If 1964 was just about perfect in terms of #1 hits, 1965 was even better. We had some of the best material from The Beatles, The Rolling Stones, and The Byrds. There were also quite a few standalone classics such as "My Girl" and "Help Me Rhonda".
However, there were still a number of songs that hit #1 in 1965 that I don't consider to be the cream of the crop. While there were no really bad songs, there were quite a few that were either disappointing or a bit too fluffy. 1965 had a large number of classic songs and artists that I probably never got to even talk about due to their presence not being on the top of the charts. For example, The Who recorded some of their best early work in 1965 and this fact is posthumously recognized. However, if you asked an American circa 1965 what their favorite Who song was, they'd say, "Who?"
It was very difficult for me to pick a best song out of this fine bunch, and since my rule is to never do a tie, I had to deeply examine each classic. Still, I've managed to pick two songs that are outstanding for the year. One of which is one of the best songs of all time, and one of which you're probably not likely to want to hear again -
Best #1 Song Of 1965 - "I Can't Get No Satisfaction" - The Rolling Stones.
I had an even harder time deciding the winner of this category than I did for 1964. The closest runner up was "Yesterday" by The Beatles. Both songs are outstanding classics, which can easily be placed among the best songs of all history. "Yesterday" wins in the lyrical and vocal department, while "Satisfaction" wins in terms of instrumentation and resonance.
So what made me decide on "Satisfaction?" Simple, it was the best song The Stones released in '65. As much as I love "Yesterday", I consider "Michelle" and "In My Life" to be even better. It boils down to the third best song of the year by The Beatles versus the best of the year by The Stones, and I, eventually, chose the latter.
Weakest #1 Song Of 1965 - "I'm Telling You Now" - Freddie & The Dreamers.
The weakest song category came down to "I'm Telling You Now" and "Game Of Love". The latter song disappointed me due to its rather poor lyrics, and occasional out of tune vocals. However, the band has recorded better material over the decade, and one of their members, (Eric Stewart), went on to write some of the finest songs with 10cc.
Freddie & The Dreamers, on the other hand, have many songs that are even weaker than "I'm Telling You Now". Plus, I find the lyrics and overall tone to be a bit too sugar heavy. I appreciate the band's optimistic and humorous tone, but when it comes down to picking the best and worst songs of 1965, they don't stand the test of time like other artists have. Thus, "I'm Telling You Now" is, in my opinion, the weakest #1 hit song of 1965.
So stick with me as we re-examine 1966, one of the best years of rock and pop music. A year when some of the finest early psychedelic music was recorded, a year when the counterculture started to truly emerge, and a year that brought us some of the best songs ever recorded. And I for one, can't wait!
Coming Up Next - 1966 Overview.
Until Next Time - I'm Dr. Rock, see you in '66!
Friday, November 29, 2013
Thursday, November 28, 2013
Song #150 - "Over And Over" - The Dave Clark 5
Recorded - 1965
Released - October 22, 1965 (US), October 29, 1965 (UK)
#1 for week of December 25, 1965.
We end 1965 with one of the often overlooked British Invasion bands, The Dave Clark 5. The "DC5" had a unique setup, with their leader, Dave Clark, on drums. On lead vocals was keyboardist Mike Smith. The group was also one of the few non-R&B sounding British bands to have a saxophone player, in this case, Denis Payton.
The Dave Clark 5 already had a few number one hits in the UK, most notably with "Glad All Over" and "Bits And Pieces". Both songs showcase what I love most about the DC5: Their pure raw energy. However, those songs came out in late '63 and early '64 respectively, and by 1965, the group still sounded very grounded in 1963. You really could get the impression that the band were nostalgic about past music as opposed to what was popular at the time. Case in point is their only US #1, a cover of Bobby Day's 1958 hit, "Over And Over".
Well, I have good things and bad things to say about "Over And Over". For the positives, their classic saxophone-heavy sound is still very prominent. There is even a harmonica solo courtesy of Mike Smith. Also, the rhythm section of Dave Clark on drums and Rick Huxley on bass is very strong.
As for the negatives, I feel that this song lacks the energy that made some of their early hits so noteworthy. Now, I'm not saying that the DC5 couldn't tone it down. In fact, their 1964 hit, "Because", is a great example of a more mellow DC5. However, "Over And Over" borders on bubblegum due to its very simplistic melody and vocal arrangement. Compare this to something like "Anyway You Want It" or "I Like It Like That" which have a much more interesting arrangement.
The remaining five years of The Dave Clark 5's existence would be interesting to say the least. In '66, we got some of their final moments of true brilliance with "Look Before You Leap" and "I've Got To Have A Reason". 1968 by comparison showed the group struggling to keep up with the changing music scene with some very bandwagonesque attempts at psychedelia. These range from unoriginal, ("Maze Of Love"), to painful, ("Live In The Sky"). It is their early work which most people remember today and for good reason, it's some of the best early British Invasion music ever made.
Final Verdict - "Over And Over" may not be the strongest effort by The Dave Clark 5, but it still manages to showcase all that was good musically about the band, albeit with less energy and passion than before. If you want to get into the Dave Clark 5, this probably isn't the first song you should listen to. I'd recommend "Glad All Over" or "Because".
Coming Up Next - 1965 Reflection.
Until Next Time - I'm Dr. Rock, and I'm listening to these songs over and over and over again, and I don't mind! -
Released - October 22, 1965 (US), October 29, 1965 (UK)
#1 for week of December 25, 1965.
We end 1965 with one of the often overlooked British Invasion bands, The Dave Clark 5. The "DC5" had a unique setup, with their leader, Dave Clark, on drums. On lead vocals was keyboardist Mike Smith. The group was also one of the few non-R&B sounding British bands to have a saxophone player, in this case, Denis Payton.
The Dave Clark 5 already had a few number one hits in the UK, most notably with "Glad All Over" and "Bits And Pieces". Both songs showcase what I love most about the DC5: Their pure raw energy. However, those songs came out in late '63 and early '64 respectively, and by 1965, the group still sounded very grounded in 1963. You really could get the impression that the band were nostalgic about past music as opposed to what was popular at the time. Case in point is their only US #1, a cover of Bobby Day's 1958 hit, "Over And Over".
Well, I have good things and bad things to say about "Over And Over". For the positives, their classic saxophone-heavy sound is still very prominent. There is even a harmonica solo courtesy of Mike Smith. Also, the rhythm section of Dave Clark on drums and Rick Huxley on bass is very strong.
As for the negatives, I feel that this song lacks the energy that made some of their early hits so noteworthy. Now, I'm not saying that the DC5 couldn't tone it down. In fact, their 1964 hit, "Because", is a great example of a more mellow DC5. However, "Over And Over" borders on bubblegum due to its very simplistic melody and vocal arrangement. Compare this to something like "Anyway You Want It" or "I Like It Like That" which have a much more interesting arrangement.
The remaining five years of The Dave Clark 5's existence would be interesting to say the least. In '66, we got some of their final moments of true brilliance with "Look Before You Leap" and "I've Got To Have A Reason". 1968 by comparison showed the group struggling to keep up with the changing music scene with some very bandwagonesque attempts at psychedelia. These range from unoriginal, ("Maze Of Love"), to painful, ("Live In The Sky"). It is their early work which most people remember today and for good reason, it's some of the best early British Invasion music ever made.
Final Verdict - "Over And Over" may not be the strongest effort by The Dave Clark 5, but it still manages to showcase all that was good musically about the band, albeit with less energy and passion than before. If you want to get into the Dave Clark 5, this probably isn't the first song you should listen to. I'd recommend "Glad All Over" or "Because".
Coming Up Next - 1965 Reflection.
Until Next Time - I'm Dr. Rock, and I'm listening to these songs over and over and over again, and I don't mind! -
Wednesday, November 27, 2013
Song #149 - "Turn! Turn! Turn!" - The Byrds
Recorded - September 10, 1965
Released - October 29, 1965
#1 for weeks of December 4, 11 and 18, 1965.
Believe it or not, only two Byrds songs ever managed to reach #1. Despite the immeasurably massive influence they had on musicians over the years, they would never again hit the top of the singles charts after 1965's "Turn Turn Turn". It just goes to show you how you can't judge a band by how many hits they have alone. With that being said, I consider "Turn Turn Turn" to be a superior followup to their first #1, "Mr. Tambourine Man".
"Turn Turn Turn" actually holds the world record for the chronologically earliest lyrics being in a #1 hit. In this case, much of the lyrics are taken out of the bible, namely the Book of Ecclesiastes. In 1962, legendary folk musician Pete Seger took these bible verses, set them to music, and added a few lines of hit own, ("A Time For Peace, I Swear It's Not Too Late"). In keeping with The Byrds' early tradition of taking folk songs and giving them their signature 12-string folk-rock renditions, "Turn Turn Turn" was covered, and even became the title track of their second album.
One major difference between "Turn Turn Turn" and "Mr. Tambourine Man" is that the former features all of The Byrds on instrumentation as opposed to session musicians. I'm personally quite perplexed as to why Terry Melcher felt the need to initially use studio musicians as The Byrds are all more than competent at their respected instruments. Regardless, it is still Roger McGuinn's 12-string guitar that stands out the most.
Besides the fantastic instrumentation, we have the incredible harmonies of Roger, David Crosby, and Gene Clark. The Byrds' vocal harmonies almost pre-date the perfect harmonies of Crosby's future teaming up with Stephen Stills and Graham Nash. It is a lush and rich sound that still sends shivers down my spine to this very day.
1966 would see the release of some of The Byrds' finest material. The most notable being the proto-psychedelic, "Eight Miles High". By 1968, after losing just about all of the original members, Roger McGuinn would reform the group with new musicians including Gram Parsons. This lineup would go on to pioneer the country rock genre. So despite The Byrds only having two number one hits, their musical legacy and influence lives on to this very day.
Final Verdict - Combine the amazing vocal combination of McGuinn, Crosby, and Clark, with a jangly instrumental track, and you have yourself a timeless tune that still sounds fresh to this very day. If this song is brand new to you, give it a listen, and I'm sure you'll want it in your record collection.
Last up for 1965 - "Over And Over" by The Dave Clark 5.
Until Next Time - There's a time for everything, but there's always time to turn, turn, turn, your attention to Dr. Rock's reviews -
Released - October 29, 1965
#1 for weeks of December 4, 11 and 18, 1965.
Believe it or not, only two Byrds songs ever managed to reach #1. Despite the immeasurably massive influence they had on musicians over the years, they would never again hit the top of the singles charts after 1965's "Turn Turn Turn". It just goes to show you how you can't judge a band by how many hits they have alone. With that being said, I consider "Turn Turn Turn" to be a superior followup to their first #1, "Mr. Tambourine Man".
"Turn Turn Turn" actually holds the world record for the chronologically earliest lyrics being in a #1 hit. In this case, much of the lyrics are taken out of the bible, namely the Book of Ecclesiastes. In 1962, legendary folk musician Pete Seger took these bible verses, set them to music, and added a few lines of hit own, ("A Time For Peace, I Swear It's Not Too Late"). In keeping with The Byrds' early tradition of taking folk songs and giving them their signature 12-string folk-rock renditions, "Turn Turn Turn" was covered, and even became the title track of their second album.
One major difference between "Turn Turn Turn" and "Mr. Tambourine Man" is that the former features all of The Byrds on instrumentation as opposed to session musicians. I'm personally quite perplexed as to why Terry Melcher felt the need to initially use studio musicians as The Byrds are all more than competent at their respected instruments. Regardless, it is still Roger McGuinn's 12-string guitar that stands out the most.
Besides the fantastic instrumentation, we have the incredible harmonies of Roger, David Crosby, and Gene Clark. The Byrds' vocal harmonies almost pre-date the perfect harmonies of Crosby's future teaming up with Stephen Stills and Graham Nash. It is a lush and rich sound that still sends shivers down my spine to this very day.
1966 would see the release of some of The Byrds' finest material. The most notable being the proto-psychedelic, "Eight Miles High". By 1968, after losing just about all of the original members, Roger McGuinn would reform the group with new musicians including Gram Parsons. This lineup would go on to pioneer the country rock genre. So despite The Byrds only having two number one hits, their musical legacy and influence lives on to this very day.
Final Verdict - Combine the amazing vocal combination of McGuinn, Crosby, and Clark, with a jangly instrumental track, and you have yourself a timeless tune that still sounds fresh to this very day. If this song is brand new to you, give it a listen, and I'm sure you'll want it in your record collection.
Last up for 1965 - "Over And Over" by The Dave Clark 5.
Until Next Time - There's a time for everything, but there's always time to turn, turn, turn, your attention to Dr. Rock's reviews -
Song #148 - "I Hear A Symphony" - The Supremes
Recorded - September 22, and 28-30, 1965
Released - October 6, 1965
#1 for weeks of November 20 and 27, 1965.
The Supremes had almost the same number of chart topper hits as The Beatles did in the '60's. The Supremes had a string of five number ones in a row. This combo was broken by the release of "Nothing But Heartaches", which only hit #11. Aiming to create a strong song to once again bring the trio back into the top, Holland-Dozier-Holland crafted "I Hear A Symphony", which became The Supremes' sixth number one. But was this song really their best yet?
One thing I am really beginning to notice is just how similar many of the songs of The Supremes' early catalog are. Holland-Dozier-Holland songwriting credit? Check. Diana Ross lead vocal with minor backing vocals by Florence and Mary? Check. Romantic lyrics? Definitely. Now don't get me wrong, this isn't an insult, and The Supremes certainly had a winning formula, but as you'll soon find out, this formula has some drawbacks.
"I Hear A Symphony" certainly contains the most ambitious production on a Supremes song yet. This is an incredible music track which rivals Phil Spector in terms of just how much sound hits you at once. I also really like how the song changes keys numerous times as it progresses. Finally, there is a lot more vocals from Mary and Flo, although they are once again mixed much lower than Diana's are.
The downside is that this song highly resembles two of their previous number ones. Namely "Where Did Our Love Go" and "Back In My Arms Again". For the former, we have the numerous "Baby, baby's", not to mention the songs share the exact same tempo. For the latter, we have some similar instrumentation such as the very similar saxophone solo. So while "I Hear A Symphony" is a notch better than both of those previous two songs, I still can't consider it as big of a groundbreaker as it is often made out to be.
Now, if this review came off as a bit too critical, keep in mind that we are only in 1965. The following year happens to contain some of the best Supremes songs, and if you're looking for a fresher sound of theirs, stick around for 1966!
Final Verdict - A bit over-rated, as "I Hear A Symphony" features a few too many stylistic similarities between earlier Supremes songs. However, I do appreciate the innovations used, and the much more impressive music track.
Coming Up Next - "Turn! Turn! Turn!" by The Byrds.
Until Next Time - I'm Dr. Rock, and every good song I review is like a symphony to me -
Released - October 6, 1965
#1 for weeks of November 20 and 27, 1965.
The Supremes had almost the same number of chart topper hits as The Beatles did in the '60's. The Supremes had a string of five number ones in a row. This combo was broken by the release of "Nothing But Heartaches", which only hit #11. Aiming to create a strong song to once again bring the trio back into the top, Holland-Dozier-Holland crafted "I Hear A Symphony", which became The Supremes' sixth number one. But was this song really their best yet?
One thing I am really beginning to notice is just how similar many of the songs of The Supremes' early catalog are. Holland-Dozier-Holland songwriting credit? Check. Diana Ross lead vocal with minor backing vocals by Florence and Mary? Check. Romantic lyrics? Definitely. Now don't get me wrong, this isn't an insult, and The Supremes certainly had a winning formula, but as you'll soon find out, this formula has some drawbacks.
"I Hear A Symphony" certainly contains the most ambitious production on a Supremes song yet. This is an incredible music track which rivals Phil Spector in terms of just how much sound hits you at once. I also really like how the song changes keys numerous times as it progresses. Finally, there is a lot more vocals from Mary and Flo, although they are once again mixed much lower than Diana's are.
The downside is that this song highly resembles two of their previous number ones. Namely "Where Did Our Love Go" and "Back In My Arms Again". For the former, we have the numerous "Baby, baby's", not to mention the songs share the exact same tempo. For the latter, we have some similar instrumentation such as the very similar saxophone solo. So while "I Hear A Symphony" is a notch better than both of those previous two songs, I still can't consider it as big of a groundbreaker as it is often made out to be.
Now, if this review came off as a bit too critical, keep in mind that we are only in 1965. The following year happens to contain some of the best Supremes songs, and if you're looking for a fresher sound of theirs, stick around for 1966!
Final Verdict - A bit over-rated, as "I Hear A Symphony" features a few too many stylistic similarities between earlier Supremes songs. However, I do appreciate the innovations used, and the much more impressive music track.
Coming Up Next - "Turn! Turn! Turn!" by The Byrds.
Until Next Time - I'm Dr. Rock, and every good song I review is like a symphony to me -
Song #147 "Get Off Of My Cloud" - The Rolling Stones
Recorded - September 5, 1965
Released - September 25, 1965 (US), October 22, 1965 (UK)
#1 for weeks of November 6 and 13, 1965.
By the final third of 1965, Mick Jagger and co were on a roll. "Satisfaction" had guaranteed them a place in rock history. In America, their Out Of Our Heads album was a great success, and the pressure was now on them to produce a followup hit. So during two days in September 1965, they worked on several new songs, many of which wound up on their fifth US album, December's Children (And Everybody's). The album is a bit of a mixed bag with many tracks either not being up to the usual standards, and some actually being about 1-2 years old! However, one track in particular stands out, "Get Off Of My Cloud".
Released as a single prior to the album's release, "Get Off Of My Cloud" may lack a defining riff like "Satisfaction" but it still succeeds in many ways. For one, the song features an instantly catchy opening with Charlie Watts alone on drums. Then we have the twin electric guitars of Keith Richards and Brian Jones playing the I-IV-V-IV "Louie Louie" chord progression. This gives the song a very garage rock feel.Mick Jagger's lead vocals are also filled with even more passion than before.
Lyrically, "Get Off Of My Cloud" continues the themes of dissatisfaction and disillusionment of "Satisfaction". Youthful angst never sounded so catchy. Speaking of catchy, that chorus will never leave your head once you've heard it, not that you'd mind. It's one of the most iconic choruses of any Rolling Stones song and it no doubt helped "Cloud" hit the top of the charts here in the states.
Towards the end of the year, The Stones began work on their highly influential and groundbreaking Aftermath album. Since one song from these sessions ended up reaching #1 in 1966, we'll continue The Stones history when we cover their next big hit...
Final Verdict - "Get Off Of My Cloud" features an instantly catchy chorus, highly relatable lyrics, and a great vocal performance by Mick Jagger. It may not be as groundbreaking as "Satisfaction" was, but nonetheless, It is a deserved #1 hit that I never tire from listening to.
Coming Up Next - "I Hear A Symphony" by The Supremes.
Until Next Time - Hey! You! Tune in for more Dr. Rock reviews -
Released - September 25, 1965 (US), October 22, 1965 (UK)
#1 for weeks of November 6 and 13, 1965.
By the final third of 1965, Mick Jagger and co were on a roll. "Satisfaction" had guaranteed them a place in rock history. In America, their Out Of Our Heads album was a great success, and the pressure was now on them to produce a followup hit. So during two days in September 1965, they worked on several new songs, many of which wound up on their fifth US album, December's Children (And Everybody's). The album is a bit of a mixed bag with many tracks either not being up to the usual standards, and some actually being about 1-2 years old! However, one track in particular stands out, "Get Off Of My Cloud".
Released as a single prior to the album's release, "Get Off Of My Cloud" may lack a defining riff like "Satisfaction" but it still succeeds in many ways. For one, the song features an instantly catchy opening with Charlie Watts alone on drums. Then we have the twin electric guitars of Keith Richards and Brian Jones playing the I-IV-V-IV "Louie Louie" chord progression. This gives the song a very garage rock feel.Mick Jagger's lead vocals are also filled with even more passion than before.
Lyrically, "Get Off Of My Cloud" continues the themes of dissatisfaction and disillusionment of "Satisfaction". Youthful angst never sounded so catchy. Speaking of catchy, that chorus will never leave your head once you've heard it, not that you'd mind. It's one of the most iconic choruses of any Rolling Stones song and it no doubt helped "Cloud" hit the top of the charts here in the states.
Towards the end of the year, The Stones began work on their highly influential and groundbreaking Aftermath album. Since one song from these sessions ended up reaching #1 in 1966, we'll continue The Stones history when we cover their next big hit...
Final Verdict - "Get Off Of My Cloud" features an instantly catchy chorus, highly relatable lyrics, and a great vocal performance by Mick Jagger. It may not be as groundbreaking as "Satisfaction" was, but nonetheless, It is a deserved #1 hit that I never tire from listening to.
Coming Up Next - "I Hear A Symphony" by The Supremes.
Until Next Time - Hey! You! Tune in for more Dr. Rock reviews -
Tuesday, November 26, 2013
Song #146 - "Yesterday" - The Beatles
Recorded - June 14 and 17, 1965
Released - August 6, 1965 (UK), September 13, 1965 (US)
#1 for weeks of October 9, 16, 23, and 30, 1965.
While many of the songs from the Help! album displayed a subtle shift in the gears of The Beatles' sound, it was on the album's penultimate track, "Yesterday" that they shifted into high gear and did something truly different. In the UK, "Yesterday" was strictly an album track, and didn't get a single release. In America, the song wasn't put on an album until June of 1966, but it did get a single release nine months prior, where is zipped right up to #1 for four whole weeks.
Some of the elements that would make up "Yesterday" actually came to Paul in a dream sometime around 1964. Luckily, he remembered the song when he woke up, and a year later, he had started to properly compose it. Before finishing the lyrics, he had given the song the temporary title of "Scrambled Egg(s)", and even written lyrics to match this unusual title! Once a more serious topic of a breakup was decided upon, the song got its final name we all know it by today.
"Yesterday" broke ground for being the first Beatles song to only feature one Beatle: the song's composer Paul McCartney. Despite this, the other three Beatles were present that day as two other Help! era songs, "I've Just Seen A Face" and "I'm Down" were recorded just prior to "Yesterday". It's quite amazing then that Paul went from shouting his lungs out in "I'm Down" to singing the gentle and serene "Yesterday" all in just a few hours!
What makes the song even more innovative for the group was its use of a string quartet. The use of the strings help enhance the song's melancholic feel, without getting in the way of any of the emotion in Paul's vocal performance. Even though by 1966 The Beatles would turn this song into a full band performance, (Albeit, one that is very laid back), "Yesterday" is most fondly remembered in the minimalist solo album version.
The lasting legacy of "Yesterday" has been massive. Hundreds of cover versions have been recorded, many artists from the 1960's and beyond have also recorded similar acoustic guitar and orchestra songs. Even in the early 1970's, when animosity between John and Paul was at an all time high, John Lennon still considered "Yesterday" to be among, if not the best song Paul ever wrote. It certainly remains a beloved classic to this very day.
Final Verdict - "Yesterday" is a great example of "Less is more". The song remains a haunting ballad, is easily one of the top five songs that Macca ever wrote, and I'd even go as far as to calling it one of, if not the best #1 of 1965.
Coming Up Next - "Get Off Of My Cloud" by The Rolling Stones.
Until Next Time - I'm Dr. Rock, looking back at music from yesterday to today -
Released - August 6, 1965 (UK), September 13, 1965 (US)
#1 for weeks of October 9, 16, 23, and 30, 1965.
While many of the songs from the Help! album displayed a subtle shift in the gears of The Beatles' sound, it was on the album's penultimate track, "Yesterday" that they shifted into high gear and did something truly different. In the UK, "Yesterday" was strictly an album track, and didn't get a single release. In America, the song wasn't put on an album until June of 1966, but it did get a single release nine months prior, where is zipped right up to #1 for four whole weeks.
Some of the elements that would make up "Yesterday" actually came to Paul in a dream sometime around 1964. Luckily, he remembered the song when he woke up, and a year later, he had started to properly compose it. Before finishing the lyrics, he had given the song the temporary title of "Scrambled Egg(s)", and even written lyrics to match this unusual title! Once a more serious topic of a breakup was decided upon, the song got its final name we all know it by today.
"Yesterday" broke ground for being the first Beatles song to only feature one Beatle: the song's composer Paul McCartney. Despite this, the other three Beatles were present that day as two other Help! era songs, "I've Just Seen A Face" and "I'm Down" were recorded just prior to "Yesterday". It's quite amazing then that Paul went from shouting his lungs out in "I'm Down" to singing the gentle and serene "Yesterday" all in just a few hours!
What makes the song even more innovative for the group was its use of a string quartet. The use of the strings help enhance the song's melancholic feel, without getting in the way of any of the emotion in Paul's vocal performance. Even though by 1966 The Beatles would turn this song into a full band performance, (Albeit, one that is very laid back), "Yesterday" is most fondly remembered in the minimalist solo album version.
The lasting legacy of "Yesterday" has been massive. Hundreds of cover versions have been recorded, many artists from the 1960's and beyond have also recorded similar acoustic guitar and orchestra songs. Even in the early 1970's, when animosity between John and Paul was at an all time high, John Lennon still considered "Yesterday" to be among, if not the best song Paul ever wrote. It certainly remains a beloved classic to this very day.
Final Verdict - "Yesterday" is a great example of "Less is more". The song remains a haunting ballad, is easily one of the top five songs that Macca ever wrote, and I'd even go as far as to calling it one of, if not the best #1 of 1965.
Coming Up Next - "Get Off Of My Cloud" by The Rolling Stones.
Until Next Time - I'm Dr. Rock, looking back at music from yesterday to today -
Monday, November 25, 2013
Song #145 - "Hang On Sloopy" - The McCoys
Recorded - circa June 1965
Released - July 1965
#1 for week of October 2, 1965.
The McCoys hold the honor for being the first garage rock band to achieve a #1 hit. There already had been many bands and singles, representative of the genre, released to much commercial success. This included The Kingsmen's "Louie Louie", Sam The Sham And The Pharos' "Wooly Bully", and The Strangeloves' "I Want Candy". The last of those is especially important as they were the group who were behind The McCoys' first and most successful #1.
Based out of Indiana, the best known member of The McCoys is Rick Derringer, who would go on to work with the Edgar Winter Group and have a successful solo career of his own. The group were discovered by The Strangeloves, a group who were, in actuality, songwriting trio Feldman-Goldstein-Gottehrer, the composers of "My Boyfriend's Back". The Strangeloves wanted to record the composition, "Hang On Sloopy", written by Wes Farrell and Bert Russell. Instead, they gave it to The McCoys, as a way of competing against an upcoming version by The Dave Clark Five.
The first thing that you'll recognize in "Hang On Sloopy" is the uncanny "Twist And Shout" chord progression, which was copied on countless garage rock records, most notably in "Louie Louie". Lyrically, the song is a pure love song, with no powerful message or themes like the previous #1. "Hang On Sloopy" could even be considered proto-bubblegum due to its very simple music and the singalong vocal arrangement. Also, the "C'mon, C'mon's" in the chorus heavily emphasize The Beatles' version of "Twist And Shout".
However, the song also contains a nice guitar solo, courtesy of Rick Derringer. Without this solo, the song is good, but nothing special. With the solo, the song has some interesting character to it. While the next McCoy's single, "Fever" manage to reach #7, the rest of their singles steadily peaked lower and lower on the charts. Some of these such as, "Don't Worry Mother, Your Son's Heart Is Pure" are actually neat garage nuggets that are worth digging up, so leave no stone unturned!
Final Verdict - A simplistic, but nonetheless enjoyable piece of lighter garage rock. It may not be the most complex garage rock song out there, but if you're looking for a gateway song to the genre, this could be what you're looking for.
Coming Up Next - "Yesterday" by The Beatles.
Until Next Time - Hang on, for more Dr. Rock reviews -
Released - July 1965
#1 for week of October 2, 1965.
The McCoys hold the honor for being the first garage rock band to achieve a #1 hit. There already had been many bands and singles, representative of the genre, released to much commercial success. This included The Kingsmen's "Louie Louie", Sam The Sham And The Pharos' "Wooly Bully", and The Strangeloves' "I Want Candy". The last of those is especially important as they were the group who were behind The McCoys' first and most successful #1.
Based out of Indiana, the best known member of The McCoys is Rick Derringer, who would go on to work with the Edgar Winter Group and have a successful solo career of his own. The group were discovered by The Strangeloves, a group who were, in actuality, songwriting trio Feldman-Goldstein-Gottehrer, the composers of "My Boyfriend's Back". The Strangeloves wanted to record the composition, "Hang On Sloopy", written by Wes Farrell and Bert Russell. Instead, they gave it to The McCoys, as a way of competing against an upcoming version by The Dave Clark Five.
The first thing that you'll recognize in "Hang On Sloopy" is the uncanny "Twist And Shout" chord progression, which was copied on countless garage rock records, most notably in "Louie Louie". Lyrically, the song is a pure love song, with no powerful message or themes like the previous #1. "Hang On Sloopy" could even be considered proto-bubblegum due to its very simple music and the singalong vocal arrangement. Also, the "C'mon, C'mon's" in the chorus heavily emphasize The Beatles' version of "Twist And Shout".
However, the song also contains a nice guitar solo, courtesy of Rick Derringer. Without this solo, the song is good, but nothing special. With the solo, the song has some interesting character to it. While the next McCoy's single, "Fever" manage to reach #7, the rest of their singles steadily peaked lower and lower on the charts. Some of these such as, "Don't Worry Mother, Your Son's Heart Is Pure" are actually neat garage nuggets that are worth digging up, so leave no stone unturned!
Final Verdict - A simplistic, but nonetheless enjoyable piece of lighter garage rock. It may not be the most complex garage rock song out there, but if you're looking for a gateway song to the genre, this could be what you're looking for.
Coming Up Next - "Yesterday" by The Beatles.
Until Next Time - Hang on, for more Dr. Rock reviews -
Song #144 - "Eve Of Destruction - Barry McGuire
Recorded - July 12-15, 1965
Released - August, 1965
#1 for week of September 25, 1965.
For much of the 1950's and early 1960's, folk music had taken a much more apolitical leaning. This applies to folk groups such as The Kingston Trio and Peter, Paul & Mary. Then, by 1963, both of those two groups became actively involved in the civil rights movement and, along with The Weavers, Joan Baez, and Bob Dylan, led the way for a more topical folk renaissance. In 1965, political/protest folk peaked with the release of Barry McGuire's controversial #1 hit, "Eve Of Destruction".
Barry McGuire started off his music career in 1961. One year later, he joined the folk group "The New Christy's Minstrels", and sang lead on their biggest hit, "Green Green" in 1963. His signature gruff singing voice no doubt helped the song stand out. After leaving the group in 1965, he recorded, "Eve Of Destruction" written by respected folk singer/songwriter P.F. Sloan.
Featuring Los Angeles session musicians The Wrecking Crew on backup, and an angry lead vocal done in one take, "Eve Of Destruction" contains some of the most poignant lyrics ever written. Few singers and musicians were courageous enough to sing about all of the world's conflicts, and the Vietnam War, which was still in its early years. The song managed to hit #1 on the pop charts, and oh what controversy it caused!
The song was banned from several radio stations, many of whom refused to even play the song. It also sparked a reaction from the more conservative and/or anti-communist musicians with a number of response records being recorded. The most well known of these, "The Ballad Of The Green Berets", even hit #1.
In my opinion, many of these response records come across as more reactionary than patriotic, and almost all of them have a highly condescending tone. Plus, they all seem to forget one very important point made in the lyrics: "You're old enough to kill, but not for voting".
Obviously, due to the voting age being reduced from 21 to 18 in 1971, and especially due to many of the conflicts in the song having long since passed, "Eve Of Destruction" is very much a product of its time period. However, Barry McGuire tends to update the lyrics with current events, whenever he has performed it live over the last few decades. Thus, the song always has relatable current events in its lyrics.
Final Verdict - While some may be put off by both Barry's extremely gruff singing voice and the lyrical content, I see the song as an honest statement of anger at just how destructive this world can be sometimes. It may be a bit dated in its current form, but I certainly consider it to be one of the most important songs of 1965.
Coming Up Next - "Hang On Sloopy" by The McCoys.
Until Next Time - I'm Dr. Rock, and I certainly hope we're not on the eve of destruction -
Released - August, 1965
#1 for week of September 25, 1965.
For much of the 1950's and early 1960's, folk music had taken a much more apolitical leaning. This applies to folk groups such as The Kingston Trio and Peter, Paul & Mary. Then, by 1963, both of those two groups became actively involved in the civil rights movement and, along with The Weavers, Joan Baez, and Bob Dylan, led the way for a more topical folk renaissance. In 1965, political/protest folk peaked with the release of Barry McGuire's controversial #1 hit, "Eve Of Destruction".
Barry McGuire started off his music career in 1961. One year later, he joined the folk group "The New Christy's Minstrels", and sang lead on their biggest hit, "Green Green" in 1963. His signature gruff singing voice no doubt helped the song stand out. After leaving the group in 1965, he recorded, "Eve Of Destruction" written by respected folk singer/songwriter P.F. Sloan.
Featuring Los Angeles session musicians The Wrecking Crew on backup, and an angry lead vocal done in one take, "Eve Of Destruction" contains some of the most poignant lyrics ever written. Few singers and musicians were courageous enough to sing about all of the world's conflicts, and the Vietnam War, which was still in its early years. The song managed to hit #1 on the pop charts, and oh what controversy it caused!
The song was banned from several radio stations, many of whom refused to even play the song. It also sparked a reaction from the more conservative and/or anti-communist musicians with a number of response records being recorded. The most well known of these, "The Ballad Of The Green Berets", even hit #1.
In my opinion, many of these response records come across as more reactionary than patriotic, and almost all of them have a highly condescending tone. Plus, they all seem to forget one very important point made in the lyrics: "You're old enough to kill, but not for voting".
Obviously, due to the voting age being reduced from 21 to 18 in 1971, and especially due to many of the conflicts in the song having long since passed, "Eve Of Destruction" is very much a product of its time period. However, Barry McGuire tends to update the lyrics with current events, whenever he has performed it live over the last few decades. Thus, the song always has relatable current events in its lyrics.
Final Verdict - While some may be put off by both Barry's extremely gruff singing voice and the lyrical content, I see the song as an honest statement of anger at just how destructive this world can be sometimes. It may be a bit dated in its current form, but I certainly consider it to be one of the most important songs of 1965.
Coming Up Next - "Hang On Sloopy" by The McCoys.
Until Next Time - I'm Dr. Rock, and I certainly hope we're not on the eve of destruction -
Sunday, November 24, 2013
Song #143 - "Help!" - The Beatles
Recorded - April 13, 1965
Released - July 19, 1965 (US), July 23, 1965 (UK)
#1 for weeks of September 4, 11, and 18, 1965.
Help!, the second motion picture staring The Beatles is usually regarded as inferior to its predecessor, A Hard Day's Night. For one, the latter was a much more serious and realistic film which portrayed the group as four hard working every-men. In the film Help!, there is a rather campy plot, and many attempts at comedy or suspense, which sometimes really don't work. In my opinion, it certainly hasn't aged as well as the first film. However, I've grown overtime to appreciate the second film's camp factor.
As for the soundtracks, it really is a matter of apples and oranges which one you like better. One thing can't be denied though and that is the songs on the Help soundtrack were much more more mature and developed than the Hard Days Night ones. By far the most revealing and mature of these new songs was the title track itself. Just like the previous film, the title track was only written and recorded midway through the filming of the movie. It is remarkable, given the circumstances, what a strong and personal song "Help!" ended up being.
John Lennon remains a celebrated songwriter primarily because he wrote from his own personal experience. By 1965, John was physically and mentally exhausted. From the non-stop touring, to putting out two albums per-year, it was becoming all too much. In "Help!" John laments the days when he used to be able to be happy and how nowadays he is incredibly insecure and feeling quite down. Not only are these lyrics incredibly personal, they are also quite relatable for anyone else who has felt down at some point in their lives.
The rest of The Beatles provide a solid instrumental track with George Harrison's lead guitar work being a fine example of subtle virtuosity. The backing vocal arrangement stands out as one of their best early efforts, especially in the verses. Overall, the frantic and tense music fits incredibly well with the equally tense lyrics.
While the film it is based on may not have aged as well, the "Help!" album remains a solid listen. With both the film, single, and album being a huge success in the summer of 1965, it was no surprise that this song became their ninth American #1. The Beatles would still produce quite a few more chart toppers, although nobody could have predicted the sound of their next #1. Find out more about that, in review #146...
Final Verdict - There have hardly been any pop songwriters as resonant as John Lennon, and this resonance is on full display in "Help!" I feel that the song remains a fantastic listen to this very day.
Coming Up Next - "Eve Of Destruction" by Barry McGuire.
Until Next Time - I'm Dr. Rock, and I do appreciate you coming round -
Released - July 19, 1965 (US), July 23, 1965 (UK)
#1 for weeks of September 4, 11, and 18, 1965.
Help!, the second motion picture staring The Beatles is usually regarded as inferior to its predecessor, A Hard Day's Night. For one, the latter was a much more serious and realistic film which portrayed the group as four hard working every-men. In the film Help!, there is a rather campy plot, and many attempts at comedy or suspense, which sometimes really don't work. In my opinion, it certainly hasn't aged as well as the first film. However, I've grown overtime to appreciate the second film's camp factor.
As for the soundtracks, it really is a matter of apples and oranges which one you like better. One thing can't be denied though and that is the songs on the Help soundtrack were much more more mature and developed than the Hard Days Night ones. By far the most revealing and mature of these new songs was the title track itself. Just like the previous film, the title track was only written and recorded midway through the filming of the movie. It is remarkable, given the circumstances, what a strong and personal song "Help!" ended up being.
John Lennon remains a celebrated songwriter primarily because he wrote from his own personal experience. By 1965, John was physically and mentally exhausted. From the non-stop touring, to putting out two albums per-year, it was becoming all too much. In "Help!" John laments the days when he used to be able to be happy and how nowadays he is incredibly insecure and feeling quite down. Not only are these lyrics incredibly personal, they are also quite relatable for anyone else who has felt down at some point in their lives.
The rest of The Beatles provide a solid instrumental track with George Harrison's lead guitar work being a fine example of subtle virtuosity. The backing vocal arrangement stands out as one of their best early efforts, especially in the verses. Overall, the frantic and tense music fits incredibly well with the equally tense lyrics.
While the film it is based on may not have aged as well, the "Help!" album remains a solid listen. With both the film, single, and album being a huge success in the summer of 1965, it was no surprise that this song became their ninth American #1. The Beatles would still produce quite a few more chart toppers, although nobody could have predicted the sound of their next #1. Find out more about that, in review #146...
Final Verdict - There have hardly been any pop songwriters as resonant as John Lennon, and this resonance is on full display in "Help!" I feel that the song remains a fantastic listen to this very day.
Coming Up Next - "Eve Of Destruction" by Barry McGuire.
Until Next Time - I'm Dr. Rock, and I do appreciate you coming round -
Song #142 "I Got You Babe" - Sonny & Cher
Recorded - June 7, 1965
Released - July 9, 1965
#1 for weeks of August 14, 21, and 28, 1965.
It's the summer of '65, the sounds of folk music now proudly ring out on pop music stations. Bob Dylan is a household name, and everybody wants to cover his songs now. And one innocent husband and wife duo make a declaration of their love for each other and the folk scene itself via song. And years later, a host of internet critics and cynics proceed to do whatever they can to make fun of this duo. Then, in a small town in New England, one critic, tries to set things right. He is... Dr. Rock.
"I Got You Babe", oh boy. When you hear just the name of that song, you either smile with glee, or reach for the nearest cotton balls to shove in your ears. Now, take the cotton out for a second as I'm sure you only know a little bit about this duo. Sonny Bono and Cherilyn Sarkisian started out as a humble folk loving duo who recorded several unsuccessful singles in 1964. Sonny, for a time, worked with Phil Spector, and Cher had tried, then unsuccessfully, to be a pop star under the name Bonnie Jo Mason.
In 1965, the duo caused some controversy when they recorded a version of Bob Dylan's "All I Really Wanna Do". The Byrds had already done a successful cover much in the style of "Mr. Tambourine Man". By comparison, Sonny & Cher's version was a bit more Brill Building Pop influenced. It's not a bad version in my opinion, but Bob Dylan certainly was a bit disappointed that a pop duo had a hit with the song before him.
Then, they recorded a song which mixed the folk sound and occasional lyrics of Dylan, with the Wall Of Sound production style that Sonny had been trained under. The result was "I Got You Babe". The song is certainly far removed from folk music, and comes across more as a pure pop song. On the surface, it's easy to see why some may dislike this song. Much of its lyrics are very sugary and lovey dovey. They'd probably also assume that the duo were nothing more than a pre-fabricated romance created by a big name record label.
However, it's easy to forget that Sonny & Cher were a genuine couple and were almost proto-hippies, mainly in the way they dressed. Nobody in 1965 was wearing the threads they were. Also, musically, this song is actually quite a bit more complex than you might think. Tune out the sugary lyrics for a bit and pay attention only to the music. There's quite a bit happening, be it the chiming guitars, the opening bassoons, or the oboe in the chorus. Also, the song gradually builds up as is goes on, so by the time the song is over, there's even more complexity going on.
So, if "I Got You Babe" isn't your cup of tea, maybe find an instrumental mix of the song and you can perhaps appreciate the complex arrangement. Me, I've found myself able to appreciate that, underneath all the sugar, you had a couple who genuinely cared about each other. Unfortunately, their sound and image would inspire a bunch of husband/wife singing duos in the 1970's which range from harmless to pretty awful. We'll surely come across some of those groups once we hit the next decade.
Final Verdict - "I Got You Babe" certainly isn't as bad as its current reputation leads it up to be. Sure, it's lyrically the equivalent of eating a whole cup of sugar for breakfast, but musically, it's rich and complex. It may not be one of the best songs of 1965, but you can't mention the year in pop music without the song or the duo coming up.
Coming Up Next - "Help!" by The Beatles.
Until Next Time - I'm Dr. Rock and I got you -
Released - July 9, 1965
#1 for weeks of August 14, 21, and 28, 1965.
It's the summer of '65, the sounds of folk music now proudly ring out on pop music stations. Bob Dylan is a household name, and everybody wants to cover his songs now. And one innocent husband and wife duo make a declaration of their love for each other and the folk scene itself via song. And years later, a host of internet critics and cynics proceed to do whatever they can to make fun of this duo. Then, in a small town in New England, one critic, tries to set things right. He is... Dr. Rock.
"I Got You Babe", oh boy. When you hear just the name of that song, you either smile with glee, or reach for the nearest cotton balls to shove in your ears. Now, take the cotton out for a second as I'm sure you only know a little bit about this duo. Sonny Bono and Cherilyn Sarkisian started out as a humble folk loving duo who recorded several unsuccessful singles in 1964. Sonny, for a time, worked with Phil Spector, and Cher had tried, then unsuccessfully, to be a pop star under the name Bonnie Jo Mason.
In 1965, the duo caused some controversy when they recorded a version of Bob Dylan's "All I Really Wanna Do". The Byrds had already done a successful cover much in the style of "Mr. Tambourine Man". By comparison, Sonny & Cher's version was a bit more Brill Building Pop influenced. It's not a bad version in my opinion, but Bob Dylan certainly was a bit disappointed that a pop duo had a hit with the song before him.
Then, they recorded a song which mixed the folk sound and occasional lyrics of Dylan, with the Wall Of Sound production style that Sonny had been trained under. The result was "I Got You Babe". The song is certainly far removed from folk music, and comes across more as a pure pop song. On the surface, it's easy to see why some may dislike this song. Much of its lyrics are very sugary and lovey dovey. They'd probably also assume that the duo were nothing more than a pre-fabricated romance created by a big name record label.
However, it's easy to forget that Sonny & Cher were a genuine couple and were almost proto-hippies, mainly in the way they dressed. Nobody in 1965 was wearing the threads they were. Also, musically, this song is actually quite a bit more complex than you might think. Tune out the sugary lyrics for a bit and pay attention only to the music. There's quite a bit happening, be it the chiming guitars, the opening bassoons, or the oboe in the chorus. Also, the song gradually builds up as is goes on, so by the time the song is over, there's even more complexity going on.
So, if "I Got You Babe" isn't your cup of tea, maybe find an instrumental mix of the song and you can perhaps appreciate the complex arrangement. Me, I've found myself able to appreciate that, underneath all the sugar, you had a couple who genuinely cared about each other. Unfortunately, their sound and image would inspire a bunch of husband/wife singing duos in the 1970's which range from harmless to pretty awful. We'll surely come across some of those groups once we hit the next decade.
Final Verdict - "I Got You Babe" certainly isn't as bad as its current reputation leads it up to be. Sure, it's lyrically the equivalent of eating a whole cup of sugar for breakfast, but musically, it's rich and complex. It may not be one of the best songs of 1965, but you can't mention the year in pop music without the song or the duo coming up.
Coming Up Next - "Help!" by The Beatles.
Until Next Time - I'm Dr. Rock and I got you -
Saturday, November 23, 2013
Song #141 - "I'm Henry VIII, I Am" - Herman's Hermits
Recorded - 1965
Released - May 1965 (US), June 1965 (UK)
#1 for week of August 7, 1965.
The final American #1 of Herman's Hermits was another of their songs that all of the band members have subsequently said they don't care for. While Herman's Hermits may be best know today for these more novelty songs, they actually have a bit of an under-appreciated back catalog. For example, "Listen People" predates the sound of Tommy James And The Shondells, and 1967's "Moonshine Man" is not only the closest they got to psychedelia, it's also a fine sounding song in its own merit.
However, in 1965, hot on the tails of their first US smash hit, "Mrs. Brown You've Got A Lovely Daughter", a more lighthearted and music-hall inspired tune was released - "I'm Henry VIII, I Am". This song became their second and final #1 here in the United States. Well, sorry once again to any of you anti-Herman's Hermits people out there, but I happen to enjoy this song of theirs as well.
The song originated in 1911 as a British music hall tune. Obviously, "I'm Henry VIII..." isn't even remotely lyrically resonant. In fact, Herman's Hermits' version is the same chorus repeated over and over again. It's very musically simplistic with absolutely no seriousness or pretentiousness. Musically, much of the song is very grounded in the early British Invasion sound, despite the fact that other British bands had moved well past this sound. Yet, underneath the admitingly banal lyrics lies a decent guitar solo by their lead guitarist Derek Leckenby.
I for one actually appreciate the simplicity and non-pretentiousness of this song. It's silly, it's pure novelty, but unless you are the type of person who only listens to serious music, you're sure to at least smile, and at most sing along whenever this song is played.
Final Verdict - I'd call this song a guilty pleasure, if not for the fact that I honestly enjoy listening to it with no shame whatsoever. Would I say it was one of the best songs produced in 1965? Definitely not. But that doesn't deter me from the fact that it's catchy and always manages to cheer me up when I hear it. Hopefully it will for you too.
Coming Up Next - "I Got You Babe" by Sonny & Cher.
Until Next Time - I'm Dr. Rock the 1st I am -
Released - May 1965 (US), June 1965 (UK)
#1 for week of August 7, 1965.
The final American #1 of Herman's Hermits was another of their songs that all of the band members have subsequently said they don't care for. While Herman's Hermits may be best know today for these more novelty songs, they actually have a bit of an under-appreciated back catalog. For example, "Listen People" predates the sound of Tommy James And The Shondells, and 1967's "Moonshine Man" is not only the closest they got to psychedelia, it's also a fine sounding song in its own merit.
However, in 1965, hot on the tails of their first US smash hit, "Mrs. Brown You've Got A Lovely Daughter", a more lighthearted and music-hall inspired tune was released - "I'm Henry VIII, I Am". This song became their second and final #1 here in the United States. Well, sorry once again to any of you anti-Herman's Hermits people out there, but I happen to enjoy this song of theirs as well.
The song originated in 1911 as a British music hall tune. Obviously, "I'm Henry VIII..." isn't even remotely lyrically resonant. In fact, Herman's Hermits' version is the same chorus repeated over and over again. It's very musically simplistic with absolutely no seriousness or pretentiousness. Musically, much of the song is very grounded in the early British Invasion sound, despite the fact that other British bands had moved well past this sound. Yet, underneath the admitingly banal lyrics lies a decent guitar solo by their lead guitarist Derek Leckenby.
I for one actually appreciate the simplicity and non-pretentiousness of this song. It's silly, it's pure novelty, but unless you are the type of person who only listens to serious music, you're sure to at least smile, and at most sing along whenever this song is played.
Final Verdict - I'd call this song a guilty pleasure, if not for the fact that I honestly enjoy listening to it with no shame whatsoever. Would I say it was one of the best songs produced in 1965? Definitely not. But that doesn't deter me from the fact that it's catchy and always manages to cheer me up when I hear it. Hopefully it will for you too.
Coming Up Next - "I Got You Babe" by Sonny & Cher.
Until Next Time - I'm Dr. Rock the 1st I am -
Song #140 - "(I Can't Get No) Satisfaction
Recorded - May 12, 1965
Released - June 6, 1965 (US), August 20, 1965 (UK)
#1 for weeks of July 10, 17, 24, and 31, 1965.
The Stones make their long overdue appearance with what is perhaps their first truly timeless classic, "I Can't Get No Satisfaction". This song has been hailed as one of the top rock songs ever recorded. Rolling Stone Magazine even ranked it at #2 in their list of the 500 greatest rock songs of all time. It is also a song that if you play just a few bars of the intro, most people will know what song you are playing. Clearly, "Satisfaction" has ascended into something more than a simple British Rocker.
The Rolling Stones formed in 1961 and were signed to Decca records the following year, reportedly via a recommendation by George Harrison. There was, in fact, a very prefabricated rivalry between The Stones and The Beatles during 1964. The former were marketed as the bad boys of The British Invasion, both in image and in personality. However, this rivalry is pure fiction as the two groups were good friends. In fact, it is because John and Paul wrote "I Wanna Be Your Man" on the spot to give to The Stones, that Mick and Keith were inspired to write songs of their own.
While most of their 1963 and 4 discography featured covers of American blues standards, (The Stones' early specialty), 1965 saw them release "The Last Time", which was their third #1 in Britain and it was a Jagger/Richards original. However, it was their next single, "I Can't Get No Satisfaction", that was a #1 on both sides of the Atlantic for the first time.
That opening fuzz guitar riff, which came to Keith in his sleep, remains so ingrained in the minds of music lovers. It's a simple riff, but it ties the song together in such an exciting way. Not that the rest of the instrumentation or band are any slouch: Bill Wyman gives us a steady precise bassline, Charlie Watts has an equally steady drum part. This is put on display during the "No-No" part of the song where everyone but Charlie drops out briefly. Then, we have Brian Jones, who gives us a slightly buried but nonetheless essential acoustic guitar track.
Lastly, we have the lead vocals, by one of the most recognizable voices in rock and blues music. Mick Jagger ranges from pleading to borderline shouting in "Satisfaction" and the contrast works wonderfully. The lyrics in this song may deal with the frustrations experienced by a 20-something male, but I'm sure everyone can at least relate to the song's simple yet effective chorus.
The influence that "Satisfaction" had on the then-underground American garage rock scene was tremendous. The Stones meanwhile continued to put out classic material throughout 1965. In fact, we have one more song of theirs to cover before this year is up, so stay tuned!
Final Verdict - A massively influential and highly resonant masterpiece by one of the top bands of the British Invasion. "Satisfaction" was a deserving #1 hit then, and now it's fully deserving of being considered one of the top songs of all time. Even though this song is permanently stuck in my head, I always love hearing it again.
Coming Up Next - "I'm Henry VIII, I Am" by Herman's Hermits.
Until Next Time - I'm Dr. Rock, and I'm actually quite satisfied -
Released - June 6, 1965 (US), August 20, 1965 (UK)
#1 for weeks of July 10, 17, 24, and 31, 1965.
The Stones make their long overdue appearance with what is perhaps their first truly timeless classic, "I Can't Get No Satisfaction". This song has been hailed as one of the top rock songs ever recorded. Rolling Stone Magazine even ranked it at #2 in their list of the 500 greatest rock songs of all time. It is also a song that if you play just a few bars of the intro, most people will know what song you are playing. Clearly, "Satisfaction" has ascended into something more than a simple British Rocker.
The Rolling Stones formed in 1961 and were signed to Decca records the following year, reportedly via a recommendation by George Harrison. There was, in fact, a very prefabricated rivalry between The Stones and The Beatles during 1964. The former were marketed as the bad boys of The British Invasion, both in image and in personality. However, this rivalry is pure fiction as the two groups were good friends. In fact, it is because John and Paul wrote "I Wanna Be Your Man" on the spot to give to The Stones, that Mick and Keith were inspired to write songs of their own.
While most of their 1963 and 4 discography featured covers of American blues standards, (The Stones' early specialty), 1965 saw them release "The Last Time", which was their third #1 in Britain and it was a Jagger/Richards original. However, it was their next single, "I Can't Get No Satisfaction", that was a #1 on both sides of the Atlantic for the first time.
That opening fuzz guitar riff, which came to Keith in his sleep, remains so ingrained in the minds of music lovers. It's a simple riff, but it ties the song together in such an exciting way. Not that the rest of the instrumentation or band are any slouch: Bill Wyman gives us a steady precise bassline, Charlie Watts has an equally steady drum part. This is put on display during the "No-No" part of the song where everyone but Charlie drops out briefly. Then, we have Brian Jones, who gives us a slightly buried but nonetheless essential acoustic guitar track.
Lastly, we have the lead vocals, by one of the most recognizable voices in rock and blues music. Mick Jagger ranges from pleading to borderline shouting in "Satisfaction" and the contrast works wonderfully. The lyrics in this song may deal with the frustrations experienced by a 20-something male, but I'm sure everyone can at least relate to the song's simple yet effective chorus.
The influence that "Satisfaction" had on the then-underground American garage rock scene was tremendous. The Stones meanwhile continued to put out classic material throughout 1965. In fact, we have one more song of theirs to cover before this year is up, so stay tuned!
Final Verdict - A massively influential and highly resonant masterpiece by one of the top bands of the British Invasion. "Satisfaction" was a deserving #1 hit then, and now it's fully deserving of being considered one of the top songs of all time. Even though this song is permanently stuck in my head, I always love hearing it again.
Coming Up Next - "I'm Henry VIII, I Am" by Herman's Hermits.
Until Next Time - I'm Dr. Rock, and I'm actually quite satisfied -
Friday, November 22, 2013
Song #139 - "Mr. Tambourine Man" - The Byrds
Recorded - January 20, 1965
Released - April 12, 1965
#1 for week of June 26, 1965.
A truly historic #1, and one that permanently changed the face of American music in the 1960's. Prior to 1965, folk music was not considered popular music. In fact, Bob Dylan was considered an esoteric singer/songwriter as few in the pop scene knew about him. Also, American music was still going through its transition phase with many early 1960's pop styles now considered outdated. Then, in 1965, everything changed with the release of "Mr. Tambourine Man", a groundbreaking folk-rock cover of a Bob Dylan song. Both the genre, The Byrds, and the song's original composer became well known overnight.
The Byrds are known by most for being a genre-pioneering band. One could argue that we wouldn't have folk-rock, space themed music, and country rock if not for them. However, we must also give credit where credit is due. Many of The Byrds earlier hits were folk rock covers of songs that were standards in the folk community. Of course, we can certainly thank the band for helping to spread a folk craze in America which lasted well throughout the 1960's and went hand in hand with the eventual counterculture.
It's funny though that a band so known for helping popularize folk did not start out this way at all. The Byrds began life as The Beefeaters, an early Beatles soundalike band. Some of this material, recorded in 1964, is available on the compilation, Preflyte. Although the band largely forgot their British influenced roots as time went on, we can thank George Harrison and his 12-String Rickenbacker guitar playing, which inspired lead singer and guitarist Roger McGuinn. Roger used this guitar liberally on Byrds recordings, and in particular, "Mr. Tambourine Man".
Interestingly enough, Bob Dylan's version of "Mr. Tambourine Man" was recorded a mere five days before The Byrds covered it. While Bob's is strictly acoustic guitar and vocals, The Byrds version is a full band recording. One lesser known fact/bummer is that on this particular session, the only Byrd to play on the recording was Roger McGuinn on lead guitar. All of the other instruments are played by Los Angeles session musicians The Wrecking Crew. (This was reportedly done at producer Terry Melcher's insistence).
However, since all future recordings feature the full Byrds lineup playing, this one time deal can be forgiven. And I'm even more forgiving in just how amazing this cover still sounds today. The vocal blend of Roger, David Crosby, and Gene Clark sounds absolutely haunting. Roger's lead vocals in particular have a very unique timbre to them.
Instrumentally, it is the jangly 12-string guitar that is on prominent display, (Although session bass player Larry Knechtel contributes some strong basslines as well). Just listening to the song's opening makes me want to go out and buy a 12-string of my own. It certainly inspired many people over the years, most notably Tom Petty.
Final Verdict - When you add up the sum of the parts: A strong music track, wonderful vocals, and the fact that the band practically invented a genre with this song, "Mr. Tambourine Man" is a very well-deserved #1 that belongs in your record collection.
Coming Up Next - "(I Can't Get No) Satisfaction" by The Rolling Stones.
Until Next Time - I'm Dr. Rock, I'm not sleepy, and there ain't no place I'm going to -
Released - April 12, 1965
#1 for week of June 26, 1965.
A truly historic #1, and one that permanently changed the face of American music in the 1960's. Prior to 1965, folk music was not considered popular music. In fact, Bob Dylan was considered an esoteric singer/songwriter as few in the pop scene knew about him. Also, American music was still going through its transition phase with many early 1960's pop styles now considered outdated. Then, in 1965, everything changed with the release of "Mr. Tambourine Man", a groundbreaking folk-rock cover of a Bob Dylan song. Both the genre, The Byrds, and the song's original composer became well known overnight.
The Byrds are known by most for being a genre-pioneering band. One could argue that we wouldn't have folk-rock, space themed music, and country rock if not for them. However, we must also give credit where credit is due. Many of The Byrds earlier hits were folk rock covers of songs that were standards in the folk community. Of course, we can certainly thank the band for helping to spread a folk craze in America which lasted well throughout the 1960's and went hand in hand with the eventual counterculture.
It's funny though that a band so known for helping popularize folk did not start out this way at all. The Byrds began life as The Beefeaters, an early Beatles soundalike band. Some of this material, recorded in 1964, is available on the compilation, Preflyte. Although the band largely forgot their British influenced roots as time went on, we can thank George Harrison and his 12-String Rickenbacker guitar playing, which inspired lead singer and guitarist Roger McGuinn. Roger used this guitar liberally on Byrds recordings, and in particular, "Mr. Tambourine Man".
Interestingly enough, Bob Dylan's version of "Mr. Tambourine Man" was recorded a mere five days before The Byrds covered it. While Bob's is strictly acoustic guitar and vocals, The Byrds version is a full band recording. One lesser known fact/bummer is that on this particular session, the only Byrd to play on the recording was Roger McGuinn on lead guitar. All of the other instruments are played by Los Angeles session musicians The Wrecking Crew. (This was reportedly done at producer Terry Melcher's insistence).
However, since all future recordings feature the full Byrds lineup playing, this one time deal can be forgiven. And I'm even more forgiving in just how amazing this cover still sounds today. The vocal blend of Roger, David Crosby, and Gene Clark sounds absolutely haunting. Roger's lead vocals in particular have a very unique timbre to them.
Instrumentally, it is the jangly 12-string guitar that is on prominent display, (Although session bass player Larry Knechtel contributes some strong basslines as well). Just listening to the song's opening makes me want to go out and buy a 12-string of my own. It certainly inspired many people over the years, most notably Tom Petty.
Final Verdict - When you add up the sum of the parts: A strong music track, wonderful vocals, and the fact that the band practically invented a genre with this song, "Mr. Tambourine Man" is a very well-deserved #1 that belongs in your record collection.
Coming Up Next - "(I Can't Get No) Satisfaction" by The Rolling Stones.
Until Next Time - I'm Dr. Rock, I'm not sleepy, and there ain't no place I'm going to -
Song #138 - "I Can't Help Myself (Sugar Pie Honey Bunch)" - The Four Tops
Recorded - March 31, & April 8 and 9, 1965
Released - April 23, 1965
#1 for weeks of June 19 and July 3, 1965.
Just like how there are the "Big 4" of The British Invasion, (Beatles, Who, Stones, Kinks), I'd consider there to be a big 4 of Motown singing groups as well. This includes The Supremes, The Temptations, The Miracles, and of course, The Four Tops. All four of these groups have instantly recognizable songs in their catalog, and have enjoyed plenty of crossover success on the pop charts.
The Four Tops consisted of Levi Stubbs on lead vocals, with Duke Fakir, Obie Benson, and Lawrence Payton on backing. Fakir remains the only surviving member and just like The Temptations, he continues to tour under the Four Tops name with a different lineup of singers. Of course, it's hard to consider this the same group, especially when their late lead singer's distinctive voice is what propelled their early hits.
After scoring two top 30 singles on the pop charts, it was third time the charm for the Tops with the Holland-Dozier-Holland written and produced "I Can't Help Myself", better known by its second title "Sugar Pie Honey Bunch". The song's opening instrumental vamp gets the listener's attention right away. When listening to the music, there a lot of parallels to not only the previous Supremes #1 but also their first, ("Where Did Our Love Go"). "I Can't Help Myself", on the other hand, makes liberal use of marimbas and strings, and also features a nice baritone sax part, and a more upbeat tempo.
Vocally, The Four Tops are backed by Motown session singers The Andantes, who give the song an almost gospel sound. It is Levi Stubbs who remains the main attraction. His strong Baritone singing voice is full with emotion, and because of this, every Four Tops song remains worth listening to. This song is certainly one of their more poppy entries, but it is nonetheless an enjoyable pop song.
The subsequent single by the Four Tops is perhaps a bit more well known, "It's The Same Old Song". Like its title perhaps mocks, the song parallels "I Can't Help Myself" in more ways than one. However, it would be in the following year that the Tops would record some of their most enduring and mature work. More on that, when we get to '66...
Final Verdict - While the Four Tops would come out with superior songs over their career, "I Can't Help Myself" is still an important stepping stone in their catalog. I certainly would recommend a listen.
Coming Up Next - "Mr. Tambourine Man" by The Byrds.
Until Next Time - I'm Dr. Rock and I can't help myself -
Released - April 23, 1965
#1 for weeks of June 19 and July 3, 1965.
Just like how there are the "Big 4" of The British Invasion, (Beatles, Who, Stones, Kinks), I'd consider there to be a big 4 of Motown singing groups as well. This includes The Supremes, The Temptations, The Miracles, and of course, The Four Tops. All four of these groups have instantly recognizable songs in their catalog, and have enjoyed plenty of crossover success on the pop charts.
The Four Tops consisted of Levi Stubbs on lead vocals, with Duke Fakir, Obie Benson, and Lawrence Payton on backing. Fakir remains the only surviving member and just like The Temptations, he continues to tour under the Four Tops name with a different lineup of singers. Of course, it's hard to consider this the same group, especially when their late lead singer's distinctive voice is what propelled their early hits.
After scoring two top 30 singles on the pop charts, it was third time the charm for the Tops with the Holland-Dozier-Holland written and produced "I Can't Help Myself", better known by its second title "Sugar Pie Honey Bunch". The song's opening instrumental vamp gets the listener's attention right away. When listening to the music, there a lot of parallels to not only the previous Supremes #1 but also their first, ("Where Did Our Love Go"). "I Can't Help Myself", on the other hand, makes liberal use of marimbas and strings, and also features a nice baritone sax part, and a more upbeat tempo.
Vocally, The Four Tops are backed by Motown session singers The Andantes, who give the song an almost gospel sound. It is Levi Stubbs who remains the main attraction. His strong Baritone singing voice is full with emotion, and because of this, every Four Tops song remains worth listening to. This song is certainly one of their more poppy entries, but it is nonetheless an enjoyable pop song.
The subsequent single by the Four Tops is perhaps a bit more well known, "It's The Same Old Song". Like its title perhaps mocks, the song parallels "I Can't Help Myself" in more ways than one. However, it would be in the following year that the Tops would record some of their most enduring and mature work. More on that, when we get to '66...
Final Verdict - While the Four Tops would come out with superior songs over their career, "I Can't Help Myself" is still an important stepping stone in their catalog. I certainly would recommend a listen.
Coming Up Next - "Mr. Tambourine Man" by The Byrds.
Until Next Time - I'm Dr. Rock and I can't help myself -
Thursday, November 21, 2013
Song #137 - "Back Into My Arms Again" - The Supremes
Recorded - December 1, 1964, & February 24, 1965
Released - April 15, 1965
#1 for week of June 12, 1965.
"Back Into My Arms Again" was the fifth Supremes single in a row to go to #1 in the US on the Billboard Hot 100. This song is also the fifth #1 of theirs in a row to be written by the same songwriting trio of Holland-Dozier-Holland. With that being said, there doesn't appear to be as much call for this song as their was for their previous hits. If you don't have this song in your music collection, you're going to have a tricky time finding it on youtube, (For legal reasons, I can't provide a direct link). This is a shame as it's one of their more hidden gems.
Much of the already established formula of The Supremes' previous hits is still present. Diana Ross is the prominent vocalist, with Mary and Flo having a much more diminished presence this time around. Lyrically, "Back In My Arms Again", could be considered a sequel to "Stop! In The Name Of Love". In the latter song, the singer pleaded with her lover not to cheat on her. In the former, the two are back together again. It's nothing ground breaking, but in the 1960's pop context, it works.
The song is also very brass-heavy with some nice trombone fanfares during the choruses. The pre-chorus melody of the song was later recycled on the song "This Old Heart Of Mine" by The Isley Brothers. This isn't just a coincidence as both songs were written by the H-G-H songwriting team. In fact, the next song on this list shares some musical similarities as well. But it was on "Back In My Arms Again" that the melody first appeared.
So this brings up an interesting point. Despite my unwavering love of classic Motown music, is this later re-use of an existing musical melody considered lazy? Or is it meant as a stylistic continuation of the same theme among these different Motown artists as a way of uniting them all? I'll leave that for you to decide.
Final Verdict - While not as groundbreaking and fresh sounding as some of their first #1 hits, "Back In My Arms Again" is nonetheless a Motown classic by one of the label's most successful groups. If you enjoy everything The Supremes have released so far, you're sure to love this song.
Coming Up Next - "I Can't Help Myself (Sugar Pie Honey Bunch)" by The Four Tops.
Until Next Time - I'm Dr. Rock, and I hope you'll keep coming back to this site again -
Released - April 15, 1965
#1 for week of June 12, 1965.
"Back Into My Arms Again" was the fifth Supremes single in a row to go to #1 in the US on the Billboard Hot 100. This song is also the fifth #1 of theirs in a row to be written by the same songwriting trio of Holland-Dozier-Holland. With that being said, there doesn't appear to be as much call for this song as their was for their previous hits. If you don't have this song in your music collection, you're going to have a tricky time finding it on youtube, (For legal reasons, I can't provide a direct link). This is a shame as it's one of their more hidden gems.
Much of the already established formula of The Supremes' previous hits is still present. Diana Ross is the prominent vocalist, with Mary and Flo having a much more diminished presence this time around. Lyrically, "Back In My Arms Again", could be considered a sequel to "Stop! In The Name Of Love". In the latter song, the singer pleaded with her lover not to cheat on her. In the former, the two are back together again. It's nothing ground breaking, but in the 1960's pop context, it works.
The song is also very brass-heavy with some nice trombone fanfares during the choruses. The pre-chorus melody of the song was later recycled on the song "This Old Heart Of Mine" by The Isley Brothers. This isn't just a coincidence as both songs were written by the H-G-H songwriting team. In fact, the next song on this list shares some musical similarities as well. But it was on "Back In My Arms Again" that the melody first appeared.
So this brings up an interesting point. Despite my unwavering love of classic Motown music, is this later re-use of an existing musical melody considered lazy? Or is it meant as a stylistic continuation of the same theme among these different Motown artists as a way of uniting them all? I'll leave that for you to decide.
Final Verdict - While not as groundbreaking and fresh sounding as some of their first #1 hits, "Back In My Arms Again" is nonetheless a Motown classic by one of the label's most successful groups. If you enjoy everything The Supremes have released so far, you're sure to love this song.
Coming Up Next - "I Can't Help Myself (Sugar Pie Honey Bunch)" by The Four Tops.
Until Next Time - I'm Dr. Rock, and I hope you'll keep coming back to this site again -
Song #136 - "Help Me Rhonda" - The Beach Boys
Recorded - February 24 + March 4 and 21, 1965.
Released - April 5, 1965
#1 for weeks of May 29 and June 5, 1965.
After four British number ones in a row, we turn back to the shores of Southern California, where a very different wave was rising. In 1965, Brian Wilson had ceased touring with The Beach Boys. On stage, he was first replaced by Glen Campbell, and then in April by Bruce Johnston. Bruce would end up becoming the permanent sixth member although he was initially kept more in the shadows. Brian meanwhile worked exclusively on arranging the music of the group's albums. The first album released in this new method was Today! which broke new ground by featuring one side of upbeat tracks and another side of introspective ballads. One of the songs on that upbeat side was a song called "Help Me Ronda".
No, that's not typo, there are in fact two versions of this song. The first, and lesser known version on the Today! album has a guitar introduction, a weaker chorus backing vocal arrangement, harmonica, and a fade in/fade out ending that's better in theory than in practice. The session, which took place in January of 1965, was also the scene of an infamous confrontation with a drunken Murray Wilson. Since this was captured on tape, it is now widely available on youtube for all to hear. Perhaps it was because of those bad vibes and the fact that "Ronda" didn't turn out like he wanted, that Brian chose to re-make the song as "Help Me Rhonda" during the first session for their next album, Summer Days And Summer Nights. It is this remake that reached #1.
Comparing the two versions, the difference is like night and day. There is a much stronger vocal arrangement with Mike Love doing some prominent "Bow Bow" vocals in the chorus. The middle section of the song which spotlights Carl Wilson on lead guitar, and Brian on multiple pianos is not only infinitely better than the original but happens to be my favorite part of the song. Al Jardine, the only non-brother/cousin of the classic five Beach Boys, is the lead vocalist on both versions, with a fantastic vocal performance on this remake. Even to this very day, he can still sing the song just as strong as he did back in 1965.
There is a major progression in the music arrangement on "Help Me Rhonda". Brian was becoming more and more ambitious, and it took three separate days to piece together this song. By 1966, this will seem like nothing! Prior to the recording of "California Girls" in April of 1965, Brian had taken LSD for the first time, which is what he started writing "California Girls" under. That song remains my favorite from 1965 and it is apparently Brian's favorite song of theirs. Unfortunately, it didn't hit #1.
The Summer Days album was partially one final attempt, (At Mike Love and Capitol Records' insistence), at putting out summer-themed Beach Boys material. This is certainly the case for "Amusement Parks USA" and "Salt Lake City". On the other hand, Brian was writing more mature themes with songs like "Let Him Run Wild", and "Girl Don't Tell Me". Although the latter, sung by Carl Wilson, sounds very influenced by the then-recently released "Ticket To Ride"!
After the Summer Days album, Brian buckled down on writing songs for what would end up being The Beach Boys magnum opus, Pet Sounds, although I'll wait until late 1966 to tell more of that story...
Final Verdict - "Help Me Rhonda" is a fantastic return to the top for The Beach Boys. With a fantastic vocal arrangement and a complex musical track, it remains one of Brian Wilson's finest productions.
Coming Up Next - "Back Into My Arms Again" by The Supremes.
Until Next Time - I'm Dr. Rhockda -
Released - April 5, 1965
#1 for weeks of May 29 and June 5, 1965.
After four British number ones in a row, we turn back to the shores of Southern California, where a very different wave was rising. In 1965, Brian Wilson had ceased touring with The Beach Boys. On stage, he was first replaced by Glen Campbell, and then in April by Bruce Johnston. Bruce would end up becoming the permanent sixth member although he was initially kept more in the shadows. Brian meanwhile worked exclusively on arranging the music of the group's albums. The first album released in this new method was Today! which broke new ground by featuring one side of upbeat tracks and another side of introspective ballads. One of the songs on that upbeat side was a song called "Help Me Ronda".
No, that's not typo, there are in fact two versions of this song. The first, and lesser known version on the Today! album has a guitar introduction, a weaker chorus backing vocal arrangement, harmonica, and a fade in/fade out ending that's better in theory than in practice. The session, which took place in January of 1965, was also the scene of an infamous confrontation with a drunken Murray Wilson. Since this was captured on tape, it is now widely available on youtube for all to hear. Perhaps it was because of those bad vibes and the fact that "Ronda" didn't turn out like he wanted, that Brian chose to re-make the song as "Help Me Rhonda" during the first session for their next album, Summer Days And Summer Nights. It is this remake that reached #1.
Comparing the two versions, the difference is like night and day. There is a much stronger vocal arrangement with Mike Love doing some prominent "Bow Bow" vocals in the chorus. The middle section of the song which spotlights Carl Wilson on lead guitar, and Brian on multiple pianos is not only infinitely better than the original but happens to be my favorite part of the song. Al Jardine, the only non-brother/cousin of the classic five Beach Boys, is the lead vocalist on both versions, with a fantastic vocal performance on this remake. Even to this very day, he can still sing the song just as strong as he did back in 1965.
There is a major progression in the music arrangement on "Help Me Rhonda". Brian was becoming more and more ambitious, and it took three separate days to piece together this song. By 1966, this will seem like nothing! Prior to the recording of "California Girls" in April of 1965, Brian had taken LSD for the first time, which is what he started writing "California Girls" under. That song remains my favorite from 1965 and it is apparently Brian's favorite song of theirs. Unfortunately, it didn't hit #1.
The Summer Days album was partially one final attempt, (At Mike Love and Capitol Records' insistence), at putting out summer-themed Beach Boys material. This is certainly the case for "Amusement Parks USA" and "Salt Lake City". On the other hand, Brian was writing more mature themes with songs like "Let Him Run Wild", and "Girl Don't Tell Me". Although the latter, sung by Carl Wilson, sounds very influenced by the then-recently released "Ticket To Ride"!
After the Summer Days album, Brian buckled down on writing songs for what would end up being The Beach Boys magnum opus, Pet Sounds, although I'll wait until late 1966 to tell more of that story...
Final Verdict - "Help Me Rhonda" is a fantastic return to the top for The Beach Boys. With a fantastic vocal arrangement and a complex musical track, it remains one of Brian Wilson's finest productions.
Coming Up Next - "Back Into My Arms Again" by The Supremes.
Until Next Time - I'm Dr. Rhockda -
Wednesday, November 20, 2013
Song #135 - "Ticket To Ride" - The Beatles
Recorded - February 15, 1965
Released - April 9, 1965 (UK and US)
#1 for week of May 22, 1965.
I don't know what it was about the spring of 1965, but here we have the fourth US #1 in a row which is of British origin. However, unlike the previous three singles, "Ticket To Ride" is neither corny, bland, or a guilty pleasure, respectively. Rather, The Beatles showcase yet again why they were one of the top innovative bands of the time. A mere two years since their debut album, their sound had changed significantly and thus, this song could be considered the beginning of their most creative period musically.
"Ticket To Ride" was the very first song The Beatles recorded in both 1965 and for their then-untitled second film/fifth album, which would soon be named, Help!. As an appropriate coincidence, earlier in the day before the session had begun, John Lennon, the primary writer of "Ticket To Ride", had passed his drivers test.
Musically, this is easily one of my favorite early Beatles tracks. Guitar-wise, you have plenty of jangly Rickenbacker guitars, with the lead part played unusually by Paul, instead of George. The song's simple but effective intro riff occurs throughout the song. Another innovation is the raga-like droning feel of the verses. However, this is surely just a coincidence as it would be a few more months until The Beatles, and especially George, were exposed to authentic Indian music.
However, the song's main attraction, and the reason I love it so much, is Ringo's drumming. For those who feel the need to understate Ringo's abilities as a drummer, look no further than this song to be proven otherwise. No other musical group of the time recorded in such a perfectly timed start/stop pattern as Mr. Starr does on "Ticket To Ride". He even adds some variety by giving us a different drum fill per-chorus. It's this massive powerhouse of a drum track that permanently raised the bar on how skilled your band's drummer must be.
Vocally, this song is primarily John's spotlight although Paul is very prominent in the backing vocal department. As a further surprise to the listener, the end of the song features a unique coda. This additional add-on, under the hands of most bands, would have been turned into a separate song all together. Here, The Beatles practically turn "Ticket To Ride" into a medley and it works really well.
The Help! album remains a classic, with not a single bad track among the bunch. Still, there would be more innovative songs recorded for it as the months progressed. In fact, compared to songs like "Yesterday" and, lyrically, the title track itself, "Ticket To Ride" doesn't seem nearly as groundbreaking. However, it can't be understated just how progressive this song was for its time.
Final Verdict - An absolutely classic Beatles track which features some of their best guitar and drum work. If you are trying to get a casual fan into the band, make this one of the first songs you play them. A well-deserved #1 hit, on both sides of the Atlantic.
Coming Up Next - "Help Me Rhonda" by The Beach Boys.
Until Next Time - I'm Dr. Rock, and I've got a ticket to ride -
Released - April 9, 1965 (UK and US)
#1 for week of May 22, 1965.
I don't know what it was about the spring of 1965, but here we have the fourth US #1 in a row which is of British origin. However, unlike the previous three singles, "Ticket To Ride" is neither corny, bland, or a guilty pleasure, respectively. Rather, The Beatles showcase yet again why they were one of the top innovative bands of the time. A mere two years since their debut album, their sound had changed significantly and thus, this song could be considered the beginning of their most creative period musically.
"Ticket To Ride" was the very first song The Beatles recorded in both 1965 and for their then-untitled second film/fifth album, which would soon be named, Help!. As an appropriate coincidence, earlier in the day before the session had begun, John Lennon, the primary writer of "Ticket To Ride", had passed his drivers test.
Musically, this is easily one of my favorite early Beatles tracks. Guitar-wise, you have plenty of jangly Rickenbacker guitars, with the lead part played unusually by Paul, instead of George. The song's simple but effective intro riff occurs throughout the song. Another innovation is the raga-like droning feel of the verses. However, this is surely just a coincidence as it would be a few more months until The Beatles, and especially George, were exposed to authentic Indian music.
However, the song's main attraction, and the reason I love it so much, is Ringo's drumming. For those who feel the need to understate Ringo's abilities as a drummer, look no further than this song to be proven otherwise. No other musical group of the time recorded in such a perfectly timed start/stop pattern as Mr. Starr does on "Ticket To Ride". He even adds some variety by giving us a different drum fill per-chorus. It's this massive powerhouse of a drum track that permanently raised the bar on how skilled your band's drummer must be.
Vocally, this song is primarily John's spotlight although Paul is very prominent in the backing vocal department. As a further surprise to the listener, the end of the song features a unique coda. This additional add-on, under the hands of most bands, would have been turned into a separate song all together. Here, The Beatles practically turn "Ticket To Ride" into a medley and it works really well.
The Help! album remains a classic, with not a single bad track among the bunch. Still, there would be more innovative songs recorded for it as the months progressed. In fact, compared to songs like "Yesterday" and, lyrically, the title track itself, "Ticket To Ride" doesn't seem nearly as groundbreaking. However, it can't be understated just how progressive this song was for its time.
Final Verdict - An absolutely classic Beatles track which features some of their best guitar and drum work. If you are trying to get a casual fan into the band, make this one of the first songs you play them. A well-deserved #1 hit, on both sides of the Atlantic.
Coming Up Next - "Help Me Rhonda" by The Beach Boys.
Until Next Time - I'm Dr. Rock, and I've got a ticket to ride -
Song #134 - "Mrs. Brown You've Got A Lovely Daughter" - Herman's Hermits
Recorded - late 1964 or early 1965
Released - February 1965 (US), June 1965 (UK)
#1 for weeks of May 1, 8, and 15, 1965.
We've come to the last of this apparent trio of poppier British Invasion hits. While doing research on this particular #1, I was a bit surprised at the rather massive amount of scorn and hate that Herman's Hermits get. In some cases, I see their point: The band were among the most commercial sounding of all the early British Bands. However, much to the disappointment of some of my viewers, I'm going to be defending these guys. Unlike Freddie And The Dreamers, who were hopelessly stuck in a goofy pop sound for their entire career, and The Mindbenders, who were inconsistent and largely unknown today, Herman's Hermits did make an effort to mature. Most importantly, their songs are still recognized and played to this very day.
First off, Herman's Hermits' discography is downright messy. It's tricky to determine when each song was first released, and more importantly, which country got the song first. The band's first single was a cover of Goffin/King's "I'm Into Something Good" which was first released in August of 1964. It was a #1 in the UK and a pretty respectable hit here in the US. Sometime between the later weeks of 1964 and the beginning of 1965, they recorded some new songs meant exclusively for their first US album, Introducing Herman's Hermits. One of those songs was soon extracted as a single and became their first US #1 hit.
"Mrs. Brown You've Got A Lovely Daughter" is a song that I initially wasn't a big fan of. Then, years later after repeated tries to get into the song, something clicked. To this day, I'm still not sure what it is. Perhaps it's Peter Noone's quintessentially British singing voice in this song, which pre-dates The Kinks' more English-sounding songs. Or maybe it's the banjo-heavy arrangement which gives the songs a unique vaudeville feel.
I can see why some might not care for this song, it's written by a mostly unknown outside writer, (Trevor Peacock). Plus, the band apparently hated this song as well as their other US #1 due to both songs being more novelty tunes. What impresses me about the Hermits and why I have a degree of respect for them is that they actually managed to mature and release some really impressive subsequent singles. "Listen People" and "No Milk Today" especially are very enjoyable to listen to, despite them not being written by The Hermits themselves...hmm...
It really is a win/lose situation with this band. No, they rarely or never wrote their own songs, yes, much of their output was pure pop. Yet, I just can't bring myself to hate any of their most well known singles. There's a certain charm to songs like "Mrs. Brown". It is this charm that makes me actually enjoy repeated listens of the song and appreciate the band's music. A guilty pleasure, or a genuinely enjoyable group? You decide.
Final Verdict - A prime example of a band who have a sharply divided opinion over the years. I myself find the song charming and appreciate its camp factor, even though many people and the singer himself do not. What do you think?
Coming Up Next - "Ticket To Ride" by The Beatles.
Until Next Time - I'm Dr. Rock and I've got a lovely website -
Released - February 1965 (US), June 1965 (UK)
#1 for weeks of May 1, 8, and 15, 1965.
We've come to the last of this apparent trio of poppier British Invasion hits. While doing research on this particular #1, I was a bit surprised at the rather massive amount of scorn and hate that Herman's Hermits get. In some cases, I see their point: The band were among the most commercial sounding of all the early British Bands. However, much to the disappointment of some of my viewers, I'm going to be defending these guys. Unlike Freddie And The Dreamers, who were hopelessly stuck in a goofy pop sound for their entire career, and The Mindbenders, who were inconsistent and largely unknown today, Herman's Hermits did make an effort to mature. Most importantly, their songs are still recognized and played to this very day.
First off, Herman's Hermits' discography is downright messy. It's tricky to determine when each song was first released, and more importantly, which country got the song first. The band's first single was a cover of Goffin/King's "I'm Into Something Good" which was first released in August of 1964. It was a #1 in the UK and a pretty respectable hit here in the US. Sometime between the later weeks of 1964 and the beginning of 1965, they recorded some new songs meant exclusively for their first US album, Introducing Herman's Hermits. One of those songs was soon extracted as a single and became their first US #1 hit.
"Mrs. Brown You've Got A Lovely Daughter" is a song that I initially wasn't a big fan of. Then, years later after repeated tries to get into the song, something clicked. To this day, I'm still not sure what it is. Perhaps it's Peter Noone's quintessentially British singing voice in this song, which pre-dates The Kinks' more English-sounding songs. Or maybe it's the banjo-heavy arrangement which gives the songs a unique vaudeville feel.
I can see why some might not care for this song, it's written by a mostly unknown outside writer, (Trevor Peacock). Plus, the band apparently hated this song as well as their other US #1 due to both songs being more novelty tunes. What impresses me about the Hermits and why I have a degree of respect for them is that they actually managed to mature and release some really impressive subsequent singles. "Listen People" and "No Milk Today" especially are very enjoyable to listen to, despite them not being written by The Hermits themselves...hmm...
It really is a win/lose situation with this band. No, they rarely or never wrote their own songs, yes, much of their output was pure pop. Yet, I just can't bring myself to hate any of their most well known singles. There's a certain charm to songs like "Mrs. Brown". It is this charm that makes me actually enjoy repeated listens of the song and appreciate the band's music. A guilty pleasure, or a genuinely enjoyable group? You decide.
Final Verdict - A prime example of a band who have a sharply divided opinion over the years. I myself find the song charming and appreciate its camp factor, even though many people and the singer himself do not. What do you think?
Coming Up Next - "Ticket To Ride" by The Beatles.
Until Next Time - I'm Dr. Rock and I've got a lovely website -
Tuesday, November 19, 2013
Song #133 - "Game Of Love" - Wayne Fontana And The Mindbenders
Recorded - late 1964 or early 1965
Released - January 22, 1965 (UK), February, 1965 (US)
#1 for week of April 24, 1965.
Despite me being more than familiar with British Invasion music and bands, much of the discography of Wayne Fontana And The Mindbenders has slipped by me. In fact, "Game Of Love" is a total mystery to me. It certainly isn't one of the first songs people think of when 1965 comes to mind, and the band who sung it is probably alien to many people. This could mean one of two things: The song is mediocre and time forgot it, or the song is a buried gem. Which one will it be?
Wayne Fontana And The Mindbenders were another British Beat group with a strong garage rock and blues influence. The group's guitarist, Eric Stewart would later become of the members of 1970's rock group 10cc. Much of WF and The Mindbenders' prime material is singles based. Only a diehard fan would seek out one of their albums.
In September of 1965, singer Wayne Fontana left the group. Rather than split up, Eric Stewart became the new lead singer, and the group were called simply "The Mindbenders". They put out a mix of hit singles ("Groovy Kind Of Love" which was a #2 hit in 1966) and buried gems ("My New Day And Age" from 1967), before calling it quits in 1968.
"Game Of Love", written by Clint Ballard Jr (Who would soon write The Hollies' "I'm Alive"), was released in early 1965. It became The Mindbenders' first and only US chart topper. Perhaps this was because the song is an interesting hybrid of various American styles and thus, the American market lapped it up. Much of the song sounds very similar to "Louie Louie" in terms of chord and musical progression. The bridges of the song, on the other hand, use the famous Bo Diddley shuffle rhythm which endless bands have copied.
Lyrically, this is not a strong song. The verse lyrics borderline on cringe-worthy and the rest of the lyrics are rather formulaic and repetitive. Also, the "Love" bass vocalizations in the chorus sound really out of tune in parts and aren't exactly that pleasing to hear over and over again. At least I can say that Wayne Fontana gives the song a good vocal performance.
Does it work? Did this song deserve to be so big? No, I don't think it did. However, I think with some extra effort, it could have cooked. Change the chord progression, clean up and expand the lyrics. Most importantly, this song is calling out for a solo and/or a "Rave Up" section. As the song stands now though, it's not very memorable and doesn't hold up as well when compared to other similar songs by rival bands.
Final Verdict - "Game Of Love" disappointed me, I was expecting this to be a knockout gem. Although it certainly isn't a bad song, it's a song that isn't the band's best and it certainly isn't among the best songs of 1965. It's just OK.
Coming Up Next - "Mrs. Brown You've Got A Lovely Daughter" by Herman's Hermits.
Until Next Time - Remember,"The purpose of Dr. Rock, is to talk about rock" -
Released - January 22, 1965 (UK), February, 1965 (US)
#1 for week of April 24, 1965.
Despite me being more than familiar with British Invasion music and bands, much of the discography of Wayne Fontana And The Mindbenders has slipped by me. In fact, "Game Of Love" is a total mystery to me. It certainly isn't one of the first songs people think of when 1965 comes to mind, and the band who sung it is probably alien to many people. This could mean one of two things: The song is mediocre and time forgot it, or the song is a buried gem. Which one will it be?
Wayne Fontana And The Mindbenders were another British Beat group with a strong garage rock and blues influence. The group's guitarist, Eric Stewart would later become of the members of 1970's rock group 10cc. Much of WF and The Mindbenders' prime material is singles based. Only a diehard fan would seek out one of their albums.
In September of 1965, singer Wayne Fontana left the group. Rather than split up, Eric Stewart became the new lead singer, and the group were called simply "The Mindbenders". They put out a mix of hit singles ("Groovy Kind Of Love" which was a #2 hit in 1966) and buried gems ("My New Day And Age" from 1967), before calling it quits in 1968.
"Game Of Love", written by Clint Ballard Jr (Who would soon write The Hollies' "I'm Alive"), was released in early 1965. It became The Mindbenders' first and only US chart topper. Perhaps this was because the song is an interesting hybrid of various American styles and thus, the American market lapped it up. Much of the song sounds very similar to "Louie Louie" in terms of chord and musical progression. The bridges of the song, on the other hand, use the famous Bo Diddley shuffle rhythm which endless bands have copied.
Lyrically, this is not a strong song. The verse lyrics borderline on cringe-worthy and the rest of the lyrics are rather formulaic and repetitive. Also, the "Love" bass vocalizations in the chorus sound really out of tune in parts and aren't exactly that pleasing to hear over and over again. At least I can say that Wayne Fontana gives the song a good vocal performance.
Final Verdict - "Game Of Love" disappointed me, I was expecting this to be a knockout gem. Although it certainly isn't a bad song, it's a song that isn't the band's best and it certainly isn't among the best songs of 1965. It's just OK.
Coming Up Next - "Mrs. Brown You've Got A Lovely Daughter" by Herman's Hermits.
Until Next Time - Remember,"The purpose of Dr. Rock, is to talk about rock" -
Song #132 - "I'm Telling You Now" - Freddie And The Dreamers
Recorded - July 8, 1963
Originally Released - August, 1963 (UK), October 7, 1963 (US).
Re-Released - March, 1965 (US only)
#1 for weeks of April 10 and 17, 1965.
By 1965, there were quite a few early British Invasion bands who had made a dent in the American charts. Some of these bands have certainly stood the test of time, others not so much. I'd personally rank bands like The Beatles, The Who, The Rolling Stones, and The Kinks as the Top 4 of the tier. Next is bands like The Zombies, The Animals, and The Yardbirds, all of whom were also quite great. Following this, there's The Hollies, The Dave Clark Five, and Manfred Mann, all bands who had a great catalog but often had quite a bit of filler. Lastly, there's the rest of the early British bands. This would include The Searchers, Herman's Hermits, Gerry and The Pacemakers, and finally, Freddie And The Dreamers.
Now don't get me wrong, none of those bands listed "Last" are weak bands, they all just have one thing in common: They mostly stayed with one sound their entire career and made little to no attempt at changing with the times. In the case of Freddie And The Dreamers, they really did some baffling career moves. This includes releasing a dance-specific song called "Do The Freddie" as late as 1965, (Great music, poor lyrics). There was also an album of Disney songs they released in 1966, a year that also brought us more artistic endeavors such as Revolver. The band actually lasted through early 1970 whereupon lead singer Freddie Garrity became a cast member of a children's TV show.
"I'm Telling You Now" was originally recorded and released in 1963. So in case you were wondering why the song sounds like an early Merseybeat pop record, that's why. Freddie And The Dreamers' UK success had all but dried up by 1964. However, they were still keen to tap into the American market so in 1965, "I'm Telling You Now" was re-released and somehow, rose up to #1 on the charts for two weeks. Did the song deserve this much success? Well, let's find out.
First of all, one major plus I have about the band is the fact that they did not take themselves too seriously. Look up the music video for "I'm Telling You Now" and you'll see all of the guitar players and Freddie flailing their legs while "Playing" guitar. It's silly, but I find it rather funny in a charming way. Freddie Garrity, who unfortunately passed away in 2006, comes across as a more likable and down to earth guy than some of the other bands and artists I have reviewed so far.
Musically and lyrically, this song is certainly one of the lighter and poppier British beat numbers out there. The guitars have that signature Liverpool twang, and there's even a guitar solo midway through the piece, (Although it's nothing to get too excited about). The lyrics are a bit bubblegummy and the song is a bit too sweet in spots, but Freddie had a good singing voice so at least this slightly too sweet song is sung well.
So did this song deserve to be #1? Well, I personally don't consider it to be one of the best British Invasion songs, as it's musically and lyrically rather simple. However, Freddie And The Dreamers were a very easygoing and non-pretentious band so at least I can say that perhaps these underdogs deserved this one big hit.
Final Verdict - "I'm Telling You Now" is quite a poppy early British Invasion song. It hasn't aged as well as other songs by similar artists and I'm sure some people might be adverse to its occasional sugar-factor. Me? I kinda like it, I don't know why but I do, maybe you will too.
Coming Up Next - "Game Of Love" by Wayne Fontana And The Mindbenders.
Until Next Time - I'm Dr. Rock and I'll be staying for many-a-day.
Originally Released - August, 1963 (UK), October 7, 1963 (US).
Re-Released - March, 1965 (US only)
#1 for weeks of April 10 and 17, 1965.
By 1965, there were quite a few early British Invasion bands who had made a dent in the American charts. Some of these bands have certainly stood the test of time, others not so much. I'd personally rank bands like The Beatles, The Who, The Rolling Stones, and The Kinks as the Top 4 of the tier. Next is bands like The Zombies, The Animals, and The Yardbirds, all of whom were also quite great. Following this, there's The Hollies, The Dave Clark Five, and Manfred Mann, all bands who had a great catalog but often had quite a bit of filler. Lastly, there's the rest of the early British bands. This would include The Searchers, Herman's Hermits, Gerry and The Pacemakers, and finally, Freddie And The Dreamers.
Now don't get me wrong, none of those bands listed "Last" are weak bands, they all just have one thing in common: They mostly stayed with one sound their entire career and made little to no attempt at changing with the times. In the case of Freddie And The Dreamers, they really did some baffling career moves. This includes releasing a dance-specific song called "Do The Freddie" as late as 1965, (Great music, poor lyrics). There was also an album of Disney songs they released in 1966, a year that also brought us more artistic endeavors such as Revolver. The band actually lasted through early 1970 whereupon lead singer Freddie Garrity became a cast member of a children's TV show.
"I'm Telling You Now" was originally recorded and released in 1963. So in case you were wondering why the song sounds like an early Merseybeat pop record, that's why. Freddie And The Dreamers' UK success had all but dried up by 1964. However, they were still keen to tap into the American market so in 1965, "I'm Telling You Now" was re-released and somehow, rose up to #1 on the charts for two weeks. Did the song deserve this much success? Well, let's find out.
First of all, one major plus I have about the band is the fact that they did not take themselves too seriously. Look up the music video for "I'm Telling You Now" and you'll see all of the guitar players and Freddie flailing their legs while "Playing" guitar. It's silly, but I find it rather funny in a charming way. Freddie Garrity, who unfortunately passed away in 2006, comes across as a more likable and down to earth guy than some of the other bands and artists I have reviewed so far.
Musically and lyrically, this song is certainly one of the lighter and poppier British beat numbers out there. The guitars have that signature Liverpool twang, and there's even a guitar solo midway through the piece, (Although it's nothing to get too excited about). The lyrics are a bit bubblegummy and the song is a bit too sweet in spots, but Freddie had a good singing voice so at least this slightly too sweet song is sung well.
So did this song deserve to be #1? Well, I personally don't consider it to be one of the best British Invasion songs, as it's musically and lyrically rather simple. However, Freddie And The Dreamers were a very easygoing and non-pretentious band so at least I can say that perhaps these underdogs deserved this one big hit.
Final Verdict - "I'm Telling You Now" is quite a poppy early British Invasion song. It hasn't aged as well as other songs by similar artists and I'm sure some people might be adverse to its occasional sugar-factor. Me? I kinda like it, I don't know why but I do, maybe you will too.
Coming Up Next - "Game Of Love" by Wayne Fontana And The Mindbenders.
Until Next Time - I'm Dr. Rock and I'll be staying for many-a-day.
Monday, November 18, 2013
Song #131 - "Stop! In The Name Of Love" - The Supremes
Recorded - January 5, 7, and 11, 1965.
Released - February 8, 1965
#1 for weeks of March 27 and April 3, 1965.
It's amazing just how many number ones The Supremes have had, even in 1965. Motown records by now was not just exclusively for the R&B market. With The Temptations and The Supremes charting big on the pop charts, Berry Gordy Jr's label was a goldmine. "Stop! In The Name Of Love" is The Supremes' fourth #1, and once again, it 1-up's their previous hits.
Written yet again by the solid songwriting team of Holland-Dozier-Holland, there is a natural sense of continuity and sonic similarities between all of their past compositions given to The Supremes. Lyrically, the song deals with the singer wanting her lover to not cheat, and to preserve their relationship/marriage. With relatable lyrics, tons of vocal hooks, and a recognizable singing trio as the artists, the song was an easy hit.
Musically, there is actually quite a bit happening. We have a rich blend of brass, organ, and numerous pianos, which create almost a Wall Of Sound feel. Of course, this is Motown, so all of this fine musicianship is done by The Funk Brothers. Vocally, this tops "Come See About Me" by far. You not only have a great vocal performance by Diana Ross, there's an equally strong backing by Flo and Mary. Certainly a long way from "Where Did Our Love Go", where the backing duo were barely spotlighted.
There's not much else to add as The Supremes had plenty more #1's, including one more before 1965 was over. So you can expect to hear me talk about them rather soon.
Final Verdict - The best vocal effort yet by The Supremes. "Stop! In The Name Of Love" is rich with hooks, and a solid musical backdrop. It certainly gets my seal of approval.
Coming Up Next - "I'm Telling You Now" by Freddie And The Dreamers.
Until Next Time - Stop! in the name of Dr. Rock -
Released - February 8, 1965
#1 for weeks of March 27 and April 3, 1965.
It's amazing just how many number ones The Supremes have had, even in 1965. Motown records by now was not just exclusively for the R&B market. With The Temptations and The Supremes charting big on the pop charts, Berry Gordy Jr's label was a goldmine. "Stop! In The Name Of Love" is The Supremes' fourth #1, and once again, it 1-up's their previous hits.
Written yet again by the solid songwriting team of Holland-Dozier-Holland, there is a natural sense of continuity and sonic similarities between all of their past compositions given to The Supremes. Lyrically, the song deals with the singer wanting her lover to not cheat, and to preserve their relationship/marriage. With relatable lyrics, tons of vocal hooks, and a recognizable singing trio as the artists, the song was an easy hit.
Musically, there is actually quite a bit happening. We have a rich blend of brass, organ, and numerous pianos, which create almost a Wall Of Sound feel. Of course, this is Motown, so all of this fine musicianship is done by The Funk Brothers. Vocally, this tops "Come See About Me" by far. You not only have a great vocal performance by Diana Ross, there's an equally strong backing by Flo and Mary. Certainly a long way from "Where Did Our Love Go", where the backing duo were barely spotlighted.
There's not much else to add as The Supremes had plenty more #1's, including one more before 1965 was over. So you can expect to hear me talk about them rather soon.
Final Verdict - The best vocal effort yet by The Supremes. "Stop! In The Name Of Love" is rich with hooks, and a solid musical backdrop. It certainly gets my seal of approval.
Coming Up Next - "I'm Telling You Now" by Freddie And The Dreamers.
Until Next Time - Stop! in the name of Dr. Rock -
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