Recorded - December 18, 1965
Released - January 1966
#1 for weeks of March 5, 12, 19, 26, and April 2, 1966.
If you recall in my review of Barry McGuire's anti-war folk tune "Eve Of Destruction", I mentioned how there were several response records from the more conservative music scene. These records range from sneering and condescending to more laid back and gentle. One song from the latter category managed to reach #1 for a whopping five weeks in 1966. That being Staff Sargent Barry Sadler's self-written "The Ballad Of The Green Berets".
I'll start off by saying that, despite any subsequent criticisms I make about this song, I am in no way meaning to insult the men and woman who have and continue to serve in the armed forces. With that being said, this isn't one of my favorite songs. In fact, I'd consider it one of the weakest #1 hits of the 1960's.
Now, I understand SSgt Sadler's intentions - To record a patriotic song honoring the troops. However, the song comes across as rather vapid. Musically, it is the same eight bar progression repeated over and over again. While there are some extra instruments added later, these are overshadowed by the incredibly dated and overly-serious sounding backing vocals.
Any positives? Well, I don't have any problem with Barry's singing voice in this song. It's not anything remarkable, but he could at least carry a tune. Yet, just like "Dominique" by The Singing Nun, I really feel like "Green Berets" was meant for more of a niche market and close friends only. The fact that such an overly serious and dated sounding song occupied the charts for so long, and kept a more cheerful and then-current song like "California Dreaming" off the charts is unbelievable.
There really would be no other time during the Vietnam War that "Green Berets" would have been accepted by the pop market. Only during this brief period from late 1965-early 1966, before that war became widely unpopular, would this song have been championed in the charts. Barry Sadler would have troubled later years when he shot and killed singer Lee Emerson Bellamy in 1978 over a dispute.
Sadly, we'll never know whether this killing was justified or not as Sadler himself was shot and later died of injuries in 1989. "Green Berets" remains not only his one and only hit, but the song people most identify him with. Since he followed his big hit with a singing career, I imagine he later recorded far superior songs. "Green Berets", however, is not one of them.
Final Verdict - "Ballad Of The Green Berets" is a song that doesn't belong in the pop charts. It is an extremely dated sounding record that would have been better suited to be shared among friends, family, and servicemen. However, It has been quite a while that I've heard a song on this list I've disliked so I for one welcome the diversity.
Coming Up Next - "(You're My) Soul And Inspiration" by The Righteous Brothers.
Until Next Time - I'm Dr. Rock -
Wednesday, December 4, 2013
Song #155 - "These Boots Are Made For Walkin'" - Nancy Sinatra
Recorded - November 19, 1965
Released - December 1965
#1 for week of February 26, 1966.
There is no doubt that "These Boots Are Made For Walkin'" is a classic track. From its lyrics, which can be considered proto-feminist, to the fact that many, (Often greatly inferior) covers have been recorded, it clearly is a well known hit. Yet, I wonder if the original version's hit status was solely down to the fact that it was sung by Frank Sinatra's daughter. Let's find out...
Even back in the 1940's, Nancy Sinatra was already semi-famous, due to her father's song "Nancy (With The Laughing Face)". It's hard to deny that her father was the most successful pop artist of that decade along with Bing Crosby. Nancy had actually begun studying music by the late 1950's and by the 1960's, she had released several unsuccessful singles. It was then that songwriter Lee Hazelwood composed a song for her to record as her next single. That song of course is the reason I'm writing this article today.
As usual for Los Angeles-based pop music, "These Boots" features The Wrecking Crew on instrumentation. The most notable musician is Chuck Berghofer on stand up double bass. That walking bass-line, in my opinion, is even more iconic than the lyrics. It's also one of my favorite musical hooks of all time when it comes to pop music. There is also that trumpet solo section at the end which fades out a bit too soon in my opinion. The whole combination of instruments acts as a killer backdrop to Nancy's vocal. Speaking of which -
I was prepared to do this review and really go into how Nancy probably wouldn't have had as much success with this song had she not been a Sinatra. However, since her previous singles were all flops and she is a pretty good singer, that theory is debunked. Nancy sings "These Boots" in a more mature and even slightly fierce tone. As a result, it makes the song stand out over other more gentle or sweetly sung tunes from the time period.
"These Boots", may have been lyrically about a younger girl warding off the unwanted advances of an older man, but in the 45+ years that it has been around, many have made their own interpretations From being used by soldiers in Vietnam, to being a feminist anthem, to being misinterpreted by Jessica Simpson in an ill advised cover version, clearly the song has been loved by many over the years.
Final Verdict - "These Boots Are Made For Walkin'" combines universally relatable lyrics, with a great vocal performance, and an awesome bass part. I certainly agree that its #1 hit status was well-deserved.
Coming Up Next - "The Ballad Of The Green Berets" by Barry Sadler.
Until Next Time - I'm Dr. Rock, and my boots are meant for rockin' -
Released - December 1965
#1 for week of February 26, 1966.
There is no doubt that "These Boots Are Made For Walkin'" is a classic track. From its lyrics, which can be considered proto-feminist, to the fact that many, (Often greatly inferior) covers have been recorded, it clearly is a well known hit. Yet, I wonder if the original version's hit status was solely down to the fact that it was sung by Frank Sinatra's daughter. Let's find out...
Even back in the 1940's, Nancy Sinatra was already semi-famous, due to her father's song "Nancy (With The Laughing Face)". It's hard to deny that her father was the most successful pop artist of that decade along with Bing Crosby. Nancy had actually begun studying music by the late 1950's and by the 1960's, she had released several unsuccessful singles. It was then that songwriter Lee Hazelwood composed a song for her to record as her next single. That song of course is the reason I'm writing this article today.
As usual for Los Angeles-based pop music, "These Boots" features The Wrecking Crew on instrumentation. The most notable musician is Chuck Berghofer on stand up double bass. That walking bass-line, in my opinion, is even more iconic than the lyrics. It's also one of my favorite musical hooks of all time when it comes to pop music. There is also that trumpet solo section at the end which fades out a bit too soon in my opinion. The whole combination of instruments acts as a killer backdrop to Nancy's vocal. Speaking of which -
I was prepared to do this review and really go into how Nancy probably wouldn't have had as much success with this song had she not been a Sinatra. However, since her previous singles were all flops and she is a pretty good singer, that theory is debunked. Nancy sings "These Boots" in a more mature and even slightly fierce tone. As a result, it makes the song stand out over other more gentle or sweetly sung tunes from the time period.
"These Boots", may have been lyrically about a younger girl warding off the unwanted advances of an older man, but in the 45+ years that it has been around, many have made their own interpretations From being used by soldiers in Vietnam, to being a feminist anthem, to being misinterpreted by Jessica Simpson in an ill advised cover version, clearly the song has been loved by many over the years.
Final Verdict - "These Boots Are Made For Walkin'" combines universally relatable lyrics, with a great vocal performance, and an awesome bass part. I certainly agree that its #1 hit status was well-deserved.
Coming Up Next - "The Ballad Of The Green Berets" by Barry Sadler.
Until Next Time - I'm Dr. Rock, and my boots are meant for rockin' -
Tuesday, December 3, 2013
Song #154 "Lightnin' Strikes" - Lou Christie
Recorded - September 3, 1965
Released - December 1965
#1 for week of February 19, 1966.
Tonight on Dr. Rock's Hit Or Miss, it's "When early 1960's dinosaurs take over the charts". The funny thing is there were only three years between Lou Christie's first hits in 1963 and hit only #1 in 1966. The pop music world had been radically changed in this short time span. In early 1963, a song like "Two Faces Have I", with its doo-wop sound and Frankie Valli-esque falsetto vocals sounded fresh and new. After two years, not only had the British Invasion occurred, but American music was very heavily influenced by folk music. How could someone who was seemingly a dinosaur churn out a #1 hit? Answer - Lightning.
Co-written by Lou Christie along with his longtime songwriting partner Twyla Herbert, "Lightnin' Strikes" is lyrically much more grounded in the early 1960's. With some quasi-romantic themes and a few lyrics that come across as a wee bit sexist, it certainly is an oldie with a capital "O". There is no way that this song would fly if it was put out anytime after 1970.
To add to the early 1960's feel, we have the remaining Angels, of "My Boyfriend's Back" fame, on backing vocals. Their voices actually give this song a bit of extra charm in my opinion. Lou Christie's vocal range is also rather impressive as he goes from a baritone croon to a falsetto so high, it surpasses the vocal range of the backing vocalists! Additionally, that "I Can't Stop" build up is a truly great hook.
Where "Lightnin' Strikes" succeeds the most is in the music. The verses, pre-choruses, and chorus all have different instruments on display, thus keeping the song sounding different as it goes along. There's even a rather modern (for the time) guitar solo. So, don't concentrate all your attention on the lyrics, as it is the music that makes this song special.
Final Verdict - "Lightnin' Strikes" is a prime example of a dated but still good sounding tune. It may not have aged as well lyrically, but there is enough complexity in the music to keep the listener entertained.
Coming Up Next - "These Boots Are Made For Walkin'" by Nancy Sinatra.
Until Next Time - I'm Dr. Rock, and lightning never strikes me -
Released - December 1965
#1 for week of February 19, 1966.
Tonight on Dr. Rock's Hit Or Miss, it's "When early 1960's dinosaurs take over the charts". The funny thing is there were only three years between Lou Christie's first hits in 1963 and hit only #1 in 1966. The pop music world had been radically changed in this short time span. In early 1963, a song like "Two Faces Have I", with its doo-wop sound and Frankie Valli-esque falsetto vocals sounded fresh and new. After two years, not only had the British Invasion occurred, but American music was very heavily influenced by folk music. How could someone who was seemingly a dinosaur churn out a #1 hit? Answer - Lightning.
Co-written by Lou Christie along with his longtime songwriting partner Twyla Herbert, "Lightnin' Strikes" is lyrically much more grounded in the early 1960's. With some quasi-romantic themes and a few lyrics that come across as a wee bit sexist, it certainly is an oldie with a capital "O". There is no way that this song would fly if it was put out anytime after 1970.
To add to the early 1960's feel, we have the remaining Angels, of "My Boyfriend's Back" fame, on backing vocals. Their voices actually give this song a bit of extra charm in my opinion. Lou Christie's vocal range is also rather impressive as he goes from a baritone croon to a falsetto so high, it surpasses the vocal range of the backing vocalists! Additionally, that "I Can't Stop" build up is a truly great hook.
Where "Lightnin' Strikes" succeeds the most is in the music. The verses, pre-choruses, and chorus all have different instruments on display, thus keeping the song sounding different as it goes along. There's even a rather modern (for the time) guitar solo. So, don't concentrate all your attention on the lyrics, as it is the music that makes this song special.
Final Verdict - "Lightnin' Strikes" is a prime example of a dated but still good sounding tune. It may not have aged as well lyrically, but there is enough complexity in the music to keep the listener entertained.
Coming Up Next - "These Boots Are Made For Walkin'" by Nancy Sinatra.
Until Next Time - I'm Dr. Rock, and lightning never strikes me -
Song #153 - "My Love" - Petula Clark
Recorded - November 1965
Released - December 1965 (US), January 1966 (UK)
#1 for weeks of February 5 and 12, 1966.
As much as I love reviewing songs I am very familiar with, I always relish the idea of hearing overlooked songs for the first time. "My Love" by Petula Clark is one of those. Seeing as there aren't too many songs of hers I have listened to over the years, I don't have my usual personal knowledge on the song's history. However, from what I can gather, this song was actually recorded in Los Angeles using The Wrecking Crew as musicians.
I admit to being a bit harsh and even rather condescending when I was reviewing her best known hit, "Downtown". Despite me now feeling like I should approach "My Love" with a more delicate critique, apparently Petula wasn't crazy about the song. So as I settle down to give it the mandatory three listens a piece, let's see if it's really as bad as she said it was at the time, or if it's actually quite good...
Well...I'm going to have to mostly agree with Petula's initial opinions of the song, It's not among her best. I will start out with the positives: The use of The Wrecking Crew as the backup band was a great idea. Seeing how around this November 1965 time period, many of these musicians were just starting to work with Brian Wilson on Pet Sounds, there is a very full and complex musical arrangement.
I'll also admit that the use of key changes as the song progresses is a nice touch. I'll even go as far as to say the music of the vocals is catchy. However, the actual lyrics themselves are way too fluffy. The chorus of the song especially comes across as way too poppy, with some very repetitious and cliche love lyrics. Hearing the words "My Love" repeated over and over again isn't a very pleasant experience for me.
There were apparently a whole album's worth of songs recorded during these November 1965 sessions. I searched some of them up out of curiosity and found such gems like, "The Thirty-First Of June". Wow, talk about an improvement! This should have been a single as it takes everything I found decent about "My Love", improves upon it, and contains far superior lyrics.
Final Verdict - Petula Clark has put out much stronger material than "My Love". The song is heavily let down by its lyrics, which sound way too poppy for a song released in 1965/6. I certainly wouldn't consider it among the best of 1966. At least I can say that there were better songs of her's during this time period, and that some are even worth checking out.
Coming Up Next - "Lightnin' Strikes" by Lou Christie.
Until Next Time, I'm Dr. Rock, and I sleep in the subway -
Released - December 1965 (US), January 1966 (UK)
#1 for weeks of February 5 and 12, 1966.
As much as I love reviewing songs I am very familiar with, I always relish the idea of hearing overlooked songs for the first time. "My Love" by Petula Clark is one of those. Seeing as there aren't too many songs of hers I have listened to over the years, I don't have my usual personal knowledge on the song's history. However, from what I can gather, this song was actually recorded in Los Angeles using The Wrecking Crew as musicians.
I admit to being a bit harsh and even rather condescending when I was reviewing her best known hit, "Downtown". Despite me now feeling like I should approach "My Love" with a more delicate critique, apparently Petula wasn't crazy about the song. So as I settle down to give it the mandatory three listens a piece, let's see if it's really as bad as she said it was at the time, or if it's actually quite good...
Well...I'm going to have to mostly agree with Petula's initial opinions of the song, It's not among her best. I will start out with the positives: The use of The Wrecking Crew as the backup band was a great idea. Seeing how around this November 1965 time period, many of these musicians were just starting to work with Brian Wilson on Pet Sounds, there is a very full and complex musical arrangement.
I'll also admit that the use of key changes as the song progresses is a nice touch. I'll even go as far as to say the music of the vocals is catchy. However, the actual lyrics themselves are way too fluffy. The chorus of the song especially comes across as way too poppy, with some very repetitious and cliche love lyrics. Hearing the words "My Love" repeated over and over again isn't a very pleasant experience for me.
There were apparently a whole album's worth of songs recorded during these November 1965 sessions. I searched some of them up out of curiosity and found such gems like, "The Thirty-First Of June". Wow, talk about an improvement! This should have been a single as it takes everything I found decent about "My Love", improves upon it, and contains far superior lyrics.
Final Verdict - Petula Clark has put out much stronger material than "My Love". The song is heavily let down by its lyrics, which sound way too poppy for a song released in 1965/6. I certainly wouldn't consider it among the best of 1966. At least I can say that there were better songs of her's during this time period, and that some are even worth checking out.
Coming Up Next - "Lightnin' Strikes" by Lou Christie.
Until Next Time, I'm Dr. Rock, and I sleep in the subway -
Monday, December 2, 2013
Song #152 - "We Can Work It Out" - The Beatles
Recorded - October 20 and 29, 1965.
Released - December 3, 1965 (UK), December 6, 1965 (US)
#1 for weeks of January 8, 15 and 29, 1966.
Another historic single release, not just because it's a great song (and it is), but because it was the first double A-sided single. Previously, the flipside of the single was almost always the weaker song. However, due to John Lennon's insistence that "Day Tripper" be the A-side, The Beatles compromised and both Day Tripper and "We Can Work It Out" were considered A-sides. Both songs reached #1 in the UK, but due to the American Hot 100 not yet recognizing double A-sides (they wouldn't until 1969), "Day Tripper only got to #5. As for "We Can Work It Out", well, I'd hope you know what chart position that got to!
Both of these A-sides were recorded during the sessions for Rubber Soul, an album that remains one of my top three Beatles albums. The Beatles frequently left singles off their respected albums and "We Can Work It Out" is no exception. Regardless, due to both this song and its parent album's liberal use of folky acoustic guitar, you can consider it the unofficial fifteenth song on Rubber Soul.
"We Can Work It Out" was started by Paul, then he and John composed the middle. Finally, an uncredited George Harrison offered the idea of the song shifting back and forth between standard 4/4 meter and a 3/4 waltz. Musically, I absolutely love the way the harmonium (The accordion-sounding organ), and Paul's lead vocals meld into each other. Lyrically, it is hard not to relate to "We Can Work It Out". However much you and your friends, lover, or spouse have bickered, there always is a way you can settle differences.
By 1965, The Beatles were growing exhausted due to the strenuous touring, and the fact that they were only given a month to record Rubber Soul. Their December 1965 tour of Britain would be their last in their home country. The Beatles would then take three months off, reconvening in April for their next groundbreaking album. More on that when we get to review #162!
Final Verdict - Just like Rubber Soul, "We Can Work It Out", is full of rich sounds. It contains a great vocal performance, with timeless and relatable lyrics, and it's another wonderful Beatles classic.
Coming Up Next - "My Love" by Petula Clark.
Until Next Time - I'm Dr. Rock, and when it comes to my opinions, "only time will tell if I am right or I am wrong" -
Released - December 3, 1965 (UK), December 6, 1965 (US)
#1 for weeks of January 8, 15 and 29, 1966.
Another historic single release, not just because it's a great song (and it is), but because it was the first double A-sided single. Previously, the flipside of the single was almost always the weaker song. However, due to John Lennon's insistence that "Day Tripper" be the A-side, The Beatles compromised and both Day Tripper and "We Can Work It Out" were considered A-sides. Both songs reached #1 in the UK, but due to the American Hot 100 not yet recognizing double A-sides (they wouldn't until 1969), "Day Tripper only got to #5. As for "We Can Work It Out", well, I'd hope you know what chart position that got to!
Both of these A-sides were recorded during the sessions for Rubber Soul, an album that remains one of my top three Beatles albums. The Beatles frequently left singles off their respected albums and "We Can Work It Out" is no exception. Regardless, due to both this song and its parent album's liberal use of folky acoustic guitar, you can consider it the unofficial fifteenth song on Rubber Soul.
"We Can Work It Out" was started by Paul, then he and John composed the middle. Finally, an uncredited George Harrison offered the idea of the song shifting back and forth between standard 4/4 meter and a 3/4 waltz. Musically, I absolutely love the way the harmonium (The accordion-sounding organ), and Paul's lead vocals meld into each other. Lyrically, it is hard not to relate to "We Can Work It Out". However much you and your friends, lover, or spouse have bickered, there always is a way you can settle differences.
By 1965, The Beatles were growing exhausted due to the strenuous touring, and the fact that they were only given a month to record Rubber Soul. Their December 1965 tour of Britain would be their last in their home country. The Beatles would then take three months off, reconvening in April for their next groundbreaking album. More on that when we get to review #162!
Final Verdict - Just like Rubber Soul, "We Can Work It Out", is full of rich sounds. It contains a great vocal performance, with timeless and relatable lyrics, and it's another wonderful Beatles classic.
Coming Up Next - "My Love" by Petula Clark.
Until Next Time - I'm Dr. Rock, and when it comes to my opinions, "only time will tell if I am right or I am wrong" -
Song #151 - "The Sound Of Silence" - Simon & Garfunkel
Recorded - March 10, 1964 & June 15, 1965.
Released - October 19, 1964
Re-released - September 13, 1965
#1 for weeks of January 1 and 22, 1966.
If this is how we're starting off 1966, then color me excited. Few musical duos are as iconic as the team of Paul Simon and Art Garfunkel.
Originally, the duo started off their career in 1957 as "Tom & Jerry". Their earliest work is very much in an Everly Brothers style. By the 1960's the duo took on more of a Greenwich Village folk sound, with their close harmonies intact, and refined.
What makes Simon and Garfunkel's singing style so unique is that the lower pitched of the two, Garfunkel, usually sang the higher vocal lines while the higher pitched Simon sang the lower lines. This unique blending has helped ensure that literally everything Simon & Garfunkel have put out is very listenable and enjoyable. However, it wouldn't be until late 1965 that the casual pop market were made aware of Simon & Garfunkel, with one of their finest early works - "The Sound Of Silence".
Despite being a #1 hit from the very start of 1966, "Sound Of Silence" actually dates back to late 1963. Paul Simon wrote the song in the wake of John F. Kennedy's assassination, and you can certainly hear this reflected in the lyrics. The song was initially recorded in 1964 for Simon & Garfunkel's all-acoustic debut album, Wednesday Morning, 3. A.M. The only instrumentation is Paul Simon's acoustic guitar. That album remains very enjoyable, although due to its lack of success at the time, the duo parted ways.
In mid 1965, there was magic brewing at Columbia Studios in New York. During recording sessions for Bob Dylan's, Highway 61 Revisited, the session musicians took the original vocal and guitar recording of "Sounds Of Silence" and added electric guitar, bass, and drums. Then, the song was re-released in this format. It was due to the success of this re-release that Simon & Garfunkel got back together, and we got four more classic albums from them.
For many people, this was the first time they got to hear Simon & Garfunkel's unique dual singing style. When you combine their voices with the song's dark and haunting lyrics, it is enough to send chills down one's spine. The only possible negative mark I can give this otherwise perfect masterpiece is that the electric guitar part occasionally gets dissonant, especially on the "Fools Say You Do Not Know" verse. However, because of the song's theme, perhaps this musical dissonance works after all.
As for which version I prefer, I think the unadorned acoustic version leaves the vocals and lyrics more prominently on display. On the other hand, the version with rock instrumentation adds some extra energy into the piece. Since both versions contain the exact same wonderful vocal performance, it really boils down to the two versions being like apples and oranges - equally great in their own way.
Final Verdict - Whether it is the stripped down all-acoustic original version, or the full band version, "The Sound Of Silence" remains one of the finest recordings of 1966, the 1960's, and of all time. It is a haunting masterpiece by one of the finest folk songwriters of the twentieth century. A well-deserved #1 hit.
Coming Up Next - "We Can Work It Out" by The Beatles.
Until Next Time - "I am Dr. Rock, I am an island" -
Released - October 19, 1964
Re-released - September 13, 1965
#1 for weeks of January 1 and 22, 1966.
If this is how we're starting off 1966, then color me excited. Few musical duos are as iconic as the team of Paul Simon and Art Garfunkel.
Originally, the duo started off their career in 1957 as "Tom & Jerry". Their earliest work is very much in an Everly Brothers style. By the 1960's the duo took on more of a Greenwich Village folk sound, with their close harmonies intact, and refined.
What makes Simon and Garfunkel's singing style so unique is that the lower pitched of the two, Garfunkel, usually sang the higher vocal lines while the higher pitched Simon sang the lower lines. This unique blending has helped ensure that literally everything Simon & Garfunkel have put out is very listenable and enjoyable. However, it wouldn't be until late 1965 that the casual pop market were made aware of Simon & Garfunkel, with one of their finest early works - "The Sound Of Silence".
Despite being a #1 hit from the very start of 1966, "Sound Of Silence" actually dates back to late 1963. Paul Simon wrote the song in the wake of John F. Kennedy's assassination, and you can certainly hear this reflected in the lyrics. The song was initially recorded in 1964 for Simon & Garfunkel's all-acoustic debut album, Wednesday Morning, 3. A.M. The only instrumentation is Paul Simon's acoustic guitar. That album remains very enjoyable, although due to its lack of success at the time, the duo parted ways.
In mid 1965, there was magic brewing at Columbia Studios in New York. During recording sessions for Bob Dylan's, Highway 61 Revisited, the session musicians took the original vocal and guitar recording of "Sounds Of Silence" and added electric guitar, bass, and drums. Then, the song was re-released in this format. It was due to the success of this re-release that Simon & Garfunkel got back together, and we got four more classic albums from them.
For many people, this was the first time they got to hear Simon & Garfunkel's unique dual singing style. When you combine their voices with the song's dark and haunting lyrics, it is enough to send chills down one's spine. The only possible negative mark I can give this otherwise perfect masterpiece is that the electric guitar part occasionally gets dissonant, especially on the "Fools Say You Do Not Know" verse. However, because of the song's theme, perhaps this musical dissonance works after all.
As for which version I prefer, I think the unadorned acoustic version leaves the vocals and lyrics more prominently on display. On the other hand, the version with rock instrumentation adds some extra energy into the piece. Since both versions contain the exact same wonderful vocal performance, it really boils down to the two versions being like apples and oranges - equally great in their own way.
Final Verdict - Whether it is the stripped down all-acoustic original version, or the full band version, "The Sound Of Silence" remains one of the finest recordings of 1966, the 1960's, and of all time. It is a haunting masterpiece by one of the finest folk songwriters of the twentieth century. A well-deserved #1 hit.
Coming Up Next - "We Can Work It Out" by The Beatles.
Until Next Time - "I am Dr. Rock, I am an island" -
Sunday, December 1, 2013
1966 Overview
Oh boy, If you ever wanted to rank the best years of rock and/or pop music starting from the 1950's, 1966 would not only be among the top five, it may even be the very best. Many years that I will eventually cover had some of the most fantastic rock albums of all time released, but were also terrible years for pop music, (example, 1974). 1966, on the other hand, was a great year for rock and pop.
In terms of pop music, earlier 1960's styles such as Brill Building pop lose the high popularity they once had. Replacing this was a mass of singers, musicians, and songwriters, who wanted to emulate some of the more current trends such as folk music. It was the rise of the creative artist as opposed to the pop craftsman.
However, despite the downfall of the girl group scene, R&B oriented groups like The Supremes reigned...er...supreme. Motown especially continued to produce classic after classic. Anything put out by The Four Tops this year constitutes their very best work.
1966 was also the year for garage rock. Countless one hit, and no hit wonders recorded tunes with their bands, all hoping to make it big. Very few in fact managed to break through. In fact, many of these amateur groups broke up before they had a chance for success or worse, were drafted into 'Nam. The sounds produced by these bands ranged from hard/heavy to neo psychedelic. It remains a fantastic melting pot of sounds that has been covered on hundreds of compilation albums over the years.
Speaking of psychedelia, the rise of LSD, anti-war sentiment, and free love, gave way to a fascinating counterculture. Especially in California, where pioneering bands like The Grateful Dead, Jefferson Airplane, and Big Brother and The Holding Company, spent this year honing their sound. Outside of California and especially when you got as far as the east coast, psychedelia wasn't mostly underground. It would take one massive album, released in June of 1967, for the hippie scene to become a pop movement.
There was also a darker and more poetic side to the counterculture. This included The Doors and The Velvet Underground. Neither of these two groups could be considered hippie bands, even though the hippies certainly dug their sounds. Both of these bands recorded their groundbreaking debut albums in 1966, although both weren't released until 1967. Just by listening to something like "The End" or "Venus In Furs", and realizing that only three years prior, songs like "There I've Said It Again" was recorded, goes to show you just how far music was evolving.
Another reason 1966 remains so great is the sheer amount of classic or influential albums released. This included: The Beatles' "Revolver", The Beach Boys' "Pet Sounds", Bob Dylan's "Blonde On Blonde", The Byrds' "5th Dimension", and Frank Zappa's "Freak Out". There were also countless classic singles put out. Many of these I don't even need to cover in this overview as they were all well-deserved #1 hits, and thus, will each get their own post.
Critically, there were few duds and/or fluffy songs which made it big this year. While I already can spot two #1's that don't stand the test of time, that means that 24 other songs potentially were flawless. Either way, I'm going to listen to them all once again, and decide if this really was among the best years of pop music, or if I'm somehow wrong...not likely...
First Up For 1966 - "The Sound Of Silence" by Simon & Garfunkel.
Until Next Time - I'm Dr. Rock, join me as we go Eight Miles High, and Break On Through, one fantastic year of music!
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