#1 for week of October 10th, 1960.
Being aware this was a novelty song, and knowing that nearly all of the novelty songs on this list so far have been either duds or they haven't warranted multiple listens, I didn't have high hopes for this song. After listening to it, I'm actually surprised...It's the worst one I've heard so far!
If I was worried about "Running Bear" coming across as a bit non P.C, "Mr. Custer" takes the outdated culturally insensitive factor up to 11. The intro of the song alone made me groan. What makes the song more unbearable though is that the song isn't even sung that well.
The vocals are very out of tune, and sung in some sort of accent that sounds like Yogi Bear's pal Boo-Boo with a stuffy nose. It was probably done for comedic effect but jeez, I know it's supposed to not be a serious song, but at least "Yellow Polka Dot Bikini..." and "The Battle Of New Orleans" had listenable lead vocals. Plus, the latter at least was amusing on first listen.
This song's supposed to be about Custer's Last Sand and sung from the point of view of a soldier who doesn't want to fight alongside him. However, the song doesn't carry a strong anti or pro-war message so it really can't be used by either side as a trophy tune. It's just another non-serious history song, minus listen-ability and humor.
Even the music isn't impressive, it's mainly just a Native American drum pattern and a very subdued acoustic guitar and bass. It sounds totally uninteresting. I'm shocked that this song actually sold enough copies to warrant a spot at #1.
Final Verdict - This song comes across to me as unfunny, hideously outdated, and annoying. I wouldn't recommend it at all, and I'm quite baffled it was such a hit in the first place.
Coming Up Next - "Save The Last Dance For Me" by The Drifters.
Until Next Time - Dr. Rock.
Sunday, September 8, 2013
Song #36 - "My Heart Has A Mind Of Its Own" - Connie Francis
#1 for weeks of September 26th, and October 3rd, 1960.
Yet another returning artist, and another song that's totally new to me. Connie Francis previous graced this list with her rather Country-Poppy, but still very hook filled, "Everybody's Somebody's Fool". With "My Heart...", the Country element is even more heavily emphasized. Despite not being big on the genre, I find I prefer this new song to the first one.
For one, most of the song features Connie singing in dual harmony. Being a huge fan of vocal harmonies, this is a plus. Although she sings the song in a much more Country ballad style, no Country accents are used. There aren't as many vocal hooks in this song though, and it lacks the energy of "Everybody's Somebody's Fool".
Interestingly, there are nearly no stereotypical Country instruments such as steel guitars. The mainly acoustic guitar backing sounds more poppy than
Country. This pop element is enforced by the small amount of strings and horns.
When comparing the two songs, I feel that "My Heart Has A Mind Of Its Own" comes a bit more on top perhaps due to the stronger sincerity in the vocals, and the fact that most of the song is sung in harmony. It's not really my style, but I can see how it was a hit as it is very middle of the road sounding.
Final Verdict - I think this song is the better of the two Connie Francis songs that have appeared on this list so far. However, neither of the two are styles that I'd usually listen to. Still, if you liked "Everybody's Somebody's Fool", or any of these early 1960's Country-flavored pop songs for that matter, you'll definitely appreciate "My Heart...".
Coming Up Next - "Mr. Custer" by Larry Verne.
Until Next Time - Dr. Rock -
Yet another returning artist, and another song that's totally new to me. Connie Francis previous graced this list with her rather Country-Poppy, but still very hook filled, "Everybody's Somebody's Fool". With "My Heart...", the Country element is even more heavily emphasized. Despite not being big on the genre, I find I prefer this new song to the first one.
For one, most of the song features Connie singing in dual harmony. Being a huge fan of vocal harmonies, this is a plus. Although she sings the song in a much more Country ballad style, no Country accents are used. There aren't as many vocal hooks in this song though, and it lacks the energy of "Everybody's Somebody's Fool".
Interestingly, there are nearly no stereotypical Country instruments such as steel guitars. The mainly acoustic guitar backing sounds more poppy than
Country. This pop element is enforced by the small amount of strings and horns.
When comparing the two songs, I feel that "My Heart Has A Mind Of Its Own" comes a bit more on top perhaps due to the stronger sincerity in the vocals, and the fact that most of the song is sung in harmony. It's not really my style, but I can see how it was a hit as it is very middle of the road sounding.
Final Verdict - I think this song is the better of the two Connie Francis songs that have appeared on this list so far. However, neither of the two are styles that I'd usually listen to. Still, if you liked "Everybody's Somebody's Fool", or any of these early 1960's Country-flavored pop songs for that matter, you'll definitely appreciate "My Heart...".
Coming Up Next - "Mr. Custer" by Larry Verne.
Until Next Time - Dr. Rock -
Saturday, September 7, 2013
Song #35 - "The Twist" - Chubby Checker
#1 for week of September 19th, 1960, AND, January 13, and 20th, 1962.
Unless you have been living under a rock or you were raised strictly on Classical music your whole life, you HAVE to have heard this song. "The Twist" is more than just a monster hit, it caused a tidal wave of copycats for the next two years at least, and still entertains listeners to this very day.
Despite this initial dance craze occurring for the first couple of years of the 1960's, dance-specific music certainly still lives today. Although that's not particularly a good thing as now we have that dreadful, "Harlem Shake", which just proves our culture thrives on moronic stupidity. However back in 1960, during a time period where a lot of non-rock pop songs were charting big, Chubby Checker's cover of "The Twist", sounded like a revelation.
What makes "The Twist" so enjoyable is the pumping R&B flavored Rock And Roll groove, and Checker's one of a kind lead vocal. This song was so popular that by 1962, it was so widely accepted and loved that all groups of people were buying the record, thus shooting it back up to #1.
Dance-specific music was nothing new. In fact, this song was originally recorded by Hank Ballad And The Midnighters in 1958. Also, James Brown and his band released the rather silly but very enjoyable, "Mashed Potatoes", in 1960 under the name, "Nat Kendrick And The Swans". In case you're wondering where the mashed potato dance craze came from, that song's is its genesis.
So when Checker appeared on Dick Clark's American Bandstand with his cover of, "The Twist", everybody wanted to dance to it and the record's label, (Cameo-Parkway) spent the next two years churning out TONS of different dance-specific numbers. Everything from "The Popeye Waddle" to "Gravy For My Mashed Potatoes". It really did become overkill, although, we did get the fantastic "Twist And Shout" out of the deal so that's always a plus.
Regardless, the fact of the matter is none of these dance songs have a single drop of lyrical resonance, and Chubby Checker was basically typecast as a dance-specific singer for the rest of his life. Still though, for someone to go from working as a mere chicken plucker to becoming world famous in one year's time, is quite an accomplishment. The song is just a whole lot of fun, and sometimes you have to shake off the seriousness of life and just do the twist!
Final Verdict - The early 1960's dance crazy may have gotten a bit out of hand, and modern dance-specific music seems to exist just to annoy those with a decent IQ. However, "The Twist", still sounds great to this day, and I still find the song enjoyable after multiple listens.
Coming Up Next - "My Heart Has A Mind Of Its Own" by Connie Francis.
Until Next Time - Dr. Rock -
Unless you have been living under a rock or you were raised strictly on Classical music your whole life, you HAVE to have heard this song. "The Twist" is more than just a monster hit, it caused a tidal wave of copycats for the next two years at least, and still entertains listeners to this very day.
Despite this initial dance craze occurring for the first couple of years of the 1960's, dance-specific music certainly still lives today. Although that's not particularly a good thing as now we have that dreadful, "Harlem Shake", which just proves our culture thrives on moronic stupidity. However back in 1960, during a time period where a lot of non-rock pop songs were charting big, Chubby Checker's cover of "The Twist", sounded like a revelation.
What makes "The Twist" so enjoyable is the pumping R&B flavored Rock And Roll groove, and Checker's one of a kind lead vocal. This song was so popular that by 1962, it was so widely accepted and loved that all groups of people were buying the record, thus shooting it back up to #1.
Dance-specific music was nothing new. In fact, this song was originally recorded by Hank Ballad And The Midnighters in 1958. Also, James Brown and his band released the rather silly but very enjoyable, "Mashed Potatoes", in 1960 under the name, "Nat Kendrick And The Swans". In case you're wondering where the mashed potato dance craze came from, that song's is its genesis.
So when Checker appeared on Dick Clark's American Bandstand with his cover of, "The Twist", everybody wanted to dance to it and the record's label, (Cameo-Parkway) spent the next two years churning out TONS of different dance-specific numbers. Everything from "The Popeye Waddle" to "Gravy For My Mashed Potatoes". It really did become overkill, although, we did get the fantastic "Twist And Shout" out of the deal so that's always a plus.
Regardless, the fact of the matter is none of these dance songs have a single drop of lyrical resonance, and Chubby Checker was basically typecast as a dance-specific singer for the rest of his life. Still though, for someone to go from working as a mere chicken plucker to becoming world famous in one year's time, is quite an accomplishment. The song is just a whole lot of fun, and sometimes you have to shake off the seriousness of life and just do the twist!
Final Verdict - The early 1960's dance crazy may have gotten a bit out of hand, and modern dance-specific music seems to exist just to annoy those with a decent IQ. However, "The Twist", still sounds great to this day, and I still find the song enjoyable after multiple listens.
Coming Up Next - "My Heart Has A Mind Of Its Own" by Connie Francis.
Until Next Time - Dr. Rock -
Song #34 - "It's Now Or Never" - Elvis
#1 for weeks of August 15, 22, 29th, and September 5, and 12th, 1960.
And now for something completely different, from Elvis that is...And by that I mean it is the first Elvis song to truly showcase his more mellow side. "It's Now Or Never", based musically on the old Italian song "O Sole Mio", ended up being his biggest hit single so far, and was #1 for five weeks.
This song is perhaps the first big example of Elvis' stay in the army having an impact on his overall sound, as the idea to record this song came to him while stationed overseas. It's a far-cry from his classic 1950's sound, and even sounds different than "Stuck On You", even though that song and "It's Now Or Never" were recorded two weeks apart from each other.
Elvis' voice sort of resembles Roy Orbison in this song, especially the final vocal chunk of the song where his voice jumps up quite high. If this song was handed to anyone else, they'd probably sing in a sleepy croon, but Elvis adds some color, emotion, and dynamic vocal range to the song.
Musically, the song holds its Italian influence, while drawing from a bit of Spanish influences as well. There are fast plucked acoustic guitars, castanets and an almost Latin rhythm. Quite a melting pot of cultures.
For those who missed Elvis' more rocking side, he would certainly still record uptempo and/or rock numbers as time went on. However, his classic early sound which was captured on tunes like, "Hound Dog", and "Jailhouse Rock", would never truly reappear. Regardless, "It's Now Or Never" just goes to show that Elvis was not a one trick pony, and was willing to grow as an artist.
Final Verdict - It may not be his original 1950's sound, but Elvis still shines as a vocalist on this much more mellow tune. If you are an Elvis fan, or even a Roy Orbison fan, chances are you'll love it. If you haven't heard it yet, definitely give it a listen.
Coming Up Next - "The Twist" by Chubby Checker.
Until Next Time - Dr. Rock -
And now for something completely different, from Elvis that is...And by that I mean it is the first Elvis song to truly showcase his more mellow side. "It's Now Or Never", based musically on the old Italian song "O Sole Mio", ended up being his biggest hit single so far, and was #1 for five weeks.
This song is perhaps the first big example of Elvis' stay in the army having an impact on his overall sound, as the idea to record this song came to him while stationed overseas. It's a far-cry from his classic 1950's sound, and even sounds different than "Stuck On You", even though that song and "It's Now Or Never" were recorded two weeks apart from each other.
Elvis' voice sort of resembles Roy Orbison in this song, especially the final vocal chunk of the song where his voice jumps up quite high. If this song was handed to anyone else, they'd probably sing in a sleepy croon, but Elvis adds some color, emotion, and dynamic vocal range to the song.
Musically, the song holds its Italian influence, while drawing from a bit of Spanish influences as well. There are fast plucked acoustic guitars, castanets and an almost Latin rhythm. Quite a melting pot of cultures.
For those who missed Elvis' more rocking side, he would certainly still record uptempo and/or rock numbers as time went on. However, his classic early sound which was captured on tunes like, "Hound Dog", and "Jailhouse Rock", would never truly reappear. Regardless, "It's Now Or Never" just goes to show that Elvis was not a one trick pony, and was willing to grow as an artist.
Final Verdict - It may not be his original 1950's sound, but Elvis still shines as a vocalist on this much more mellow tune. If you are an Elvis fan, or even a Roy Orbison fan, chances are you'll love it. If you haven't heard it yet, definitely give it a listen.
Coming Up Next - "The Twist" by Chubby Checker.
Until Next Time - Dr. Rock -
Friday, September 6, 2013
Song #33 - "Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini" - Brian Hyland
#1 for week of August 8th, 1960.
Welp, we've stumbled full force into bubblegum land with this song. You only have to read the name of it and the songs gets stuck in your head like an earworm. Bubblegum pop wouldn't really become a genre, so to say, until around 1968. Regardless, Brian Hyland captured the genre's essence 7 years earlier.
Bubblegum refers to any music that is very saccharine and sugary in lyric and music content, and often has a straightforward locomotion rhythm. Syllables such as "Bah", and "La", are often used as lyrics, and most infamously, the song DOES NOT leave your head no matter how much you like, hate, or abhor the song. "Itsy Bitsy..." meets all of that criteria, and more.
Unlike other novelty songs like, "Alley Oop", which appeals to me due to its gritty production, the production on "Itsy Bitsy..." is a bit too pristinely polished with vocals being pushed forward the most in the mix. The whole way the song is sung makes it feel almost like a children's song, especially the pre-and post chorus spoken word lines.
If you pay attention to the lyrics, which describe the girl's embarrassment of wearing said bikini, they are actually kind of funny. However, three listens and the song gets really old and loses all humor. However, at least it wasn't sung by The Chipmunks! ... or was it?!?!?!!?!?!
The song nowadays is so engraved in pop culture, mostly by cover versions, and it is used in everything from yogurt commercials to diet ads. I imagine for some it's a guilty pleasure due to the fact that it at least sounds musically consonant. Of course, now you are probably humming it in your head, either with delight or you are saying, "ARRGG! Why did you have to get that song stuck in my head Dr. Rock?!?!"
Final Verdict - You probably don't need to hear this song as you already know how it goes. Still, you may not be familiar with the original version, so maybe give it a listen strictly as a curiosity. However, I can't say it's something I'd want to play again. Now if you'll excuse me, I have a song I need to desperately get out of my head...
Coming Up Next - "It's Now Or Never" by Elvis.
Until Next Time - Dr. Rock -
Welp, we've stumbled full force into bubblegum land with this song. You only have to read the name of it and the songs gets stuck in your head like an earworm. Bubblegum pop wouldn't really become a genre, so to say, until around 1968. Regardless, Brian Hyland captured the genre's essence 7 years earlier.
Bubblegum refers to any music that is very saccharine and sugary in lyric and music content, and often has a straightforward locomotion rhythm. Syllables such as "Bah", and "La", are often used as lyrics, and most infamously, the song DOES NOT leave your head no matter how much you like, hate, or abhor the song. "Itsy Bitsy..." meets all of that criteria, and more.
Unlike other novelty songs like, "Alley Oop", which appeals to me due to its gritty production, the production on "Itsy Bitsy..." is a bit too pristinely polished with vocals being pushed forward the most in the mix. The whole way the song is sung makes it feel almost like a children's song, especially the pre-and post chorus spoken word lines.
If you pay attention to the lyrics, which describe the girl's embarrassment of wearing said bikini, they are actually kind of funny. However, three listens and the song gets really old and loses all humor. However, at least it wasn't sung by The Chipmunks! ... or was it?!?!?!!?!?!
The song nowadays is so engraved in pop culture, mostly by cover versions, and it is used in everything from yogurt commercials to diet ads. I imagine for some it's a guilty pleasure due to the fact that it at least sounds musically consonant. Of course, now you are probably humming it in your head, either with delight or you are saying, "ARRGG! Why did you have to get that song stuck in my head Dr. Rock?!?!"
Final Verdict - You probably don't need to hear this song as you already know how it goes. Still, you may not be familiar with the original version, so maybe give it a listen strictly as a curiosity. However, I can't say it's something I'd want to play again. Now if you'll excuse me, I have a song I need to desperately get out of my head...
Coming Up Next - "It's Now Or Never" by Elvis.
Until Next Time - Dr. Rock -
Song #32 - "I'm Sorry" - Brenda Lee
#1 for weeks of July 18, 25th, and August 1, 1960.
When you, or I for that matter, think of teen pop, most minds will gravitate towards any of today's modern teen pop stars. To me, this is the nadir of pop music: Similar sounding, formulaic, auto-tuned 120 BPM dance music. Well, back in the early 1960's, being a teenage singer and having pop hits could mean your voice was unique and stood out. Brenda Lee, who was another new artist for me, is one of the latter examples.
First off, I was very surprised to find out Brenda Lee was only 15 when she recorded this song. I was surprised because her vocal performance sounds very mature, adult, and most importantly, unique. She's certainly a nice change of pace from today's teen pop singers and/or trainwrecks. Put poor Brenda in today's time period and who knows what our tabloid obsessed society would have reduced her to.
This song is apparently considered part of the Country genre, but I fail to hear any elements unique to Country. Brenda's vocals are more pop, and the very orchestrated music arrangement has a 3/4 time slow dance feel. Before the vocals came in, I was expecting this to be a sleeper number, but then once Brenda started singing, and her she got vocally powerful, I could see why this was a hit.
However, I find the spoken word bridge to be a bit on the cheesy side and I find throughout the song, the backing vocals are a bit too poppy. Still, I like this song a bit better than Connie Francis', "Everybody's Somebody's Fool", mostly due to, "I'm Sorry", having a far more melancholic and mature feel to it.
Final Verdict - Perhaps due to the powerful, well-performed vocal and the sheer fact that someone that young could sing like that, I have to give a thumbs up to this song. Even if it's not your cup of tea, and even though it is a bit dated, it's worth a listen.
Coming Up Next - "Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini" by Brian Hyland.
Until Next Time - Dr. Rock -
When you, or I for that matter, think of teen pop, most minds will gravitate towards any of today's modern teen pop stars. To me, this is the nadir of pop music: Similar sounding, formulaic, auto-tuned 120 BPM dance music. Well, back in the early 1960's, being a teenage singer and having pop hits could mean your voice was unique and stood out. Brenda Lee, who was another new artist for me, is one of the latter examples.
First off, I was very surprised to find out Brenda Lee was only 15 when she recorded this song. I was surprised because her vocal performance sounds very mature, adult, and most importantly, unique. She's certainly a nice change of pace from today's teen pop singers and/or trainwrecks. Put poor Brenda in today's time period and who knows what our tabloid obsessed society would have reduced her to.
This song is apparently considered part of the Country genre, but I fail to hear any elements unique to Country. Brenda's vocals are more pop, and the very orchestrated music arrangement has a 3/4 time slow dance feel. Before the vocals came in, I was expecting this to be a sleeper number, but then once Brenda started singing, and her she got vocally powerful, I could see why this was a hit.
However, I find the spoken word bridge to be a bit on the cheesy side and I find throughout the song, the backing vocals are a bit too poppy. Still, I like this song a bit better than Connie Francis', "Everybody's Somebody's Fool", mostly due to, "I'm Sorry", having a far more melancholic and mature feel to it.
Final Verdict - Perhaps due to the powerful, well-performed vocal and the sheer fact that someone that young could sing like that, I have to give a thumbs up to this song. Even if it's not your cup of tea, and even though it is a bit dated, it's worth a listen.
Coming Up Next - "Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini" by Brian Hyland.
Until Next Time - Dr. Rock -
Thursday, September 5, 2013
Song #31 - "Alley Oop" - The Hollywood Argyles
#1 for week of July 11th, 1960.
With this rather eccentric and bizarre record, we introduce an equally eccentric, and famous record producer, Kim Fowley.
Mr. Fowley is perhaps best known in modern times as the original manager of The Runaways in the 1970's. Some of his many production and/or writing credits include working with the early lineup of Paul Revere And The Raiders, and much later he co-wrote songs for Alice Cooper and Kiss. He also worked in Britain producing The Hellions (containing Dave Mason and Jim Capaldi), and he co-wrote the B-side of Cat Steven's first single.
He was also a rather-avant garde recording artist and rather unpredictable in personality as well. He recorded what is one of the first lyrically psychedelic songs, the bizarre "The Trip" released in July of 1965.
So with that understanding of how versatile and eccentric Fowley was, you can be sure that his character fully resonates in one of his first productions, "Alley Oop". A song about the caveman comic character of the same name. Today's equivalent would be if someone recorded a song about Garfield.
Gary S. Paxton, who sang with future Byrd, Skip Batton, is the lead singer in this song. The Hollywood Argyles were strictly a studio creation, so everyone singing background and playing instruments are friends of Fowley and co. It was the equivalent of inviting your best friends for a party in the studio to record a song just for the fun of it.
Musically and lyrically, the song is VERY non-serious and the recording sounds very lo-fi, almost like a field recording. The production is very minimalist, with a stand up bass, piano, and percussion. Lyrically, the lyrics are either nonsensically bizarre, or satirical genius, even I'm not quite sure, but somehow, it all works.
If you listen to the song and think, "What were they smoking when they created this?" You're almost right. It would appear that all of them were drinking hard cider and gradually got more tipsy as the session progressed. As a result, Paxton apparently ending up singing his lead vocal while lying down sideways on the studio floor!
One must remember that this song is not meant to be taken seriously and even seems to be a bit of a satire. It's not surprise then that in 1966 Fowley got to work with the king of satire, Frank Zappa. Fowley is credited with playing, "Hypephone" (sic), on The Mothers Of Invention's Freak Out album.
Final Verdict - "Alley Oop" sounds like nothing that came before or after it. It's bizarre, it's crude sounding, it's got cooky lyrics, it's sung in an authentically lush manor... and yet, all those elements together just make the song strangely enjoyable for me. Your mileage may vary but I find this song to be a good one in my books. Definitely give it a listen, and perhaps you'll like it too.
Coming Up Next - "I'm Sorry" by Brenda Lee.
Until Next Time - I'm Dr. Caveman...er...Rock -
With this rather eccentric and bizarre record, we introduce an equally eccentric, and famous record producer, Kim Fowley.
Mr. Fowley is perhaps best known in modern times as the original manager of The Runaways in the 1970's. Some of his many production and/or writing credits include working with the early lineup of Paul Revere And The Raiders, and much later he co-wrote songs for Alice Cooper and Kiss. He also worked in Britain producing The Hellions (containing Dave Mason and Jim Capaldi), and he co-wrote the B-side of Cat Steven's first single.
He was also a rather-avant garde recording artist and rather unpredictable in personality as well. He recorded what is one of the first lyrically psychedelic songs, the bizarre "The Trip" released in July of 1965.
So with that understanding of how versatile and eccentric Fowley was, you can be sure that his character fully resonates in one of his first productions, "Alley Oop". A song about the caveman comic character of the same name. Today's equivalent would be if someone recorded a song about Garfield.
Gary S. Paxton, who sang with future Byrd, Skip Batton, is the lead singer in this song. The Hollywood Argyles were strictly a studio creation, so everyone singing background and playing instruments are friends of Fowley and co. It was the equivalent of inviting your best friends for a party in the studio to record a song just for the fun of it.
Musically and lyrically, the song is VERY non-serious and the recording sounds very lo-fi, almost like a field recording. The production is very minimalist, with a stand up bass, piano, and percussion. Lyrically, the lyrics are either nonsensically bizarre, or satirical genius, even I'm not quite sure, but somehow, it all works.
If you listen to the song and think, "What were they smoking when they created this?" You're almost right. It would appear that all of them were drinking hard cider and gradually got more tipsy as the session progressed. As a result, Paxton apparently ending up singing his lead vocal while lying down sideways on the studio floor!
One must remember that this song is not meant to be taken seriously and even seems to be a bit of a satire. It's not surprise then that in 1966 Fowley got to work with the king of satire, Frank Zappa. Fowley is credited with playing, "Hypephone" (sic), on The Mothers Of Invention's Freak Out album.
Final Verdict - "Alley Oop" sounds like nothing that came before or after it. It's bizarre, it's crude sounding, it's got cooky lyrics, it's sung in an authentically lush manor... and yet, all those elements together just make the song strangely enjoyable for me. Your mileage may vary but I find this song to be a good one in my books. Definitely give it a listen, and perhaps you'll like it too.
Coming Up Next - "I'm Sorry" by Brenda Lee.
Until Next Time - I'm Dr. Caveman...er...Rock -
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