeman's "Do You Wanna Dance?" (Allegedly featuring a teen-aged Jerry Garcia on guitar!). In R&B and Blues, we had Bo Diddly, and the late great Ray Charles. Not to mention a certain John, Paul, and George recorded their first songs this year as the Quarry Men...
Due to the Billboard Hot 100 not being initiated till mid 1958, this year will probably have the least number of #1 songs I review. Regardless, to quote Ritchie Valens, "Come on let's go!" -
First Up - Ricky Nelson's "Poor Little Fool",
See you next time - Dr. Rock
If 1954-1956 were the birth of early rock and roll and rockabilly with Elvis, Bill Haley, and Chuck Berry as kings, then 1957 and 58 saw its popularity continue to bloom with new artists showing up on the scene. Although these years were when the backlash to rock and roll caused the genre to be scorned and treated as, "Devil's Music". As a result, this is where the "Sappy Ballad" really started to emerge as well. The "Safe" alternative to that rock and roll.
Nowadays it's laughable that rockabilly and rock and roll were looked at this way. A song like "Rumble" by Link Wray and his Ray Men was banned by so many stations due to their fears of the song causing a riot. (You could almost say THIS was proto-punk!) This year in rock music also had classics by such greats as: Buddy Holly, Ritchie Valens, The Everly Brothers. There were songs such as Danny And The Juniors' "At The Hop" and Bobby Freeman's "Do You Wanna Dance?" (Allegedly featuring a teen-aged Jerry Garcia on guitar!). In R&B and Blues, we had Bo Diddly, and the late great Ray Charles. Not to mention a certain John, Paul, and George recorded their first songs this year as the Quarry Men...
Due to the Billboard Hot 100 not being initiated till mid 1958, this year will probably have the least number of #1 songs I review. Regardless, to quote Ritchie Valens, "Come on let's go!" -
First Up - Ricky Nelson's "Poor Little Fool",
See you next time - Dr. Rock
Read Me First! Introduction To The Blog
Hello, and welcome to "Dr. Rock's Hit Or Miss". A critique of every song to hit #1 on the US Billboard Hot 100 from 1958 till the present day.
For those who are new to the blog, here is some personal information about myself. I am a singer/songwriter and multi-instrumentalist, (Trumpet, Guitar, Bass, Piano, Drums), I write and record my own songs which you may check out at https://www.facebook.com/pages/Rob-Weiss-Music/143095378046.
I got my pseudonym for two reasons. One being that I hosted a radio station that played all genres of Rock from the 1960's and 1970's as a cure for modern pop music. The other reason being I am an amateur music historian for music of the last 70 years.
As someone whose radio show featured rock and pop music from the 1960's and 1970's, I have always loved studying the history of the songs and artists I played. I always tried to feature artists that were not hit makers in addition to the classic songs everybody loves. My mantra has always been, "Just because it's a hit does not necessarily mean it's a great song, some of the best songs were not hits".
For those who are new to the blog, here is some personal information about myself. I am a singer/songwriter and multi-instrumentalist, (Trumpet, Guitar, Bass, Piano, Drums), I write and record my own songs which you may check out at https://www.facebook.com/pages/Rob-Weiss-Music/143095378046.
I got my pseudonym for two reasons. One being that I hosted a radio station that played all genres of Rock from the 1960's and 1970's as a cure for modern pop music. The other reason being I am an amateur music historian for music of the last 70 years.
As someone whose radio show featured rock and pop music from the 1960's and 1970's, I have always loved studying the history of the songs and artists I played. I always tried to feature artists that were not hit makers in addition to the classic songs everybody loves. My mantra has always been, "Just because it's a hit does not necessarily mean it's a great song, some of the best songs were not hits".
However, there are two sides to this argument. Some truly great songs have been #1 US Billboard hits. Of course, there have also been countless downright abysmal songs that charted on top that nowadays we scratch out heads and wonder, "People really liked that?" This blog is an effort to analyze, listen to, critique, and judge every song from August 1958 (When the hot 100 list debuted), till the present day, that has hit #1 on Billboard's hot 100.
I want to examine each year in three sections. First, my overall view of it: What pop culture was like during that year, what lasting music trends and albums have stood the test of time, what do I personally know about that year, and where rock music was at. Second, each song will be reviewed, and I will give my personal opinion on whether the song is a tried and true classic, a buried gem, a dated but still noteworthy piece of music, a guilty pleasure, or just plain awful! I will also note whether I'm familiar with the song, I heard it in passing before, or if it's new to me. Lastly, I'll write a reflection for each year, and pick the best and worst #1 song. Being a huge guitar/bass/and drums rock and roll fan, I'll admit I may be biased to certain music genres, but I will give everything a fair listen.
Remember, this blog is NOT about the best songs from each year, but rather, what was popular at the time, and what people were buying. There will certainly be times where I'm going to regret doing this, (especially once we get to more recent pop music,) but for now, I'm going to take you way back 55 years ago, to 1958... Until next time - Dr. Rock.
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