After the rather large amount of high-quality #1's from 1967, 1968 feels like a splash of cold water to the face in comparison. In terms of songs that managed to reach #1, you had an uneven mix of solid classics and easy listening schmaltzfests.
Of course, if you followed rock music and especially FM radio during this time period, you could argue that '68 was better than '67. I've already gone over some of the artists and styles that positively shaped 1968 in music in my year overview. Needless to say, there was certainly a whole lot more to this year than bubblegum pop.
Picking the worst #1 song of the year proved to be easy, but picking the best was an even harder decision than the previous year's was. Once again, it boiled down to equally good songs of totally different genres. Which one got the lucky pick? Find out...right now -
Best #1 Hit Song Of 1968 - "Sittin' On The Dock Of The Bay" - Otis Redding.
It was between "Dock" and "Hey Jude". Honorable mentions go to "I Heard It Through The Grapevine" and "People Got To Be Free". All four are fantastic songs, and all were hot contenders for best song to reach #1 from '68.
"Hey Jude" and "Dock" have several things in common: Both were written as heartfelt statements by their singers, both feature emotionally strong vocals, and both are musically thrilling to listen to. I love "Hey Jude's" musical progression, from piano ballad to singalong rocker. It's practically a tie vote, as it really is a fantastic classic.
What made me, just barely, chose "Dock" as the best is Otis' vocal performance. It's hard to sing in a laid back style and at the same time add so much emotion to the performance. Also, Steve Cropper's guitar playing in the song is untouchable. So it's a case of "Less is more" that made "Dock Of The Bay" rank on top for me.
Worst #1 Hit Song Of 1968 - "Honey" - Bobby Goldsboro.
This category is no contest. "Judy In Disguise" may be a saccharine slice of bubblegum pap but at least it's a mildly amusing listen. Some of the more easy-listening numbers like "This Guy's In Love With You", may not be my taste, but at least they're the right amount of sugar and softness.
"Honey", on the other hand, features an extremely sugary and boring melody, awkward lyrics, phoned in emotion, and a lethargic music track. It's infamy as one of the worst hits of the '60's lives on, at least in my eye.
Next stop on Dr. Rock's Hit Or Miss is 1969. A year that brought us some of the finest rock music ever created. It will also be the first time when both sides of a single could reach #1. There will be great songs, bad songs, and perhaps a few hidden gems. So join me, as we trek on down to Woodstock, this, is 1969! Until next time - Dr. Rock
Friday, January 24, 2014
Song #210 - "I Heard It Through The Grapevine" - Marvin Gaye
Recorded - February 3, 8, 13 and 15 & April 10, 1967
Released - August 26, 1968
Re-released as a single - October 30, 1968
#1 for weeks of December 14, 21 and 28, 1968 & January 4, 11, 18 and 25, 1969.
I hold the final #1 of 1968 in a particular high regard. It just so happens to be the very first Motown song I ever heard. This is because I grew up with the soundtrack to The Big Chill. As a kid, hearing this minor keyed song, with such a haunting production gave me the chills. It still does in fact. "I Heard It Through The Grapevine" ended up being Motown's biggest chart success until 1970. The ironic part is that this version of the song was a rejected recording, that went unreleased for a year and a half.
"I Heard It Through The Grapevine" was originally written by Norman Whitfield (Who wrote much of The Temptations' hits) and Barrett Strong (Who sang lead vocals on the first Motown single, "Money"). "Grapevine" was first recorded in 1966 by Smokey Robinson & The Miracles. This version was rejected by Barry Gordy and went unreleased until 1968. Marvin Gaye then tried recording a version in 1967 which was also rejected by Gordy. It wasn't until June of '67 that Gladys Knight & The Pips recorded a version to Gordy's satisfaction. It was a relative smash, reaching #2 on the pop charts. But this is not the version that most are familiar with today.
Marvin Gaye's then-unreleased version of "Grapevine" was finally issued on his 1968 album In The Groove. Just showing how even Barry Gordy could be wrong, the song became a smash hit when it was released as a standalone single a few months later. Marvin Gaye was already one of the major kings of the record label. With a near endless amount of classics under his belt such as: "How Sweet It Is (To Be Loved By You", "I'll Be Doggone" and "Ain't No Mountain High Enough", he was already guaranteed to go down in history. Then "Grapevine" came along and catapulted him skyward to success.
From the very first tambourine hit followed by an ominous organ line, the listener is hooked. When this is followed by a smooth guitar and a haunting string section, it becomes a crime to stop listening. The music is never overpowering, rather it remains very subdued. Put way up front in the mix is Marvin Gaye and man does he deliver. This is not only Marvin's finest vocal performance yet, but one of his finest he has ever given!
Another aspect of the song that has always appealed to me is the backing vocals. Provided by The Andantes, these vocals have a very haunting quality to them, especially the delightfully spectral "Not much longer would you be my baby" sections. If "Grapevine" is your first exposure to Motown music, you'll be hooked for life, just like me.
It still boggles my mind that this song was initially rejected. The funny thing is, this wouldn't be the last time that Barry Gordy would reject a "Different sounding" song by Marvin Gaye. This would-be rejected song, 1971 #2 smash hit "What's Going On", ended up being not only Marvin's finest work in my opinion, but one of the greatest songs of all time. Luckily, there are a few more #1's in his career history so we'll be returning to Marvin's musical legacy down the road.
Final Verdict - It goes without saying that "I Heard It Through The Grapevine" is a classic. It's aged remarkably well over the years, has an amazingly stunning music and vocal performance, and is sung by one of the finest singers who ever lived. A fully-deserved #1 hit, and a fantastic way to close out 1968.
Coming Up Next - 1968 Reflection.
Until Next Time, I'm Dr. Rock and "I'll be doggone" if my "Pride and joy" isn't music -
Released - August 26, 1968
Re-released as a single - October 30, 1968
#1 for weeks of December 14, 21 and 28, 1968 & January 4, 11, 18 and 25, 1969.
I hold the final #1 of 1968 in a particular high regard. It just so happens to be the very first Motown song I ever heard. This is because I grew up with the soundtrack to The Big Chill. As a kid, hearing this minor keyed song, with such a haunting production gave me the chills. It still does in fact. "I Heard It Through The Grapevine" ended up being Motown's biggest chart success until 1970. The ironic part is that this version of the song was a rejected recording, that went unreleased for a year and a half.
"I Heard It Through The Grapevine" was originally written by Norman Whitfield (Who wrote much of The Temptations' hits) and Barrett Strong (Who sang lead vocals on the first Motown single, "Money"). "Grapevine" was first recorded in 1966 by Smokey Robinson & The Miracles. This version was rejected by Barry Gordy and went unreleased until 1968. Marvin Gaye then tried recording a version in 1967 which was also rejected by Gordy. It wasn't until June of '67 that Gladys Knight & The Pips recorded a version to Gordy's satisfaction. It was a relative smash, reaching #2 on the pop charts. But this is not the version that most are familiar with today.
Marvin Gaye's then-unreleased version of "Grapevine" was finally issued on his 1968 album In The Groove. Just showing how even Barry Gordy could be wrong, the song became a smash hit when it was released as a standalone single a few months later. Marvin Gaye was already one of the major kings of the record label. With a near endless amount of classics under his belt such as: "How Sweet It Is (To Be Loved By You", "I'll Be Doggone" and "Ain't No Mountain High Enough", he was already guaranteed to go down in history. Then "Grapevine" came along and catapulted him skyward to success.
From the very first tambourine hit followed by an ominous organ line, the listener is hooked. When this is followed by a smooth guitar and a haunting string section, it becomes a crime to stop listening. The music is never overpowering, rather it remains very subdued. Put way up front in the mix is Marvin Gaye and man does he deliver. This is not only Marvin's finest vocal performance yet, but one of his finest he has ever given!
Another aspect of the song that has always appealed to me is the backing vocals. Provided by The Andantes, these vocals have a very haunting quality to them, especially the delightfully spectral "Not much longer would you be my baby" sections. If "Grapevine" is your first exposure to Motown music, you'll be hooked for life, just like me.
It still boggles my mind that this song was initially rejected. The funny thing is, this wouldn't be the last time that Barry Gordy would reject a "Different sounding" song by Marvin Gaye. This would-be rejected song, 1971 #2 smash hit "What's Going On", ended up being not only Marvin's finest work in my opinion, but one of the greatest songs of all time. Luckily, there are a few more #1's in his career history so we'll be returning to Marvin's musical legacy down the road.
Final Verdict - It goes without saying that "I Heard It Through The Grapevine" is a classic. It's aged remarkably well over the years, has an amazingly stunning music and vocal performance, and is sung by one of the finest singers who ever lived. A fully-deserved #1 hit, and a fantastic way to close out 1968.
Coming Up Next - 1968 Reflection.
Until Next Time, I'm Dr. Rock and "I'll be doggone" if my "Pride and joy" isn't music -
Thursday, January 23, 2014
Song #209 - "Love Child" - Diana Ross & The Supremes
Recorded - September 17, 19 and 20, 1968
Released - September 30, 1968
#1 for weeks of November 30 and December 7, 1968.
When I did my overview of 1968, I realized all too late that I forgot to mention what Motown Records was up to. Holland-Dozier-Holland, one of Motown's major songwriting teams, parted ways with the label the previous year. This naturally meant that all of the singers they wrote for had to rely on new songwriters. Even the singing groups who kept their same production teams changed their sound big time. Late in '68, The Temptations released "Cloud Nine", which not only showcased all of the group on lead vocals, but also a growing genre called "Psychedelic Soul". Another song of this genre was The Supremes' "Love Child".
Actually, the trio were no longer just "The Supremes", Diana Ross and The Supremes was what they were referred to now. It didn't help that the other two Supremes had been featured less and less. In fact, Florence Ballard was fired in '67, and replaced by Cindy Birdsong. To top it all off, the only Supreme who sang on "Love Child" was Diana. Backing vocals were given to The Andantes, a group of singers that sang backup on a number of Motown hits. So much for a democracy.
"Love Child" was written by a whopping five songwriters: A collective who called themselves "The Clan". I already have a bias against singers who don't write their own material. However, I usually let it slide for Motown, purely because the material was mostly golden. Regardless, the themes of "Love Child" were quite mature compared to something like "Baby Love". Diana Ross sings about not wanting to take it to the next step with her boyfriend, to avoid becoming a teen mother. This was a theme that was downright daring to sing about, even in '68.
The "Psychedelic Soul" sound I referred to earlier is essentially funk music with a more poppy production. There is also quite a variety of instruments in "Love Child". The most prominent of these is a string part that soars up high in the sky. There is also some rather funky guitars, which get your attention right away as they're placed right in the beginning of the song.
Do I think this song deserved to be a #1 hit? Well, I do commend the writers for coming up with such a daring topic. Yet, I can't shake the fact that this song was corporately written, by five faceless songwriters. Thus, none of the emotion expressed in the vocals is genuine. It may be 1968, and it may be a good sounding song. Yet to me it foreshadows modern times, when endless numbers of songwriters work on a pop song that the singer has no input on.
Final Verdict - Despite how I feel about the song's pure pop nature, I do like the music, lyrics, and vocals. Motown may have changed their sound, but we still have a long way to go until Disco essentially shredded any remaining fragments of older R&B. I'd say it deserved to be a hit, but perhaps not as high as #1.
Last Up For 1968 - "I Heard It Through The Grapevine" by Marvin Gaye.
Until Next Time, I'm Dr. Rock and I'm a rock child -
Released - September 30, 1968
#1 for weeks of November 30 and December 7, 1968.
When I did my overview of 1968, I realized all too late that I forgot to mention what Motown Records was up to. Holland-Dozier-Holland, one of Motown's major songwriting teams, parted ways with the label the previous year. This naturally meant that all of the singers they wrote for had to rely on new songwriters. Even the singing groups who kept their same production teams changed their sound big time. Late in '68, The Temptations released "Cloud Nine", which not only showcased all of the group on lead vocals, but also a growing genre called "Psychedelic Soul". Another song of this genre was The Supremes' "Love Child".
Actually, the trio were no longer just "The Supremes", Diana Ross and The Supremes was what they were referred to now. It didn't help that the other two Supremes had been featured less and less. In fact, Florence Ballard was fired in '67, and replaced by Cindy Birdsong. To top it all off, the only Supreme who sang on "Love Child" was Diana. Backing vocals were given to The Andantes, a group of singers that sang backup on a number of Motown hits. So much for a democracy.
"Love Child" was written by a whopping five songwriters: A collective who called themselves "The Clan". I already have a bias against singers who don't write their own material. However, I usually let it slide for Motown, purely because the material was mostly golden. Regardless, the themes of "Love Child" were quite mature compared to something like "Baby Love". Diana Ross sings about not wanting to take it to the next step with her boyfriend, to avoid becoming a teen mother. This was a theme that was downright daring to sing about, even in '68.
The "Psychedelic Soul" sound I referred to earlier is essentially funk music with a more poppy production. There is also quite a variety of instruments in "Love Child". The most prominent of these is a string part that soars up high in the sky. There is also some rather funky guitars, which get your attention right away as they're placed right in the beginning of the song.
Do I think this song deserved to be a #1 hit? Well, I do commend the writers for coming up with such a daring topic. Yet, I can't shake the fact that this song was corporately written, by five faceless songwriters. Thus, none of the emotion expressed in the vocals is genuine. It may be 1968, and it may be a good sounding song. Yet to me it foreshadows modern times, when endless numbers of songwriters work on a pop song that the singer has no input on.
Final Verdict - Despite how I feel about the song's pure pop nature, I do like the music, lyrics, and vocals. Motown may have changed their sound, but we still have a long way to go until Disco essentially shredded any remaining fragments of older R&B. I'd say it deserved to be a hit, but perhaps not as high as #1.
Last Up For 1968 - "I Heard It Through The Grapevine" by Marvin Gaye.
Until Next Time, I'm Dr. Rock and I'm a rock child -
Song #208 - "Hey Jude" - The Beatles
Recorded - July 31-August 2, 1968
Released - August 26, 1968 (US), August 31, 1968 (UK)
#1 for weeks of September 28 & October 5, 12, 19 and 26 & November 2, 9, 16 and 23, 1968.
Nine weeks at #1! This may not seem like a big deal in today's time, when songs regularly reach #1 for much longer, (Unfortunately). For 1968 though, this was a big deal. Of course, it helps that this was a single by one of the most critically and commercial acclaimed bands. As it also turns out, this was the first #1 single that exceeded the standard running time of 3-4 minutes. At seven minutes and eleven seconds, "Hey Jude" once again showcased The Beatles breaking new ground.
1967 may have been a mostly upbeat year for The Beatles, but it was 1968 that the band's stability began to come undone. Their first release of the new year was the standalone "Lady Madonna" single. It only reached #4 here in the US, but it showcased a return to pure rock. Shortly after these February recording sessions, The Beatles traveled to Rishikesh India to study meditation with The Mararishi.
You would think that spending two months meditating in India would bring calmness and unity to the band, but it wasn't meant to be. Ringo left after just ten days, and Paul only stayed for a month. John and George would also depart earlier than expected due to an accusation that Maharishi had made a pass at one of his students. John's high level of disillusionment, coupled with his now burning love for Yoko Ono led to the once lovably snarky Beatle becoming a totally different man.
One bit of good that came out of The Beatles' trip to India, was that they wrote a massive amount of songs. Between May 30th and October 14th, 1968 34 songs were recorded, albeit amidst much tension. Things got so bad that Ringo Starr left the band for twelve days. Thirty of these songs made up The Beatles' self-titled album, most commonly known as "The White Album". Another two of these songs went unreleased until the 1995-6 Anthology series. The remaining two, "Hey Jude" and "Revolution", were released as a single.
Paul wrote "Hey Jude" originally for John's son Julian. At the time, John and his wife Cynthia were going through divorce, and Paul wanted to help cheer up Julian. He changed the song from "Hey Jules" to "Jude", and made the lyrics more universal in their appeal. During a troubled year, many were able to relate to these lyrics, and thus its nine week #1 status seems more than justified.
In keeping with the return to rock and roll sound featured on "Lady Madonna", "Hey Jude" mostly features just guitar, bass, drums, and piano as instrumentation. It is not until much later that strings and brass come in. "Hey Jude" gradually builds up in intensity and dynamics, starting off as a simple piano and vocal number, and gradually building into a massive wall of sound. It predates the musical escalation of "Stairway To Heaven" by three years. That's one of the reasons I love "Hey Jude" so much, it feels like you have been taken on an incredible journey in a mere seven minutes.
The most famous moment of "Hey Jude" is its four minute "Na-na-na..." refrain. This time around, there is no feeling of repetition, as these vocals soon act as pure backing while Paul absolutely lets loose on vocals. Any other band would have been forced to shorten this segment for single release. The Beatles got lucky in this regard, and got to keep the song as is. It's quite hard not to sing along, even if it boils down to humming it in your head.
It's too bad that "Hey Jude" was strictly a single release. In a perfect world, this would've replaced "Revolution #9" as the penultimate song on The White Album. Hearing optimistic lyrics and an epic music track certainly has more appeal than "Number nine...number nine...". You should also check out the music videos produced for "Hey Jude" and "Revolution". They are part mimed/part live, and are full of energy. Paul McCartney agreed with this fact, and he was soon looking for The Beatles to "Get Back" to performing live again. We'll see how that unfolded when we get to 1969...
Final Verdict - "Hey Jude" remains one of The Beatles' finest moments, and I'd consider it to be one of the best songs of all time. Featuring an fantastic Paul McCartney vocal, and a production that is absolutely thrilling, "Hey Jude" is a masterpiece that I always enjoy listening to.
Coming Up Next - "Love Child" by Diana Ross & The Supremes.
Until Next Time, I'm Dr. Rock and every song I review is number one...number one...number one...number one...number one...
Released - August 26, 1968 (US), August 31, 1968 (UK)
#1 for weeks of September 28 & October 5, 12, 19 and 26 & November 2, 9, 16 and 23, 1968.
Nine weeks at #1! This may not seem like a big deal in today's time, when songs regularly reach #1 for much longer, (Unfortunately). For 1968 though, this was a big deal. Of course, it helps that this was a single by one of the most critically and commercial acclaimed bands. As it also turns out, this was the first #1 single that exceeded the standard running time of 3-4 minutes. At seven minutes and eleven seconds, "Hey Jude" once again showcased The Beatles breaking new ground.
1967 may have been a mostly upbeat year for The Beatles, but it was 1968 that the band's stability began to come undone. Their first release of the new year was the standalone "Lady Madonna" single. It only reached #4 here in the US, but it showcased a return to pure rock. Shortly after these February recording sessions, The Beatles traveled to Rishikesh India to study meditation with The Mararishi.
You would think that spending two months meditating in India would bring calmness and unity to the band, but it wasn't meant to be. Ringo left after just ten days, and Paul only stayed for a month. John and George would also depart earlier than expected due to an accusation that Maharishi had made a pass at one of his students. John's high level of disillusionment, coupled with his now burning love for Yoko Ono led to the once lovably snarky Beatle becoming a totally different man.
One bit of good that came out of The Beatles' trip to India, was that they wrote a massive amount of songs. Between May 30th and October 14th, 1968 34 songs were recorded, albeit amidst much tension. Things got so bad that Ringo Starr left the band for twelve days. Thirty of these songs made up The Beatles' self-titled album, most commonly known as "The White Album". Another two of these songs went unreleased until the 1995-6 Anthology series. The remaining two, "Hey Jude" and "Revolution", were released as a single.
Paul wrote "Hey Jude" originally for John's son Julian. At the time, John and his wife Cynthia were going through divorce, and Paul wanted to help cheer up Julian. He changed the song from "Hey Jules" to "Jude", and made the lyrics more universal in their appeal. During a troubled year, many were able to relate to these lyrics, and thus its nine week #1 status seems more than justified.
In keeping with the return to rock and roll sound featured on "Lady Madonna", "Hey Jude" mostly features just guitar, bass, drums, and piano as instrumentation. It is not until much later that strings and brass come in. "Hey Jude" gradually builds up in intensity and dynamics, starting off as a simple piano and vocal number, and gradually building into a massive wall of sound. It predates the musical escalation of "Stairway To Heaven" by three years. That's one of the reasons I love "Hey Jude" so much, it feels like you have been taken on an incredible journey in a mere seven minutes.
The most famous moment of "Hey Jude" is its four minute "Na-na-na..." refrain. This time around, there is no feeling of repetition, as these vocals soon act as pure backing while Paul absolutely lets loose on vocals. Any other band would have been forced to shorten this segment for single release. The Beatles got lucky in this regard, and got to keep the song as is. It's quite hard not to sing along, even if it boils down to humming it in your head.
It's too bad that "Hey Jude" was strictly a single release. In a perfect world, this would've replaced "Revolution #9" as the penultimate song on The White Album. Hearing optimistic lyrics and an epic music track certainly has more appeal than "Number nine...number nine...". You should also check out the music videos produced for "Hey Jude" and "Revolution". They are part mimed/part live, and are full of energy. Paul McCartney agreed with this fact, and he was soon looking for The Beatles to "Get Back" to performing live again. We'll see how that unfolded when we get to 1969...
Final Verdict - "Hey Jude" remains one of The Beatles' finest moments, and I'd consider it to be one of the best songs of all time. Featuring an fantastic Paul McCartney vocal, and a production that is absolutely thrilling, "Hey Jude" is a masterpiece that I always enjoy listening to.
Coming Up Next - "Love Child" by Diana Ross & The Supremes.
Until Next Time, I'm Dr. Rock and every song I review is number one...number one...number one...number one...number one...
Wednesday, January 22, 2014
Song #207 - "Harper Valley PTA" - Jeannie C. Riley
Recorded - July 26, 1968
Released - August 1968
#1 for week of September 21, 1968.
Well, after giving two reviews in a row that were rich and detailed with artist and song history, we're back to an artist, genre, and song that I can't give any history about based on my own knowledge. In fact, if it wasn't for this blog, I'd have never even known of this song's existence. On the big list of #1's, it's a tiny dot crammed in the middle of two massive multi-week chart toppers. Either way, I think it would be an injustice if I didn't, once again, step out of my comfort zone. Time to review "Harper Valley PTA".
Just one look at a Jeannie C. Riley back in the day and you know that she was a country singer. For whatever reason, the later '60's and early '70's were a time of glamour for the women of Country. From Bobbie Gentry, to Lynn Anderson, to especially Dolly Pardon in the 1970's, these woman all dressed in fancy dresses and their hair was long and elegant. Perhaps it was a way of celebrating going from rags to riches. After all, countless musicians, not just Country artists, have started from the bottom and worked their way up top.
Jeannie C. Riley wasn't too many years into her career when she recorded "Harper Valley PTA". I was at first excited about the idea of a Country artist singing a a song that has such a progressive viewpoint for its time, (The right to wear whatever you want without being judged). Then of course, I realized that the song was written by an outside songwriter, (Tom Hall), and also unlike the more bluesy "Ode To Billie Joe", this song is very Country sounding. Bummer...
Actually, speaking of the blues, "Harper Valley PTA" is set in a 12-bar blues pattern. I do appreciate the numerous mini-guitar solos that occur after each vocal line, and for a Country artist, I do think Jeannie give a good vocal performance. However, there are no choruses, only verse after verse. Thus, the song does seem to drag on a bit too long.
I imagine it was the rather un-Country theme of the song that made it click with the pop public. Heck, even a movie based on the song was made in 1978, so that's quite an accomplishment. With that being said, the lyrics sound very dated by today's standards. In an era where washed up pop stars dress in next-to-nothing and make fools of themselves in front of millions, getting upset because someone's daughter is wearing a mini-skirt seems like eons ago.
Final Verdict - I'm personally a bit indifferent to "Harper Valley PTA". It's by no means a bad song, but it also doesn't have enough pizzazz or hooks to keep me entertained. Even not being a fan of the genre, it didn't Wow me. However, if you're a fan of the genre, perhaps you'll think differently.
Coming Up Next - "Hey Jude" by The Beatles.
Until Next Time, I'm Dr. Rock, of the Rock Valley PTA -
Released - August 1968
#1 for week of September 21, 1968.
Well, after giving two reviews in a row that were rich and detailed with artist and song history, we're back to an artist, genre, and song that I can't give any history about based on my own knowledge. In fact, if it wasn't for this blog, I'd have never even known of this song's existence. On the big list of #1's, it's a tiny dot crammed in the middle of two massive multi-week chart toppers. Either way, I think it would be an injustice if I didn't, once again, step out of my comfort zone. Time to review "Harper Valley PTA".
Just one look at a Jeannie C. Riley back in the day and you know that she was a country singer. For whatever reason, the later '60's and early '70's were a time of glamour for the women of Country. From Bobbie Gentry, to Lynn Anderson, to especially Dolly Pardon in the 1970's, these woman all dressed in fancy dresses and their hair was long and elegant. Perhaps it was a way of celebrating going from rags to riches. After all, countless musicians, not just Country artists, have started from the bottom and worked their way up top.
Jeannie C. Riley wasn't too many years into her career when she recorded "Harper Valley PTA". I was at first excited about the idea of a Country artist singing a a song that has such a progressive viewpoint for its time, (The right to wear whatever you want without being judged). Then of course, I realized that the song was written by an outside songwriter, (Tom Hall), and also unlike the more bluesy "Ode To Billie Joe", this song is very Country sounding. Bummer...
Actually, speaking of the blues, "Harper Valley PTA" is set in a 12-bar blues pattern. I do appreciate the numerous mini-guitar solos that occur after each vocal line, and for a Country artist, I do think Jeannie give a good vocal performance. However, there are no choruses, only verse after verse. Thus, the song does seem to drag on a bit too long.
I imagine it was the rather un-Country theme of the song that made it click with the pop public. Heck, even a movie based on the song was made in 1978, so that's quite an accomplishment. With that being said, the lyrics sound very dated by today's standards. In an era where washed up pop stars dress in next-to-nothing and make fools of themselves in front of millions, getting upset because someone's daughter is wearing a mini-skirt seems like eons ago.
Final Verdict - I'm personally a bit indifferent to "Harper Valley PTA". It's by no means a bad song, but it also doesn't have enough pizzazz or hooks to keep me entertained. Even not being a fan of the genre, it didn't Wow me. However, if you're a fan of the genre, perhaps you'll think differently.
Coming Up Next - "Hey Jude" by The Beatles.
Until Next Time, I'm Dr. Rock, of the Rock Valley PTA -
Tuesday, January 21, 2014
Song #206 - "People Got To Be Free" - The Rascals
Recorded - May 14, 1968
Released - July 1, 1968
#1 for weeks of August 17, 24 and 31 & September 7 and 14, 1968.
The Rascals music and image had progressed quite a bit between 1967 and 1968. After dropping the "Young" suffix from their name, The Rascals' fourth album, Once Upon A Dream showed the group diving headfirst into psychedelia, while still keeping their classic blue eyed soul sound intact. They also released "It's A Beautiful Morning" as a standalone single, in March of the following year.
However, 1968 also saw The Rascals become a very socially active group. The assassination of Martin Luther King, Jr, of whom the band highly looked up to, led to band members Felix Cavaliere and Eddie Brigati to compose "People Got To Be Free". To add to the band's outrage about losing a powerful activist, Bobby Kennedy, of whom the band also looked up to, was assassinated less than a month after the song had been recorded.
Lyrically, "People Got To Be Free" is very poignant. Some may be tempted to classify the lyrics as dated, seeing how they relate to the events of 1968. Unfortunately, there are still quite a few Americans who are full of ignorance and often quite vocal with their hatred. As a result, "People Got To Be Free" is not only still relevant, but it also remains a rallying call to building a truly United States, and ending all forms of segregation.
Musically, "People Got To Be Free" continues the blue-eyed soul sound that made The Rascals famous, but there is also a major sense of musical maturity present. For one, there is a brass section which adds extra flavor to the music. Second, Felix Cavaliere's lead vocals have become even more emotionally charged, and when Eddie joins in on the chorus, they create a nice blend. I must also give praise to Dino Danelli, who has progressed into quite a funky drummer, (and I mean "Funky" in a good way!) Lastly, guitarist Gene Cornish plays a Stax influenced guitar part that Steve Cropper would be proud of.
To those not in the know, "People Got To Be Free" may come across as just another plea for peace. Well, this couldn't be farther from the truth as it's hard to think of a more honest group of activist musicians. The Rascals made the decision to refuse to play gigs unless both the audience and the support bands were integrated. "People Got To Be Free" was later released on The Rascals' ambitious Freedom Suite double album. Just about every song on this album is a rallying cry for peace, racial equality, and universal spirituality. Since the band lived by every word they sung, this album is quite resonant.
The Rascals would gradually see a diminished chart success. Especially after 1970 when Eddie and Gene left the band. Regardless, there is a bounty of underrated material. From the Sam & Dave-esque "Look Around", to the spiritually soulful "Heaven", to the harmony rich Latin jazz of "Nubia". The Rascals were clearly trying to break away from being a singles band. Incredibly, all four original Rascals reunited in December of 2012, and have been putting on a hybrid show that mixes their music with theater. It's a concert that I truly hope one day to see, before the band retires!
Final Verdict - "People Got To Be Free" is one of the most heartfelt numbers ever recorded. The Rascals meant and believed every word they sung, and the performance overall is full of soul. Not only would I highly recommend giving the song numerous listens, I'd also recommend digging deeper into the band's criminally underrated discography.
Coming Up Next - "Harper Valley PTA" by Jeannie C. Riley.
Until Next Time, I'm Dr. Rock and you can guarantee, that I believe that all people got to be free -
Released - July 1, 1968
#1 for weeks of August 17, 24 and 31 & September 7 and 14, 1968.
The Rascals music and image had progressed quite a bit between 1967 and 1968. After dropping the "Young" suffix from their name, The Rascals' fourth album, Once Upon A Dream showed the group diving headfirst into psychedelia, while still keeping their classic blue eyed soul sound intact. They also released "It's A Beautiful Morning" as a standalone single, in March of the following year.
However, 1968 also saw The Rascals become a very socially active group. The assassination of Martin Luther King, Jr, of whom the band highly looked up to, led to band members Felix Cavaliere and Eddie Brigati to compose "People Got To Be Free". To add to the band's outrage about losing a powerful activist, Bobby Kennedy, of whom the band also looked up to, was assassinated less than a month after the song had been recorded.
Lyrically, "People Got To Be Free" is very poignant. Some may be tempted to classify the lyrics as dated, seeing how they relate to the events of 1968. Unfortunately, there are still quite a few Americans who are full of ignorance and often quite vocal with their hatred. As a result, "People Got To Be Free" is not only still relevant, but it also remains a rallying call to building a truly United States, and ending all forms of segregation.
Musically, "People Got To Be Free" continues the blue-eyed soul sound that made The Rascals famous, but there is also a major sense of musical maturity present. For one, there is a brass section which adds extra flavor to the music. Second, Felix Cavaliere's lead vocals have become even more emotionally charged, and when Eddie joins in on the chorus, they create a nice blend. I must also give praise to Dino Danelli, who has progressed into quite a funky drummer, (and I mean "Funky" in a good way!) Lastly, guitarist Gene Cornish plays a Stax influenced guitar part that Steve Cropper would be proud of.
To those not in the know, "People Got To Be Free" may come across as just another plea for peace. Well, this couldn't be farther from the truth as it's hard to think of a more honest group of activist musicians. The Rascals made the decision to refuse to play gigs unless both the audience and the support bands were integrated. "People Got To Be Free" was later released on The Rascals' ambitious Freedom Suite double album. Just about every song on this album is a rallying cry for peace, racial equality, and universal spirituality. Since the band lived by every word they sung, this album is quite resonant.
The Rascals would gradually see a diminished chart success. Especially after 1970 when Eddie and Gene left the band. Regardless, there is a bounty of underrated material. From the Sam & Dave-esque "Look Around", to the spiritually soulful "Heaven", to the harmony rich Latin jazz of "Nubia". The Rascals were clearly trying to break away from being a singles band. Incredibly, all four original Rascals reunited in December of 2012, and have been putting on a hybrid show that mixes their music with theater. It's a concert that I truly hope one day to see, before the band retires!
Final Verdict - "People Got To Be Free" is one of the most heartfelt numbers ever recorded. The Rascals meant and believed every word they sung, and the performance overall is full of soul. Not only would I highly recommend giving the song numerous listens, I'd also recommend digging deeper into the band's criminally underrated discography.
Coming Up Next - "Harper Valley PTA" by Jeannie C. Riley.
Until Next Time, I'm Dr. Rock and you can guarantee, that I believe that all people got to be free -
Song #205 - "Hello, I Love You" - The Doors
Recorded - Between late March and May 17, 1968
Released - June 1968
#1 for weeks of August 3 and 10, 1968.
The Doors ended 1967 with two classic albums under their belt, and much critical acclaim. By 1968, they were as big as The Beatles had been back in 1964. Naturally, the pressure was on to make their third album surpass their early work. Their self-titled debut ended with the spine chilling eleven minute "The End", and Strange Days ended with the reflective ten minute "When The Music's Over". The Doors' next album was to feature a seventeen minute long composition called "The Celebration Of The Lizard", and it would occupy the entire side of the record.
As it turned out, the recording for their third album was full of turmoil. The sessions dragged on for a span of about five months, and after a month's time, the group had decided to scrap "Celebration Of The Lizard", much to Jim's extreme dismay. To make up for the void seventeen minutes of space, The Doors were forced to write and record some new material. A few of these songs such as "My Wild Love" were written a few years prior. Another song, which was part of The Doors' September 1965 demo tape, was "Hello, I Love You". It was released a single a month ahead of the albums' release, and by the mid summer, it became The Doors' second and last US #1.
When you compare "Hello, I Love You" to some of their darker work like "The Unknown Soldier", the former is quite a departure. With a primary theme of love, it's the closest The Doors ever got to pop. With that being said, no standard poppy love song could ever have lyrics as complex as those in "Hello, I Love You", and no pop song would rock this hard. All in all, it just proves that The Doors really could do anything and it would sound amazing.
John Densmore does quite a few drum fills in the song, and since he opens the song, the listener is already fixated on his playing. Ray Manzarek and Robbie Krieger play the choruses in unison, which creates a really unique sound. Finally, Jim Morrison delivers another classic vocal performance by gradually building up into a screaming climax. If you ever get a chance to hear a version with a longer fadeout, Jim's screaming is even more intense. Really, just the fact that a hard rock song reached #1 on the pop charts in '68 is a welcomed sight.
The Doors would go on to release three more albums with their classic lineup. By the time of the last, L.A Woman, their sound had become far more bluesy and less psychedelic. Unfortunately, the possibility of more classic Doors albums, and Jim Morrison's life, were cut short on July 3, 1971. Although The Doors soldiered on for one more year, and released two albums as a trio, it just wasn't the same without Jim. Every song on their primary six albums is worth checking out, and it is this sheer lack of filler or bad songs that make The Doors my favorite American band from the 1960's.
Final Verdict - "Hello, I Love You" shows just how to take a love song, and make it an intriguing listen. With a strong hook, great instrumentation, complex lyrics, and a spirited Jim Morrison vocal, it remains one of the best hits of the 1960's.
Coming Up Next - "People Got To Be Free" by The Rascals.
Until Next Time, I'm Dr. Rock and I am the lizard king -
Released - June 1968
#1 for weeks of August 3 and 10, 1968.
The Doors ended 1967 with two classic albums under their belt, and much critical acclaim. By 1968, they were as big as The Beatles had been back in 1964. Naturally, the pressure was on to make their third album surpass their early work. Their self-titled debut ended with the spine chilling eleven minute "The End", and Strange Days ended with the reflective ten minute "When The Music's Over". The Doors' next album was to feature a seventeen minute long composition called "The Celebration Of The Lizard", and it would occupy the entire side of the record.
As it turned out, the recording for their third album was full of turmoil. The sessions dragged on for a span of about five months, and after a month's time, the group had decided to scrap "Celebration Of The Lizard", much to Jim's extreme dismay. To make up for the void seventeen minutes of space, The Doors were forced to write and record some new material. A few of these songs such as "My Wild Love" were written a few years prior. Another song, which was part of The Doors' September 1965 demo tape, was "Hello, I Love You". It was released a single a month ahead of the albums' release, and by the mid summer, it became The Doors' second and last US #1.
When you compare "Hello, I Love You" to some of their darker work like "The Unknown Soldier", the former is quite a departure. With a primary theme of love, it's the closest The Doors ever got to pop. With that being said, no standard poppy love song could ever have lyrics as complex as those in "Hello, I Love You", and no pop song would rock this hard. All in all, it just proves that The Doors really could do anything and it would sound amazing.
John Densmore does quite a few drum fills in the song, and since he opens the song, the listener is already fixated on his playing. Ray Manzarek and Robbie Krieger play the choruses in unison, which creates a really unique sound. Finally, Jim Morrison delivers another classic vocal performance by gradually building up into a screaming climax. If you ever get a chance to hear a version with a longer fadeout, Jim's screaming is even more intense. Really, just the fact that a hard rock song reached #1 on the pop charts in '68 is a welcomed sight.
The Doors would go on to release three more albums with their classic lineup. By the time of the last, L.A Woman, their sound had become far more bluesy and less psychedelic. Unfortunately, the possibility of more classic Doors albums, and Jim Morrison's life, were cut short on July 3, 1971. Although The Doors soldiered on for one more year, and released two albums as a trio, it just wasn't the same without Jim. Every song on their primary six albums is worth checking out, and it is this sheer lack of filler or bad songs that make The Doors my favorite American band from the 1960's.
Final Verdict - "Hello, I Love You" shows just how to take a love song, and make it an intriguing listen. With a strong hook, great instrumentation, complex lyrics, and a spirited Jim Morrison vocal, it remains one of the best hits of the 1960's.
Coming Up Next - "People Got To Be Free" by The Rascals.
Until Next Time, I'm Dr. Rock and I am the lizard king -
Monday, January 20, 2014
Song #204 - "Grazing In The Grass" - Hugh Masekela
Recorded - March 12, 1968
Released - May 1968
#1 for weeks of July 20 and 27, 1968.
For far too long on this blog, trumpet-based jazz music has been way too gentle and passive. Even as a trumpet player, I have been quite disappointed with the abundance of easy listening jazz tunes, with little to no trumpet virtuosity. Well, it's time for Hugh Masekela to kick down those mellow doors.
Hugh was born in South Africa, and spent his childhood and teens in a country that would be pulled apart by apartheid. Unable to take the hatred and violence anymore, he left the country in 1960 and moved to the United States. Going from a country that had just begun segregation to a country that was on the cusp of abolishing it, was surely a breath of fresh air.
Hugh Masekela also had the fortune of playing at the Monterrey Pop Festival in 1967. This no doubt helped him become accepted into hipper music circles, and it also no doubt played a bit part in helping his version of Philemon Hou's "Grazing In The Grass" reach #1 on the pop charts in 1968.
"Grazing In The Grass" appeals to me just for how "Personal" is sounds. There is no dated instrumentation or schmaltzy orchestra. Just a simple six man band, and some cowbell added for good measure. It reminds me of the days of playing in a school jazz band with your friends. Hugh, of course, takes center stage with his crisp trumpet playing. Much of the song features numerous repeats of the main melody, although there is a solo section during the middle where Hugh has a chance to let his trumpet chops shine.
While Hugh Masekela's version of "Grazing In The Grass" reached #1 in the summer of '68, there was another version of the song recorded towards the end of the year, by The Friends Of Distinction. Their version is more of a funk/soul workout with rather dated hippie lingo lyrics. Yet it also contains an incredibly catchy "I can dig it, she can dig it..." vocal line. Still, I'd rank Hugh's version as the best one, for the sole reason that I'll take trumpet based jazz over proto-disco any day.
Final Verdict - Hugh Masekela's "Grazing In The Grass" strikes all the right notes for me. It is a refreshingly simple jazz number, with a catchy melody, and some supreme trumpet playing. If you're a fan of jazz music, you'll certainly want to hear this song. Even if you're not, I'd still recommend giving it a listen.
Coming Up Next - "Hello, I Love You" by The Doors.
Until Next Time, I'm Dr. Rock and I toot my own horn. -
Released - May 1968
#1 for weeks of July 20 and 27, 1968.
For far too long on this blog, trumpet-based jazz music has been way too gentle and passive. Even as a trumpet player, I have been quite disappointed with the abundance of easy listening jazz tunes, with little to no trumpet virtuosity. Well, it's time for Hugh Masekela to kick down those mellow doors.
Hugh was born in South Africa, and spent his childhood and teens in a country that would be pulled apart by apartheid. Unable to take the hatred and violence anymore, he left the country in 1960 and moved to the United States. Going from a country that had just begun segregation to a country that was on the cusp of abolishing it, was surely a breath of fresh air.
Hugh Masekela also had the fortune of playing at the Monterrey Pop Festival in 1967. This no doubt helped him become accepted into hipper music circles, and it also no doubt played a bit part in helping his version of Philemon Hou's "Grazing In The Grass" reach #1 on the pop charts in 1968.
"Grazing In The Grass" appeals to me just for how "Personal" is sounds. There is no dated instrumentation or schmaltzy orchestra. Just a simple six man band, and some cowbell added for good measure. It reminds me of the days of playing in a school jazz band with your friends. Hugh, of course, takes center stage with his crisp trumpet playing. Much of the song features numerous repeats of the main melody, although there is a solo section during the middle where Hugh has a chance to let his trumpet chops shine.
While Hugh Masekela's version of "Grazing In The Grass" reached #1 in the summer of '68, there was another version of the song recorded towards the end of the year, by The Friends Of Distinction. Their version is more of a funk/soul workout with rather dated hippie lingo lyrics. Yet it also contains an incredibly catchy "I can dig it, she can dig it..." vocal line. Still, I'd rank Hugh's version as the best one, for the sole reason that I'll take trumpet based jazz over proto-disco any day.
Final Verdict - Hugh Masekela's "Grazing In The Grass" strikes all the right notes for me. It is a refreshingly simple jazz number, with a catchy melody, and some supreme trumpet playing. If you're a fan of jazz music, you'll certainly want to hear this song. Even if you're not, I'd still recommend giving it a listen.
Coming Up Next - "Hello, I Love You" by The Doors.
Until Next Time, I'm Dr. Rock and I toot my own horn. -
Song #203 - "This Guy's In Love With You" - Herb Alpert
Recorded - Winter or Spring, 1968
Released - May 1968
#1 for weeks June 22 and 29 & July 6 and 13, 1968.
It really must have been a result of the troubled times, but easy listening music really flourished on the charts in 1968. June of this year in particular saw the tragic death of Bobby Kennedy, which no doubt caused uncomfortable flashbacks to just five years prior when his brother had been killed. Just like how the extremely inoffensive "Dominique" hit the top of the charts back in '63, Herb Alpert's equally mellow "This Guy's In Love With You", became a #1 pop hit five years later.
While most of the modern generation aren't directly familiar with Herb Alpert, they are surely familiar with his record label: A&M records, which he co-founded with Jerry Moss in 1963 (Get it? "Alpert & Moss".) With this label in place, Alpert formed the Tijuana Brass and they released their first single, "The Lonely Bull" in 1962. Being a jazz trumpeter, much of the Tijuana Brass recordings feature Herb on lead trumpet.
Throughout much of the 1960's, Herb Alpert remained in the niche easy listening genre, with little to no crossover success on the pop charts. Much of these records are forever doomed to spend eternity on thrift store record shelves. On April 22, 1968, he starred in a television special called The Beat Of The Brass. The song that got the strongest reception was "This Guy's In Love With You", a then-unreleased composition by Burt Bacharach and Hal David. Due to the special and the song being such a success, as well as the aforementioned turbulent June of '68, it's no surprise that "This Guy's..." had a chance of charting on the pop charts.
You can tell this is a Bacharach co-composition without even checking out liner notes. There is a heavy amount of syncopation as well as a very jazzy sound overall. Unusually, Herb Alpert himself is the lead singer, and although I was initially skeptical about this fact, I think he certainly can carry a tune. I also appreciate the use of electric organ, which helps the song sound at least semi-modern, and not like an early 1960's ballad.
The only criticisms I could give to "This Guy's In Love With You" would be more about how it's not exactly my style, and how it sharply contrasts with the creative melting pot that was 1968. Easy listening piano pop isn't the first thing that comes to mind when talking about what best represents 1968 in terms of ambitious music. Then again, these were times when perhaps something milder was needed, and "This Guys'..." fit the bill perfectly it seems.
Final Verdict - "This Guy's In Love With You" may be a bit too lightweight for my taste, but perhaps due to it coming from the Bacharach/David pen, it certainly has an element of class and elegance. If you're a hard rock fan, this song will probably not do anything for you, but if you like trumpet-based jazz music, I'm sure you'll at least appreciate a listen.
Coming Up Next - "Grazing In The Grass" by Hugh Masekela.
Until Next Time, This guy's Dr. Rock -
Released - May 1968
#1 for weeks June 22 and 29 & July 6 and 13, 1968.
It really must have been a result of the troubled times, but easy listening music really flourished on the charts in 1968. June of this year in particular saw the tragic death of Bobby Kennedy, which no doubt caused uncomfortable flashbacks to just five years prior when his brother had been killed. Just like how the extremely inoffensive "Dominique" hit the top of the charts back in '63, Herb Alpert's equally mellow "This Guy's In Love With You", became a #1 pop hit five years later.
While most of the modern generation aren't directly familiar with Herb Alpert, they are surely familiar with his record label: A&M records, which he co-founded with Jerry Moss in 1963 (Get it? "Alpert & Moss".) With this label in place, Alpert formed the Tijuana Brass and they released their first single, "The Lonely Bull" in 1962. Being a jazz trumpeter, much of the Tijuana Brass recordings feature Herb on lead trumpet.
Throughout much of the 1960's, Herb Alpert remained in the niche easy listening genre, with little to no crossover success on the pop charts. Much of these records are forever doomed to spend eternity on thrift store record shelves. On April 22, 1968, he starred in a television special called The Beat Of The Brass. The song that got the strongest reception was "This Guy's In Love With You", a then-unreleased composition by Burt Bacharach and Hal David. Due to the special and the song being such a success, as well as the aforementioned turbulent June of '68, it's no surprise that "This Guy's..." had a chance of charting on the pop charts.
You can tell this is a Bacharach co-composition without even checking out liner notes. There is a heavy amount of syncopation as well as a very jazzy sound overall. Unusually, Herb Alpert himself is the lead singer, and although I was initially skeptical about this fact, I think he certainly can carry a tune. I also appreciate the use of electric organ, which helps the song sound at least semi-modern, and not like an early 1960's ballad.
The only criticisms I could give to "This Guy's In Love With You" would be more about how it's not exactly my style, and how it sharply contrasts with the creative melting pot that was 1968. Easy listening piano pop isn't the first thing that comes to mind when talking about what best represents 1968 in terms of ambitious music. Then again, these were times when perhaps something milder was needed, and "This Guys'..." fit the bill perfectly it seems.
Final Verdict - "This Guy's In Love With You" may be a bit too lightweight for my taste, but perhaps due to it coming from the Bacharach/David pen, it certainly has an element of class and elegance. If you're a hard rock fan, this song will probably not do anything for you, but if you like trumpet-based jazz music, I'm sure you'll at least appreciate a listen.
Coming Up Next - "Grazing In The Grass" by Hugh Masekela.
Until Next Time, This guy's Dr. Rock -
Sunday, January 19, 2014
Song #202 - "Mrs. Robinson" - Simon & Garfunkel
Recorded - February 2, 1968
Released - April 3, 1968
#1 for weeks of June 1, 8, and 15, 1968.
Of the relative few movie soundtrack songs I have reviewed so far, very few of them can truly hold up on their own. Sometimes it is because of the movie-specific lyrics as is the case with "The Happening". Other times it is the fact that the song doesn't grab you emotionally unless you watch the movie as well, like with "To Sir With Love". Well, "Mrs. Robinson" is an unusual exception. It features lyrics that relate to past and then-current events, and is well associated with its parent film. Yet for whatever reason, it still sounds both fresh, and good on its own.
In the fall of 1967, midway through the sessions for Simon & Garfunkel's Bookends album, an early version of "Mrs. Robinson" was written by Paul Simon and recorded by for use in the movie The Graduate. Even by today's standards, the movie is fairly controversial in its themes, although it is nonetheless a classic. About two months after the movie's release, Simon & Garfunkel re-recorded a longer version of the song. Upon its release, and no doubt propelled by the success of The Graduate, the song reached #1 on the pop charts.
This 1967-1968 period saw Simon & Garfunkel experimenting with different sounds and instrumentation. It certainly was a long way from the simple guitar and vocal sound heard on their earliest work. "Mrs. Robinson" features numerous acoustic guitar parts and Latin percussion. Much of the song features Simon & Garfunkel in their trademark tight harmonies, with a few solo Simon moments during the verses. As the song progresses, there are extra choir-esque vocals added to the mix.
Some may wonder why Joe DiMaggio is mentioned in a song primarily about Anne Bancroft's famous character. Well, Paul Simon originally wrote "Mrs. Robinson" as a look at past and present historical figures. The line about the famous baseball player is all that remained in the final version. Even with a few film-specific lyrics about Mrs. Robinson's affair with Dustin Hoffman's character, the lyrics still stand on their own independently. You don't need to see The Graduate to appreciate "Mrs. Robinson".
After the release of the Bookends album which featured numerous classic Simon & Garfunkel songs such as America, the duo wouldn't release another album for nearly two years. That album, Bridge Over Troubled Water turned out to not only be their best work, but it was also their swan song. Because the album's title track hit #1 in 1970, it means that I'll be finishing up my story of this classic duo in about a month's time. Stay tuned...
Final Verdict - "Mrs. Robinson" has a laid back and musically minimal atmosphere. It is lyrically quite poetic, and features a fantastic mellow vocal performance by one of the most renowned singing duos. A well-deserved #1, and an unquestionable thumbs up from me.
Coming Up Next - "This Guy's In Love With You" by Herb Alpert.
Until Next Time, I'm Dr. Rockinson -
Released - April 3, 1968
#1 for weeks of June 1, 8, and 15, 1968.
Of the relative few movie soundtrack songs I have reviewed so far, very few of them can truly hold up on their own. Sometimes it is because of the movie-specific lyrics as is the case with "The Happening". Other times it is the fact that the song doesn't grab you emotionally unless you watch the movie as well, like with "To Sir With Love". Well, "Mrs. Robinson" is an unusual exception. It features lyrics that relate to past and then-current events, and is well associated with its parent film. Yet for whatever reason, it still sounds both fresh, and good on its own.
In the fall of 1967, midway through the sessions for Simon & Garfunkel's Bookends album, an early version of "Mrs. Robinson" was written by Paul Simon and recorded by for use in the movie The Graduate. Even by today's standards, the movie is fairly controversial in its themes, although it is nonetheless a classic. About two months after the movie's release, Simon & Garfunkel re-recorded a longer version of the song. Upon its release, and no doubt propelled by the success of The Graduate, the song reached #1 on the pop charts.
This 1967-1968 period saw Simon & Garfunkel experimenting with different sounds and instrumentation. It certainly was a long way from the simple guitar and vocal sound heard on their earliest work. "Mrs. Robinson" features numerous acoustic guitar parts and Latin percussion. Much of the song features Simon & Garfunkel in their trademark tight harmonies, with a few solo Simon moments during the verses. As the song progresses, there are extra choir-esque vocals added to the mix.
Some may wonder why Joe DiMaggio is mentioned in a song primarily about Anne Bancroft's famous character. Well, Paul Simon originally wrote "Mrs. Robinson" as a look at past and present historical figures. The line about the famous baseball player is all that remained in the final version. Even with a few film-specific lyrics about Mrs. Robinson's affair with Dustin Hoffman's character, the lyrics still stand on their own independently. You don't need to see The Graduate to appreciate "Mrs. Robinson".
After the release of the Bookends album which featured numerous classic Simon & Garfunkel songs such as America, the duo wouldn't release another album for nearly two years. That album, Bridge Over Troubled Water turned out to not only be their best work, but it was also their swan song. Because the album's title track hit #1 in 1970, it means that I'll be finishing up my story of this classic duo in about a month's time. Stay tuned...
Final Verdict - "Mrs. Robinson" has a laid back and musically minimal atmosphere. It is lyrically quite poetic, and features a fantastic mellow vocal performance by one of the most renowned singing duos. A well-deserved #1, and an unquestionable thumbs up from me.
Coming Up Next - "This Guy's In Love With You" by Herb Alpert.
Until Next Time, I'm Dr. Rockinson -
Song #201 - "Tighten Up" - Archie Bell & The Drells
Recorded - October 1967
Released - February 1968
#1 for weeks of May 18 and 25, 1968.
Quick, name the earliest funk song that comes to your mind. Chances are it will be something like James Brown's "Cold Sweat", from 1967. However, there was another song recorded in 1967 that foreshadows all the elements of Funk music. That song was "Tighten Up" by Archie Bell & The Drells, one of the earliest successes of Gamble And Huff's Philadelphia soul record label. It also happens to be the first funk song to hit #1 on the pop charts.
Archie Bell was based in Houston Texas, which is not the first place you'd think to be the source of a massive funk hit. In 1966, he formed a band which he called The Drells. It wasn't until the autumn of 1967 that they recorded their very first single. It just so happens that this first single of theirs was "Tighten Up" and thus, their very first release was a #1 hit.
Now, what is it about "Tighten Up" that made it click so well with the pop music public? If you compare it to some of James Brown's 1970's work, or to a Funkadelic album, it's not that funky. There is no slap bass, or extended versions, both of which are practically staples of the funk genre. With that being said, there are two prominent elements of funk that are present in "Tighen Up".
One of these elements is the idea of having each member spotlighted while the bandleader acts as the MC. There are drum, bass, and organ solos, not to mention numerous spoken sections by Archie Bell. The guitar and horns act as the rhythm section, and although they don't have a solo moment of their own, they act as the constant hooks that keep the song flowing.
The other main element of funk that is present is the idea of repeating musical motifs. The main melody is repeated many times, but Archie Bell's narrations not only add the element of fun to the song, but they also keep the song from feeling overly repetitive.
There would be several singles and albums released through the rest of the 1960's, and much of the 1970's. However, none would have the same level of success on the pop charts as the groundbreaking "Tighten Up".
Final Verdict - I certainly can see why "Tighten Up" became such a big hit: The funk genre was still in its infancy during this time period, and thus the song must have sounded out of this world at the time. For the massive success that the genre would achieve in the 1970's, I'd say that "Tighten Up" was a deserved #1, and I'd certainly give it my thumbs up.
Coming Up Next - "Mrs. Robinson" by Simon & Garfunkel
Until Next Time - I'm Dr. Rock, and I'm also The Drells, and these are the reviews I tighten up on -
Released - February 1968
#1 for weeks of May 18 and 25, 1968.
Quick, name the earliest funk song that comes to your mind. Chances are it will be something like James Brown's "Cold Sweat", from 1967. However, there was another song recorded in 1967 that foreshadows all the elements of Funk music. That song was "Tighten Up" by Archie Bell & The Drells, one of the earliest successes of Gamble And Huff's Philadelphia soul record label. It also happens to be the first funk song to hit #1 on the pop charts.
Archie Bell was based in Houston Texas, which is not the first place you'd think to be the source of a massive funk hit. In 1966, he formed a band which he called The Drells. It wasn't until the autumn of 1967 that they recorded their very first single. It just so happens that this first single of theirs was "Tighten Up" and thus, their very first release was a #1 hit.
Now, what is it about "Tighten Up" that made it click so well with the pop music public? If you compare it to some of James Brown's 1970's work, or to a Funkadelic album, it's not that funky. There is no slap bass, or extended versions, both of which are practically staples of the funk genre. With that being said, there are two prominent elements of funk that are present in "Tighen Up".
One of these elements is the idea of having each member spotlighted while the bandleader acts as the MC. There are drum, bass, and organ solos, not to mention numerous spoken sections by Archie Bell. The guitar and horns act as the rhythm section, and although they don't have a solo moment of their own, they act as the constant hooks that keep the song flowing.
The other main element of funk that is present is the idea of repeating musical motifs. The main melody is repeated many times, but Archie Bell's narrations not only add the element of fun to the song, but they also keep the song from feeling overly repetitive.
There would be several singles and albums released through the rest of the 1960's, and much of the 1970's. However, none would have the same level of success on the pop charts as the groundbreaking "Tighten Up".
Final Verdict - I certainly can see why "Tighten Up" became such a big hit: The funk genre was still in its infancy during this time period, and thus the song must have sounded out of this world at the time. For the massive success that the genre would achieve in the 1970's, I'd say that "Tighten Up" was a deserved #1, and I'd certainly give it my thumbs up.
Coming Up Next - "Mrs. Robinson" by Simon & Garfunkel
Until Next Time - I'm Dr. Rock, and I'm also The Drells, and these are the reviews I tighten up on -
Saturday, January 18, 2014
Song #200 - "Honey" - Bobby Goldsboro
Recorded - January 30, 1968
Released - February 24, 1968
#1 for weeks of April 13, 20 and 27 & May 4 and 11, 1968.
So, how do I "Celebrate" 200 song reviews? By reviewing a song that numerous critics have considered one of the absolute worst of not only the 1960's, but of all time. This song of course being Bobby Goldsboro's "Honey". I actually went out of my way to not listen to this song in advance so I could review it with an open mind. I'll see if this song isn't as bad as critics have made it out to be...
Bobby began his music career playing guitar in Roy Orbison's band, and he released his first solo material in 1964. Much of his charting singles are all country ballads. I've already mentioned I don't care for this sub-genre, but I nonetheless gave similar artists such as Connie Francis fair reviews. In 1968, Bobby recorded "Honey", written by Bobby Russell.
Well...three listens later, and I'm sorry but I'm going to have to side with the critics on this one. "Honey" isn't a very good song. Let's go through the song piece by piece and I'll explain why it just doesn't work.
Right from the beginning, we're greeted with a syrupy operatic vocal and an equally saccharine string arrangement. I know the keyword is angelic, but this pushes the sugar levels beyond my tolerance threshold. While I have nothing wrong with Bobby's singing voice, the lyrics are quite clumsy. With cringe-worthy lines like "Slipped and almost hurt herself, and I laughed 'til I cried", it's hard to figure out whether I should take the song seriously or not.
There is also a near-endless number of verses, and hearing this same musical pattern sung over and over again gets very repetitive. We finally get a chorus, over a minute and half into the song. Unfortunately, it sounds just as flat as the verses.
It isn't until the three minute mark that something different happens, although not for the better. There is a way too sentimental choir arrangement that overpowers the music. If this song was already sugary, now it's pure treacle. I also feel that choosing to fade out the song as opposed to ending on a climatic note reinforces my belief that the song goes on way too long.
I know it seems like I'm being unduly harsh on "Honey", but believe me I really tried to find a silver lining. When I read about the song's subject matter: A man reminiscing about his now departed wife, I wanted to genuinely feel moved. After three listens, I wasn't even remotely emotionally stirred. I think part of the reason is the fact that Bobby's vocal performance is very one dimensional and flat. When you couple this with the fact that he didn't even write the song, it really makes me feel no attachment to the song. Actually, "Honey" does give me an emotion - boredom.
The sad part is, with a little work, "Honey" could have turned out much better. Just give it a more stripped down arrangement with no choir or strings, tweak the lyrics so they aren't as clumsy, and have it sung by someone who can emote better. In fact, if this was sung by someone like Roy Orbison, and with all of my suggestions in place, this could have been something special.
Final Verdict - Just because "Honey" charted for five weeks during turbulent times, it doesn't mean it's a good song. It is lyrically poor, musically boring, and it doesn't strike any emotion within' me at all. A definite thumbs down for me.
Coming Up Next - "Tighten Up" by Archie Bell & The Drells.
Until Next Time, I'm Dr. Rock and I thank all you readers for sticking around through 200 reviews! -
Released - February 24, 1968
#1 for weeks of April 13, 20 and 27 & May 4 and 11, 1968.
So, how do I "Celebrate" 200 song reviews? By reviewing a song that numerous critics have considered one of the absolute worst of not only the 1960's, but of all time. This song of course being Bobby Goldsboro's "Honey". I actually went out of my way to not listen to this song in advance so I could review it with an open mind. I'll see if this song isn't as bad as critics have made it out to be...
Bobby began his music career playing guitar in Roy Orbison's band, and he released his first solo material in 1964. Much of his charting singles are all country ballads. I've already mentioned I don't care for this sub-genre, but I nonetheless gave similar artists such as Connie Francis fair reviews. In 1968, Bobby recorded "Honey", written by Bobby Russell.
Well...three listens later, and I'm sorry but I'm going to have to side with the critics on this one. "Honey" isn't a very good song. Let's go through the song piece by piece and I'll explain why it just doesn't work.
Right from the beginning, we're greeted with a syrupy operatic vocal and an equally saccharine string arrangement. I know the keyword is angelic, but this pushes the sugar levels beyond my tolerance threshold. While I have nothing wrong with Bobby's singing voice, the lyrics are quite clumsy. With cringe-worthy lines like "Slipped and almost hurt herself, and I laughed 'til I cried", it's hard to figure out whether I should take the song seriously or not.
There is also a near-endless number of verses, and hearing this same musical pattern sung over and over again gets very repetitive. We finally get a chorus, over a minute and half into the song. Unfortunately, it sounds just as flat as the verses.
It isn't until the three minute mark that something different happens, although not for the better. There is a way too sentimental choir arrangement that overpowers the music. If this song was already sugary, now it's pure treacle. I also feel that choosing to fade out the song as opposed to ending on a climatic note reinforces my belief that the song goes on way too long.
I know it seems like I'm being unduly harsh on "Honey", but believe me I really tried to find a silver lining. When I read about the song's subject matter: A man reminiscing about his now departed wife, I wanted to genuinely feel moved. After three listens, I wasn't even remotely emotionally stirred. I think part of the reason is the fact that Bobby's vocal performance is very one dimensional and flat. When you couple this with the fact that he didn't even write the song, it really makes me feel no attachment to the song. Actually, "Honey" does give me an emotion - boredom.
The sad part is, with a little work, "Honey" could have turned out much better. Just give it a more stripped down arrangement with no choir or strings, tweak the lyrics so they aren't as clumsy, and have it sung by someone who can emote better. In fact, if this was sung by someone like Roy Orbison, and with all of my suggestions in place, this could have been something special.
Final Verdict - Just because "Honey" charted for five weeks during turbulent times, it doesn't mean it's a good song. It is lyrically poor, musically boring, and it doesn't strike any emotion within' me at all. A definite thumbs down for me.
Coming Up Next - "Tighten Up" by Archie Bell & The Drells.
Until Next Time, I'm Dr. Rock and I thank all you readers for sticking around through 200 reviews! -
Song #199 - "(Sittin' On) The Dock Of The Bay" - Otis Redding
Recorded - November 22 and December 7, 1967
Released - January 8, 1968
#1 for weeks of March 16, 23, 30 and April 6, 1968.
There have been quite a few artists over the years that, despite their massive critical success, only managed to achieve a single #1 hit. Sometimes, in cases like Chuck Berry where his only #1 was the novelty "My Ding-A-Ling", it's a bit of an insult considering the artist's massive influence. On the other hand, Otis Redding's only #1 turned out to not only be one of his finest achievements, but one of the most timeless songs of all time.
Otis Redding was the king of Stax Records during the 1965-1967 time period. Due to his iconic soulful voice and superb instrumentation usually done by the M.G.'s, virtually every song that he released is worth listening to. Otis also wrote, or co-wrote his own material, so songs like "I've Been Loving You Too Long", and "Respect" have additional resonance as they are coming from the heart.
In 1967, Otis appeared at the hip Monterrey Pop Festival, which managed to give him an increase in popularity. It was from this moment on that he wanted to move in a different direction, and change his sound. Composed in the summer, and later finished with help from Steve Cropper, "Dock Of The Bay", was intended to be the beginning of phase two of Otis' career.
Otis never sounded finer than he does on "Dock". His performance is laid back, but absolutely brimming with emotion. You can really hear the mixed emotions in his voice, from the joys of relaxing in San Francisco, to the pain of wanting to move on from Stax. Too many cover versions aim for an over the top performance, which totally ruins the laid back feel that makes the song work so well.
To add to this near-spiritual vocal performance is an equally righteous music track. Steve Cropper's lead guitar performance in this song ranks among his finest work. The horns add an extra element of emotion, and are never overpowering or out of place. All of these elements peak during the song's bridge, where Otis lets his anguish out - "Looks like nothing's gonna change".
It's important to note that "Dock Of The Bay" is an unfinished recording. The whistling at the end, which unintentionally fit the mood of the song perfectly, was intended as a temporary part. Otis planned to finish the song on a later date. Tragically, a mere three days after the December 7th session for the song, Otis, five of his bandmates, and the pilot of the plane they were flying in, were killed when the plane crashed in Lake Monona, Wisconsin.
"Dock Of The Bay" was thus a posthumous release. In fact, it ended up being the first posthumous number one on the pop charts. Who knows where Otis Redding's new music phase would have led him. Who knows even if "Dock Of The Bay" would have been a hit on the charts had he been alive for its release. Well, chart success as usual means next to nothing when it comes to longevity, and "Dock Of The Bay" hasn't aged a bit.
Final Verdict - Dock Of The Bay" still sounds just as wonderful back then as it did today. The lyrics are incredibly heartfelt and deep, the music sounds full of soul, and Otis' voice never sounded finer. A well deserved hit, especially considering the massive influence Otis has had on so many musicians and singers over the years.
Coming Up Next - "Honey" by Bobby Goldsboro.
Until Next Time, I'm Dr. Rock, and any time spent listening to Otis Redding, is time well spent -
Released - January 8, 1968
#1 for weeks of March 16, 23, 30 and April 6, 1968.
There have been quite a few artists over the years that, despite their massive critical success, only managed to achieve a single #1 hit. Sometimes, in cases like Chuck Berry where his only #1 was the novelty "My Ding-A-Ling", it's a bit of an insult considering the artist's massive influence. On the other hand, Otis Redding's only #1 turned out to not only be one of his finest achievements, but one of the most timeless songs of all time.
Otis Redding was the king of Stax Records during the 1965-1967 time period. Due to his iconic soulful voice and superb instrumentation usually done by the M.G.'s, virtually every song that he released is worth listening to. Otis also wrote, or co-wrote his own material, so songs like "I've Been Loving You Too Long", and "Respect" have additional resonance as they are coming from the heart.
In 1967, Otis appeared at the hip Monterrey Pop Festival, which managed to give him an increase in popularity. It was from this moment on that he wanted to move in a different direction, and change his sound. Composed in the summer, and later finished with help from Steve Cropper, "Dock Of The Bay", was intended to be the beginning of phase two of Otis' career.
Otis never sounded finer than he does on "Dock". His performance is laid back, but absolutely brimming with emotion. You can really hear the mixed emotions in his voice, from the joys of relaxing in San Francisco, to the pain of wanting to move on from Stax. Too many cover versions aim for an over the top performance, which totally ruins the laid back feel that makes the song work so well.
To add to this near-spiritual vocal performance is an equally righteous music track. Steve Cropper's lead guitar performance in this song ranks among his finest work. The horns add an extra element of emotion, and are never overpowering or out of place. All of these elements peak during the song's bridge, where Otis lets his anguish out - "Looks like nothing's gonna change".
It's important to note that "Dock Of The Bay" is an unfinished recording. The whistling at the end, which unintentionally fit the mood of the song perfectly, was intended as a temporary part. Otis planned to finish the song on a later date. Tragically, a mere three days after the December 7th session for the song, Otis, five of his bandmates, and the pilot of the plane they were flying in, were killed when the plane crashed in Lake Monona, Wisconsin.
"Dock Of The Bay" was thus a posthumous release. In fact, it ended up being the first posthumous number one on the pop charts. Who knows where Otis Redding's new music phase would have led him. Who knows even if "Dock Of The Bay" would have been a hit on the charts had he been alive for its release. Well, chart success as usual means next to nothing when it comes to longevity, and "Dock Of The Bay" hasn't aged a bit.
Final Verdict - Dock Of The Bay" still sounds just as wonderful back then as it did today. The lyrics are incredibly heartfelt and deep, the music sounds full of soul, and Otis' voice never sounded finer. A well deserved hit, especially considering the massive influence Otis has had on so many musicians and singers over the years.
Coming Up Next - "Honey" by Bobby Goldsboro.
Until Next Time, I'm Dr. Rock, and any time spent listening to Otis Redding, is time well spent -
Friday, January 17, 2014
Song #198 - "Love Is Blue" - Paul Mauriat
Recorded - circa Spring or Summer, 1967
Released - 1967 (France), December 1967 (US)
#1 for weeks of February 10, 17 and 24 & March 2 and 9, 1968.
When I saw what the next song on the itinerary was, I couldn't believe it. An easy listening instrumental? What is this 1961!? It does seem a bit out of place, and I can't for the life of me figure out why this song was #1 for five weeks. Perhaps in light of the troubled times and an increasingly unpopular war, people just needed something mellow to get them through their day.
Paul Mauriat remains the only French artist to score a US #1. He had been releasing material since the mid 1950's, and his specialty was orchestral arrangements of pop songs. By 1967, he was already pushing 40, yet he managed to keep up with what was popular. His 1967 album, Le Grand Orchestre De Paul Mauriat - Volume 5, contained easy listening orchestral covers of such songs like "Penny Lane" and "Somethin' Stupid". Also included was a cover of "L'amour Est Bleu". This song was written for the 1967 Eurovison contest, and originally sung by Vicky Leandros.
As for Paul Mauriat's rendition of the tune, the keyword is inoffensive and non-pretentious. Honestly, there's nothing terrible to say about "Love Is Blue", as it has a nice melody overall. Even the production manages to sound relatively fresh and not dated. You could tell someone who is unfamiliar with the tune that it was the theme song to a modern drama and they would believe you.
Yet despite any positive comments I can give to "Love Is Blue", I still just can't get over the fact that this charted at #1. Easy listening music was primarily a niche market, and it has never truly gone away. However, this was during a time period when pop music charts welcomed the likes of The Doors, and The Beatles, both of whom pushed pop music past its limitations. To have an orchestral cover of a corporately written pop song reach #1 is such an anachronism.
Final Verdict - "Love Is Blue" is a bit of a neutral song in the context of #1 hits. It's certainly not bad, and it has a good melody, but it's also woefully out of place in an era of artistic creativity. Not a bad song by any stretch of the imagination, but not a knockout either.
Coming Up Next - "Sittin' On The Dock Of The Bay" by Otis Redding.
Until Next Time, Je M'appelle Dr. Rock -
Released - 1967 (France), December 1967 (US)
#1 for weeks of February 10, 17 and 24 & March 2 and 9, 1968.
When I saw what the next song on the itinerary was, I couldn't believe it. An easy listening instrumental? What is this 1961!? It does seem a bit out of place, and I can't for the life of me figure out why this song was #1 for five weeks. Perhaps in light of the troubled times and an increasingly unpopular war, people just needed something mellow to get them through their day.
Paul Mauriat remains the only French artist to score a US #1. He had been releasing material since the mid 1950's, and his specialty was orchestral arrangements of pop songs. By 1967, he was already pushing 40, yet he managed to keep up with what was popular. His 1967 album, Le Grand Orchestre De Paul Mauriat - Volume 5, contained easy listening orchestral covers of such songs like "Penny Lane" and "Somethin' Stupid". Also included was a cover of "L'amour Est Bleu". This song was written for the 1967 Eurovison contest, and originally sung by Vicky Leandros.
As for Paul Mauriat's rendition of the tune, the keyword is inoffensive and non-pretentious. Honestly, there's nothing terrible to say about "Love Is Blue", as it has a nice melody overall. Even the production manages to sound relatively fresh and not dated. You could tell someone who is unfamiliar with the tune that it was the theme song to a modern drama and they would believe you.
Yet despite any positive comments I can give to "Love Is Blue", I still just can't get over the fact that this charted at #1. Easy listening music was primarily a niche market, and it has never truly gone away. However, this was during a time period when pop music charts welcomed the likes of The Doors, and The Beatles, both of whom pushed pop music past its limitations. To have an orchestral cover of a corporately written pop song reach #1 is such an anachronism.
Final Verdict - "Love Is Blue" is a bit of a neutral song in the context of #1 hits. It's certainly not bad, and it has a good melody, but it's also woefully out of place in an era of artistic creativity. Not a bad song by any stretch of the imagination, but not a knockout either.
Coming Up Next - "Sittin' On The Dock Of The Bay" by Otis Redding.
Until Next Time, Je M'appelle Dr. Rock -
Thursday, January 16, 2014
Song #197 - "Green Tambourine" - The Lemon Pipers
Recorded - October 1967
Released - November 1967
#1 for week of February 3, 1968.
"Green Tambourine" by The Lemon Pipers is often considered to be the first bubblegum song to hit #1. Well, all I have to say to that is, go and listen to the previous song I reviewed, that is pure bubblegum. I feel that "Green Tambourine", is quite different and far more sophisticated than the likes of say,"Yummy Yummy Yummy". The Lemon Pipers, though known for this one big hit, also had a few more tricks up their sleeves as you'll soon learn.
Based in Ohio, The Lemon Pipers were formed in 1966. The following year, they were signed by Buddah records, who decided to market the band as a bubblegum group. Indeed, these early Buddah singles are all written by outside writers, which was the norm for most songs from the bubblegum genre. In November 1967, The Lemon Pipers released "Green Tambourine", which proved to be their only chart topper.
Together with "Incense And Peppermints" and "The Rain, The Park, And Other Things", "Green Tambourine" falls right into the stereotypical 1967 psych-pop style. With colorful lyrics, trippy orchestrations, a very prominent electric sitar, and with psychedelic tape effects used on the line "Play", it all sounds quite dated today. On the other hand, "Green Tambourine" doesn't contain any sugary lyrics or repetition. In fact, it's actually quite a solid psychedelic pop tune.
Lyrically, "Green Tambourine" deals with a street musician who asks his listeners for donations so he can become successful. With a less psychedelic arrangement, this song could easily be recorded in any genre as the lyrics are quite strong. Although I for one happen to like the psychedelic sitar sounds of this record. The biggest downside to "Green Tambourine" is that The Lemon Pipers didn't write the song. By this point, they had little say in their single releases.
February 1968 saw the release of the Green Tambourine album. This was a quickly cobbled together LP, released to capitalize on the title track's success. Featuring treacly bubblegum numbers such as "Rice Is Nice", much of this album is way too sugary for my taste, and it almost throws my "Green Tambourine isn't bubblegum", theory out the window.
However, underneath this avalanche of sucrose, there is "Through With You", a nine minute psychedelic rocker, written by the band themselves. Now, I may like "Green Tambourine, but "Through With You" absolutely rocks! Forget about success on the pop charts, this is what the band should have been putting up front. Either way, The Lemon Pipers never managed to have another large hit, and went their separate ways in 1969. They are forever doomed to be featured on 60's pop compilations and oldies stations.
Final Verdict - I feel that "Green Tambourine" is a lyrically solid number with a well produced music arrangement. Even though it wasn't written by the band, and its success prevented them from achieving larger critical success, I don't think it deserves to be classified at as a bubblegum song. It's not a masterpiece, and it's certainly dated, but I still find it an enjoyable to listen to.
Coming Up Next - "Love Is Blue" by Paul Mauriat.
Until Next Time, I'm Dr. Rock, "now listen while I playayayayayayyyyy", my gold harmonica -
Released - November 1967
#1 for week of February 3, 1968.
"Green Tambourine" by The Lemon Pipers is often considered to be the first bubblegum song to hit #1. Well, all I have to say to that is, go and listen to the previous song I reviewed, that is pure bubblegum. I feel that "Green Tambourine", is quite different and far more sophisticated than the likes of say,"Yummy Yummy Yummy". The Lemon Pipers, though known for this one big hit, also had a few more tricks up their sleeves as you'll soon learn.
Based in Ohio, The Lemon Pipers were formed in 1966. The following year, they were signed by Buddah records, who decided to market the band as a bubblegum group. Indeed, these early Buddah singles are all written by outside writers, which was the norm for most songs from the bubblegum genre. In November 1967, The Lemon Pipers released "Green Tambourine", which proved to be their only chart topper.
Together with "Incense And Peppermints" and "The Rain, The Park, And Other Things", "Green Tambourine" falls right into the stereotypical 1967 psych-pop style. With colorful lyrics, trippy orchestrations, a very prominent electric sitar, and with psychedelic tape effects used on the line "Play", it all sounds quite dated today. On the other hand, "Green Tambourine" doesn't contain any sugary lyrics or repetition. In fact, it's actually quite a solid psychedelic pop tune.
Lyrically, "Green Tambourine" deals with a street musician who asks his listeners for donations so he can become successful. With a less psychedelic arrangement, this song could easily be recorded in any genre as the lyrics are quite strong. Although I for one happen to like the psychedelic sitar sounds of this record. The biggest downside to "Green Tambourine" is that The Lemon Pipers didn't write the song. By this point, they had little say in their single releases.
February 1968 saw the release of the Green Tambourine album. This was a quickly cobbled together LP, released to capitalize on the title track's success. Featuring treacly bubblegum numbers such as "Rice Is Nice", much of this album is way too sugary for my taste, and it almost throws my "Green Tambourine isn't bubblegum", theory out the window.
However, underneath this avalanche of sucrose, there is "Through With You", a nine minute psychedelic rocker, written by the band themselves. Now, I may like "Green Tambourine, but "Through With You" absolutely rocks! Forget about success on the pop charts, this is what the band should have been putting up front. Either way, The Lemon Pipers never managed to have another large hit, and went their separate ways in 1969. They are forever doomed to be featured on 60's pop compilations and oldies stations.
Final Verdict - I feel that "Green Tambourine" is a lyrically solid number with a well produced music arrangement. Even though it wasn't written by the band, and its success prevented them from achieving larger critical success, I don't think it deserves to be classified at as a bubblegum song. It's not a masterpiece, and it's certainly dated, but I still find it an enjoyable to listen to.
Coming Up Next - "Love Is Blue" by Paul Mauriat.
Until Next Time, I'm Dr. Rock, "now listen while I playayayayayayyyyy", my gold harmonica -
Song #196 - "Judy In Disguise (With Glasses)" - John Fred And His Playboy Band
Recorded - Summer 1967
Released as a single - October 1967
#1 for weeks of January 20 and 27, 1968.
Well, this is an interesting way to start off 1968. I've never heard of "Judy In Disguise" in my life, but on the surface, it appears to be a bubblegum novelty song. The same time period this first song was #1, Jimi Hendrix was recording "All Along The Watchtower". It just goes to show how divided pop music was becoming. I don't exactly have high hopes for "Judy...", but I'm hoping that I'll be pleasantly surprised.
John Fred and his Playboy Band were based in Louisiana, and they actually put out their first material as early as 1958. The few songs I've managed to hear by them are all covers of blues songs such as John Lee Hooker's "Boogie Chillen'". Combine this apparent love of blues music with a garage rock atmosphere, and you have a pretty winning combination. But all good things must come to an end, and oh how they did.
1967 saw the garage rock genre begin to morph into two different styles. Some garage rockers added psychedelia to their music and others went for a more simple and singalong route. It was this latter style that became "Bubblegum". John Fred and his Playboy Band had certainly morphed into a bubblegum band by 1967, and when they released a song off their album Agnes English as a single, it reached a #1 pop hit the following year.
That song, "Judy In Disguise (With Glasses)", has several of the bubblegum genre's most prominent cliches. There is a dancable chugging rhythm, a very repetitious and simple melody, and several sugary hooks. Every time the song reaches the end of a chorus and the line "With Glasses" is sung, it comes across as overly cutesy to me. Also, the melody gets really old after a while as well. If you're going to go for a simple melody, at least don't repeat it over and over again!
I'm disappointed in "Judy In Disguise" overall as I was initially impressed during the first 20 seconds. The fact that John Fred actually wrote the song himself also impressed me. But then there was this strange "Trippy" section featuring strings and moaning vocals, and once the actual chorus started, I lost any hope that this would be a forgotten masterpiece.
John Fred's vocals sound a bit like early Van Morrison, which normally would be a good thing. However, you would never expect Van to sing a song that deals with oversized sunglasses. Also, what the heck is up with the song's slow and out of place ending? It sounds more like a non-sequiter than a proper conclusion to the song. Ending with a key change or adding extra harmonies would have been a stronger way to end, in my opinion.
Final Verdict - "Judy In Disguise (With Glasses)" suffers from repetition, poor lyrics, and an overly sweet melody. I can't see why it was ever a hit, let alone a chart topper. It's not a terrible song, but it's not one I'd care to listen to regularly.
Coming Up Next - "Green Tambourine" by The Lemon Pipers.
Until Next Time, I'm Dr. Rock and I'd rather be listening to a much different "Judy song" by Crosby, Stills & Nash!
Released as a single - October 1967
#1 for weeks of January 20 and 27, 1968.
Well, this is an interesting way to start off 1968. I've never heard of "Judy In Disguise" in my life, but on the surface, it appears to be a bubblegum novelty song. The same time period this first song was #1, Jimi Hendrix was recording "All Along The Watchtower". It just goes to show how divided pop music was becoming. I don't exactly have high hopes for "Judy...", but I'm hoping that I'll be pleasantly surprised.
John Fred and his Playboy Band were based in Louisiana, and they actually put out their first material as early as 1958. The few songs I've managed to hear by them are all covers of blues songs such as John Lee Hooker's "Boogie Chillen'". Combine this apparent love of blues music with a garage rock atmosphere, and you have a pretty winning combination. But all good things must come to an end, and oh how they did.
1967 saw the garage rock genre begin to morph into two different styles. Some garage rockers added psychedelia to their music and others went for a more simple and singalong route. It was this latter style that became "Bubblegum". John Fred and his Playboy Band had certainly morphed into a bubblegum band by 1967, and when they released a song off their album Agnes English as a single, it reached a #1 pop hit the following year.
That song, "Judy In Disguise (With Glasses)", has several of the bubblegum genre's most prominent cliches. There is a dancable chugging rhythm, a very repetitious and simple melody, and several sugary hooks. Every time the song reaches the end of a chorus and the line "With Glasses" is sung, it comes across as overly cutesy to me. Also, the melody gets really old after a while as well. If you're going to go for a simple melody, at least don't repeat it over and over again!
I'm disappointed in "Judy In Disguise" overall as I was initially impressed during the first 20 seconds. The fact that John Fred actually wrote the song himself also impressed me. But then there was this strange "Trippy" section featuring strings and moaning vocals, and once the actual chorus started, I lost any hope that this would be a forgotten masterpiece.
John Fred's vocals sound a bit like early Van Morrison, which normally would be a good thing. However, you would never expect Van to sing a song that deals with oversized sunglasses. Also, what the heck is up with the song's slow and out of place ending? It sounds more like a non-sequiter than a proper conclusion to the song. Ending with a key change or adding extra harmonies would have been a stronger way to end, in my opinion.
Final Verdict - "Judy In Disguise (With Glasses)" suffers from repetition, poor lyrics, and an overly sweet melody. I can't see why it was ever a hit, let alone a chart topper. It's not a terrible song, but it's not one I'd care to listen to regularly.
Coming Up Next - "Green Tambourine" by The Lemon Pipers.
Until Next Time, I'm Dr. Rock and I'd rather be listening to a much different "Judy song" by Crosby, Stills & Nash!
Wednesday, January 15, 2014
1968 Overview
1968 was one of the worst years in American history. It's easy for someone to look at modern times and say that our country is down below the bottom of the barrel. Yet in 1968, you could say the end was near and not be far off from the truth. This was the year of the Tet Offensive, as the Vietnam War got uglier. Martin Luther King and Bobby Kennedy, were assassinated. There was even widely publicized police brutality used on the protesters outside of the Democratic National Convention in August. The whole world was watching indeed. But what about the music...
Some may say that great music is made during times of tragedy, sorrow, and revolution. In 1968, this was certainly the case as rock music started to take off into the stratosphere in terms of maturity and progression. Psychedelic rock became heavier, as the seeds for progressive rock and heavy metal were sown with Iron Butterfly's "In-A-Gadda-Da-Vida" and Blue Cheer's cover of "Summertime Blues" respectively. In England, Pete Townshend of The Who spent much of the year engrossed in writing a rock opera, eventually called Tommy.
Yet, there were many who took the creative vibes of the hippie movement, and moved past psychedelic music entirely. One of these post-psychedelic styles was "Roots-rock". This showcasd a back to basics approach in music, with an emphasis on just guitar/bass/drums and sometimes piano. This included Bob Dylan's John Wesley Harding, The Band's Music From The Big Pink, and The Rolling Stones' Beggar's Banquet. Even The Beatles' self titled double album eschewed all of the colorful trippiness of their previous three albums, and came packaged in a plain white cover. Finally, a chance get-together of David Crosby, Stephen Stills, and Graham Nash during the summer, ended up creating one of the finest supergroups of all time.
Similar to roots rock was "Country-Rock". This showcased rock instrumentation often with steel guitars, and a country twang. The major difference being that many early country rock groups identified with the hippie movement, unlike most country singers. The pioneering record of this genre was The Byrds' Sweetheart Of The Rodeo. The following two years would see the genre take off like wildfire, especially with The Grateful Dead.
There were also other styles that took psychedelia and made it heavier. 1968 may very well be the first year of "Hard Rock". When The Yardbirds split in the summer, Jimmy Page reformed the group with new members as "The New Yardbirds". They quickly recorded a powerful bluesy debut album, which was released early in 1969. By this point, their name had changed to Led Zeppelin. From a rock perspective, you could summarize that 1968 was very exciting, but what about pop music. Well, not so much...
Similar to roots rock was "Country-Rock". This showcased rock instrumentation often with steel guitars, and a country twang. The major difference being that many early country rock groups identified with the hippie movement, unlike most country singers. The pioneering record of this genre was The Byrds' Sweetheart Of The Rodeo. The following two years would see the genre take off like wildfire, especially with The Grateful Dead.
There were also other styles that took psychedelia and made it heavier. 1968 may very well be the first year of "Hard Rock". When The Yardbirds split in the summer, Jimmy Page reformed the group with new members as "The New Yardbirds". They quickly recorded a powerful bluesy debut album, which was released early in 1969. By this point, their name had changed to Led Zeppelin. From a rock perspective, you could summarize that 1968 was very exciting, but what about pop music. Well, not so much...
In 1968, FM radio was introduced. This format was initially the home for most serious rock music. There was less restrictions, and you could even play a whole album with nobody raising an eyebrow. AM radio, on the other hand, was mostly geared towards Top 40 pop. Sure, you had the occasional Beatles or Stones song, both of which were more prominent on FM, but there was also a lot of Bubblegum pop. Yes, the offshoot of garage rock that takes the genre's simplify and edge, and replaces the edge with sucrose. In a nutshell, FM was for the serious music fans and AM was for the kiddies and pop lovers. Guess which of the two Billboard chose to draw chart action from?
We still have a long bumpy road to go 'til we get to today's pop disasters. Despite most serious rock not appearing on the top of the charts anymore, we still have a long way to go until things get really painful. This year will probably be full of surprises, both bad and good. Only time will tell...
First Up For 1968 - "Judy In Disguise (With Glasses)" by John Fred And His Playboy Band.
Until Next Time - "Take a load off fanny", and tune in for Dr. Rock's reviews -
Sunday, January 12, 2014
1967 Reflection
Wow! talk about an increase in quality! 1964-1966 all had an extraordinary amount of good #1 songs and very few weak or bad ones. 1967 on the other hand, I would be happy to have all eighteen of the songs I I reviewed in my record collection. That's right, not a single one of these songs was bad, and even the weaker ones still had enough charm to make me want to re-listen to them again.
Now granted, there were a number of songs reviewed that stood on a higher plain than some of the others. There were also a number of classics from this year that didn't get covered. I would've loved to review a Jefferson Airplane song or even another Doors record. Alas, we must remember once again that these charts never are a true indication of longevity. Will people in 50 years likely be listening to "Ode To Billie Joe?" No, they'll look back on 1967 and think of "Sunshine Of Your Love" or "Somebody To Love"...Hmm...guess 1967 really was the year of "Love".
Out of the lucky eighteen that topped the charts in '67 (Not including "I'm A Believer", which started its chart run in '66), I've narrowed down a best and weakest song. It was tougher than I would have ever imagined. Here's the results -
Best #1 Hit Song Of 1967 - "Respect" - Aretha Franklin.
Oh boy, picking the best #1 song from this year proved to be not only my greatest challenge yet, it also may be the hardest decision I'll ever make. "Light My Fire" was the other song I had considered to be the best. In fact, it's one of my favorite songs from this era. I also found "Respect" to be an extraordinary song.
The problem is, both "Light My Fire" and "Respect" are two entirely different song genres, with two entirely different meanings, and have two totally different sounds. It's the epitome of apples and oranges. Both songs are among the best of all time, in different ways. So what made me go with "Respect"? Simple, a technicality.
You see, the version of "Light My Fire" that hit #1 was the butchered single edit. I can't consider a version of the song that ruins how its creators originally intended it, to be the best song of the year. So it is by that reason only that "Respect" wins best song of the year. Besides, Aretha isn't known as "Lady Soul" for nothin'.
Weakest #1 Hit Song Of 1967 - "The Happening" - The Supremes.
This was for the longest time a toughie. I could not think of any song that qualified for worst, or even weakest for that matter. I eventually considered songs like "Windy" and "Daydream Believer", only because they are much lighter-weight than some of the other #1's. Then, I re-listened to "The Happening" and remembered my initial beef with the song - It sounds woefully inauthentic.
When I think of a "Happening", the first thing that comes to mind is a gathering of hippies, where music, love, and art are on full display. The song "The Happening" reminds me of lavish Hollywood and wealth, due to its rich music arrangement. It's not bad, it's not even a weak song, it just comes across as the most corporate of the #1's. For that reason, I hesitantly give it the "Weakest" award.
Things are really going to change from this point out. If you've missed me bashing bad songs, you're going to get your wish sooner than you think. We're going to enter 1968, one of the worst years in American History, and at the same time, one of the most interesting in American music. If 1967 was the year of love, 1968 was the year of revolution.
Things are really going to change from this point out. If you've missed me bashing bad songs, you're going to get your wish sooner than you think. We're going to enter 1968, one of the worst years in American History, and at the same time, one of the most interesting in American music. If 1967 was the year of love, 1968 was the year of revolution.
Coming Up Next - 1968 Overview.
Until Next Time - I'm Dr. Rock, and I'll see you in '68!
Song #195 - "Hello, Goodbye" - The Beatles
Recorded - October 2, 19, 20, 25 & November 1 and 2, 1967.
Released - November 24, 1967 (UK), November 27, 1967 (US)
#1 for weeks of December 30, 1967 & January 6 and 13, 1968.
The last four months of '67 were troubled times for The Beatles. On August 27, 1967, their longtime manager Brian Epstein died. After meeting up about a week later, the group decided to carry on, and buckle down on producing the film Magical Mystery Tour, and its soundtrack. Now, I don't exactly hide the fact that I'm a huge Beatles fan, but even I have to admit that the film is for the most part, pretty bad.
As far as the fans and critic were concerned, this was the first time that The Beatles had truly flopped. On the other hand, the soundtrack to Magical Mystery Tour contains some of the best psychedelic era Beatles songs, and remains critically acclaimed. In the UK, it was released as a six song EP and thus, isn't considered a full length album. However, in the US, and for the CD reissues, the EP was expanded to include all five non-album singles from 1967. One of those being "Hello, Goodbye".
Primarily written by Paul, "Hello, Goodbye", with John's fantastic "I Am The Walrus" on the B-side, was the only single released from the film project. Compared to much of the film's songs, "Hello, Goodbye" is a bit less psychedelic and more grounded in pure rock. While it may be a bit more lyrically simple than say, "I Am The Walrus", all of the music elements in the piece sound heavier and more pronounced than some of The Beatles' past work. This includes everything from Ringo's powerful drum fills, to the stinging guitar parts, to Paul's thumping bassline.
The vocal arrangement is rather complex, with several nice counter-melodies added as the song progresses. One of my favorite parts of the song is the surprise ending. After a brief fadeout, the song comes back at double the intensity and features a catchy wordless singalong section. It's an exciting way to end the song.
Incidentally, I would also recommend you checking out one of the three music videos produced for "Hello, Goodbye", even if you are familiar with the piece. One of them features the group dressed in their Sgt. Pepper outfits with Ringo playing a miniature drum set. Due to The Beatles having long ceased touring, all of their future singles would feature music videos. This was long before the days of MTV or Youtube, so you could say that once again, The Beatles were ahead of the times.
Final Verdict - "Hello, Goodbye" may not be the most lyrically complex song every written by The Beatles, but it is nonetheless a very entertaining number to listen to. With a powerhouse music track and plenty of hooks, I always enjoy listening to it any chance I get.
Coming Up Next - 1967 Reflection -
Until Next Time - I am Dr. Rock, Goo Goo G'Joob -
Released - November 24, 1967 (UK), November 27, 1967 (US)
#1 for weeks of December 30, 1967 & January 6 and 13, 1968.
The last four months of '67 were troubled times for The Beatles. On August 27, 1967, their longtime manager Brian Epstein died. After meeting up about a week later, the group decided to carry on, and buckle down on producing the film Magical Mystery Tour, and its soundtrack. Now, I don't exactly hide the fact that I'm a huge Beatles fan, but even I have to admit that the film is for the most part, pretty bad.
As far as the fans and critic were concerned, this was the first time that The Beatles had truly flopped. On the other hand, the soundtrack to Magical Mystery Tour contains some of the best psychedelic era Beatles songs, and remains critically acclaimed. In the UK, it was released as a six song EP and thus, isn't considered a full length album. However, in the US, and for the CD reissues, the EP was expanded to include all five non-album singles from 1967. One of those being "Hello, Goodbye".
Primarily written by Paul, "Hello, Goodbye", with John's fantastic "I Am The Walrus" on the B-side, was the only single released from the film project. Compared to much of the film's songs, "Hello, Goodbye" is a bit less psychedelic and more grounded in pure rock. While it may be a bit more lyrically simple than say, "I Am The Walrus", all of the music elements in the piece sound heavier and more pronounced than some of The Beatles' past work. This includes everything from Ringo's powerful drum fills, to the stinging guitar parts, to Paul's thumping bassline.
The vocal arrangement is rather complex, with several nice counter-melodies added as the song progresses. One of my favorite parts of the song is the surprise ending. After a brief fadeout, the song comes back at double the intensity and features a catchy wordless singalong section. It's an exciting way to end the song.
Incidentally, I would also recommend you checking out one of the three music videos produced for "Hello, Goodbye", even if you are familiar with the piece. One of them features the group dressed in their Sgt. Pepper outfits with Ringo playing a miniature drum set. Due to The Beatles having long ceased touring, all of their future singles would feature music videos. This was long before the days of MTV or Youtube, so you could say that once again, The Beatles were ahead of the times.
Final Verdict - "Hello, Goodbye" may not be the most lyrically complex song every written by The Beatles, but it is nonetheless a very entertaining number to listen to. With a powerhouse music track and plenty of hooks, I always enjoy listening to it any chance I get.
Coming Up Next - 1967 Reflection -
Until Next Time - I am Dr. Rock, Goo Goo G'Joob -
Subscribe to:
Posts (Atom)