1961 Reflection

     I am a bit surprised on how 1961 turned out to be a rather good year in terms of #1 hits. Sure there were a few songs that weren't my style and a couple I didn't care for at all, but the majority of these songs not only were great, but they are still revered to this very day. 

     I found that Rock And Roll managed to make a stronger presence this year although the genre has certainly lost its dangerous edge that it had in the 1950's. R&B was quite bountiful this year as well, no doubt due to Motown making its much welcomed #1 debut on the list. 

     I was really glad that this was a year free of corny unfunny novelty songs. There were a couple non-serious tunes although these all had great music melodies and great vocals. Even easy listening ballads were a diminished presence, and there were only a couple that reached #1. Lots of great tunes, only a few mediocre ones, but which one do I feel was the greatest and which the worst? 

Best #1 Hit Song Of 1961 - "Will You Love Me Tomorrow" - The Shirelles. 

     This was one of the hardest decisions I had to make. The other two choices, which are practically tied, are "Running Scared" by Roy Orbison, and "Hit The Road Jack" by Ray Charles. Now, you may want to strangle me for not picking one of those two as the top. Just know that it was a strong tossup between these three as all of the artists are supremely talented. 

     However, when push comes to shove, I realized that though Roy Orbison's "Running Scared" is a fantastic song, it pales in comparison to his own "Crying" which was also released that year. In fact, had the latter been a #1 hit, I would have unquestionably ranked it as the top song. With Ray Charles, I felt that his previous #1 "Georgia On My Mind" was just marginally better than "Hit The Road Jack", although both songs are amazing. 

     "Will You Love Me Tomorrow", on the other hand is what I feel to be the best song The Shirelles did. It has a great musical melody and I love the vocal performance on it. Plus, unlike the previous two songs, it practically invented a genre of music. In the end, it came down to two songs which are great but not the artist's top songs, and another song being the best of an artist. I decided to go with the latter. 

Worst #1 Hit Song Of 1961 - "Calcutta" - Lawrence Welk.

     This was a rather easy decision as there really only three songs from this year that I truly disliked. The other songs were "Wooden Heart" and "Moody River" which just like "Calcutta", were all way too old fashioned/easy listening sounding, and came across as corny and dated. 

     However, it was "Calcutta" that actually made me say "Aw Jeez!" when listening to it, as the sap factor became unbearable. It's those sickeningly sweet backing vocals that just ruin what could have been a relatively harmless tune. The song is rendered so saccharine that I feel like I get tooth decay from all the sugar packed within those vocals. It's those reasons that I rank this song the unquestionable worst #1 hit song of 1961. 

     So join me next time as I tackle all the #1 hits of 1962. Many styles that have been building up in the underground these last two years finally reach the surface. We'll find out if pop music got better or worse, next time...

                          Coming Up Next - 1962 Overview. 

             Until Next Time - I'm Dr. Rock, See you in October!

Song #63 - "The Lion Sleeps Tonight" - The Tokens

#1 for weeks of December 18 and 25, 1961, and January 6th, 1962. 

     We wrap up 1961 with another tune which no doubt many people are familiar with without even having to give it a listen. The Tokens' rendition of "The Lion Sleeps Tonight" not only has become the definitive version of the tune, but the band's signature song. But why did this song become such a smash hit? Let's find out... 

     First off, giving this song a fresh listen, it sounds almost otherworldly in places! For one you have guest singer Anita Darian's unbelievably high operatic vocal which almost acts as an instrument in itself. The instrumentation is even more uncommon with soprano sax, banjo, and a very tom-tom heavy drum part being most prominent. 

     However, it is the Tokens' vocals that most people remember about the song. It is interesting as we have a vocal group that was based in doo-wop and used to have future Brill Building songwriter Neil Sedaka as part of their lineup. However, there is no doo-wop cliches to be found in "The Lion Sleeps Tonight". 

     Due to this song being based on African folk music, the song has a very proto-world music sound to it which is further driven home by the very catchy and instantly recognizable vocal lines. However, underneath all of the "Wimoway's" and "Re-de-de's", there are a ton of wordless vocal parts that the Tokens added on and it gives the impression that you are hearing this song being performed by a huge ensemble of singers as opposed to four vocalists. 

     So when you add all of the parts together, it's easy to see why the song has remained so popular to this very day. It is a very unique sounding tune which certainly sounds like nothing that was being recorded in 1961. It proved to be The Tokens only #1 hit, and due to the fact that their remaining singles charted anywhere from #15 to #95, they can considered a one hit wonder. But oh what a hit it was!

Final Verdict - Giving this song a fresh listen, I found a ton of musical and vocal hooks and goodies which made me appreciate the song more. I'd recommend that you give it a fresh listen as well!

                           Coming Up Next - 1961 Reflection. 

   Until Next Time - "Re-de-de-dee-de-de-de-de-de-a-re-I'm Doctor Roockkk."

Song #62 - "Please Mr. Postman" - The Marvelettes

#1 for week of December 11, 1961. 

     Truly a historical moment, the first #1 hit single from Motown records, and the one that brought the company out of debt, and then some. "Please Mr. Postman" paved the way for the future of R&B and pop music, and it started the creative and critical peak of Motown. While the song might be a bit more known for The Beatles 1963 cover, the original has enough charms of its own to hold up today.

     One can hear every classic hallmark of the Motown sound in just those opening few seconds. The solid Funk Brothers instrumentation including legendary bassist James Jamerson, and none other than a pre-fame Marvin Gaye on drums. 

     Then we have the Marvelettes fantastic and unique vocals. I say unique because all of these girls had different sounding voices. Don't believe me, go listen to their 1964 tune "Too Many Fish In The Sea" where they all briefly trade lead vocals. They were truly a talented and diverse singing group. 

     Structurally the song features the doo-wop chord progression, however the song is more rooted in R&B and even rock and roll. The lyrics deal with a girl whose boyfriend has been away for a long time, (Presumably in the army). As a result, this song is still very relatable to many people today regardless of gender. 

     One key reason why Motown is so beloved is because none of their songs from that golden period of 1961 through about 1969 comes as dated. They still sound great to this very day, and "Please Mr. Postman" is what got the ball truly rolling. 

Final Verdict - Brilliant, timeless, and well-performed. "Please Mr. Postman" was a deserved #1 hit that I'm proud to have in my music collection. 

         Last Up For 1961 - "The Lion Sleeps Tonight" by The Tokens. 

   Until Next Time - You gotta wait a minute, wait a minute, for Dr. Rock. 

Song #61 - "Big Bad John" - Jimmy Dean

#1 for weeks of November 6, 13, 20, 27, and December 4th, 1961. 

     Jimmy Dean eh? I was all prepared to do a joke about how he has the same name as the breakfast sausage guy. Well, it turns out, they're one in the same! Although it's understandable as I'm not a regular country music listener and certainly am not familiar with Jimmy Dean's work. Needless to say, "Big Bad John" is certainly the most non-poppy sounding song from the genre that's been on this list so far, but how does it hold up?

     "Big Bad John", co-written by Dean himself, tells a tall-tale-esque story of a larger than life man shrouded in mystery who successfully rescues a group of trapped miners, while being unable to save himself as the mine collapses. Musically, what stands out is the sound of what appears to be an anvil being struck by a hammer. This goes on throughout the song and helps to give the song the feeling of being trapped down in a cold cavernous mine. This particular ambiance is further amplified by the echo and reverb heavy vocals both by the backing singers and Jimmy Dean.

     Speaking of Jimmy Dean, his vocal performance in "Big Bad John" is mostly in spoken word, although with a few exceptions. Due to his slight country accent, deep booming voice, and the fact that he chose to speak most of the lyrics as opposed to sing them, the song really sounds more like a tall tale folk-country tune as opposed to a common country song. I feel that had he sung the lyrics, the song would've probably have not held up as well. 

     Perhaps it's best that this song is more of a subtle tune which lacks pretension and bombasity. It is because of this laid back nature as well as its tall tale feel that I found it to be an interesting listen. It's certainly a different type of sound than what's on this list so far, and though the genre certainly has moved on from this style of country, I feel therein lies its charm. 

Final Verdict - This song is more of a tolerable form of country for those who are adverse to the genre. It's something different, but I can certainly see its charm and maybe you will too. 

         Coming Up Next - "Please Mr. Postman" by The Marvelettes. 

                   Until Next Time - I'm Big Bad Dr. Rock. 



     

     

Song #60 - "Runaround Sue" - Dion

#1 for weeks of October 23, and 30th, 1961. 

     Dion DiMucci is certainly an interesting and unique figure in late 50's/early 60's pop music. He was too mature to be considered a teen idol as he actually wrote his own material. Then again, his catalog also contains more soft-poppy songs such as "Where Or When". However it's songs like "The Wanderer" and of course "Runaround Sue" that Dion is remembered for today due to their irresistible catchy and hook-filled melodies. 

     When "Runaround Sue" starts off, one would assume that this song will be a quiet number due to its mellow introduction which includes the old doo-wop cliche of "Here's my story which now can be told". Then of course the song picks up into a more moderate snappy doo-wop shuffle. The instrumentation is very sparse and buried, with hand claps and lead/backing vocals being pushed up to the front of the mix. Only the saxophone seems to break this threshold. 

     Lyrically, Dion sings about a cheating girlfriend who goes out with every guy in town. It certainly is a bit cliche, although what I pay attention to more is the backing vocals and Dion's very unique sounding voice. That vocal refrain that goes throughout the song will get stuck in your head for sure, although it's so catchy that you won't want it to leave. 

     Dion would have mixed critical success after the early 1960's although he's certainly reinvented himself, both musically and spiritually. Today, his music is heavily blues inspired, to the point where you wouldn't believe the Dion of yesterday vs the Dion of today were the same person.

Final Verdict - A very catchy tune by an artist who's quite underrated in the grand scheme of 20th century music. Give it a listen and prepare to be snapping your fingers the whole time. 

                Coming Up Next - "Big Bad John" by Jimmy Dean. 

Until Next Time - I'm Dr. Rock, and I runaround the internet searching for tunes. 

Song #59 - "Hit The Road Jack" - Ray Charles

#1 for weeks of October 9, and 16th, 1961. 

     Ray Charles is a very welcome return entry to this list. If you're in doubt, go read review #40 just so see how much of an impact he's already made on these charts. Now one year later in 1961, Ray gave us the definitive version of Percy Mayfield's "Hit The Road Jack". Probably about 90% of those reading this blog already have the song permanently stuck in their heads, and for good reason, it's a timeless classic! 

     This is one of Ray's most upbeat songs with a prominent vamping melody line. Baritone saxes are the most standout instrument in the song although there is a nice simple bassline as well. The song is rooted in jump blues with a minimal instrument section that nonetheless manages to provide this song with just the right sound. 

     Lyrically the song works as a conversationalist piece with Ray Charles' backing singers The Raelettes providing co-lead and backing vocals. Margie Hendricks and Ray's dueling "Argument" is made convincing by both of their fierce and fiery vocal tones. It's a believable argument between two people that many people can surely relate to. 

     In the end, this song holds up supremely well today and it has an almost universal appeal, especially lyrically. Unlike other songs on this list, it has stood the test of time and is still played on radio to this very day. Everyone from classic rock purists to rappers to top 40 pop fans, can appreciate "Hit The Road Jack". 

Final Verdict - Another knockout classic by Ray Charles, and one of which just about everyone reading this blog has heard before. It wins my definite seal of approval, and much repeated listens. 

                     Coming Up Next - "Runaround Sue" by Dion. 

Until Next Time - I'm Dr. Rock, won't you stick around for more, for more, for more, for more. 

     

     

Song #58 - "Take Good Care Of My Baby" - Bobby Vee

#1 for weeks of September 18, 25, and October 2, 1961. 

     Teen idol singers are right up there with dance-specific music and easy-listening ballads as the nadir of the pre-British invasion 1960's. However, just like "The Twist" is a great dance song and even some softer songs can contain great melodies, there are certainly some Teen Idol singers that are actually quite good. Bobby Vee is one of those. 

     The problem with most of these teen idols is that they were more about their looks as opposed to their singing. Don't believe me? Go listen to Fabian's abysmally sung "Turn Me Loose" or as I like to call it "Turn this record off!" However, Bobby Vee could actually sing and had a very unique sounding voice on top of that. His "Take Good Care Of My Baby" is a surprisingly winning combination of Everly Brothers-style rock and Country-tinged pop.

     The song itself is full of vocal hooks and much appreciated chord changes. The lyrics may be a bit trite and sugary but then again, the intended market was early 1960's teenage girls so we can't expect a lyrical masterpiece. The arrangement has a nice uptempo rock feel with some pop instrumentation such as pizzicato strings. 

     If you're still in doubt of this tune's historical significance, The Beatles chose this as one of their 15 songs to play on their New Years Day 1962 audition for Decca Records. Due to George Harrison taking the lead vocal duties, it's well worth hearing. 

Final Verdict - One of the better of the more pop-oriented records from this time period. Nice music and vocals which are only let down by simple lyrics. However, don't let that deter you from enjoying this tune. 

              Coming Up Next - "Hit The Road Jack" by Ray Charles. 

   Until Next Time - I'm Dr. Rock, hoping you'll take good care of my baby. 

Song #57 - "Michael" - The Highwaymen

#1 for weeks of September 4, and 11th, 1961. 

     The long awaited return of a folk group to the top of the chart, "Michael", which is the traditional spiritual "Michael Row The Boat Ashore" could have been a disaster if handed to a strictly easy-listening pop artist or a country group. Given to The Highwaymen, though it remains quite a mellow folk song, I find with each repeated listen, I appreciate it more. 

     The Highwaymen, formed in Wesleyan University, were a Folk revivalist group similar in sound to the Kingston Trio. Folk music during this time period until about 1963 was very apolitical, and this song is no exception. The song features alternating lead vocalists and a laid back all-acoustic folk arrangement. There are drums in this song but they are played as gently as possible. 

     The main strength in this song is the subtly complex vocal arrangement. The singers alternate between singing in unison and performing gradually more intricate harmonies. Because these harmonic progressions are so subtle, you hear something new every time you play the song. 

     I could see some listeners not being a fan of this song as it is very mellow, and the fact that it is a spiritual tune might be another turnoff. With that being said, those who scoff at the song upon first listen really are missing out on what is a nicely arranged folk tune. The three listens apiece rule really comes in handy with this song as it can certainly grow on you. 

Final Verdict - The more you listen to this song, the more you can appreciate it. It may be a very mellow song, but due to its great vocal arrangement, I certainly say you should give it more than a few listens. 

         Coming Up Next - "Take Good Care Of My Baby" by Bobby Vee. 

        Until Next Time - I'm Dr. Rock, Folkin' around here on Blogspot. 

Song #56 - "Wooden Heart" - Joe Dowell

#1 for week of August 28th, 1961. 

     Well this is certainly something different, although this time that's not necessarily a good thing. Joe Dowell's cover of "Wooden Heart", a tune originally included in Elvis' film G.I. Blues, somehow managed to sell enough copies to reach #1 but for life of me, I can't see why. 

     This song has a polka rhythm and feel, but it is very stripped down both in instrumentation and dynamics. The whole song is very mellow, almost lethargic and is as easy-listening as can be. The most dated moment is the German verses near the end which sound even more corny with those "Angelic" backing vocals. 

     Since I was rather unimpressed by Joe's version of the tune, I decided to check out what I would've assumed to be the bigger hit - Elvis' version. Honestly, it's not even my favorite Elvis tune. Regardless, he sings it a whole lot better, and the music actually sounds like authentic German polka music as opposed to muzak. I should point out that the clip I saw was from G.I. Blues itself, where Elvis is singing to a puppet. It certainly goes to show that even the king couldn't escape cheesiness. 

     Regardless, both versions fail to leave an impression on me. The music is just too uninteresting and there is no moment in the song that managed to WOW me. It would have helped if the song had some chord changes or perhaps more changes in dynamics. In the end, we are left with a run-of-the-mill easy listening song which though it may have sounded acceptable back in 1961, sounds hopelessly dated today. 

Final Verdict - Not by any stretch a terrible song, just one which is thoroughly uninteresting. You can safely pass on this song. 

               Coming Up Next - "Michael" by The Highwaymen. 

   Until Next Time, I'm Dr. Rock, and I'm stuck here reviewing schmaltzy German-influenced muzak instead of celebrating Oktoberfest. 
     

Song #55 - "Tossin' And Turnin" - Bobby Lewis

#1 for weeks of July 10, 17, 24, 31, and August 7, 14, and 21st, 1961. 

     Here we have the most dominant chart topper for the year, a full 7 weeks at #1. Now for a pleasant surprise - It's not a dance specific song, it's not a teen idol, and it's most certainly not easy listening. No, Bobby Lewis' "Tossin' And Turnin" is pure rock and roll, and it sure rocks!

     What makes this song such a great listen is the fact that it is very musically and lyrically full of hooks. Just after the opening "I couldn't sleep at all last night", the music punches in with full backing vocals and a rich rock arrangement. It never loses any energy and even the bridge of the song with its stop and start rhythm adds some nice musical tension to the piece.

     While the guitar in the song never gets to do any soloing, it certainly is very prominent. The solo section certainly sounds unique with a simultaneous sax and what appears to be a very distorted Hammond organ. Bobby Lewis' vocal also is what helps make this song. He has a very rhythm and blues vocal style which gives "Tossin' and Turnin" a nice filet of soul. 

     The record buyers in 1961 must have been impressed too, as not only was this an aforementioned #1 for 7 weeks, it was also voted record of the year. While I personally feel that a few other songs from this year rank higher, I still would certainly put this song high up on top. 

Final Verdict - A Rock and Roll number with lots of soul in the music and vocal performance. A deserved #1 smash hit which I'd certainly want to hear again and again. 

                Coming Up Next - "Wooden Heart" by Joe Dowell. 

      Until Next Time, I'm Dr. Rock, and I couldn't sleep at all last night.

     

Song #54 - "Quarter To Three - Gary U.S. Bonds

#1 for weeks of June 26th, and July 3rd, 1961. 

     Gary U.S. Bonds' "Quarter To Three is quite an unusual and unique sounding record. However, I'm not referring to its music but rather the way it sounded in terms of fidelity. After dozens of youtube searches where each recording sounded like a bootleg tape recording from an outdoor show, I eventually learned that this is how Gary intended the song to sound. It's quite interesting to say the least. 

     Putting aside the unusual sound quality, the song is another example of early 1960's dance music. However, unlike "Pony Time" or other similar dance-specific songs from the time period, "Quarter To Three" is more of a general dance song like "Twisting The Night Away", which just encourages its listeners to dance to it without devoting all the lyrics to teaching one how to do the dance. 

     I really find it hard to make out individual instruments among the lo-fidelity of the recording. There is a prominent sax which takes the solo, and there are very prominent hand claps which are even more audible than the drums. If there is guitar in the song, it is buried deep in the mix. Finally, the vocal is very reverb-heavy. Again, the whole song sounds like a fan-recorded tape from a live show, even though the song was apparently recorded in a regular recording studio. 

     While this song doesn't blow me away like some other true classics from this year such as "Running Scared", I am still impressed mostly by its very unique sound, which I really haven't heard done on a recording before. It is perhaps this uniqueness which helped the song reach #1, and I for one always appreciate artists who try something different. 

Final Verdict - A very unique sounding song which certainly has enough soul and spunk to warrant a repeated listen. 

             Coming Up Next - "Tossin' And Turnin" by Bobby Lewis. 

   Until Next Time - I'm Dr. Rock, and I'm staying up till Quarter To Three. 



     

Song #53 - "Moody River" - Pat Boone

#1 for week of June 19th, 1961. 

     I can safely say that I have never been a fan of Pat Boone. To me, he always epitomized the "safe" side of 1950's music that the more old fashioned folks preferred as opposed to that "Devil's music - Rock and roll". His covers of Fats Domino's "Ain't That A Shame" and Little Richard's "Tutti Frutti" add nothing new to the originals other than giving Pat a hit as opposed to Fats and Richard. Also, much of his 1950's hits are in the easy-listening country vein which I don't care for at all. 

     Not being familiar with his cover of Gary Bruce's "Moody River", I didn't have any high expectations. After giving the song the obligatory three listens a-piece, I can say that it's by far the most likable of all of his tunes I have heard so far, but that doesn't mean it's a good song. 

     Lyrically, the song is another teenage tragedy record which this time deals with the singer's girlfriend committing suicide by a river due to her infidelities. I've never been too much of a fan of songs which seem to almost glorify premature death so already that aspect doesn't win me over. 

     My primary problem with most of these songs is that the music is either too sappy or happy, which contrasts to the very depressing lyrics. To this song's credit, only the choruses are unfittingly happy sounding while the verses are in a minor key and match the dark lyrics much better. 

     Pat Boone's singing voice is also not as overly mellow as some of his 1950's work and to be honest, if someone tried to play me this song without telling me who the artist was, I'd probably assume it was Ricky Nelson or someone similar. So I give Pat a bit of credit for at least not making this song a total snooze-fest. 

Final Verdict - A much more tolerable Pat Boone song, but I'm still not a fan of his work. The song is just a bit too mellow and happy sounding, especially considering its dark lyrics. While it certainly wasn't unlistenable, I don't have any interest in playing it again. 

           Coming Up Next - "Quarter To Three" by Gary U.S. Bonds. 

   Until Next Time - I'm Dr. Rock, and I'd rather be listening to "Moody Blues".

Song #52 - "Running Scared" - Roy Orbison

#1 for week of June 5th, 1961. 

     It's been quite a long time coming but we finally have a Roy Orbison song on this list. In terms of truly unique and talented vocalists, Roy was not only one of the greatest singers to ever walk the planet, to some he is the best, and if people want to make that claim, I wouldn't disagree with them. 

     My favorite two Roy Orbison songs are "Oh Pretty Woman" and especially the masterpiece "Crying". I should mention my first exposure to his music was a greatest hits album which exclusively contained re-recorded versions of his hit songs. Out of the 19 tunes on the compilation, all but "In Dreams" were recorded in one single day in 1985 and even though he was pushing 50, Roy not only still sounded incredible but in some cases, he sang the songs even better than before. 

     Though "Running Scared" is only a little bit over two minutes long, that's all the time Roy needs to make it known just how good his voice was. Starting off almost as a gentle plea with a very Bolero-sounding music pattern, and gradually building up to an emotional climax where he hits a high "A" note, Roy absolutely nails it with no sense of vocal strain and zero-falsetto. Most people would have had trouble hitting that note and staying in pitch, but for Roy, it was a piece of cake. 

     Every song Roy sang can rank among the greatest vocal performances of all time. "Running Scared" perfectly captures that feeling of tension and emotional release in both the music and lyrics. For that, I'd certainly name it one of the best songs on this list so far.

     Many years later in 1988 when Roy Orbison joined The Traveling Wilburys, he would contribute what could be his swan song, "Not Alone Any More" which proved that even during the last year of his way too short life, his voice still had the same power and emotion as in the 1960's. I guarantee that if Roy was still alive today, even at 77 his voice would have sounded exactly the same. 

Final Verdict - Easily among the top vocalists of all time, and easily one of the best songs of all time as well. An essential listen which deserves to be in your music collection!

                 Coming Up Next - "Moody River" by Pat Boone. 

         Until Next Time - I'm Dr. Rock, and I'm always running scared. 



     



     

Song #51 - "Travelin' Man" - Ricky Nelson

#1 for weeks of May 29th, and June 12th, 1961. 

     Ricky Nelson was our very first artist on this blog with "Poor Little Fool" from 1958. Three years later, he hit #1 on the Billboard Hot 100 again with "Travelin' Man". The good news is he still has his fine singing voice intact and this song features more of his true talent on display. 

     Even though it came out in 1961, "Travelin' Man" is a fine example of a tune that still tries to capture the glory days of 1950's rock and pop aimed at the teenagers and young adults. Lyrically, he sings about all the loves he had while traveling across the world. It is almost the "California Girls" of 1961.  

     Though Ricky Nelson may not have as stellar of a voice as his contemporary Roy Orbison, he does a good job with his vocal performance. The song is more of a medium tempo tune which seems to keep a foot in the door of 1950's rock as opposed to the easy listening/country style that he had in "Poor Little Fool".  

     In terms of the music, there is a nice and much welcomed guitar solo which sets this song apart from similar softer rock songs from the time period. Both guitar and piano are the most prominent instruments in this tune. Even the backing vocals are done in a 1950's rock/pop style. This helps the song feel a bit fresher to a new listener as opposed to sounding hopelessly dated.

Final Verdict - A stellar early rock/pop tune that is Ricky's best #1 on the list so far. It's got enough guitar and piano in it to please the rock lovers, while being a more laid back performance to please the pop lovers. All in all, a good combination that earns the song my seal of approval. 

             Coming Up Next - "Running Scared" by Roy Orbison. 

          Until Next Time - I'm Dr. Rock and I wish I was a travelin' man. 

     

     

Song #50 - "Mother In Law" - Ernie K-Doe

#1 for week of May 22, 1961. 

     There is almost no way that a song called "Mother In Law" could be anything but either a corny novelty song or one that was extremely tongue in cheek. Fortunately, it's the latter case and not only that, but the song is actually pretty good! Who'da thunk it?

     Novelty or humorous songs haven't had much success or critical acclaim on this list so far. This is because most of them are either not funny, or contain poor musical melodies/singing. However, "Mother In Law" actually has funny rather dark humorous lyrics and a great melody, so you can safely listen to it more than once. 

     What actually makes the song likable to me is that it comes across as a very Motown-sounding tune with a rock steady instrument track, non-dated backing vocals, and a soulful lead vocal. As an added bonus, the song has the familiar dance shuffle rhythm found in many of Motown's later more uptempo numbers such as "Dancing In The Street". 

     Allen Toussaint, who wrote the song and played piano on the track would later go on to write such classic R&B hits such as "Fortune Teller", and "Working In A Coalmine". Even though "Mother In Law" hasn't been as well remembered as those two tunes, (and even I hadn't heard it until today), I can certainly say that it is a prime example of a buried gem - a great song which has been swept under the woodwork of more well-known hits. 

Final Verdict - A surprisingly fun, funny, and enjoyable tune. If you are a fan of Motown and you have a sense of humor, you'll certainly enjoy hearing it too. 

               Coming Up Next - "Travelin' Man" by Ricky Nelson.

      Until Next Time - I'm Dr. Rock, digging up buried gems just for you. 

   



   

     

Song #49 - "Runaway" - Del Shannon

#1 for weeks of April 24th, and May 1, 8, and 15th, 1961. 

     The second classic song from this year, in fact it's even better than the previous song. Del Shannon's "Runaway" may sound dated to the turn of the 1960's but therein lies its charm. It is a prime example of perfectly crafted post 1959 rock and roll. 

     Part of the charm of "Runaway" lies in Del Shannon's vocal performance. There are a boatload of vocal hooks in this song from his near-falsetto "Wah-wah-wonder" vocal in the chorus to his alternating in dynamics from the more pleading verses to the rough and touch chorus. 

     Musically, each instrument blends together into one delicious rock and roll stew. There's the meaty saxophones which provide a nice backdrop, the hearty and often frantic piano part, and then for some spice, there's a very unique organ part which almost sounds like a clarinet. Now that's one tasty stew!

     Del Shannon's career was similar to many early 1960's rockers such as Roy Orbison in that he did not have as much commercial success in the second half of the 1960's. However, if you want to be pleasantly surprised, check out Del's "I Think I Love You", recorded late in 1967 for his foray into psychedelia. It almost sounds like a late 1960's Neil Young song, both vocally, lyrically, and musically! 

     Unfortunately, we lost Del in 1990 via a self-inflicted gunshot wound after years of depression. Del had apparently been asked prior to this to take the late Roy Orbison's place in the Traveling Wilburys. Both musicians were enjoying renewed popularity in the second half of the 1980's yet both ended up gone too soon. One could only imagine what might have been...

Final Verdict - A classic early 1960's rock song which I always enjoy hearing whenever it comes on. If you haven't heard it yet, you're missing out!

             Coming Up Next - "Mother-in-Law" by Ernie K-Doe. 

   Until Next Time - I'm Dr. Rock and I wa-wa-wa-wa-wonder what the next song will sound like.  



     

Song #48 - "Blue Moon" - The Marcels

#1 for weeks of April 3, 10, and 17th, 1961. 

     Time for some classic doo-wop music, and by classic, I mean one of the highlights of the genre. While the song "Blue Moon" had been around for a few decades and even covered by Elvis, it was The Marcels' 1961 version that everybody knows today, and rightly so. 

     Interestingly enough, The Marcels were an integrated singing group, or at least they were when they recorded "Blue Moon" in early 1961. When it came time for them to tour the still racially segregated deep south, their two caucasian members were unable to come with them. It's a damn shame that a whole part of the US couldn't overlook such trivialities. 

     What made this the definitive version of "Blue Moon" is the deep bass vocal which appears throughout the song adding to its doo-wop factor. It also helps that the song is very uptempo, which goes against the more slow dance-y doo-wop sound made famous on tunes such as "Earth Angel". 

     Obviously doo-wop music sounds very much like a product of its time period, and unless the genre was being paid tribute by hardcore doo-wop fan Frank Zappa, the style did not really survive deep into the 1960's. Regardless, it's a whole lot of fun to sing along to, and you'll probably get it stuck in your head the more you hear it. However, this kind of tune is certainly welcome in my noggin. 

Final Verdict - A prime slice of doo-wop vocal perfection that still can be an enjoyable listen to this very day. If you by some chance aren't familiar with this song yet, go check it out. (Make sure it's the original 1961 version!)

               Coming Up Next - "Runaway" by Del Shannon. 

 Until Next Time - "Bow du du bow du dang a dang dang, I am Dr. Rooooock". 

Song #47 - "Surrender" - Elvis

#1 for weeks of March 20, and 27th, 1961. 

     Just from those first few seconds of music, I was expecting this to be the theme of Elvis' long lost James Bond crossover movie "Double-O-Presley" due to the uncanny resemblance to the famous James Bond Theme. Well, since this song was recorded a good month and a half before 007's theme was, this song got there first. 

     Despite the familiar riff, the rest of this song becomes something quite different. Just like "It's Now Or Never", "Surrender" is another Elvis song based on an old Italian ballad. The music features finger cymbals and a cha-cha rhythm which adds to the song's non-American origins. 

     While this song is still far removed from Elvis' original rockabilly sound, the tune is more upbeat than some of his previous #1 hits and just like "It's Now Or Never", it features quite a dynamic range of his voice. That was always the draw to his music and he certainly gives the song a great vocal performance.

     If I had to nitpick, I would only add that this song got Elvis further into a more safe teen idol image as opposed to his genre-pioneering early sound. However, there's really not much else to say as in this early part of his life, it is very hard to find a song of his that I downright dislike. 

Final Verdict - There really isn't much more that needs to be said that I haven't already mentioned in recent Elvis reviews. I'd certainly recommend listening to it because, even though he has certainly mellowed out, his one of a kind voice still makes the song a great listen. 

                 Coming Up Next - "Blue Moon" by The Marcels. 

                      Until Next Time - I'm Double-Oh-Rock.

Song #46 - "Pony Time" - Chubby Checker

#1 for weeks of February 27th, and March 6 and 13th, 1961. 

     One normally shouldn't repeat the same trick twice, especially if they're more of a one trick pony. Corny pun aside, Chubby Checker's "Pony Time" proves that he would forever be cast in the shadow of "The Twist". It seems it was as early as 1961 that the dance music craze was getting stale. 

     Even though I hadn't heard this song before, I didn't need to. It is nearly identical musically to "The Twist"! The only major changes are that the song has more of a bouncy rhythm, is in a different key, and features more involved backing vocals. However, the sheer lack of originality and the fact that it is such a carbon copy of "The Twist" is what makes the song so inessential. 

     Unlike "The Twist", "Pony Time" is clearly meant to be a song strictly to dance to, with instructional lyrics corresponding to how the listener is supposed to do the dance. There is absolutely no resonance or deep message to the song as it's just a mostly throwaway dancing number. Well, at least it's devoid of such torments such as auto-tune, guest rapping, and washed up, over-sexualized former Disney stars doing moronic dance moves on national TV!

     I guess when put in comparison to today's dance music, it certainly is enjoyable and it certainly has a good melody, although one that already belongs to a superior song. However, this is early 1961 and in a year that brought us Bob Dylan's first album, it hardly can be considered a lasting tune. 

Final Verdict - "The Twist" was voted a good song because not only does it have a great melody, but it was fresh. "Pony Time" is such a carbon copy which offers so few new ideas that it fails to make an impression on me. You can pass on this one and put on Chubby's much more acclaimed hit instead. 

                        Coming Up Next - "Surrender" by Elvis. 

  Until Next Time - I'm Dr. Rock, and I don't come with dancing instructions. 
     

Song #45 - "Calcutta" - Lawrence Welk

#1 for weeks of February 13 and 20th, 1961. 

     I have often said that sometimes a song's first impression might be misleading to how the song will actually sound as it progresses. Often times, a song starts out not to my liking but as I listen further, I find I really like it. Unfortunately, Lawrence Welk's cover of "Calcutta" is quite the opposite. 

     I was initially attracted to the song in the beginning. A heartbeat-like bass line with a subtle guitar part, some Latin percussion and most importantly, a really neat harpsichord part. Even the rather dated backing vocals were subdued. However, all good things must be spoiled, and oh boy were they!

     Suddenly at about 25 seconds in, the formerly subtle backing vocals started singing La La's in the most stereotypically easy listening style one could dream of. From that point on, my opinion of the song soured. The music melody, which was interesting in the beginning started to feel very repetitive and even the accordion part couldn't interest me. The more I heard those vocals pop in, the more I disliked the song. 

     Clearly this tune was meant for the older crowds, especially since Lawrence Welk was well into his 50's when he recorded it. Perhaps this song's melody would have been better suited if it was a surf instrumental. Unfortunately, those vocals just ruin any enjoyment of the song for me, and the song really turns into everything I dislike about easy listening pop. I'm really surprised that this was considered one of the biggest hits of the year.

Final Verdict - What was a decent melody is gradually tainted by the very light and fluffy vocal arrangement. Just goes to show how one simple addition can ruin a song for me. I'd say perhaps listen to the first 25 or so seconds but don't proceed any further!

               Coming Up Next - "Pony Time" by Chubby Checker. 

    Until Next Time - I'm Dr. Rock and I don't think I'll be revisiting Calcutta anytime soon!

Song #44 - "Will You Love Me Tomorrow?" - The Shirelles

#1 for weeks of January 30th and February 6th, 1961. 

     If this song didn't make this list, I would have been rather shocked. Few songs from this time period, and genre, have aged as well as "Will You Love Me Tomorrow?" performed by The Shirelles. It can be considered the song that ignited the 1960's girl group sound. 

     The idea of "Girl Groups" was certainly not anything new. However, many of these earlier examples of the genre were more based in jazz or 1940's/1950's pop music such as The Andrews Sisters. Due to the songwriting teams of Brill Building songwriters in New York, and an ever-growing integration of styles on the pop charts, the newer 1960's girl group sound changed all of that.

     The 1960's girl group era started to make headway in 1961, peaked in 1963, and declined by 1966. That's not to say that all girl vocal groups didn't produce music past then. One singing trio called "The Cake" were a legitimately baroque-psychedelic girl group who wrote their own songs and released their debut in 1967, effectively bridging the gap between the innocent girl group era and the more creative and feminist all female bands which were more underground in the 1960's, but became more pronounced starting in the 1970's.

     One important factor is that most of these "groups" did not write their own songs. In the case of "Will You Love Me Tomorrow", the brill building songwriting team of Gerry Goffin and Carole King composed the tune. 

     There were different types of sounds and styles when it came to 1960's girl groups. On one side, the lyrics of the songs could aimed squarely at teenage girls and the music could border on bubblegum. However, then there's the other side of the coin where the lyrics could be universal to all listeners and the phenomenal musical arrangement - be it minimalist or a wall of sound - was the real draw to the song. "Will You Love Me Tomorrow" more than meets the latter side of the coin's criteria. 

     Featuring a stellar music arrangement with just the right amount of strings, the listener is instantly captivated before the vocals even come in. Shirley Owens' lead vocals sound absolutely timeless and the rest of The Shirelles compliment her vocals with a hypnotizing, yet never obtrusive, backing vocal part. 

    What makes this song so special, besides its wonderful music melody, is that the lyrics are relatable to everybody and can be aimed at any gender or age group. From love-struck teens to septuagenarians who were in college when this song came out, there is so much reason to still treasure this song today. Luckily, The Shirelles would continue to find chart success throughout the early 1960's. "Boys", "Baby It's You", and "Soldier Boy" would prove that the group were not just one hit wonders. 


Final Verdict - One of the best aged songs on this list which still is a wonderful listen to this day. Very relatable lyrics, beautifully sung, fantastic music, and written by two of the greatest songwriters of the Brill Building era. What's not to love? 

                  Coming Up Next - "Calcutta" by Lawrence Welk. 

      Until Next Time - I'm Dr. Rock, hoping you'll still love me tomorrow. 

     

Song #43 - "Wonderland By Night" - Bert Kaempfert

#1 for weeks of January 9, 16, and 23rd, 1961. 

     Well, speaking of The Beatles and their collaboration with Tony Sheridan, we have a number one hit by the man who made the collaboration possible and produced the recordings. Bert Kaempfert was a German jazz and big band leader whose music until today remained a mystery to me. 

     It's quite unexpected to see a jazzy tune on here, especially one with a heavy emphasis on the trumpet. The song is definitely on the easy-listening side although that trumpet adds some much appreciated spice to the recording. Later on in the piece, there is a snazzy muted trumpet solo that helps diversify the different sounds heard in the recording. 

     There is quite a mix of sounds and instruments in the recording. Besides the trumpet part, there is a muted electric guitar, a near-ghostly soprano choir that can be just barely heard most of the time, and occasionally a more baritone choir that opens the record on a very staccato note. 

     As for this song becoming a #1 hit, I am a bit perplexed to be honest. It certainly is a pleasant sounding piece, although I still can't see it being played that much on radio, and for it to have that many copies sold to reach the top. Perhaps the early 1960's record buying public wanted a song that they could enjoy when the sun went down, hence the title, so perhaps they were onto something after all. 

Final Verdict - Being a trumpet player myself, I always appreciate music which has that instrument in the spotlight. It makes this otherwise easy-listening tune interesting. Give it a listen when the night falls and maybe you will find it to be a wonderland. 

         Coming Up Next - "Will You Love Me Tomorrow" by The Shirelles. 

                            Until Next Time - I'm Dr. Rock - 

     

1961 Overview

     Welcome to 1961 here on Dr. Rock's Hit Or Miss. For those of you who are just tuning in, I encourage you to read the very first post which acts as an introduction. And a special hello if you are joining me from John Covach's History Of Rock course on Coursera!

     1961 saw many of the styles of music that were previously brewing in the underground start to rise up and make chart impact on the pop charts. The most prominent of these new styles came from Motown Records. Two years after its formation, "Please Mr. Postman" would be a major success for the label. Motown would continue to flourish in the upcoming years. 

     Surf rock started to make some waves across the country with Dick Dale's "Let's Go Trippin'" and "Surfer's Stomp" by The Mar-Kets. However, the biggest new act to emerge via the genre was The Beach Boys who recorded and released their first single, "Surfin'". Due to the song featuring vocals, the Beach Boys essentially invented the surf "pop" genre. Most surf rock was strictly instrumental. Interestingly, due to the only instrumentation being unplugged guitar, stand up bass, and trash can percussion, the song is more of a surf-folk song! Regardless, the five piece still had a way to go till Pet Sounds and SMiLE. 

      The Girl Group sound started to emerge as well, helped in part by the Brill Building songwriting team, Phil Spector's early productions, and hit songs such as "Will You Love Me Tomorrow" by The Shirelles. Dance-specific music started to become a dominant sound throughout the year to the point of over-saturation. 

     The Beatles recorded some songs as Tony Sheridan's backing band and one single "My Bonnie" would be later released from this collaboration. By year's end, the band now had Brian Epstein as a manager  and were booked an audition at Decca records on New Years Day of 1962...

     Finally, although it hasn't been mentioned too much on this list, folk music continued a resurgence and renaissance. The future harbinger of the genre's mainstream success, a certain folk singer/songwriter formerly known as Robert Zimmerman, recorded his debut self-titled album over two days in November '61.

       However, despite the rather vast melting pot of styles, cultures, and themes, I am expecting much of this year's #1 hits to be dance-specific pop music, teen idol singers, with the occasional and always welcome R&B song. I have a feeling there will be some unfunny novelty song mixed in there as well. Regadless, 1961 is when the American music scene started drifting further from the 1950's. Let's find out just how much the pop charts had changed for this year...

           First Up For 1961 - "Wonderland By Night" by Bert Kaempfert. 

                          Until Next Time - I'm Dr. Rock -

     

1960 Reflection

     1960 proved to be a very even year in terms of which songs hit #1. There were undisputed classics, a select few songs that don't even deserve one listen, and a whole bunch of songs that fall in between. There was still an overabundance of soft pop ballads, although many of them were actually quite pleasing to listen to and didn't bore me like some of the ones from 1959. 

     One thing that's quite noticeable is that Rock And Roll, mainly 1950's style Rock, appears to be either totally gone, or it lacks the edge that it had just a few years before. No doubt due to events such as the Payola scandal and the diminished presence of several classic names in rock, the genre seemed to be playing it safe. 

     If you have been following my lists so far, it should come as no surprise which songs I consider the best and worst song to hit #1 in 1960. Then again, maybe you will be surprised at what I've chosen...

Best #1 Hit Song Of 1960 - "Georgia On My Mind" - Ray Charles. 

     Yep, no contest. I knew when I saw this song on the list that I was probably going to rank it as the best of the year. Again, since it had been a while since I heard the song, I purposely waited till the review came along to play it. If you've read the review (You have, haven't you?), you know how much of an impact the song made on me with those fresh listens. 
     Honorable mentions go to "Cathy's Clown", "Stuck On You", "Save The Last Dance For Me", and of course, "The Twist". All fantastic/classic songs, but "Georgia On My Mind" blew them all away. 

Worst #1 Hit Song Of 1960 - "Mr. Custer" - Larry Verne. 

     While the best #1 song was practically a given even before I started to review the year, the worst song proved to be more of a mystery at the start. While I didn't care for "Teen Angel", I wouldn't consider it a contender for the worst of the year. Then I got to "Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini", and due to its way too bubble-gummy and cutesy sound, I nearly ranked it as the worst. 
     However, then I heard "Mr. Custer" for the first time. At least "Yellow Polka Dot Bikini" had a singer who sang in tune and a melody that was actually melodic. "Mr. Custer" is an out of tune, painfully unfunny, and very dated sounding novelty record that I did not enjoy listening to at all. Hence, it's the worst #1 song of 1960. 

     Now as we enter a new year, many new sounds emerge from the underground, and a creative period of pre-British Invasion music begins. I'm sure there will be lots of surprises, great songs, and bad songs. Either way, join me soon as I jump into 1961. 

                           Coming Up Next - 1961 Overview. 

                               Until Next Time - Dr. Rock - 

     

Song #42 - "Are You Lonesome To-Night?" - Elvis

#1 for weeks of November 28th, December 5, 12, 19, and 26th, 1960, and January 2nd, 1961. 

     We wrap up 1960 with one more hit from the king. This one's easily his softest #1 song so far, and just like the previous two hits of his from this year, was recorded not too long after his return from the army. It's also the antithesis of his earlier 1950's classics, and his softer side is in full force.

    "Are You Lonesome To-Night" is a cover of what was even then quite an old standard. It is interesting that back in the 1950's, you had Elvis and the rockers in one corner, and the soft pop balladeers in the other. Now, with this song, Elvis has certainly tapped well into the latter group's sound, and there is barely a trace of his rocker side present.   

     Upon first listen, the tune didn't sound vocally as dynamic as "Its Now Or Never", which alternated between mellow and powerful vocals. "Are You Lonesome..." is strictly sung in a mellow, almost crooning, singing voice. Also, the lengthy spoken-word middle section really didn't do anything for me upon first listen. Then of course, upon second listen, certain elements started to click. 

     If one pays attention to the lyrics in the spoken word section, they actually are very universal, telling the tale of how a once strong relationship became devoid of love. Still, sometimes it does sound a bit melodramatic in parts, and even Elvis would soon take to changing the lines of it when performing it on stage to add some comedic effect. 

     Regardless, for what it's worth, Elvis does do a good job vocally with the song, and though it may not be one of my top favorite Elvis songs, I still have to give him credit again for trying something different. With the exception of the spoken word section, the song has aged rather well, mostly due to its lyrical themes of heartbreak and wanting to mend a broken relationship, which are still relevant in today's society.  

Final Verdict - Certainly the softest Elvis song so far. Despite the spoken bridge being a bit too long and dated sounding, the rest of the performance is standard Elvis: It's nicely sung and emoted. Not among my top Elvis songs, but it's hard to find a bad Elvis song and this one certainly isn't one of them. 

                          Coming Up Next - 1960 Reflection. 

            Until Next Time - I'm Dr. Rock, and I'm Lonesome To-Night. 

Song #41 - "Stay" - Maurice Williams And The Zodiacs

#1 for week of November 21st, 1960. 

     It's going to be nearly impossible to follow that last song. However, I'm glad at least the next #1 on the list wasn't another painfully unfunny historical novelty song. I couldn't imagine going from "Georgia On My Mind" to something like "The Ballad Of Christopher Columbus" sung by Alvin And The Chipmunks! "Stay", is another song I'm familiar with and you might be too, although more so by the many cover versions of it over the years. 

     "Stay", was actually written by Maurice Williams himself, so any sincerity in the lyrics are his own genuine emotions. The song had an accessible R&B sound which must have been popular overseas in Britain. There are a lot of elements in this song that you can clearly hear emulated later on in British Invasion records such as the sudden faded out ending where everyone is still singing full power. 

     It is also worth noting that this is the shortest song to ever hit #1, being only about 1:40 minutes long. In fact, the song sometimes feels a bit too short, and I always felt it could use another bridge or something to extend it. Some versions like The Hollies 1963 version are in a Merseybeat style (Early British Invasion music based around Liverpool England), with a guitar solo added. Also, Jackson Browne's live version of the song is taken at a more leisurely tempo and adds some extra soul and emotion to the song. 

Final Verdict - Despite the short length of the song, it still is very enjoyable. It's short, to the point, and even though it sounds dated to that time period, you're sure to still enjoy listening to it today. 

            Last Up For 1960 - "Are You Lonesome Tonight?" by Elvis. 

            Until Next Time - Stay just a little bit longer with Dr. Rock - 

Song #40 - "Georgia On My Mind" - Ray Charles

#1 for week of November 14th, 1960. 

      When I look back on what I feel are the greatest songs I have reviewed so far, most of them range from pure Rock And Roll to more esoteric wonders. Still, maybe Rock And Roll isn't everybody's cup of tea and these songs may do nothing for them. 

     However, then there are the great tunes that transcend genre, and have an ethereal timeless quality to them that years from now will still be enjoyed again and again. Those attributes more than apply to Ray Charles' cover of Hoagy Carmichael and Stuart Gorrell's 1930 standard "Georgia On My Mind". 

     It has actually been quite a while since I heard this song, and after one listen, I felt beyond moved emotionally. That is something that hasn't happened for years even among some of my favorite musicians and bands. What is it that makes this song so moving? I'll examine each layer of the music, as every part of this song together makes it a masterpiece. 

     First, the bottom layer, the absolutely timeless music arrangement. Just the right amount of instruments - a stand up bass that plays like a heartbeat, and a brush drum track that guides the listener along this journey. All complimented with Ray Charles' magnificent piano playing. 

     The next layer, the string section and backing vocals, which are equally timeless and sound almost dream-like. 

     Finally, there is the icing on the cake, and the most magnificent aspect, the late great Ray Charles' lead vocals. This is easily a candidate for one of the best vocal performances of all time. Full of passion, and sincere emotion. Whether Ray sings in a more gentle manner or adds power to that performance, it is enough to make one forget about everything that is troubling them, and focus only on the song. 

     Again, it's been awhile since I've been moved by a musical performance. I would rate this among Ray Charles' greatest vocal performances. In terms of every song reviewed so far, not only is it the best song, but I feel that even as I get to some of my favorite 1960's bands, this song will still be way up there. It's a great testament to an impeccably talented singer and piano player, who though he may be gone in person, is still with us in spirit through his musical legacy. 

Final Verdict - In a word, masterpiece. In a few words, one of the greatest recordings ever made. Brilliantly beautifully sung, thoughtfully moving musically, a timeless treasured classic. As close to musical nirvana as you will ever get. 

        Coming Up Next - "Stay" by Maurice Williams And The Zodiacs.

       Until Next Time - I'm Dr. Rock, and I've got Georgia On My Mind. 

Song #39 - "I Want To Be Wanted" - Brenda Lee

#1 for week of October 24th, 1960. 

     I've already talked about Brenda Lee before back in review number 32 with "I'm Sorry". My opinion on her still stands in that her music isn't my usual style, but I'm nonetheless amazed that a mere 15 year old could sing like this. 

     "I Want To Be Wanted" manages to impress me even more due to the fact that Brenda reaches further into her vocal range, and the song is delivered with even more power and passion than "I'm Sorry" was. Even though Brenda didn't write this song, (Even back then, pop singers rarely wrote their own songs!), she sings with enough sincerity that she may as well have written it.

     I was also relieved that this time there was no corny spoken word section in the bridge. However, if I had to nitpick, the 1940's pop-sounding backing vocals, haven't aged well at all, and the song's instrument track is very much a sleepy symphonic ballad with a prominent string section among the regular band backing track.  

     However, taken for what it's worth, Brenda proves her vocals at least could stand the test of time. She was name-dropped in Golden Earring's 1973 hit, "Radar Love", and her earlier 1958 hit, the original recording of "Rockin' Around The Christmas Tree", has certainly become a holiday standard. 

Final Verdict - This is Brenda's best song on the list so far mainly due to the fact that she nails the vocal on it, which is especially impressive considering she was only a teenager. Early 1960's soft pop may not be my usual listening choice, but this song for the most part works well enough that you'll probably enjoy it too, especially if you love this style. 

            Coming Up Next - "Georgia On My Mind" by Ray Charles. 

                              Until Next Time - Dr. Rock - 

Song #38 - "Save The Last Dance For Me" - The Drifters

#1 for weeks of October 17, and 31st and November 7th, 1960. 

     This song is the antitheses of the previous one. It's very listenable, sung wonderfully, and still sounds fresh to this day. Being very familiar with this song and much of The Drifters catalog, I'm pleased to see that it was a #1 hit. 

     The Drifters live up to their name due to the fact that the singing group has had a near constant revolving door lineup of singers. The lineup that recorded "Save The Last Dance For Me" was an entirely different lineup than the one which existed in the first half of the 1950's. This first lineup of Drifters was fronted by R&B singer Clyde McPhatter. Today, there are no Drifters from even "Save The Last Dance..." that are still a part of their lineup. The group exists in name and sound only. 

     "Save The Last Dance...", acts as then lead singer Ben E. King's swan song for The Drifters. In fact, by the time this song was a #1 hit, he had already left the group to start a critically acclaimed solo career. In my opinion, Ben E. King had the best singing voice of all of The Drifters' lead singers so it is no surprise that I think quite highly of this song. 

     What makes the song is its subtle yet effective vocal hooks, such as how, "And In Whose Arms You're Gonna Be" is sung, it flows together in a really neat way. The song has a musically Latin flavor with a Cha-Cha rhythm, but with triangle and acoustic guitar being primary instruments  There is a string section although it actually adds some extra flavor to the tune rather than making it sound dated. The backing vocalists range from holding out harmonies to being rhythmic, especially when they sing "You Can Dance" near the end. 

Final Verdict - Nicely sung, wonderful melodic hooks, relateable lyrics, and a timeless quality. "Save The Last Dance For Me" is a well deserved #1 hit that deserves much more than one play. 

             Coming Up Next - "I Want To Be Wanted" by Brenda Lee. 

              Until Next Time - Save The Last Dance For Dr. Rock -