What a long soft trip 1963 has been! There was lots of soft-pop hits and relatively few R&B or Rock songs that hit #1. Because of this, I'd rank this year as the weakest so far. It's not that there were an abundance of bad songs, it's just that there were so many softer pop songs that all seem to blend together as one homogenized blob of unmemorable music.
Many of the songs I have reviewed from this year come across as not only very dated, but also very old fashioned It's as if the pop market was taking giant steps backwards instead of forward. As fate would have it, this would be the last year for quite a while that this would happen.
Yet, above all of this sameness, are several noteworthy songs that not only stand out above the rest, but also are among the first to come to mind when you think of American music in 1963. Unlike previous years, I easily was able to decide which was the most deserved classic, and which one wasn't -
Best #1 Hit Song Of 1963 - "Fingertips Pt. 2" - Little Stevie Wonder.
Practically a given, and I didn't expect any song to come any closer. Runners up include "Surf City", "Walk Like A Man" and "He's So Fine". The reason I didn't pick those songs is that the latter two, while great songs, aren't very innovative. In the case of "Surf City", the song's lyrics are incredibly dated, and by 1965, the song would practically be an antique in that regard.
"Fingertips", on the other hand, is not only fresh but has a nice timeless sound to it. It's a stellar improvisational extravaganza. Even by only judging part 2 of the song, I had no second guessing when it came to naming it the best #1 hit song of 1963.
Worst #1 Hit Song Of 1963 - "Dominique" - The Singing Nun.
Another given, although unlike other "Worst" songs, this one isn't so bad. The reason the song is ranked weakest has to do with the fact that the song is incredibly kitschy and outdated sounding. If it wasn't for the events of November 22, 1963, which led to mostly soft-pop on the radio, there's no way this song would ever have had widespread radio airplay. It was meant for a smaller audience and that's where it should have stayed.
The only song that could be a runner up for worst is "I Will Follow Him". However, my main problems with that song are the way it is sung and the lyrics. At least "I Will Follow Him" has hooks and enough variations in the music to keep me interested, unlike "Dominique". It's not among the worst, but I can't deny that "Dominique" is the weakest #1 hit song of 1963.
Now we move on to 1964, the music world, (and this blog) will never be the same again! New styles of music replace the old, and the 1960's finally start to have a musical identity that isn't trapped in the innocent 1950's. All of this is made possible by The British Invasion.
Coming Up Next - 1964 Overview.
Until Next Time - I'm Dr. Rock - See you in '64!
Sunday, October 27, 2013
Song #102 - "Dominique" - The Singing Nun
#1 for weeks of December 7, 14, 21, and 28th, 1963.
Time to review one of the most notorious songs from this time period. "Dominique" by The Singing Nun is usually exhibit "A" when it comes to showing just how commercially banal American pop music had become just prior to the British Invasion. Looking back on those times, it is easy to see why this was such a hit: America was still in shock and mourning over the assassination of JFK and so it was only natural that the pop market would want to gravitate towards a harmless song sung by an actual nun. Despite the infamy of this song, did it really deserve such a high amount of posthumous ridicule? And was there more to Sister Jeanine Deckers than meets the eye?
Despite the fact that I'm aiming to find a silver lining, I'm sorry to say that I can't fathom why people liked this song so much. To put it delicately, it's extremely easy-listening, and sounds like it was meant for a far smaller and more esoteric/personal market. This song was in fact recorded back in 1961 so it is indeed because of the radio stations wanting to play softer music following JFK's death that this song was dug out from the vaults, and topped the charts. I can say though the song has some historical significance as being the first French-language #1 hit.
However, historical significance cannot hide the fact that this song is, to put it lightly, quite kitschy It is certainly not representative of any mainstream music of 1963, or 1961 for that matter. Now, most reviewers of this song would stop here and just consider the review a well deserved attack on a tune that had no business being such a big hit. However, as I have mentioned, there was more to Sister Deckers than meets the eye.
After this song became a hit, Sister Deckers slipped into depression over not finding success under her real name. She would leave her convent and even recorded a controversial but brave song that was pro-birth control. Deckers also became increasingly critical of the Catholic Church and ended up an exile. Years later in 1985, she and her partner, a fellow exiled nun, committed suicide together. Perhaps this song wasn't meant to be such a big hit as one could say its success (and infamy) led to the early end of Sister Deckers and her lover's life.
So while I can't say this is a great song, I feel like my dislike of it comes more from how it negatively affected the artist's life, as opposed to how mawkish it sounds in comparison to other #1's from '63. If not for this song, perhaps Jeanine Deckers would have become a powerful human rights activist, free from the shackles of the church or a silly stage name.
Final Verdict - This is one of those songs that shouldn't have even been a huge hit to begin with. It is overly old fashioned and comes off as a song meant for close friends only. While I have newfound respect for the artist, I can safely say that this is a song I don't care to hear again.
Coming Up Next - 1963 Reflection.
Until Next Time - Je Suis Dr. Roche.
Time to review one of the most notorious songs from this time period. "Dominique" by The Singing Nun is usually exhibit "A" when it comes to showing just how commercially banal American pop music had become just prior to the British Invasion. Looking back on those times, it is easy to see why this was such a hit: America was still in shock and mourning over the assassination of JFK and so it was only natural that the pop market would want to gravitate towards a harmless song sung by an actual nun. Despite the infamy of this song, did it really deserve such a high amount of posthumous ridicule? And was there more to Sister Jeanine Deckers than meets the eye?
Despite the fact that I'm aiming to find a silver lining, I'm sorry to say that I can't fathom why people liked this song so much. To put it delicately, it's extremely easy-listening, and sounds like it was meant for a far smaller and more esoteric/personal market. This song was in fact recorded back in 1961 so it is indeed because of the radio stations wanting to play softer music following JFK's death that this song was dug out from the vaults, and topped the charts. I can say though the song has some historical significance as being the first French-language #1 hit.
However, historical significance cannot hide the fact that this song is, to put it lightly, quite kitschy It is certainly not representative of any mainstream music of 1963, or 1961 for that matter. Now, most reviewers of this song would stop here and just consider the review a well deserved attack on a tune that had no business being such a big hit. However, as I have mentioned, there was more to Sister Deckers than meets the eye.
After this song became a hit, Sister Deckers slipped into depression over not finding success under her real name. She would leave her convent and even recorded a controversial but brave song that was pro-birth control. Deckers also became increasingly critical of the Catholic Church and ended up an exile. Years later in 1985, she and her partner, a fellow exiled nun, committed suicide together. Perhaps this song wasn't meant to be such a big hit as one could say its success (and infamy) led to the early end of Sister Deckers and her lover's life.
So while I can't say this is a great song, I feel like my dislike of it comes more from how it negatively affected the artist's life, as opposed to how mawkish it sounds in comparison to other #1's from '63. If not for this song, perhaps Jeanine Deckers would have become a powerful human rights activist, free from the shackles of the church or a silly stage name.
Final Verdict - This is one of those songs that shouldn't have even been a huge hit to begin with. It is overly old fashioned and comes off as a song meant for close friends only. While I have newfound respect for the artist, I can safely say that this is a song I don't care to hear again.
Coming Up Next - 1963 Reflection.
Until Next Time - Je Suis Dr. Roche.
Friday, October 25, 2013
Song #101 - "I'm Leaving It Up To You" - Dale & Grace
#1 for weeks of November 23 and 30th, 1963.
Happy 101 reviews...oh...wait, I've done that already. Well...today we have a male/female duo...wait...we've had that happen yesterday too! Well, you're not having deja-vu, there really were two back to back #1's both by a duo. This time, we have the even lesser known Dale & Grace.
Unless I have been living under a rock (there's a pun for ya), I have not only never heard of this song or even this duo before. This could mean three things, one is that the song is so poor that time has rightly chosen to forget it. The song could also be a buried gem, lost through the years. Or perhaps this song is one that's more neutral - neither good nor bad.
Before I go into the artist overview and review, it is worth pointing out what America was like around this time. Just one day previous, John F. Kennedy had been shot, and the nation would be thrown into a long period of mourning. By sheer coincidence, Dale & Grace were in Dallas waving to JFK on his motorcade and were due to perform for him that night, which of course never happened.
The late Dale & Grace only came together as a musical duo in 1963 and "I'm Leaving It Up To You" was their first single together. Just like several other artists, they would find less success once the British Invasion started. The song is a cover by another duo from the 1950's, "Don And Dewey". Because of this, the tune is once again heavily steeped in the 1950's sound, in this case Doo-Wop.
I must be experiencing deja-vu because these two also have a similar vocal feel to the previous #1 duo Nino and April. You have a guy with a low voice, mixed with a more vocally prominent gal. In terms of the two duos, it's really apples and oranges in terms of which song is better. I personally liked the other song's music more due to I'm Leaving It Up To You's music sounding rather run of the mill. If I had to nitpick, I do find Grace's vocals to be just a bit on the nasally side
There really isn't anything bad I can say about this song, but I can't exactly rave about it either. It's one of those background hits which doesn't move me, but doesn't bore me either. I can say there were much more notable songs from this time period that should have hit #1 instead like "Louie Louie".
Final Verdict - A more middle ground #1 hit which has no huge highs or lows. Give it a listen anyways as it's one of the last examples of authentic 1950's style pop charting so high.
Last Up For 1963 - "Dominique" by The Singing Nun.
Until Next Time - I'm leaving it up to you to tune in to the next Dr. Rock review.
Happy 101 reviews...oh...wait, I've done that already. Well...today we have a male/female duo...wait...we've had that happen yesterday too! Well, you're not having deja-vu, there really were two back to back #1's both by a duo. This time, we have the even lesser known Dale & Grace.
Unless I have been living under a rock (there's a pun for ya), I have not only never heard of this song or even this duo before. This could mean three things, one is that the song is so poor that time has rightly chosen to forget it. The song could also be a buried gem, lost through the years. Or perhaps this song is one that's more neutral - neither good nor bad.
Before I go into the artist overview and review, it is worth pointing out what America was like around this time. Just one day previous, John F. Kennedy had been shot, and the nation would be thrown into a long period of mourning. By sheer coincidence, Dale & Grace were in Dallas waving to JFK on his motorcade and were due to perform for him that night, which of course never happened.
The late Dale & Grace only came together as a musical duo in 1963 and "I'm Leaving It Up To You" was their first single together. Just like several other artists, they would find less success once the British Invasion started. The song is a cover by another duo from the 1950's, "Don And Dewey". Because of this, the tune is once again heavily steeped in the 1950's sound, in this case Doo-Wop.
I must be experiencing deja-vu because these two also have a similar vocal feel to the previous #1 duo Nino and April. You have a guy with a low voice, mixed with a more vocally prominent gal. In terms of the two duos, it's really apples and oranges in terms of which song is better. I personally liked the other song's music more due to I'm Leaving It Up To You's music sounding rather run of the mill. If I had to nitpick, I do find Grace's vocals to be just a bit on the nasally side
There really isn't anything bad I can say about this song, but I can't exactly rave about it either. It's one of those background hits which doesn't move me, but doesn't bore me either. I can say there were much more notable songs from this time period that should have hit #1 instead like "Louie Louie".
Final Verdict - A more middle ground #1 hit which has no huge highs or lows. Give it a listen anyways as it's one of the last examples of authentic 1950's style pop charting so high.
Last Up For 1963 - "Dominique" by The Singing Nun.
Until Next Time - I'm leaving it up to you to tune in to the next Dr. Rock review.
Thursday, October 24, 2013
Song #100 - "Deep Purple" - Nino Tempo And April Stevens
#1 for week of November 16th, 1963.
Happy 100 reviews! Somehow I've stuck with this blog despite the massive amount of songs that are forthcoming. Hopefully "Deep Purple" keeps me in that happy mood. While I have heard other versions of this song in passing, I haven't heard this #1 hit version, until today.
Naturally, this rendition of "Deep Purple" is not the original version of the song. The song was written by Peter DeRose in the 1920's and it is in fact that version that Ritchie Blackmore's grandmother wanted her son's band to play. Instead they subsequently took their name from the tune. So in some ways, you can thank this song for inspiring the name of one of the greatest hard rock bands of all time.
Nino Tempo and April Stevens were a brother and sister duo who could perhaps be seen as the 1960's version of The Carpenters. Although the former had a more rock sound as opposed to adult contemporary pop. Still, I was expecting Nino and April's version of "Deep Purple" to be a really soft and tender ballad like other renditions of the tune. So much to my surprise, a rather rocking piano and harmonica-led instrument track kicked in instead and I knew this was something special.
Vocally, Nino's vocals mostly have an almost rocker-edge to them. April's vocals compliment this by being much more gentle and sweet, but not saccharine. The bridge section, with April speaking the lines and Nino responding is just a tad on the sugary side, but I'm willing to overlook that minor detail. The two have a really nice blend of vocals and that helps give the song some extra character.
Do I think this song deserve to be a #1 hit? Honestly I do. We finally have a song that doesn't sound like it's shackled to the 1950's. The instrument track and the unique harmony vocals could have easily been recorded as late as 1965 and still sound fresh. For taking a song that could have been a sleeper and making it sound relatively interesting, I'd say, good job.
Final Verdict- A nice uptempo rendition of this song which manages to sound much fresher than some of the other songs reviewed from this year. The bridge of the song may be a bit twee, but otherwise I'd certainly listen to this again.
Coming Up Next - "I'm Leaving It Up To You" by Dale & Grace.
Until Next Time - I'm Dr. Rock, looking forward to, and also afraid of, the next many reviews to come!
Happy 100 reviews! Somehow I've stuck with this blog despite the massive amount of songs that are forthcoming. Hopefully "Deep Purple" keeps me in that happy mood. While I have heard other versions of this song in passing, I haven't heard this #1 hit version, until today.
Naturally, this rendition of "Deep Purple" is not the original version of the song. The song was written by Peter DeRose in the 1920's and it is in fact that version that Ritchie Blackmore's grandmother wanted her son's band to play. Instead they subsequently took their name from the tune. So in some ways, you can thank this song for inspiring the name of one of the greatest hard rock bands of all time.
Nino Tempo and April Stevens were a brother and sister duo who could perhaps be seen as the 1960's version of The Carpenters. Although the former had a more rock sound as opposed to adult contemporary pop. Still, I was expecting Nino and April's version of "Deep Purple" to be a really soft and tender ballad like other renditions of the tune. So much to my surprise, a rather rocking piano and harmonica-led instrument track kicked in instead and I knew this was something special.
Vocally, Nino's vocals mostly have an almost rocker-edge to them. April's vocals compliment this by being much more gentle and sweet, but not saccharine. The bridge section, with April speaking the lines and Nino responding is just a tad on the sugary side, but I'm willing to overlook that minor detail. The two have a really nice blend of vocals and that helps give the song some extra character.
Do I think this song deserve to be a #1 hit? Honestly I do. We finally have a song that doesn't sound like it's shackled to the 1950's. The instrument track and the unique harmony vocals could have easily been recorded as late as 1965 and still sound fresh. For taking a song that could have been a sleeper and making it sound relatively interesting, I'd say, good job.
Final Verdict- A nice uptempo rendition of this song which manages to sound much fresher than some of the other songs reviewed from this year. The bridge of the song may be a bit twee, but otherwise I'd certainly listen to this again.
Coming Up Next - "I'm Leaving It Up To You" by Dale & Grace.
Until Next Time - I'm Dr. Rock, looking forward to, and also afraid of, the next many reviews to come!
Song #99 - "Sugar Shack" - Jimmy Gilmer And The Fireballs
#1 for weeks of October 12, 19, 26, and November 2 and 9th, 1963.
"Sugar Shack" is tied with "He's So Fine" as having the longest run at #1 of the year at 5 weeks. However, whereas the latter song is quite well known even today, the former song, which we'll be taking a look at today, is a bit more forgotten - forever doomed to oldies stations. But did it deserve better? Should it have been a #1 hit to begin with?
The Fireballs were already an established musical group, mostly known for some instrumental hits. In fact, their 1959 recording "Bulldog" was one of the earliest examples of surf rock. Now despite the fact that the band were musical pioneers in that sense, there is practically no surf rock (or even surf pop for that matter) present in "Sugar Shack". In fact, the song borders on sugary in places.
What prevents me from calling this just a piece of bubblegum fluff is the music arrangement. Those heavy opening guitar and bass lines which repeat throughout the song sound just plain awesome. There is also the sound of a piccolo which was played on an organ and it gives the song an almost pirate-like feel (Maybe they did capture the surf/sea sound after all!).
The lyrics in comparison are a bit of a letdown. They simply deal with a guy falling in love with a girl at a place called the sugar shack, and wanting to go back there once they get married. Very poppy and quite sugary, although I give them credit for at least matching the song title with its lyrical themes.
The Fireballs would have their career eclipsed by the British Invasion although they made a chart comeback in 1968 with "Bottle Of Wine". During that same year, they also jumped on the psychedelic pop bandwagon and gave us the very bandwagonesque but enjoyable "Groovy Motions". Jimmy Gilmer would leave the band in 1969 and they called it quits soon after.
Did "Sugar Shack" deserve to be not only #1 for five weeks but also voted song of the year? I don't think so, not when we have a year that gave us "Be My Baby", "In My Room", "He's So Fine", and "Louie Louie", (Not including all of The Beatles music which hadn't found its way overseas yet). However, because of the strong musical arrangement and the fact that despite the lyrics, the song is enjoyable to listen to, I can say it deserves recognition.
Final Verdict - Not the best song of 1963, but a harmless poppier rock song with a strong music track to go along with it. I'd say it deserves a listen.
Coming Up Next - "Deep Purple" by Nino Tempo And April Stevens.
Until Next Time - I'm Dr. Rock and the rockslides -
"Sugar Shack" is tied with "He's So Fine" as having the longest run at #1 of the year at 5 weeks. However, whereas the latter song is quite well known even today, the former song, which we'll be taking a look at today, is a bit more forgotten - forever doomed to oldies stations. But did it deserve better? Should it have been a #1 hit to begin with?
The Fireballs were already an established musical group, mostly known for some instrumental hits. In fact, their 1959 recording "Bulldog" was one of the earliest examples of surf rock. Now despite the fact that the band were musical pioneers in that sense, there is practically no surf rock (or even surf pop for that matter) present in "Sugar Shack". In fact, the song borders on sugary in places.
What prevents me from calling this just a piece of bubblegum fluff is the music arrangement. Those heavy opening guitar and bass lines which repeat throughout the song sound just plain awesome. There is also the sound of a piccolo which was played on an organ and it gives the song an almost pirate-like feel (Maybe they did capture the surf/sea sound after all!).
The lyrics in comparison are a bit of a letdown. They simply deal with a guy falling in love with a girl at a place called the sugar shack, and wanting to go back there once they get married. Very poppy and quite sugary, although I give them credit for at least matching the song title with its lyrical themes.
The Fireballs would have their career eclipsed by the British Invasion although they made a chart comeback in 1968 with "Bottle Of Wine". During that same year, they also jumped on the psychedelic pop bandwagon and gave us the very bandwagonesque but enjoyable "Groovy Motions". Jimmy Gilmer would leave the band in 1969 and they called it quits soon after.
Did "Sugar Shack" deserve to be not only #1 for five weeks but also voted song of the year? I don't think so, not when we have a year that gave us "Be My Baby", "In My Room", "He's So Fine", and "Louie Louie", (Not including all of The Beatles music which hadn't found its way overseas yet). However, because of the strong musical arrangement and the fact that despite the lyrics, the song is enjoyable to listen to, I can say it deserves recognition.
Final Verdict - Not the best song of 1963, but a harmless poppier rock song with a strong music track to go along with it. I'd say it deserves a listen.
Coming Up Next - "Deep Purple" by Nino Tempo And April Stevens.
Until Next Time - I'm Dr. Rock and the rockslides -
Wednesday, October 23, 2013
Song #98 - "Blue Velvet" - Bobby Vinton
#1 for weeks of September 21, 28, and October 5th, 1963.
Well Mr. Vinton, we meet again. For those of you who have been following my reviews from the beginning, you will probably remember me voting Bobby Vinton's "Roses Are Red (My Love)" as the weakest song to hit #1 in 1962. Not that the song was awful or unlistenable, but more that the song was incredibly dated, sappy, and too mellow. Over a year later, he scored another #1 with "Blue Velvet". Does he progress on his original sound? Is this song a step in the right direction?...No, Not even remotely. But...
It's clear that Bobby Vinton found a style and stuck with it. While that style does sound quite a deal better than modern top 40 pop garbage, I find this overly romantic orchestrated lovestruck style to not be what I gravitate towards. This song could have easily been recorded in the 1950's, but here we are in 1963. Still, I am being a bit hard on the song so I'll leave my personal opinions at the door and give this song a more justified rating.
First off, this was originally made famous by Tony Bennett way back in the early 1950's, and Bobby does a good job at keeping the spirit of the original alive. I can also say the "Blue Velvet" line in the song has a strong tendency to get stuck in your head. Again, Bobby has a good singing voice and he puts it to good use here. Even the backing vocals are much better sounding than on "Roses Are Red". Finally, the instrument track has a bit more of a guitar ballad feel as opposed to an overly symphonic pop song. Not too bad actually.
So does this song hold up today? Maybe in certain circumstances such as a romantic candlelit evening or in a good film. However, when we have a version by Tony Bennett, a singer who's name has lived on through the 21st century, I can't see this cover version being remembered as fondly as time goes on.
Final Verdict - While again not my style, this rendition of the tune is harmless and gentle enough that those who are a fan of the genre will no doubt appreciate it.
Coming Up Next - "Sugar Shack" by Jimmy Gilmer And The Fireballs.
Until Next Time - I'm "doooooooooooooooooocter" Rock
Well Mr. Vinton, we meet again. For those of you who have been following my reviews from the beginning, you will probably remember me voting Bobby Vinton's "Roses Are Red (My Love)" as the weakest song to hit #1 in 1962. Not that the song was awful or unlistenable, but more that the song was incredibly dated, sappy, and too mellow. Over a year later, he scored another #1 with "Blue Velvet". Does he progress on his original sound? Is this song a step in the right direction?...No, Not even remotely. But...
It's clear that Bobby Vinton found a style and stuck with it. While that style does sound quite a deal better than modern top 40 pop garbage, I find this overly romantic orchestrated lovestruck style to not be what I gravitate towards. This song could have easily been recorded in the 1950's, but here we are in 1963. Still, I am being a bit hard on the song so I'll leave my personal opinions at the door and give this song a more justified rating.
First off, this was originally made famous by Tony Bennett way back in the early 1950's, and Bobby does a good job at keeping the spirit of the original alive. I can also say the "Blue Velvet" line in the song has a strong tendency to get stuck in your head. Again, Bobby has a good singing voice and he puts it to good use here. Even the backing vocals are much better sounding than on "Roses Are Red". Finally, the instrument track has a bit more of a guitar ballad feel as opposed to an overly symphonic pop song. Not too bad actually.
So does this song hold up today? Maybe in certain circumstances such as a romantic candlelit evening or in a good film. However, when we have a version by Tony Bennett, a singer who's name has lived on through the 21st century, I can't see this cover version being remembered as fondly as time goes on.
Final Verdict - While again not my style, this rendition of the tune is harmless and gentle enough that those who are a fan of the genre will no doubt appreciate it.
Coming Up Next - "Sugar Shack" by Jimmy Gilmer And The Fireballs.
Until Next Time - I'm "doooooooooooooooooocter" Rock
Song #97 "My Boyfriend's Back" - The Angels
#1 for weeks of August 31 and September 7 and 14th, 1963.
"Da Doo Ron Ron", "He's So Fine" and "My Boyfriend's Back" are the three songs that usually first come to mind when listing 1960's girl group songs. (I'd put "Be My Baby" in a higher plain above them all). All three of these songs have a lot in common, for one they are all lyrically esoteric. If you weren't a teenage girl during that time period, you probably did not relate to these lyrics at all, and neither do I. However, what these songs also have in common is an extremely catchy and hook filled musical melody complete with talented vocalists.
The Angels were based around the same Tri-State area as The Four Seasons and released their first single in 1961, the sublime "'Til". Two years later, they struck it big with the song everybody knows them by today. "My Boyfriend's Back" differs from those previously listed songs in that it is the only one that's pure pop as opposed to R&B pop.
If you actually thought The Angels wrote this song, well you'd be very very wrong. The song was composed by the trio Feldman-Goldstein-Gotteher, who were anonymous until the mid 1960's when they formed a group called The Strangeloves and gave us "I Want Candy". They also wrote "Hang On Sloopy" and wrote a song for Ronnie Dio And The Prophets. Yes, that Ronnie James Dio!
So in other words, we have a pop song, written by more than one outside source, all of whom were men, with an emphasis on radio play. Times haven't changed have they? By these accounts, I should hate this song, but I don't, not at all actually, here's why -
For one, if you want an example of how to use hooks to enhance a song, this tune is the poster child. The instrument-less spoken word intro, the handclap percussion throughout the song, the numerous "Hey-La's, and the staccato "Yeah's" after each phrase of the song. All of these elements no doubt helped the song chart at the top. The song even has a catchy bridge which is melodically the best part of the song in my opinion.
The version I've been most familiar with over the years was actually a re-recording, which I was dismayed to find out. Even though I'm usually adverse to the more poppy end of the 1960's and this song is a completely prefabricated tune with outside writers and all, I still kinda like it. A guilty pleasure perhaps?
Final Verdict - Underneath the song's lyrics, which I don't care for and can't relate to at all, this song has enough hooks and twists to keep you entertained. Try again though to seek out the original recording if you plan to hear it yourself.
Coming Up Next - "Blue Velvet" by Bobby Vinton.
Until Next Time - Hey La Hey La, Dr. Rock's Back -
"Da Doo Ron Ron", "He's So Fine" and "My Boyfriend's Back" are the three songs that usually first come to mind when listing 1960's girl group songs. (I'd put "Be My Baby" in a higher plain above them all). All three of these songs have a lot in common, for one they are all lyrically esoteric. If you weren't a teenage girl during that time period, you probably did not relate to these lyrics at all, and neither do I. However, what these songs also have in common is an extremely catchy and hook filled musical melody complete with talented vocalists.
The Angels were based around the same Tri-State area as The Four Seasons and released their first single in 1961, the sublime "'Til". Two years later, they struck it big with the song everybody knows them by today. "My Boyfriend's Back" differs from those previously listed songs in that it is the only one that's pure pop as opposed to R&B pop.
If you actually thought The Angels wrote this song, well you'd be very very wrong. The song was composed by the trio Feldman-Goldstein-Gotteher, who were anonymous until the mid 1960's when they formed a group called The Strangeloves and gave us "I Want Candy". They also wrote "Hang On Sloopy" and wrote a song for Ronnie Dio And The Prophets. Yes, that Ronnie James Dio!
So in other words, we have a pop song, written by more than one outside source, all of whom were men, with an emphasis on radio play. Times haven't changed have they? By these accounts, I should hate this song, but I don't, not at all actually, here's why -
For one, if you want an example of how to use hooks to enhance a song, this tune is the poster child. The instrument-less spoken word intro, the handclap percussion throughout the song, the numerous "Hey-La's, and the staccato "Yeah's" after each phrase of the song. All of these elements no doubt helped the song chart at the top. The song even has a catchy bridge which is melodically the best part of the song in my opinion.
The version I've been most familiar with over the years was actually a re-recording, which I was dismayed to find out. Even though I'm usually adverse to the more poppy end of the 1960's and this song is a completely prefabricated tune with outside writers and all, I still kinda like it. A guilty pleasure perhaps?
Final Verdict - Underneath the song's lyrics, which I don't care for and can't relate to at all, this song has enough hooks and twists to keep you entertained. Try again though to seek out the original recording if you plan to hear it yourself.
Coming Up Next - "Blue Velvet" by Bobby Vinton.
Until Next Time - Hey La Hey La, Dr. Rock's Back -
Tuesday, October 22, 2013
Song #96 - "Fingertips Pt. 2" - Little Stevie Wonder
#1 for weeks of August 10, 17, and 24th, 1963.
Finally, we get to an artist this year who has not only risen above and beyond his debut sound, but is a renowned musician and songwriter to this very day. Even back when he was a mere 12 year old, Stevie Wonder was already producing great studio records. However, it was a live concert version of his song "Fingertips" that was what gave him his first of many #1's.
"Fingertips" showcases Stevie as not only a talented multi-instrumentalist but also someone who's very in command and loves improvisation. While he is of course best known as a piano player, here he plays harmonica and occasionally bongos.
I'm bending the rules a bit in this review by not reviewing the single edit of the song but instead the full uncut parts 1 and 2. Why? Because I hate single edits as many times they cut out key parts of the song the artist worked so hard on. The single edit of "Light My Fire" is a perfect example. I also can't stand the polar opposite which is extended dance mixes. Nothing's worse than a 3 minute pop song extended to a brutal monotonous 12 minutes.
So if you're like me and seeking out the full version, the "Part 2" begins halfway through when Stevie sings "Everybody Say Yeah" and encourages a call and response from the audience. Before this moment, the song is more of a steady 12 bar blues groove with plenty of fine harmonica playing. It is this midpoint though that Stevie launches the song into high gear.
The backing band during part 2 is much more pronounced and Stevie helps to get the audience clapping and on their feet. Later he plays a bit of "Mary Had A Little Lamb" and soon, the song appears to be over. In fact, even his bandmates thought that the number was finished. Instead, Stevie gives us a surprise encore, and oh boy does the group cook!
Stevie absolutely wails on both the harmonica and his voice. The audience left that night knowing they experienced something truly special. Even listening to this song over 50 years later, you can tell that this kid was going places. Indeed, his early-mid 1970's output would be some of the best music ever recorded, (not that his 1960's material was any slouch). "Fingertips" was where it all began.
Final Verdict - An exciting, invigorating, and talented performance that I wholeheartedly suggest having in your record collection. But make sure it's the full version of the song!
Coming Up Next - "My Boyfriend's Back" by The Angels.
Until Next Time - I'm Little Doc' Rocker, the review wonder.
Finally, we get to an artist this year who has not only risen above and beyond his debut sound, but is a renowned musician and songwriter to this very day. Even back when he was a mere 12 year old, Stevie Wonder was already producing great studio records. However, it was a live concert version of his song "Fingertips" that was what gave him his first of many #1's.
"Fingertips" showcases Stevie as not only a talented multi-instrumentalist but also someone who's very in command and loves improvisation. While he is of course best known as a piano player, here he plays harmonica and occasionally bongos.
I'm bending the rules a bit in this review by not reviewing the single edit of the song but instead the full uncut parts 1 and 2. Why? Because I hate single edits as many times they cut out key parts of the song the artist worked so hard on. The single edit of "Light My Fire" is a perfect example. I also can't stand the polar opposite which is extended dance mixes. Nothing's worse than a 3 minute pop song extended to a brutal monotonous 12 minutes.
So if you're like me and seeking out the full version, the "Part 2" begins halfway through when Stevie sings "Everybody Say Yeah" and encourages a call and response from the audience. Before this moment, the song is more of a steady 12 bar blues groove with plenty of fine harmonica playing. It is this midpoint though that Stevie launches the song into high gear.
The backing band during part 2 is much more pronounced and Stevie helps to get the audience clapping and on their feet. Later he plays a bit of "Mary Had A Little Lamb" and soon, the song appears to be over. In fact, even his bandmates thought that the number was finished. Instead, Stevie gives us a surprise encore, and oh boy does the group cook!
Stevie absolutely wails on both the harmonica and his voice. The audience left that night knowing they experienced something truly special. Even listening to this song over 50 years later, you can tell that this kid was going places. Indeed, his early-mid 1970's output would be some of the best music ever recorded, (not that his 1960's material was any slouch). "Fingertips" was where it all began.
Final Verdict - An exciting, invigorating, and talented performance that I wholeheartedly suggest having in your record collection. But make sure it's the full version of the song!
Coming Up Next - "My Boyfriend's Back" by The Angels.
Until Next Time - I'm Little Doc' Rocker, the review wonder.
Song #95 - "So Much In Love" - The Tymes
#1 for week of August 3rd, 1963.
We now move from surf music back to sweet soul with a prominent doo-wop influence. In what seems to be a reoccurring trend for this year, we have yet another group largely forgotten in modern times, known for a select few hit songs. Once again, their first of two #1's "So Much In Love" is a song I was previously unfamiliar with.
I admittingly know precious little about The Tymes as opposed to my previous review. The group were signed to Cameo-Parkway records which put out mostly mellower pop and dance-specific songs so naturally it's all alien to me. The Tymes still perform to this very day although not with all of their original members.
"So Much In Love", their first smash hit, is lyrically a pure-hearted love song. Underneath these lyrics which for some might not even be remotely relevant, is a superb vocal arrangement. Plenty of soul infused harmonies and call and response vocals. Musically, the song is very stripped down. In fact, all I can make out is a drum and stand up string bass. Clearly the emphasis is on the vocals.
Did this song deserve to be a #1 hit? Well, I can at least see why it sold so many copies. It's a very accessible sound, and for those innocent pre-Vietnam times, the pop audience must have eaten this record right up. After the British Invasion and as forward thinking American artists started replacing formulaic pop on the charts, this type of song wouldn't have had a chance at hitting #1.
Final Verdict - Due to its borderline easy-listening feel and the antiquated lyrics, "So Much In Love" hasn't aged as well as other romantic songs from the time, but it has a great vocal arrangement and is pleasant enough to at least deserve a listen.
Coming Up Next - "Fingertips Pt. 2" by Little Stevie Wonder.
Until Next Time - I'm Dr. Rock, and I'm out of tyme.
We now move from surf music back to sweet soul with a prominent doo-wop influence. In what seems to be a reoccurring trend for this year, we have yet another group largely forgotten in modern times, known for a select few hit songs. Once again, their first of two #1's "So Much In Love" is a song I was previously unfamiliar with.
I admittingly know precious little about The Tymes as opposed to my previous review. The group were signed to Cameo-Parkway records which put out mostly mellower pop and dance-specific songs so naturally it's all alien to me. The Tymes still perform to this very day although not with all of their original members.
"So Much In Love", their first smash hit, is lyrically a pure-hearted love song. Underneath these lyrics which for some might not even be remotely relevant, is a superb vocal arrangement. Plenty of soul infused harmonies and call and response vocals. Musically, the song is very stripped down. In fact, all I can make out is a drum and stand up string bass. Clearly the emphasis is on the vocals.
Did this song deserve to be a #1 hit? Well, I can at least see why it sold so many copies. It's a very accessible sound, and for those innocent pre-Vietnam times, the pop audience must have eaten this record right up. After the British Invasion and as forward thinking American artists started replacing formulaic pop on the charts, this type of song wouldn't have had a chance at hitting #1.
Final Verdict - Due to its borderline easy-listening feel and the antiquated lyrics, "So Much In Love" hasn't aged as well as other romantic songs from the time, but it has a great vocal arrangement and is pleasant enough to at least deserve a listen.
Coming Up Next - "Fingertips Pt. 2" by Little Stevie Wonder.
Until Next Time - I'm Dr. Rock, and I'm out of tyme.
Monday, October 21, 2013
Song #94 - "Surf City" - Jan And Dean
#1 for weeks of July 20 and 27th, 1963.
FINALLY! Some classic surf pop music tops the charts, although sadly this would be the only time that would happen. If there was someone who has never heard of Jan And Dean before, they might assume this was a Beach Boys song. Well, they'd be partially correct in that assumption as "Surf City" was co-written, produced, and musically arranged by Brian Wilson.
Before going into a big of history about the main attraction, it is worth mentioning that this Brian Wilson co-composition managed to reach #1 before his own band's had. While this didn't bother The Beach Boys, who were good friends of Jan & Dean, it infuriated Capitol Records and the Wilson brothers' father Murray Wilson. Any future collaborations with Jan & Dean and the eldest Wilson brother would remain clandestine.
Jan Berry And Dean Torrence started out their music career several years earlier than the Beach Boys, around 1958. Their very early material was more Doo-Wop influenced although a couple of their songs such as 1958's "Gas Money" have a proto-surf rock feel to them.
Some years later in 1963, the duo were working on an album called "Linda" when they decided to cover "Surfin' Safari". The Beach Boys not only agreed to let the duo cover their song, they even played and sang with them on it. As a result of the duo jumping on the surf music wave, which by 1963 was practically tsunami sized, they re-titled their album "Jan & Dean Take Linda Surfing" and shortly afterwards, Brian got together with Jan to lyrically complete an unfinished/unrecorded Beach Boys song. That song turned into "Surf City".
Musically, the song is very Beach Boys-esque. Jan's part could easily have been sung by Mike Love as both of their voices have a similar timbre although Jan's is far less nasally sounding. Brian Wilson himself sings co-lead with Jan in the verses and sings backing vocals throughout the entire song. Finally, Brian employed The Wrecking Crew - LA's finest session musicians to add a bigger depth of sound to the music.
Obviously the lyrics are very dated and not full of substance at all. However, there were few surf pop songs that were even remotely lyrically resonant. Of course, if you were on the beach on a sunny summer's day listening to this song on a radio, I'm sure you might feel differently. It's all about the music and the harmonies.
Aside from a few other significant hits such as "Dead Man's Curve" (Co-written but not produced by Brian Wilson), and the fantastic "The Little Old Lady From Pasadena", Jan & Dean never really managed to break on through or evolve in the post-Beatles pop scene. The duo often incorporated humor into their work with an example being their unreleased album "Filet Of Soul". Unfortunately, a near-fatal car crash in April 1966 put Jan Berry out of commission for about a year due to brain injury, and it would be years before he would recover enough to perform or sing again.
This would have ended most people's music careers but not Jan's. He spent over a year from 1967 to 1968 recording an album called "Carnival Of Sound", which contains some nice psychedelic pop-ish songs, but remained unreleased for over 40 years. I for one greatly admire Jan Berry's determination to keep working on music despite being on the mend and unable to sing.
The duo would have a reemergence in the 1970's and continue performing all the way through Jan Berry's early death in 2004. It is their 1963-1964 period though which people most fondly remember. "Surf City" is a fine example of surf pop done in such a well-crafted way, that it's still an enjoyable tune to this very day.
Final Verdict - A great song that, despite having slight lyrics, has a superb vocal and musical arrangement full of hooks. I'd certainly rank this as one of the finer records of '63 and would say it deserves a spot in your record collection.
Coming Up Next - "So Much In Love" by The Tymes.
Until Next Time - Hang ten, ride the surf, tune in to Dr. Rock -
FINALLY! Some classic surf pop music tops the charts, although sadly this would be the only time that would happen. If there was someone who has never heard of Jan And Dean before, they might assume this was a Beach Boys song. Well, they'd be partially correct in that assumption as "Surf City" was co-written, produced, and musically arranged by Brian Wilson.
Before going into a big of history about the main attraction, it is worth mentioning that this Brian Wilson co-composition managed to reach #1 before his own band's had. While this didn't bother The Beach Boys, who were good friends of Jan & Dean, it infuriated Capitol Records and the Wilson brothers' father Murray Wilson. Any future collaborations with Jan & Dean and the eldest Wilson brother would remain clandestine.
Jan Berry And Dean Torrence started out their music career several years earlier than the Beach Boys, around 1958. Their very early material was more Doo-Wop influenced although a couple of their songs such as 1958's "Gas Money" have a proto-surf rock feel to them.
Some years later in 1963, the duo were working on an album called "Linda" when they decided to cover "Surfin' Safari". The Beach Boys not only agreed to let the duo cover their song, they even played and sang with them on it. As a result of the duo jumping on the surf music wave, which by 1963 was practically tsunami sized, they re-titled their album "Jan & Dean Take Linda Surfing" and shortly afterwards, Brian got together with Jan to lyrically complete an unfinished/unrecorded Beach Boys song. That song turned into "Surf City".
Musically, the song is very Beach Boys-esque. Jan's part could easily have been sung by Mike Love as both of their voices have a similar timbre although Jan's is far less nasally sounding. Brian Wilson himself sings co-lead with Jan in the verses and sings backing vocals throughout the entire song. Finally, Brian employed The Wrecking Crew - LA's finest session musicians to add a bigger depth of sound to the music.
Obviously the lyrics are very dated and not full of substance at all. However, there were few surf pop songs that were even remotely lyrically resonant. Of course, if you were on the beach on a sunny summer's day listening to this song on a radio, I'm sure you might feel differently. It's all about the music and the harmonies.
Aside from a few other significant hits such as "Dead Man's Curve" (Co-written but not produced by Brian Wilson), and the fantastic "The Little Old Lady From Pasadena", Jan & Dean never really managed to break on through or evolve in the post-Beatles pop scene. The duo often incorporated humor into their work with an example being their unreleased album "Filet Of Soul". Unfortunately, a near-fatal car crash in April 1966 put Jan Berry out of commission for about a year due to brain injury, and it would be years before he would recover enough to perform or sing again.
This would have ended most people's music careers but not Jan's. He spent over a year from 1967 to 1968 recording an album called "Carnival Of Sound", which contains some nice psychedelic pop-ish songs, but remained unreleased for over 40 years. I for one greatly admire Jan Berry's determination to keep working on music despite being on the mend and unable to sing.
The duo would have a reemergence in the 1970's and continue performing all the way through Jan Berry's early death in 2004. It is their 1963-1964 period though which people most fondly remember. "Surf City" is a fine example of surf pop done in such a well-crafted way, that it's still an enjoyable tune to this very day.
Final Verdict - A great song that, despite having slight lyrics, has a superb vocal and musical arrangement full of hooks. I'd certainly rank this as one of the finer records of '63 and would say it deserves a spot in your record collection.
Coming Up Next - "So Much In Love" by The Tymes.
Until Next Time - Hang ten, ride the surf, tune in to Dr. Rock -
Song #93 - "Easier Said Than Done" - The Essex
#1 for weeks of July 6 and 13th, 1963.
Here's another uncommon act to top the charts, a group comprised entirely of US marines. Even more uncommon is that this is a self-contained group with no outside writers or singers. All four members, including vocalist Anita Humes, were previously stationed overseas in Japan. After returning to the states, the group released "Easier Said Than Done" as their first single and it actually went as high as #1. But did it deserve to chart that high?
Well, I can certainly say the song is catchy. It has a persistent beat to it which was apparently based on the rhythmic patterns of a computing machine on their base. The overall feel of the music and vocals reminds me of The Exciters' "Tell Him". Both are mostly minimalist recordings which feature the backing vocalists often singing rhythmically to enhance the beat of the song. Perhaps I'm right about this connection because The Essex sing "Tell Him" quite prominently in "Easier Said Than Done".
Despite the group's origins, there is nothing militaristic or warlike about this song, (Unlike a certain early 1966 hit that I'll unfortunately have to get to later). It's just a simple love song with some strong vocals accompanying it. Regardless, the song is definitely more poppy than other R&B hits of the era, and doesn't sound as long lasting as something by say, Motown or Stax.
"Easier Said Than Done", turned out to be The Essex's only smash hit as all subsequent recordings were gradually lower on the charts. This of course makes the group a bit of a one hit wonder, which seems to be a common occurrence on the charts this particular year. Still, I give the group credit for managing to strike gold on their first attempts.
Final Verdict - "Easier Said Than Done", though not a knockout classic or a song which will change your life after hearing it, is still a nicely crafted R&B pop song. I'd certainly recommend giving it a listen.
Coming Up Next - "Surf City" by Jan And Dean.
Until Next Time - I'm Doc...er...Commander Rock.
Here's another uncommon act to top the charts, a group comprised entirely of US marines. Even more uncommon is that this is a self-contained group with no outside writers or singers. All four members, including vocalist Anita Humes, were previously stationed overseas in Japan. After returning to the states, the group released "Easier Said Than Done" as their first single and it actually went as high as #1. But did it deserve to chart that high?
Well, I can certainly say the song is catchy. It has a persistent beat to it which was apparently based on the rhythmic patterns of a computing machine on their base. The overall feel of the music and vocals reminds me of The Exciters' "Tell Him". Both are mostly minimalist recordings which feature the backing vocalists often singing rhythmically to enhance the beat of the song. Perhaps I'm right about this connection because The Essex sing "Tell Him" quite prominently in "Easier Said Than Done".
Despite the group's origins, there is nothing militaristic or warlike about this song, (Unlike a certain early 1966 hit that I'll unfortunately have to get to later). It's just a simple love song with some strong vocals accompanying it. Regardless, the song is definitely more poppy than other R&B hits of the era, and doesn't sound as long lasting as something by say, Motown or Stax.
"Easier Said Than Done", turned out to be The Essex's only smash hit as all subsequent recordings were gradually lower on the charts. This of course makes the group a bit of a one hit wonder, which seems to be a common occurrence on the charts this particular year. Still, I give the group credit for managing to strike gold on their first attempts.
Final Verdict - "Easier Said Than Done", though not a knockout classic or a song which will change your life after hearing it, is still a nicely crafted R&B pop song. I'd certainly recommend giving it a listen.
Coming Up Next - "Surf City" by Jan And Dean.
Until Next Time - I'm Doc...er...Commander Rock.
Sunday, October 20, 2013
Song #92 - "Sukiyaki" by Kyu Sakamoto
#1 for weeks of June 15, 22, and 29th, 1963.
Now here's a one-time occurrence, a Japanese language song hitting #1 on the US Billboard Hot 100. In modern times, Japanese pop culture has certainly had a great impact on American society, from animation, to entertainment, to cuisine. As for Japanese music, their variety of pop is certainly more likable than the dreck on today's American top 40. As for their rock music, check out the band "The Pillows" for some astoundingly underrated 90's rock albums.
However, back in 1963, Japan was perhaps still seen in a negative light by some Americans who still had bad memories of World War II. Perhaps it was a sign that since Kyu Sakamoto's "Sukiyaki" became such a hit, America was now starting to look past those dark days, and realize what a wealth of culture Japan had.
I really did not know what to expect with this song as I had never actually taken the time to listen to it. Due to the song being covered in a disco arrangement some years later, I almost expected this to be an unbearable bubblegum pop song. Turns out I was wrong, very wrong.
"Sukiyaki", which according to translations is a song about trying to look on the positive side while undergoing immense sadness, was actually released in 1961 under its original name, "Ue o Muite Arukō", meaning "I Look Up As I Walk". Why the Americans decided to re-title the 1963 re-release of the song after a Japanese soup dish (Sukiyaki) is a laughably absurd mystery.
Musically this song is almost an Eastern Frank Sinatra-esque crooner tune. It has a gentle upbeat swing rhythm with a full orchestral backdrop. I personally found this to be rather charming and it helps that Kyu was a good vocalist as well. Even the lyrics, when translated, are rather striking. All in all, it's something quite different, but nonetheless is enjoyable.
I should lastly mention how there were a number of English-language cover versions of this song over the years. However, since all of them fail to properly translate the lyrics, or just make up their own lyrics entirely, there's no point in me seeking them out.
Final Verdict - This song surprised me, and I went from having low expectations to finding this to be a buried gem among all of the more sugary American pop of '63. Give it a spin yourself, it's surly worth it.
Coming Up Next - "Easier Said Than Done" by The Essex.
Until Next Time - Watashi Wa Isha Rokku Gozen!
Now here's a one-time occurrence, a Japanese language song hitting #1 on the US Billboard Hot 100. In modern times, Japanese pop culture has certainly had a great impact on American society, from animation, to entertainment, to cuisine. As for Japanese music, their variety of pop is certainly more likable than the dreck on today's American top 40. As for their rock music, check out the band "The Pillows" for some astoundingly underrated 90's rock albums.
However, back in 1963, Japan was perhaps still seen in a negative light by some Americans who still had bad memories of World War II. Perhaps it was a sign that since Kyu Sakamoto's "Sukiyaki" became such a hit, America was now starting to look past those dark days, and realize what a wealth of culture Japan had.
I really did not know what to expect with this song as I had never actually taken the time to listen to it. Due to the song being covered in a disco arrangement some years later, I almost expected this to be an unbearable bubblegum pop song. Turns out I was wrong, very wrong.
"Sukiyaki", which according to translations is a song about trying to look on the positive side while undergoing immense sadness, was actually released in 1961 under its original name, "Ue o Muite Arukō", meaning "I Look Up As I Walk". Why the Americans decided to re-title the 1963 re-release of the song after a Japanese soup dish (Sukiyaki) is a laughably absurd mystery.
Musically this song is almost an Eastern Frank Sinatra-esque crooner tune. It has a gentle upbeat swing rhythm with a full orchestral backdrop. I personally found this to be rather charming and it helps that Kyu was a good vocalist as well. Even the lyrics, when translated, are rather striking. All in all, it's something quite different, but nonetheless is enjoyable.
I should lastly mention how there were a number of English-language cover versions of this song over the years. However, since all of them fail to properly translate the lyrics, or just make up their own lyrics entirely, there's no point in me seeking them out.
Final Verdict - This song surprised me, and I went from having low expectations to finding this to be a buried gem among all of the more sugary American pop of '63. Give it a spin yourself, it's surly worth it.
Coming Up Next - "Easier Said Than Done" by The Essex.
Until Next Time - Watashi Wa Isha Rokku Gozen!
Song #91 - "It's My Party" - Lesley Gore
#1 for weeks of June 1 and 8th, 1963.
When someone brings up examples of American pop music in 1963, besides the usual "Beach Boys" and "Ronettes", Lesley Gore will inevitably get mentioned. Just one look at Lesley's discography in the first half of the 1960's, and it's easy to make an assumption that her music was almost exclusively written for the teenage girl market. While, she turned out to be a much more complex person in real life, you would not have initially guessed that about her in 1963.
"It's My Party" introduced her to the mainstream market, and the song happened to come out in just the right time period for it to be massively successful. Once again, the song was written by outside songwriters. The tune was shopped around to many different producers before Lesley Gore decided to take a crack at, with producer Quincy Jones. Yep, the same Quincy Jones who would produce the pop masterpiece Thriller for Michael Jackson some 19 years later. That's a good sign for sure.
This song on the surface may seem like it's cut from the same cloth as "I Will Follow Him". However, "It's My Party" is far superior in every way. Lesley Gore has a great singing voice, probably one of the best of the 1960's teen girl singers in my opinion. Second, the musical arrangement is first class with plenty of horn parts to keep people who listen to these songs mostly for the music, like myself, satisfied.
Lyrically, the song even could be considered relevant in today's society. "It's My Party" is about a girl who's boyfriend cheats on her at her own birthday party. Yeah, if that was you, you probably would cry as well, just like Lesley sings. So despite being a mid 20's male, I find those lyrics to be very striking, and since Lesley gives the song a convincing vocal performance, it makes listening to the song be an enjoyable experience.
Lesley Gore would soon put out a sequel song "Judy's Turn To Cry" and more importantly, "You Don't Own Me", which lyrically was a few years ahead of its time. It is a shame that she would spend the next few years putting out records that stereotyped her instead as the "Boy-crazy" girl next door, especially since in real life, or at least in later years, that's not who she would have wanted to sing about. Regardless, I'm recognizing her here as someone who's stellar singing voice propelled songs, which would have been not as interesting if sung by someone else, to a much higher plateau.
Final Verdict - This is an example of how to take a song that would ordinary be mere bubblegum pop in anyone else's hands, and give it a great music arrangement with a talented singer and a legendary producer. It is because of this that "It's My Party" still is an enjoyable song to listen to to this very day.
Coming Up Next - "Sukiyaki" by Kyu Sakamoto.
Until Next Time - Don't cry, get happy, it's Dr. Rock.
When someone brings up examples of American pop music in 1963, besides the usual "Beach Boys" and "Ronettes", Lesley Gore will inevitably get mentioned. Just one look at Lesley's discography in the first half of the 1960's, and it's easy to make an assumption that her music was almost exclusively written for the teenage girl market. While, she turned out to be a much more complex person in real life, you would not have initially guessed that about her in 1963.
"It's My Party" introduced her to the mainstream market, and the song happened to come out in just the right time period for it to be massively successful. Once again, the song was written by outside songwriters. The tune was shopped around to many different producers before Lesley Gore decided to take a crack at, with producer Quincy Jones. Yep, the same Quincy Jones who would produce the pop masterpiece Thriller for Michael Jackson some 19 years later. That's a good sign for sure.
This song on the surface may seem like it's cut from the same cloth as "I Will Follow Him". However, "It's My Party" is far superior in every way. Lesley Gore has a great singing voice, probably one of the best of the 1960's teen girl singers in my opinion. Second, the musical arrangement is first class with plenty of horn parts to keep people who listen to these songs mostly for the music, like myself, satisfied.
Lyrically, the song even could be considered relevant in today's society. "It's My Party" is about a girl who's boyfriend cheats on her at her own birthday party. Yeah, if that was you, you probably would cry as well, just like Lesley sings. So despite being a mid 20's male, I find those lyrics to be very striking, and since Lesley gives the song a convincing vocal performance, it makes listening to the song be an enjoyable experience.
Lesley Gore would soon put out a sequel song "Judy's Turn To Cry" and more importantly, "You Don't Own Me", which lyrically was a few years ahead of its time. It is a shame that she would spend the next few years putting out records that stereotyped her instead as the "Boy-crazy" girl next door, especially since in real life, or at least in later years, that's not who she would have wanted to sing about. Regardless, I'm recognizing her here as someone who's stellar singing voice propelled songs, which would have been not as interesting if sung by someone else, to a much higher plateau.
Final Verdict - This is an example of how to take a song that would ordinary be mere bubblegum pop in anyone else's hands, and give it a great music arrangement with a talented singer and a legendary producer. It is because of this that "It's My Party" still is an enjoyable song to listen to to this very day.
Coming Up Next - "Sukiyaki" by Kyu Sakamoto.
Until Next Time - Don't cry, get happy, it's Dr. Rock.
Saturday, October 19, 2013
Song #90 - "If You Wanna Be Happy" - Jimmy Soul
#1 for weeks of May 18 and 25th, 1963.
This is one of those songs which I certainly recognize even though I didn't know who the artist was. "If You Wanna Be Happy" is the first song on this list which has a distinctive Caribbean feel. In this case, the song is based on an old Calypso song "Ugly Woman". Was it a deserved #1 hit? Let's find out...
Jimmy Soul has an interesting backstory. He started out very evangelical and even became a preacher at the mere age of seven. Despite this commitment, "If You Wanna Be Happy" is very much a secular song. Although I will say that due to the very upbeat nature of the tune, you could easily reconfigure it lyrically to be a gospel song.
The song's lyrics, which again are based on an old Calypso song from the 1930's are rather humorous, with the moral being "Marry an ugly girl because you'll be happier in life". Definitely not something you'd expect to hear someone singing on the radio. It is refreshing though to hear a song which doesn't take itself too seriously.
Vocally, Jimmy Soul mostly keeps his voice restrained, except for some really high ranged vocals towards the end of the song. The backing singers, who are prominent throughout the song, slowly start to fade into the music as the song nears an end. Musically I didn't find any major standout instruments, although there is a prominent percussive backbeat throughout the song which further enhances its Caribbean feel.
This would be Jimmy Soul's final hit single and due to his later lack of success, he ended up enlisting in the army, never again recording any new songs. Today, the song is a bit forgotten, and not the first song people think of when 1963 comes to mind. With that being said, the song is light-hearted and entertaining enough to dig up and hear fresh again. Perhaps it became a number one because people wanted something to cheer them up a little. Well, if that was what Mr. Soul was aiming for, he succeeded.
Final Verdict - A buried gem for sure, and one that will probably have you tapping your toes while you listen to it. Give it a listen, and maybe you'll be happy too.
Coming Up Next - "It's My Party" by Lesley Gore.
Until Next Time - If You Wanna Be Happy, stick with Dr. Rock!
This is one of those songs which I certainly recognize even though I didn't know who the artist was. "If You Wanna Be Happy" is the first song on this list which has a distinctive Caribbean feel. In this case, the song is based on an old Calypso song "Ugly Woman". Was it a deserved #1 hit? Let's find out...
Jimmy Soul has an interesting backstory. He started out very evangelical and even became a preacher at the mere age of seven. Despite this commitment, "If You Wanna Be Happy" is very much a secular song. Although I will say that due to the very upbeat nature of the tune, you could easily reconfigure it lyrically to be a gospel song.
The song's lyrics, which again are based on an old Calypso song from the 1930's are rather humorous, with the moral being "Marry an ugly girl because you'll be happier in life". Definitely not something you'd expect to hear someone singing on the radio. It is refreshing though to hear a song which doesn't take itself too seriously.
Vocally, Jimmy Soul mostly keeps his voice restrained, except for some really high ranged vocals towards the end of the song. The backing singers, who are prominent throughout the song, slowly start to fade into the music as the song nears an end. Musically I didn't find any major standout instruments, although there is a prominent percussive backbeat throughout the song which further enhances its Caribbean feel.
This would be Jimmy Soul's final hit single and due to his later lack of success, he ended up enlisting in the army, never again recording any new songs. Today, the song is a bit forgotten, and not the first song people think of when 1963 comes to mind. With that being said, the song is light-hearted and entertaining enough to dig up and hear fresh again. Perhaps it became a number one because people wanted something to cheer them up a little. Well, if that was what Mr. Soul was aiming for, he succeeded.
Final Verdict - A buried gem for sure, and one that will probably have you tapping your toes while you listen to it. Give it a listen, and maybe you'll be happy too.
Coming Up Next - "It's My Party" by Lesley Gore.
Until Next Time - If You Wanna Be Happy, stick with Dr. Rock!
Song #89 - "I Will Follow Him" - Little Peggy March
#1 for weeks of April 27, May 4 and 11th, 1963.
In my last review, I raved about "He's So Fine" by The Chiffons. Obviously the song wasn't a lyrical masterpiece, (Nearly no girl group songs are), it was instead the wonderful music and vocals I loved. Those are what I usually gravitate towards when listening to a girl group classic. However, there are also songs which haven't aged as well and are a bit more of a chore to listen to. "I Will Follow Him" is one of those songs.
This song of course wasn't written by Peggy March, it actually is an English version of a French-language tune called "Chariot". However, there's nothing uniquely French about this song at all, and I wouldn't have made that connection on my own.
First of all I'll mention what I did like/was impressed by. I find the music of the chorus to be interesting due to its sudden alternating between major and minor keys. Also, Peggy March was only 14 when she recorded this song and has the record for being the youngest chart topper, so that's an impressive feat.
However, there are a number of elements in this song that just don't click for me. One being Peggy's repetitious vocals which I gradually find more annoying as the song continues on. Also, unlike "He's So Fine" which contained a wonderfully crafted backing vocal arrangement, the backing vocals here range from really gruff sounding male backing vocals to overtly angelic female backing vocals.
Now as for the lyrics, I've mentioned how most girl group lyrics are almost never masterpieces, but here they are among the most dated I've ever heard. Plus, having them repeated over and over, especially in the choruses gives this song a bit of a bubblegum feel, and that's not a good thing.
Despite all my criticism, this is not among the worst songs I've heard. The problem is the song is way too saccharine for my taste. I'm sure others might think otherwise, especially if they grew up with this tune. For me, I feel there are better songs that convey the same lyrical message in a better way.
Final Verdict - "I Will Follow Him" is lyrically poor and vocally sub-par, but has some historical significance. However, it's not a song I'd go out of my way to hear again.
Coming Up Next - "If You Wanna Be Happy" by Jimmy Soul.
Until Next Time - Won't you follow me, Dr. Rock.
In my last review, I raved about "He's So Fine" by The Chiffons. Obviously the song wasn't a lyrical masterpiece, (Nearly no girl group songs are), it was instead the wonderful music and vocals I loved. Those are what I usually gravitate towards when listening to a girl group classic. However, there are also songs which haven't aged as well and are a bit more of a chore to listen to. "I Will Follow Him" is one of those songs.
This song of course wasn't written by Peggy March, it actually is an English version of a French-language tune called "Chariot". However, there's nothing uniquely French about this song at all, and I wouldn't have made that connection on my own.
First of all I'll mention what I did like/was impressed by. I find the music of the chorus to be interesting due to its sudden alternating between major and minor keys. Also, Peggy March was only 14 when she recorded this song and has the record for being the youngest chart topper, so that's an impressive feat.
However, there are a number of elements in this song that just don't click for me. One being Peggy's repetitious vocals which I gradually find more annoying as the song continues on. Also, unlike "He's So Fine" which contained a wonderfully crafted backing vocal arrangement, the backing vocals here range from really gruff sounding male backing vocals to overtly angelic female backing vocals.
Now as for the lyrics, I've mentioned how most girl group lyrics are almost never masterpieces, but here they are among the most dated I've ever heard. Plus, having them repeated over and over, especially in the choruses gives this song a bit of a bubblegum feel, and that's not a good thing.
Despite all my criticism, this is not among the worst songs I've heard. The problem is the song is way too saccharine for my taste. I'm sure others might think otherwise, especially if they grew up with this tune. For me, I feel there are better songs that convey the same lyrical message in a better way.
Final Verdict - "I Will Follow Him" is lyrically poor and vocally sub-par, but has some historical significance. However, it's not a song I'd go out of my way to hear again.
Coming Up Next - "If You Wanna Be Happy" by Jimmy Soul.
Until Next Time - Won't you follow me, Dr. Rock.
Friday, October 18, 2013
Song #88 - "He's So Fine" - The Chiffons
#1 for weeks of March 30, April 6, 13, and 20th, 1963.
One of the most noteworthy and best crafted girl group songs to come out of the early 1960's. "He's So Fine", by The Chiffons is the perfect example of how to do a pop song right. The Chiffons were also one of those lucky few groups to have their very first song be a #1 hit.
Other great Chiffons songs include "One Fine Day", the slightly trippy "Nobody Knows What's Going On In My Mind But Me", and "When The Boy's Happy (The Girl's Happy Too)" which they recorded as The Four Pennies. All of these songs have several things in common - Underneath the traditional girl group pop lyrics are an amazing musical accompaniment and vocals which rival The Beach Boys and The Four Seasons at times!
"He's So Fine" was where it all began for the group and compared to the above listed songs, it sounds much less musically complex with no wall of sound or horn/string section to be found. The real magic lies in the incredible verses and choruses. The particular note and chord combinations used are the types of progressions I could only dream of coming up with on my own.
Vocally, the song is absolutely chock full of hooks, mainly those "Doo-Lang-Doo-Langs" which harken back to the days of Doo-Wop. There's just the right amount of backing vocals in the song to assure the listener that everytime they press play they will catch something different.
It is worth mentioning the controversy that would erupt some 10 years later over George Harrison's song "My Sweet Lord". George was accused of taking the main melody of "He's So Fine" and using it on his song. While there is a slight resemblance, the two songs are very different instrumentally and lyrically. I'll talk about "My Sweet Lord" in more detail come 1970/1971.
Final Verdict - One of the top 5 girl group songs ever made. "He's So Fine" is musically and vocally entertaining and has such timeless quality that it can still be enjoyed to this very day. Give it a listen and hear for yourself!
Coming Up Next - "I Will Follow Him" by Little Peggy March.
Until Next Time - I'm Dr. Rock and I'm so fine.
Song #87 - "Our Day Will Come" - Ruby & The Romantics
#1 for week of March 23rd, 1963.
Ruby & The Romantics were another of those early 1960's one hit wonders that aren't exactly household names in modern times. While I was initially unfamiliar with their big #1 hit, I was familiar with one of their slightly later tunes "When You're Young And In Love". I can't say the latter is one of my favorite songs due to it being an orchestrated soft-pop song, so my expectations weren't high for "Our Day Will Come".
Luckily, their big hit is a far more interesting piece of music no doubt due to its calypso rhythm and R&B feel. Instrumentally the song features some very high pitched organ as some percussive shakers. While the song contains no orchestral instruments, there are some xylophone melodies that show up from time to time that give the song a rather MOR feel. Even with an organ solo section, the song is quite mellow.
Lyrically, the song is, naturally, very romantic and a bit mushy. Then again, I wouldn't expect anything less from a band called "Ruby & The Romantics". It was also a time period where this style of music was very much appreciated on the #1 charts. Of course, romantic ballads are still charting high on the charts, so it's not like the genre went out of fashion.
Does "Our Day Will Come" hold up today? I'd say personally it sounds tailor-made to be in a romantic comedy movie, preferably as its opening credits. But as a standalone piece of music, it doesn't exactly wow me or showcase anything innovative. It's pleasant, yet inessential background music.
Final Verdict - This song isn't exactly a groundbreaking work of art, instead it's more of a nicely crafted romantic pop song. Not exactly the type of music I'd usually gravitate towards but perhaps it's just your style.
Coming Up Next - "He's So Fine" by The Chiffons.
Until Next Time - I'm Dr. "Rock & the Nostalgics".
Ruby & The Romantics were another of those early 1960's one hit wonders that aren't exactly household names in modern times. While I was initially unfamiliar with their big #1 hit, I was familiar with one of their slightly later tunes "When You're Young And In Love". I can't say the latter is one of my favorite songs due to it being an orchestrated soft-pop song, so my expectations weren't high for "Our Day Will Come".
Luckily, their big hit is a far more interesting piece of music no doubt due to its calypso rhythm and R&B feel. Instrumentally the song features some very high pitched organ as some percussive shakers. While the song contains no orchestral instruments, there are some xylophone melodies that show up from time to time that give the song a rather MOR feel. Even with an organ solo section, the song is quite mellow.
Lyrically, the song is, naturally, very romantic and a bit mushy. Then again, I wouldn't expect anything less from a band called "Ruby & The Romantics". It was also a time period where this style of music was very much appreciated on the #1 charts. Of course, romantic ballads are still charting high on the charts, so it's not like the genre went out of fashion.
Does "Our Day Will Come" hold up today? I'd say personally it sounds tailor-made to be in a romantic comedy movie, preferably as its opening credits. But as a standalone piece of music, it doesn't exactly wow me or showcase anything innovative. It's pleasant, yet inessential background music.
Final Verdict - This song isn't exactly a groundbreaking work of art, instead it's more of a nicely crafted romantic pop song. Not exactly the type of music I'd usually gravitate towards but perhaps it's just your style.
Coming Up Next - "He's So Fine" by The Chiffons.
Until Next Time - I'm Dr. "Rock & the Nostalgics".
Thursday, October 17, 2013
Song #86 - "Walk Like A Man" - The Four Seasons
#1 for weeks of March 2, 9, and 16th, 1963.
The third #1 from The Four Seasons, and also their best one so far in my opinion This song is just one of their many tunes that is nearly impossible not to like due it being incredibly catchy and full of hooks.
Underneath the song's very cheerful and upbeat nature lies a rather frightening real life story. During the recording of this song in November 1962 at Stea-Phillips Recording Studios, the hotel that the studio was housed in caught on fire. The Four Seasons were kept locked in the studio by their producer Bob Crewe while the room above them was in flames!
In the end, the manager was forcefully removed from the room by firemen and the group escaped as well. Whether the master take of the song was recorded in this smokey atmosphere remains a mystery. Either way, it's quite astounding that the band kept Bob Crewe after this incident.
Musically, the band is firing on all the right cylinders with a drum intro that hooks you right into the song from the get-go. "Walk Like A Man" features some nice rhythm guitars and plenty of handclaps to keep the listener's toes tapping throughout the song.
Vocally, the song once again offers great counterpoints between Frankie Valli's falsetto/tenor lead vocals and Nick Massi's bass vocals. I think "Walk Like A Man" sounds the best out of their three #1 hits so far, even though all three have slightly similar arrangements. Perhaps it's those wordless vocals in the intro, or the extra vocal gusto in the verses. Either way, it's an exciting song to listen to!
The Four Seasons of course were not even remotely close to finishing up their chart success. Even through the British Invasion, the group continued to have hits and it wasn't until the psychedelic era that the band saw their commercial success dwindle. It goes without saying though that their first golden era from 1962 til 1966 produced lots of classic songs.
Final Verdict - One of my favorite Four Seasons songs. It contains tons of hooks and goodies throughout. It's musically very entertaining, and I for one love giving it multiple listens.
Coming Up Next - "Our Day Will Come" by Ruby And The Romantics.
Until Next Time - Why don't you walk like Dr. Rock.
The third #1 from The Four Seasons, and also their best one so far in my opinion This song is just one of their many tunes that is nearly impossible not to like due it being incredibly catchy and full of hooks.
Underneath the song's very cheerful and upbeat nature lies a rather frightening real life story. During the recording of this song in November 1962 at Stea-Phillips Recording Studios, the hotel that the studio was housed in caught on fire. The Four Seasons were kept locked in the studio by their producer Bob Crewe while the room above them was in flames!
In the end, the manager was forcefully removed from the room by firemen and the group escaped as well. Whether the master take of the song was recorded in this smokey atmosphere remains a mystery. Either way, it's quite astounding that the band kept Bob Crewe after this incident.
Musically, the band is firing on all the right cylinders with a drum intro that hooks you right into the song from the get-go. "Walk Like A Man" features some nice rhythm guitars and plenty of handclaps to keep the listener's toes tapping throughout the song.
Vocally, the song once again offers great counterpoints between Frankie Valli's falsetto/tenor lead vocals and Nick Massi's bass vocals. I think "Walk Like A Man" sounds the best out of their three #1 hits so far, even though all three have slightly similar arrangements. Perhaps it's those wordless vocals in the intro, or the extra vocal gusto in the verses. Either way, it's an exciting song to listen to!
The Four Seasons of course were not even remotely close to finishing up their chart success. Even through the British Invasion, the group continued to have hits and it wasn't until the psychedelic era that the band saw their commercial success dwindle. It goes without saying though that their first golden era from 1962 til 1966 produced lots of classic songs.
Final Verdict - One of my favorite Four Seasons songs. It contains tons of hooks and goodies throughout. It's musically very entertaining, and I for one love giving it multiple listens.
Coming Up Next - "Our Day Will Come" by Ruby And The Romantics.
Until Next Time - Why don't you walk like Dr. Rock.
Song #85 - "Hey Paula" - Paul And Paula
#1 for weeks of February 9, 16, and 23rd, 1963.
This song should be no stranger to anyone who's watched Animal House before. For those who have never heard it, it is certainly the epitome of an early 1960's sugary lovey dovy romantic pop song. Yet for whatever reason, I can't bring myself to dislike the tune.
The actual artist "Paul And Paula" was a semi-prefabricated musical duo, at least by name. Their real names were Ray Hildebrand and Jill Jackson. To the song's credit, Hildebrand fully wrote the song himself although his "Paula" wasn't even his girlfriend but instead an acquaintance of his. Despite the non-authenticity of the song's romance, it no doubt inspired countless duo acts throughout the rest of pop music history.
Musically, this song is very much in the classic 1950's slow dance style. It's got the classic doo-wop progression and this is especially enforced by the very innocent sounding lyrics. The song is yet another example of a 1960's hit single that was still grounded in the 1950's.
Vocally, "Paul" is the stronger vocalist as sometimes "Paula" seems to falter a bit on her solo vocal delivery. Both of them together on the other hand turn out to be a good combination. However, due to the fact that this was not a genuine romance, the song loses some of its authenticity.
While the duo weren't a one hit wonder (their follow up "Young Lovers" hit #6), this is really the only song of theirs that has somewhat transferred over to later decades, (No doubt helped again by its use in Animal House). It's very innocent sounding and a bit twee, but If you're a married couple who wants to have a private singalong, this song would surly be welcomed in that mixtape.
Final Verdict - Despite this song being on the twee side, it's got enough charms on its own. If you need some slower/softer music to wind down to, this song might be just what you're looking for.
Coming Up Next - "Walk Like A Man" by The Four Seasons.
Until Next Time - "Hey, Hey, reader...my name is Dr. Rock"
This song should be no stranger to anyone who's watched Animal House before. For those who have never heard it, it is certainly the epitome of an early 1960's sugary lovey dovy romantic pop song. Yet for whatever reason, I can't bring myself to dislike the tune.
The actual artist "Paul And Paula" was a semi-prefabricated musical duo, at least by name. Their real names were Ray Hildebrand and Jill Jackson. To the song's credit, Hildebrand fully wrote the song himself although his "Paula" wasn't even his girlfriend but instead an acquaintance of his. Despite the non-authenticity of the song's romance, it no doubt inspired countless duo acts throughout the rest of pop music history.
Musically, this song is very much in the classic 1950's slow dance style. It's got the classic doo-wop progression and this is especially enforced by the very innocent sounding lyrics. The song is yet another example of a 1960's hit single that was still grounded in the 1950's.
Vocally, "Paul" is the stronger vocalist as sometimes "Paula" seems to falter a bit on her solo vocal delivery. Both of them together on the other hand turn out to be a good combination. However, due to the fact that this was not a genuine romance, the song loses some of its authenticity.
While the duo weren't a one hit wonder (their follow up "Young Lovers" hit #6), this is really the only song of theirs that has somewhat transferred over to later decades, (No doubt helped again by its use in Animal House). It's very innocent sounding and a bit twee, but If you're a married couple who wants to have a private singalong, this song would surly be welcomed in that mixtape.
Final Verdict - Despite this song being on the twee side, it's got enough charms on its own. If you need some slower/softer music to wind down to, this song might be just what you're looking for.
Coming Up Next - "Walk Like A Man" by The Four Seasons.
Until Next Time - "Hey, Hey, reader...my name is Dr. Rock"
Wednesday, October 16, 2013
Song #84 - "Walk Right In" - The Rooftop Singers
#1 for weeks of January 26th and February 2nd, 1963.
Another song that's somehow passed me by over the years...until today. The Rooftop Singers were a folk trio who even played at The Newport Folk Festival. Needless to say, my expectations were already set pretty high due to their musical background, but I was still pretty amazed by how this song ended up sounding.
First of all, the primary instrument in the song is two twelve string acoustic guitars. This is still about 2 years before the electric version of that instrument would revolutionize folk music. However, it gives the song a huge amount of sonic density and the song feels musically very open and free.
And then there's the spirited vocal performance. All three vocalists sing in an arrangement which is light on harmony but full on power and enthusiasm. I was surprised to read this was on the easy listening charts because this is anything but that genre! Easy listening music can lull you to sleep, this song makes me feel motivated, energetic, and awake, and I'm reviewing this song around midnight!
So "Walk Right In" turned out to be a pleasant surprise. It's almost proto-folk-rock due to the tempo and energy of the song. The only thing it's missing is some 12 string Rickenbacker electric guitars. I can see why this became such a hit as it sounds very unique and points the way towards the future of folk. And to think this was recorded as far back as June of 1962!
Final Verdict - A great song that captures all of the energy of folk rock but all on acoustic instruments. Due to its very energetic and positive nature, I'm sure you'll also love giving it multiple listens.
Coming Up Next - "Hey Paula" by Paul And Paula.
Until Next Time - Walk right in, sit right down, read yourself some Dr. Rock reviews!
Song #83 - "Go Away Little Girl" - Steve Lawrence
#1 for weeks of January 12 and 19th, 1963.
Looking through the list of Billboard #1's for 1963, there are quite a few songs I've never heard of before. This could mean one of two things: One being that these are good songs that time forgot, or they are songs that deserve to stay buried beneath more well-known tunes from that year. Steve Lawrence's "Go Away Little Girl" falls somewhere in both of those categories.
First the good, this song was composed by famed Brill Building songwriting duo Gerry Goffin and Carole King, and this shows in the arrangement and music. Steve Lawrence sings the song in a double tracked vocal (two vocals sung together to give the song a reverb effect), and occasionally there are some nice harmonies that come out of that vocal trick.
Also, as the song progresses it changes key several times. I found the final part of the song to be the most enjoyable as Steve belted out the notes with more energy than before. Musically the song is very much a soft-pop orchestrated ballad although there's a nice piano undertone throughout the song. The whistling in the midsection is a bit too much, although I'm at least glad he didn't do a spoken word soliloquy instead!
However, a nice vocal and decent arrangement can't help this song escape from the fact that it is extremely dated. There is no way in today's society that a man pushing 30 years old would be able to release a song with these lyrics and not have people accuse him of being a creep.
It was only in these benign times that lyrics like this could be taken for what they were actually worth - A young man telling a girl his age that he doesn't want to see her anymore - and people would actually understand his intentions. Regardless, the song is a more low-key entry and although I found it to be a bit sleepy, the song gets better as it goes on.
Final Verdict - This song is somewhat uncomfortably dated lyrically and musically it's a bit too gentle. However, unless you have an aversion to softer music, I'm sure you'll find it to be a decent song.
Coming Up Next - "Walk Right In" by The Rooftop Singers.
Until Next Time, Don't go away, I'm Dr. Rock -
Looking through the list of Billboard #1's for 1963, there are quite a few songs I've never heard of before. This could mean one of two things: One being that these are good songs that time forgot, or they are songs that deserve to stay buried beneath more well-known tunes from that year. Steve Lawrence's "Go Away Little Girl" falls somewhere in both of those categories.
First the good, this song was composed by famed Brill Building songwriting duo Gerry Goffin and Carole King, and this shows in the arrangement and music. Steve Lawrence sings the song in a double tracked vocal (two vocals sung together to give the song a reverb effect), and occasionally there are some nice harmonies that come out of that vocal trick.
Also, as the song progresses it changes key several times. I found the final part of the song to be the most enjoyable as Steve belted out the notes with more energy than before. Musically the song is very much a soft-pop orchestrated ballad although there's a nice piano undertone throughout the song. The whistling in the midsection is a bit too much, although I'm at least glad he didn't do a spoken word soliloquy instead!
However, a nice vocal and decent arrangement can't help this song escape from the fact that it is extremely dated. There is no way in today's society that a man pushing 30 years old would be able to release a song with these lyrics and not have people accuse him of being a creep.
It was only in these benign times that lyrics like this could be taken for what they were actually worth - A young man telling a girl his age that he doesn't want to see her anymore - and people would actually understand his intentions. Regardless, the song is a more low-key entry and although I found it to be a bit sleepy, the song gets better as it goes on.
Final Verdict - This song is somewhat uncomfortably dated lyrically and musically it's a bit too gentle. However, unless you have an aversion to softer music, I'm sure you'll find it to be a decent song.
Coming Up Next - "Walk Right In" by The Rooftop Singers.
Until Next Time, Don't go away, I'm Dr. Rock -
Tuesday, October 15, 2013
1963 Overview
1963, What an interesting year for rock and pop music. Although we are only one year away from the British Invasion, many of the American pop songs form this era act as the bookend to the safe era of Rock and Roll. After this year, many of the teen idol and dance music artists who had huge hits in the previous years, would find themselves considered old fashioned. However, this year did produce some noteworthy tunes and many important bands started up as well.
In America, the girl group sound reached its apex with many famous songs, forgotten gems, and sugar overdoses from the genre being released this year. In fact, the genre had practically blossomed into separate sub-genres of its own. From the more Brill Building pop category, you had Lesley Gore with "It's My Party", and the proto-feminist "You Don't Own Me"). The Angels also put out "My Boyfriend's Back".
In the R&B category Motown gave us Martha And The Vandellas' "Come And Get These Memories" and "Heatwave". Finally, from Phil Spector's wall of sound category, you had The Crystals' "Da Doo Ron Ron" and what is easily the greatest song of the genre - "Be My Baby" by The Ronettes, a song which just missed this list by peaking at #2 on the charts. Needless to say, it would have easily been voted top hit of the year by me had it been a #1.
In terms of more underground hits, there was The Jaynetts' "Sally Go Round The Roses" which contained reverb-heavy vocals and rather flowery lyrics which almost pre-date psychedelic pop by some 3-4 years. As mentioned, there were also quite a few songs which turned the saccharine level up to 11. I'm sure encounter some of those songs on the list.
Surf music also reached its peak with endless instrumental and vocal songs being recorded. Most notably, The Beach Boys gave us the albums "Surfin' USA" and "Surfer Girl", both which were practically concept albums about surfing and the California coast. However, by the middle of the year, Brian Wilson had decided to slowly branch off into other areas of songwriting such as the introspective "In My Room". It is ironic that a band most stereotyped as being a surf band would write only a couple more songs about the subject until their ill advised mid 1970's nostalgic comeback.
In Folk, we had The Freewheelin' Bob Dylan, which was mostly an underground hit at the time, but would in subsequent years be critically acclaimed. Peter Paul And Mary would release a very successful cover version of Bob's "Blowin' In The Wind" this year. The trio would also perform at the Civil Rights March in Washington on August 28th 1963.
Garage rock began to sprout with The Kingsmen's "Louie Louie" recorded and released this year. The song's simple three chord pattern and rough sound quality inspired countless musicians and genres over the years. Interestingly, another similar band, Paul Revere And The Raiders, recorded their own version of the song within days of The Kingsmen and at the exact same studio too.
As for the UK, The Rolling Stones recorded their first singles including "Come On" and a cover of Lennon/McCartney's "I Wanna Be Your Man". The latter would inspire the group to start writing their own material. Another British band who started releasing material this year was The Hollies featuring Graham Nash on acoustic rhythm guitar. Finally The Yardbirds, with lead guitarist Eric Clapton, and The Ravens, (Soon to be better known as The Kinks), recorded their first demos in the latter months of the year.
Lastly, The Beatles grew into major British superstars with two smash hit albums, Please Please Me and With The Beatles, not to mention several UK #1's such as "From Me To You", "She Loves You" and of course, "I Want To Hold Your Hand". When the latter was released in the US late in the year, both the band, the world, and music, would change forever.
Some may argue that the British Invasion killed off many of the American genres mentioned. However, it is worth mentioning that Surf music, though it reached a peak early in the year, was already in a bit of an ebb tide by year's end. There was not much new ground left to cover in the genre and so many people had jumped on the bandwagon that much of the genre's originality was drifting away.
As for girl groups, the more R&B ones managed to survive another 2-3 years, especially those signed to Motown. Phil Spector would also still see success for that same amount of time. It would be the more Brill Building sounding groups that would slowly become antiquated as the following year went on. But Folk and Garage Rock? Those two genres got even better during and after the British Invasion!
Quite a mouthful for just one year and yet, this is only the beginning. Let's see just how this year played out in terms of chart toppers. Were there plenty of songs that caught that wave of fresh new sounds, or were there still a bunch of cobweb covered, overly-sentimental ballads left to hit the top? Let's find out...
First Up For 1963 - "Go Away Little Girl" by Steve Lawrence.
Until Next Time - I'm Dr. Rock -
In America, the girl group sound reached its apex with many famous songs, forgotten gems, and sugar overdoses from the genre being released this year. In fact, the genre had practically blossomed into separate sub-genres of its own. From the more Brill Building pop category, you had Lesley Gore with "It's My Party", and the proto-feminist "You Don't Own Me"). The Angels also put out "My Boyfriend's Back".
In the R&B category Motown gave us Martha And The Vandellas' "Come And Get These Memories" and "Heatwave". Finally, from Phil Spector's wall of sound category, you had The Crystals' "Da Doo Ron Ron" and what is easily the greatest song of the genre - "Be My Baby" by The Ronettes, a song which just missed this list by peaking at #2 on the charts. Needless to say, it would have easily been voted top hit of the year by me had it been a #1.
In terms of more underground hits, there was The Jaynetts' "Sally Go Round The Roses" which contained reverb-heavy vocals and rather flowery lyrics which almost pre-date psychedelic pop by some 3-4 years. As mentioned, there were also quite a few songs which turned the saccharine level up to 11. I'm sure encounter some of those songs on the list.
Surf music also reached its peak with endless instrumental and vocal songs being recorded. Most notably, The Beach Boys gave us the albums "Surfin' USA" and "Surfer Girl", both which were practically concept albums about surfing and the California coast. However, by the middle of the year, Brian Wilson had decided to slowly branch off into other areas of songwriting such as the introspective "In My Room". It is ironic that a band most stereotyped as being a surf band would write only a couple more songs about the subject until their ill advised mid 1970's nostalgic comeback.
In Folk, we had The Freewheelin' Bob Dylan, which was mostly an underground hit at the time, but would in subsequent years be critically acclaimed. Peter Paul And Mary would release a very successful cover version of Bob's "Blowin' In The Wind" this year. The trio would also perform at the Civil Rights March in Washington on August 28th 1963.
Garage rock began to sprout with The Kingsmen's "Louie Louie" recorded and released this year. The song's simple three chord pattern and rough sound quality inspired countless musicians and genres over the years. Interestingly, another similar band, Paul Revere And The Raiders, recorded their own version of the song within days of The Kingsmen and at the exact same studio too.
As for the UK, The Rolling Stones recorded their first singles including "Come On" and a cover of Lennon/McCartney's "I Wanna Be Your Man". The latter would inspire the group to start writing their own material. Another British band who started releasing material this year was The Hollies featuring Graham Nash on acoustic rhythm guitar. Finally The Yardbirds, with lead guitarist Eric Clapton, and The Ravens, (Soon to be better known as The Kinks), recorded their first demos in the latter months of the year.
Lastly, The Beatles grew into major British superstars with two smash hit albums, Please Please Me and With The Beatles, not to mention several UK #1's such as "From Me To You", "She Loves You" and of course, "I Want To Hold Your Hand". When the latter was released in the US late in the year, both the band, the world, and music, would change forever.
Some may argue that the British Invasion killed off many of the American genres mentioned. However, it is worth mentioning that Surf music, though it reached a peak early in the year, was already in a bit of an ebb tide by year's end. There was not much new ground left to cover in the genre and so many people had jumped on the bandwagon that much of the genre's originality was drifting away.
As for girl groups, the more R&B ones managed to survive another 2-3 years, especially those signed to Motown. Phil Spector would also still see success for that same amount of time. It would be the more Brill Building sounding groups that would slowly become antiquated as the following year went on. But Folk and Garage Rock? Those two genres got even better during and after the British Invasion!
Quite a mouthful for just one year and yet, this is only the beginning. Let's see just how this year played out in terms of chart toppers. Were there plenty of songs that caught that wave of fresh new sounds, or were there still a bunch of cobweb covered, overly-sentimental ballads left to hit the top? Let's find out...
First Up For 1963 - "Go Away Little Girl" by Steve Lawrence.
Until Next Time - I'm Dr. Rock -
Friday, October 11, 2013
1962 Reflection
Despite me stating in the overview that this was the year that Motown became a serious pop chart contender and surf music started to make waves, neither genre managed to have a #1 hit this year. Actually, I found 1961 more interesting in terms of #1 hits due to there being more of a divide between best and worst.
There were no absolutely wretched songs in 1962 and yet, there were no songs I'd consider among the top 100 or so of all time. With that being said, there were quite a few good songs from this year and only a couple that I wouldn't want to hear again. Many of the good songs were based in R&B while the weaker songs were all easy-listening symphonic-pop
So although it was hard to determine which songs were exceptions to the year in terms of best and worst, I think I have got it figured out -
Best #1 Hit Song Of 1962 - "Telstar" - The Tornadoes.
Talk about an underdog being declared the winner. It was literally not until the very last entry for 1962 that I could determine which song was superior, and it turns out to be a song many people probably aren't familiar with. The other great songs that came close to being chosen were: "Hey! Baby", "The Loco-Motion", "Sherry", and "He's A Rebel".
However, what "Telstar" does that those four songs don't is sound unique and years ahead of its time. Since the song on its own has a great melody and some unexpected instrumentation, it already would have been guaranteed a vote by me for best song. Needless to say, I find its sheer uniqueness to be its strong point and because of that, I declare "Telstar" the best US #1 of 1962.
Worst #1 Hit Song Of 1962 - "Roses Are Red (My Love)" - Bobby Vinton.
This was a whole lot easier to decide as there were only two songs from this year I didn't care for. The other song if you're curious is "Johnny Angel". However, I almost felt sorry for bashing Shelley Fabares' song due to the sheer innocence she portrays. It was incredibly sugary, but it did a good job at being sugary. I just didn't particularly care for it.
"Roses Are Red", on the other hand, was not only very sugary but way too cheesy for me to take even semi-seriously. It's lyrically sappy, it has some really embarrassingly dated backing vocals, and just comes across as a bore for me to sit through three times. It's not the worst of the worst so far, but it's certainly the weakest of the year.
Now as we move closer to the period in music where I know a whole lot more about individual bands and artists, we slowly see many of these pre-British Invasion styles reach their creative and commercial peak...for better or worse. So join me soon as we tackle 1963, A year which went from surf classics and girl group greats to real-life tragedy and...singing nuns...
Until Next Time - I'm Dr. Rock - See you in '63!
Song #82 - "Telstar" - The Tornadoes
#1 for weeks of December 22 and 29th, 1962 and January 5th, 1963.
The Tornadoes were the second British band to have a US #1 hit on the Billboard Hot 100. Just like Acker Bilk who was the first with "Stranger On The Shore", The Tornadoes hit was another song which is atypical of what we think of when 1960's British pop music comes to mind. Actually, this song is atypical of anything else at the time and may as well have come from outer space!
The Tornadoes were a mainly instrumental group who also acted as backup for British singer Billy Fury. While most of the group's individual members names won't ring any bells to people, it is worth pointing out that drummer Clem Cattini was later a respected British session musician who was even briefly considered by fellow session man Jimmy Page to play drums in his new group which would later be known as Led Zeppelin.
Producer and songwriter Joe Meek was an established English record producer who worked with a number of artists over the years including many of the "Freakbeat" variety (The British equivalent of garage rock). Unfortunately by 1967, he wasn't in a good frame of mind anymore and took his own life in a murder-suicide. One could also give him the title of the British Phil Spector due to his tragic genius.
As mentioned, this song sounds like nothing that came before or after. In fact, that intro and outro sounds more like a psychedelic rock record recorded in the summer of 1967 as opposed to a song recorded in the summer of 1962! Due to this record being recorded around the same time as the Telstar satellite, they certainly captured the mood of launching into outer space.
The main body of this song consists of two main soloing instruments, one being a clavioline keyboard, which gives the songs its very space age theme. The other is the reverb-heavy electric guitar which is what made me go from appreciating this song to really loving it. While this song today certainly sounds like a product of the 1960's, it was so far ahead of its time that I could easily have seen it recorded as late as 1969 around the time of the moon landing.
The Tornadoes had a select few hits that managed to chart, although they would never again chart at #1. One important song of theirs to note is one of the last songs Joe Meek recorded for them in 1966 called "Do You Come Here Often?" Because of the song's dubbed-in dialogue section towards the end featuring two gentlemen engaged in a romantic conversation, the song is considered the first openly gay single. For that groundbreaking achievement, The Tornadoes certainly deserves recognition.
Final Verdict - A groundbreaking and way ahead of its time instrumental song. Just by these re-listens of it I have really grown an appreciation for the tune. It's never boring, it's nicely arranged, and I'm sure you'll enjoy multiple listens of it, like I did.
Coming Up Next - 1962 Reflection.
Until Next Time - I'm Dr. Rock, taking you to outer space.
The Tornadoes were the second British band to have a US #1 hit on the Billboard Hot 100. Just like Acker Bilk who was the first with "Stranger On The Shore", The Tornadoes hit was another song which is atypical of what we think of when 1960's British pop music comes to mind. Actually, this song is atypical of anything else at the time and may as well have come from outer space!
The Tornadoes were a mainly instrumental group who also acted as backup for British singer Billy Fury. While most of the group's individual members names won't ring any bells to people, it is worth pointing out that drummer Clem Cattini was later a respected British session musician who was even briefly considered by fellow session man Jimmy Page to play drums in his new group which would later be known as Led Zeppelin.
Producer and songwriter Joe Meek was an established English record producer who worked with a number of artists over the years including many of the "Freakbeat" variety (The British equivalent of garage rock). Unfortunately by 1967, he wasn't in a good frame of mind anymore and took his own life in a murder-suicide. One could also give him the title of the British Phil Spector due to his tragic genius.
As mentioned, this song sounds like nothing that came before or after. In fact, that intro and outro sounds more like a psychedelic rock record recorded in the summer of 1967 as opposed to a song recorded in the summer of 1962! Due to this record being recorded around the same time as the Telstar satellite, they certainly captured the mood of launching into outer space.
The main body of this song consists of two main soloing instruments, one being a clavioline keyboard, which gives the songs its very space age theme. The other is the reverb-heavy electric guitar which is what made me go from appreciating this song to really loving it. While this song today certainly sounds like a product of the 1960's, it was so far ahead of its time that I could easily have seen it recorded as late as 1969 around the time of the moon landing.
The Tornadoes had a select few hits that managed to chart, although they would never again chart at #1. One important song of theirs to note is one of the last songs Joe Meek recorded for them in 1966 called "Do You Come Here Often?" Because of the song's dubbed-in dialogue section towards the end featuring two gentlemen engaged in a romantic conversation, the song is considered the first openly gay single. For that groundbreaking achievement, The Tornadoes certainly deserves recognition.
Final Verdict - A groundbreaking and way ahead of its time instrumental song. Just by these re-listens of it I have really grown an appreciation for the tune. It's never boring, it's nicely arranged, and I'm sure you'll enjoy multiple listens of it, like I did.
Coming Up Next - 1962 Reflection.
Until Next Time - I'm Dr. Rock, taking you to outer space.
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