Recorded - October 6 and 18, 1964
Released - December 4, 1964 (UK), February 15, 1965 (US)
#1 for weeks of March 13 and 20, 1965.
Today, most people consider "Eight Days A Week" as being an album track on The Beatles' fourth British album, Beatles For Sale. However, if you were living in the US, the album in that format didn't see a release. Instead, Americans got, Beatles 65. It contained eight of the fourteen songs from Beatles For Sale plus some leftover single and older album tracks. "Eight Days A Week" was first released in America in February of 1965 as a single. It was not released on an American Beatles album until Beatles VI from June 1965, (Yet another seemingly random collection of songs from multiple albums).
While "Eight Days A Week" is certainly one of The Beatles more poppy numbers and it doesn't have the same level of maturity as "I Feel Fine", it is nonetheless a wonderful rocker that contains some of the best vocal work of John and Paul. The two bridges of the song in particular where the instruments briefly drop out are always amazing to hear. Because the song uses a mix of acoustic and electric guitars, there is a very sunny tone. Additionally, I'm really fond of the song's bassline.
There is also a bit of innovation in the opening with the use of fading into the song. What makes this even more impressive is that this method was worked out on the spot. When The Beatles went to record "Eight Days A Week", much of the song was unfinished. In fact, they would spend a separate day working out the song's bookending outro.
Perhaps due to this song being an American #1 in 1965, The Beatles second movie briefly had the title of "Eight Arms To Hold You". Seeing how The Beatles were constantly progressing musically, and especially seeing how the actual title song of their second movie turned out to be one of John's most personal songs yet, It's a good thing in hindsight that the film had a better name.
Final Verdict - "Eight Days A Week" is another great pop-rocker with fantastic vocal and guitar parts. Its greatness is only eclipsed by The Beatles' next #1 hit, which we'll get to soon.
Coming Up Next - "Stop! In The Name Of Love" by The Supremes.
Until Next Time - I'm Dr. Rock, and I review music eight days a week.
Monday, November 18, 2013
Sunday, November 17, 2013
Song #129 - "My Girl" - The Temptations
Recorded - September 25, and November 10 and 17, 1964
Released - December 21, 1964
#1 for week of March 6, 1965.
Question - How do you take the pop craftsman formula: Having outside writers compose a hit for a strictly vocal group, and make it into a work of art? Answer - You have Smokey Robinson and Ronald White of The Miracles write the song, give it to The Tempations, have one of their underused singers take lead vocals, and use one of the most premier session groups in the world (The Funk Brothers). "My Girl", a song that is well-loved by all groups of people and artists, due to its near-universal appeal.
The Temptations actually have quite a complicated and often tragic history. The classic five members of the group were, from highest to lowest singing voice: Eddie Kendricks, David Ruffin, Otis Williams, Paul Williams, and Melvin Franklin. Of those five, only Otis Williams is alive today. The Temptations spent 1961-1963 releasing numerous singles, almost all of which flopped miserably. Then, in early 1964, they released "The Way You Do The Things You Do" which got to #11 on the pop charts and #1 on the R&B charts.
Much of the group's singles released in 1964 featured Eddie Kendricks on lead vocals. This all changed in late 1964 when Smokey Robinson gave The Tempations "My Girl" specifically for David Ruffin to sing. Although David had sung a couple of then-unreleased tracks, this was his first true moment to shine. The single sped up to #1 on both the R&B and pop charts in 1965, no doubt due in part to David's trademark smokey lead vocals. What makes "My Girl" such a masterpiece is the fact that it has both a strong music track and an equally strong vocal track.
For the music, you have James Jamerson's heartbeat-like bass opening which causes most people to instantly recognize the tune before the guitar even comes in. That guitar riff, performed by Robert White is equally memorable. When the chorus of the song comes in, we have brass and a swelling string arrangement which from this point on, add a finer dimension of sound to the music.
Vocally, David Ruffin gives us such a powerful delivery that even to this day, it sends chills down my spine. Combine this great vocal with the four part harmonies of the other four Temptations, and you have something really special. My personal favorite part of the song has always been the solo and final verse section where the key changes, and David's vocals become even more magnificent than before.
Due to the massive success of "My Girl", It's easy to see why for The Temptations next few singles, David Ruffin became the primary lead vocalist. Unfortunately, perhaps due to this fame going to his head, he started developing an ego and a drug problem, which gradually got out of hand. By spring of 1968, Otis Williams, the defacto leader of the group, had no choice but to fire David from The Temptations. Thus, the group's sound would never be the same again.
Final Verdict - "My Girl" remains my favorite Temptations song. It is that winning combination of a fantastic instrumental track with the soulful and emotional vocals of one of Motown's finest groups. A solid A+ that rightfully belongs in your record collection.
Coming Up Next - "Eight Days A Week" by The Beatles.
Until Next Time - I'm Dr. Rock and I've got sunshine on a cloudy day.
Released - December 21, 1964
#1 for week of March 6, 1965.
Question - How do you take the pop craftsman formula: Having outside writers compose a hit for a strictly vocal group, and make it into a work of art? Answer - You have Smokey Robinson and Ronald White of The Miracles write the song, give it to The Tempations, have one of their underused singers take lead vocals, and use one of the most premier session groups in the world (The Funk Brothers). "My Girl", a song that is well-loved by all groups of people and artists, due to its near-universal appeal.
The Temptations actually have quite a complicated and often tragic history. The classic five members of the group were, from highest to lowest singing voice: Eddie Kendricks, David Ruffin, Otis Williams, Paul Williams, and Melvin Franklin. Of those five, only Otis Williams is alive today. The Temptations spent 1961-1963 releasing numerous singles, almost all of which flopped miserably. Then, in early 1964, they released "The Way You Do The Things You Do" which got to #11 on the pop charts and #1 on the R&B charts.
Much of the group's singles released in 1964 featured Eddie Kendricks on lead vocals. This all changed in late 1964 when Smokey Robinson gave The Tempations "My Girl" specifically for David Ruffin to sing. Although David had sung a couple of then-unreleased tracks, this was his first true moment to shine. The single sped up to #1 on both the R&B and pop charts in 1965, no doubt due in part to David's trademark smokey lead vocals. What makes "My Girl" such a masterpiece is the fact that it has both a strong music track and an equally strong vocal track.
For the music, you have James Jamerson's heartbeat-like bass opening which causes most people to instantly recognize the tune before the guitar even comes in. That guitar riff, performed by Robert White is equally memorable. When the chorus of the song comes in, we have brass and a swelling string arrangement which from this point on, add a finer dimension of sound to the music.
Vocally, David Ruffin gives us such a powerful delivery that even to this day, it sends chills down my spine. Combine this great vocal with the four part harmonies of the other four Temptations, and you have something really special. My personal favorite part of the song has always been the solo and final verse section where the key changes, and David's vocals become even more magnificent than before.
Due to the massive success of "My Girl", It's easy to see why for The Temptations next few singles, David Ruffin became the primary lead vocalist. Unfortunately, perhaps due to this fame going to his head, he started developing an ego and a drug problem, which gradually got out of hand. By spring of 1968, Otis Williams, the defacto leader of the group, had no choice but to fire David from The Temptations. Thus, the group's sound would never be the same again.
Final Verdict - "My Girl" remains my favorite Temptations song. It is that winning combination of a fantastic instrumental track with the soulful and emotional vocals of one of Motown's finest groups. A solid A+ that rightfully belongs in your record collection.
Coming Up Next - "Eight Days A Week" by The Beatles.
Until Next Time - I'm Dr. Rock and I've got sunshine on a cloudy day.
Song #128 - "This Diamond Ring" - Gary Lewis & The Playboys
Recorded - November 19, 1964
Released - December 3, 1964
#1 for weeks of February 20 and 27, 1965.
Looking back through the 1960's, it's easy to make an assumption that bands like The Beatles and The Beach Boys were boy bands who played strictly for a female audience. In actuality, that's far from the truth as both bands were more artistic in their craft. Gary Lewis & The Playboys, on the other hand, can easily be pigeonholed into the teeny bopper category. Here was a group who were very clean cut with very innocent lyrics, perfect for Mom and Dad to take their daughters to go see. While most of their material is a bit too sugary for my taste, I do admit that their first single, "This Diamond Ring" is rather good.
Front man and lead singer Gary Lewis, son of famous comedian Jerry Lewis, was actually the group's drummer. Unfortunately, "This Diamond Ring" is entirely played by session musicians so we don't get to hear him on his own instrument. Although these session musicians, including Hal Blaine on drums, Carol Kaye on Bass, and Leon Russell on piano, are certainly among the most noteworthy of Los Angeles' top session musicians known as "The Wrecking Crew". Another bummer is that this song wasn't even written by Gary Lewis, and instead was co-written by several composers including Al Kooper.
"This Diamond Ring" is certainly an interesting sounding track as it is almost two different songs mixed into one. The first 20 seconds of the song which contain the intro and first verse sounds downright awesome. Seriously, if they had built the rest of the song upon this minor keyed, reverb-heavy slice of rock, I'd have ranked this as one of the best songs of 1965. However, the choruses of the song are much more happy and cheerful sounding, even a bit Beatle-esque at times. Naturally, that's not a bad sound at all, it's just a bit of a mood whiplash after those amazing first 20 seconds.
Despite Gary Lewis & The Playboys ostentatiously being more of a ladies band, lyrically, the song is actually quite relatable to both genders. It's about a man who presumably just went through a divorce or perhaps a broken engagement. He's asking "Who will take her place". In a world where the divorce rate seems to get larger every day, there's quite a few people who can relate.
Gary Lewis & The Playboys would continue to have top 10 success throughout 1965 and 1966. Then, in January 1967, Gary was drafted for a year's worth of duty in the Army. Upon his return in 1968, the pop scene has completely changed. The band mostly struggled to stay afloat in these more culturally progressive times and eventually called it quits in 1970.
Final Verdict - A surprisingly well-crafted pop-rock song that Gary Lewis gives his best vocal performance on. If this song was completely constructed like its verses are, I'd give this song a very spirited thumbs up. Even then, I'd still recommend giving this song a listen or two, or three...
Coming Up Next - "My Girl" by The Temptations.
Until Next Time - This Dr. Rock still shines for you-u-u -
Released - December 3, 1964
#1 for weeks of February 20 and 27, 1965.
Looking back through the 1960's, it's easy to make an assumption that bands like The Beatles and The Beach Boys were boy bands who played strictly for a female audience. In actuality, that's far from the truth as both bands were more artistic in their craft. Gary Lewis & The Playboys, on the other hand, can easily be pigeonholed into the teeny bopper category. Here was a group who were very clean cut with very innocent lyrics, perfect for Mom and Dad to take their daughters to go see. While most of their material is a bit too sugary for my taste, I do admit that their first single, "This Diamond Ring" is rather good.
Front man and lead singer Gary Lewis, son of famous comedian Jerry Lewis, was actually the group's drummer. Unfortunately, "This Diamond Ring" is entirely played by session musicians so we don't get to hear him on his own instrument. Although these session musicians, including Hal Blaine on drums, Carol Kaye on Bass, and Leon Russell on piano, are certainly among the most noteworthy of Los Angeles' top session musicians known as "The Wrecking Crew". Another bummer is that this song wasn't even written by Gary Lewis, and instead was co-written by several composers including Al Kooper.
"This Diamond Ring" is certainly an interesting sounding track as it is almost two different songs mixed into one. The first 20 seconds of the song which contain the intro and first verse sounds downright awesome. Seriously, if they had built the rest of the song upon this minor keyed, reverb-heavy slice of rock, I'd have ranked this as one of the best songs of 1965. However, the choruses of the song are much more happy and cheerful sounding, even a bit Beatle-esque at times. Naturally, that's not a bad sound at all, it's just a bit of a mood whiplash after those amazing first 20 seconds.
Despite Gary Lewis & The Playboys ostentatiously being more of a ladies band, lyrically, the song is actually quite relatable to both genders. It's about a man who presumably just went through a divorce or perhaps a broken engagement. He's asking "Who will take her place". In a world where the divorce rate seems to get larger every day, there's quite a few people who can relate.
Gary Lewis & The Playboys would continue to have top 10 success throughout 1965 and 1966. Then, in January 1967, Gary was drafted for a year's worth of duty in the Army. Upon his return in 1968, the pop scene has completely changed. The band mostly struggled to stay afloat in these more culturally progressive times and eventually called it quits in 1970.
Final Verdict - A surprisingly well-crafted pop-rock song that Gary Lewis gives his best vocal performance on. If this song was completely constructed like its verses are, I'd give this song a very spirited thumbs up. Even then, I'd still recommend giving this song a listen or two, or three...
Coming Up Next - "My Girl" by The Temptations.
Until Next Time - This Dr. Rock still shines for you-u-u -
Saturday, November 16, 2013
Song #127 - "You've Lost That Lovin' Feelin'" - The Righteous Brothers
Recorded - August-November, 1964
Released - November 28, 1964
#1 for weeks of February 6 and 13, 1965.
Sometimes, I let nostalgia get in the way of giving a review an accurate rating. When I first heard a greatest hits album by The Righteous Brothers nearly 20 years ago, I was mesmerized by the sounds contained within and instantly became a fan. However, this bias certainly is justified as "You've Lost That Lovin' Feelin'", the first song I ever heard by them, is already considered by many to be one of the greatest pop songs of all time, and it's certainly among the best of the 1960's.
The Righteous Brothers consisted of blue eyed soul singers Bill Medley and the late Bobby Hatfield. Their first single, "Little Latin Lupe Lu", was released in May of 1963. The song is certainly atypical of most of their well known hits due to the fact that the song features a more R&B and soul influenced sound. After releasing numerous singles through '63 and '64, they were given the song "You've Lost That Lovin' Feelin'", written by Phil Spector, Barry Mann, and Cynthia Weil. In other words, it was perhaps the last big stand of the Wall of Sound and Brill Building songwriting teams in a rapidly changing music scene. And oh boy did they strike gold!
Just listening to those opening few seconds, you hear Bill Medley's trademark deep vocals mixed with one of the best wall of sound music tracks ever recorded. To this day, I hear something new in the music, be it the bells, or the subtle backing vocals from a choir. (Make sure of course that if you choose to hear this song, it's this original version and not the pale and lifeless re-recording done years later!)
Bobby Hatfield doesn't get as big a chance to shine in this song, (Although he certainly would have that chance in "Unchained Melody"). When he does come in on lead vocals in the song's bridge, the song gets taken to a much higher plain. Going from a simple subdued music and vocal part to hearing the two Righteous Brothers absolutely giving it their all vocally, it's downright nirvana to hear on headphones.
The Righteous Brothers would continue to enjoy success throughout 1965 and even get another #1 in 1966. By this time, their association with Phil Spector was over and Bill Medley produced the music himself. We'll cover their next #1 when we get to 1966.
Final Verdict - "You've Lost That Lovin' Feelin'" is an absolutely breathtaking masterpiece. Magnificently sung, with an enchanting music track to go with it. Not only well-deserving of hit status, but also well-deserved to be considered one of the best songs ever made.
Coming Up Next - "This Diamond Ring" by Gary Lewis & The Playboys.
Until Next Time - "Don't, don't, don't", go away, stay tuned for the next Dr. Rock review -
Released - November 28, 1964
#1 for weeks of February 6 and 13, 1965.
Sometimes, I let nostalgia get in the way of giving a review an accurate rating. When I first heard a greatest hits album by The Righteous Brothers nearly 20 years ago, I was mesmerized by the sounds contained within and instantly became a fan. However, this bias certainly is justified as "You've Lost That Lovin' Feelin'", the first song I ever heard by them, is already considered by many to be one of the greatest pop songs of all time, and it's certainly among the best of the 1960's.
The Righteous Brothers consisted of blue eyed soul singers Bill Medley and the late Bobby Hatfield. Their first single, "Little Latin Lupe Lu", was released in May of 1963. The song is certainly atypical of most of their well known hits due to the fact that the song features a more R&B and soul influenced sound. After releasing numerous singles through '63 and '64, they were given the song "You've Lost That Lovin' Feelin'", written by Phil Spector, Barry Mann, and Cynthia Weil. In other words, it was perhaps the last big stand of the Wall of Sound and Brill Building songwriting teams in a rapidly changing music scene. And oh boy did they strike gold!
Just listening to those opening few seconds, you hear Bill Medley's trademark deep vocals mixed with one of the best wall of sound music tracks ever recorded. To this day, I hear something new in the music, be it the bells, or the subtle backing vocals from a choir. (Make sure of course that if you choose to hear this song, it's this original version and not the pale and lifeless re-recording done years later!)
Bobby Hatfield doesn't get as big a chance to shine in this song, (Although he certainly would have that chance in "Unchained Melody"). When he does come in on lead vocals in the song's bridge, the song gets taken to a much higher plain. Going from a simple subdued music and vocal part to hearing the two Righteous Brothers absolutely giving it their all vocally, it's downright nirvana to hear on headphones.
The Righteous Brothers would continue to enjoy success throughout 1965 and even get another #1 in 1966. By this time, their association with Phil Spector was over and Bill Medley produced the music himself. We'll cover their next #1 when we get to 1966.
Final Verdict - "You've Lost That Lovin' Feelin'" is an absolutely breathtaking masterpiece. Magnificently sung, with an enchanting music track to go with it. Not only well-deserving of hit status, but also well-deserved to be considered one of the best songs ever made.
Coming Up Next - "This Diamond Ring" by Gary Lewis & The Playboys.
Until Next Time - "Don't, don't, don't", go away, stay tuned for the next Dr. Rock review -
Song #126 - "Downtown" - Petula Clark
Recorded - October 16, 1964
Released - November, 1964 (UK and US)
#1 for weeks of January 23 and 30, 1965.
It's funny how I just got through saying how 1965 was the first year that artists, not pop stars, dominated the charts. Well, our first couple of songs on this list are definitely pure pop, although unlike previous years, that actually isn't a bad thing. One misconception that can be made by younger rock fans looking back on the 1960's is that Britain was strictly about rock music in terms of what was popular. In reality, Britain had a pop scene that was sometimes even more stylistically behind the times than America's was. Some of these British pop singers had begun their career as early as the 1950's. Example A in terms of this more poppy style is certainly Petula Clark.
Mrs. Clark released her first musical work as early as 1949. Many of her work was sung in other languages such as French, German, and Italian. In fact, she had quite a few #1 hits in France alone. Her chart record is interesting due to the fact that she would go quite a few releases not charting at all and then suddenly have a top 10 UK hit. Then, in early 1965, she struck gold on both sides of the Atlantic with "Downtown". The single reached an impressive #2 on the UK charts, ("I Feel Fine" was at #1), and managed to reach #1 here in the US.
Of course, "Downtown" wasn't even remotely written by Petula, it was fully composed and produced by Tony Hatch, the man who had and would continue to produce some of her best known 1960's work. Despite this being an authentic British single, there is nothing even remotely uniquely British about it musically and lyrically. Tony Hatch had written the song after taking a trip to New York City. Thus, the song may as well be an advertisement for the big apple.
Musically, the song has a very Hollywood-esque arrangement. In fact, the song could easily have been used as the opening credits for a film of the same name. The song builds from a simple piano ballad to a powerful and instantly catchy chorus. There are strings and brass a plenty and even a brief horn solo as the song fades out. Petula sings with enough gusto that you'd forget she was in her mid 30's when this song was recorded. Do I think this song deserved to be such a big hit? Well, yes and no.
On the plus side, the song is very catchy with many musical and vocal hooks. Despite this style not being what I'd usually care to listen to, I find myself always enjoying it whenever it is played. However, it is also a pure commercial pop song, not written by the artist who it was sung by. Because of this, the song comes across more as an advertisement for a tourist bureau than a song written from the heart. In the end, perhaps that's why "Downtown" became such a big hit. New York radio DJ's must have been more than thrilled to play a British song written about their hometown.
Final Verdict - Despite being a bit overly-commercial sounding, "Downtown" is a well crafted and sung pop song that has managed to still sound quite fresh to this very day.
Coming Up Next - "You've Lost That Lovin' Feelin'" by The Righteous Brothers.
Until Next Time - All the lights are bright on Dr. Rock -
Released - November, 1964 (UK and US)
#1 for weeks of January 23 and 30, 1965.
It's funny how I just got through saying how 1965 was the first year that artists, not pop stars, dominated the charts. Well, our first couple of songs on this list are definitely pure pop, although unlike previous years, that actually isn't a bad thing. One misconception that can be made by younger rock fans looking back on the 1960's is that Britain was strictly about rock music in terms of what was popular. In reality, Britain had a pop scene that was sometimes even more stylistically behind the times than America's was. Some of these British pop singers had begun their career as early as the 1950's. Example A in terms of this more poppy style is certainly Petula Clark.
Mrs. Clark released her first musical work as early as 1949. Many of her work was sung in other languages such as French, German, and Italian. In fact, she had quite a few #1 hits in France alone. Her chart record is interesting due to the fact that she would go quite a few releases not charting at all and then suddenly have a top 10 UK hit. Then, in early 1965, she struck gold on both sides of the Atlantic with "Downtown". The single reached an impressive #2 on the UK charts, ("I Feel Fine" was at #1), and managed to reach #1 here in the US.
Of course, "Downtown" wasn't even remotely written by Petula, it was fully composed and produced by Tony Hatch, the man who had and would continue to produce some of her best known 1960's work. Despite this being an authentic British single, there is nothing even remotely uniquely British about it musically and lyrically. Tony Hatch had written the song after taking a trip to New York City. Thus, the song may as well be an advertisement for the big apple.
Musically, the song has a very Hollywood-esque arrangement. In fact, the song could easily have been used as the opening credits for a film of the same name. The song builds from a simple piano ballad to a powerful and instantly catchy chorus. There are strings and brass a plenty and even a brief horn solo as the song fades out. Petula sings with enough gusto that you'd forget she was in her mid 30's when this song was recorded. Do I think this song deserved to be such a big hit? Well, yes and no.
On the plus side, the song is very catchy with many musical and vocal hooks. Despite this style not being what I'd usually care to listen to, I find myself always enjoying it whenever it is played. However, it is also a pure commercial pop song, not written by the artist who it was sung by. Because of this, the song comes across more as an advertisement for a tourist bureau than a song written from the heart. In the end, perhaps that's why "Downtown" became such a big hit. New York radio DJ's must have been more than thrilled to play a British song written about their hometown.
Final Verdict - Despite being a bit overly-commercial sounding, "Downtown" is a well crafted and sung pop song that has managed to still sound quite fresh to this very day.
Coming Up Next - "You've Lost That Lovin' Feelin'" by The Righteous Brothers.
Until Next Time - All the lights are bright on Dr. Rock -
Friday, November 15, 2013
1965 Overview
1965 marked the true beginning of a pop music renaissance in America. 1964 was dominated mostly by British music. Many of the former music styles that were able to chart so high in previous years were becoming unfashionable and unhip. 1965 saw many bands, artists, and styles emerge, much of whom wanted to equal or surpass The Beatles. This period lasted up until around 1968-1970, when AM radio became the choice for top 40 pop artists while only FM would become dominated by the artists who strived for every one of their albums to be brilliant. But I'm getting ahead of myself.
Several distinct American styles emerged during this year, the first being folk rock. Introduced in The Byrds' cover of Bob Dylan's "Mr. Tambourine Man", the genre would become the next big American sound for the next couple of years. Surf rockers put down their surfboards and instead picked up Rickenbacker guitars. Bob Dylan would cause outrage in the folk community by going electric. Out of this phase of his career, we got some of his best albums. One of those songs, "Like A Rolling Stone", remains one of the greatest songs of all time.
Another result of The Beatles' success was the surge of garage rock bands sprouting up all over the country. Teenagers and 20-somethings all wanted to form bands of their own and have their own slice of success. Many of these bands became no-hit wonders, forever destined to appear on some of the many garage rock and Nuggets compilations over the years. However, therein lies the charm of the genre as many of these garage rock unknowns produced long lost gems that are downright fascinating to discover. Notable songs and artists who recorded in 1965 include The Standells ("Dirty Water"), The Seeds ("Pushing Too Hard"), and The Sonics ("Psycho").
This year also saw the very beginnings of the psychedelic scene. By year's end, The Grateful Dead were the house band for a series of acid tests. Many bands and artists that would become counter-cultural icons began making themselves known. One of those groups, The Doors, recorded demos in September. Even Brian Wilson of The Beach Boys had taken acid and strived to make music that way ahead of its time. By year's end, influenced by The Beatles' Rubber Soul, he had started work on what would become a classic - Pet Sounds. The times were a-changin' indeed.
American R&B and soul music remained strong during 1965 with Motown releasing some of the best work by The Temptations, The Four Tops, and The Supremes. Over in Memphis, Stax records gave us such legendary songs by artists such as: Otis Redding ("I've Been Loving You Too Long"), Wilson Pickett ("The Midnight Hour"), and Sam & Dave ("You Don't Know Like I Know"), to name a few. However, it was Motown that charted the highest on the pop charts so unfortunately, no artist from Stax or Atlantic records will be on the list this year.
Meanwhile over in Britain, The Beatles continued to reign supreme. They began the year by recording songs meant for their second film: The rather campy, but nonetheless enjoyable, Help! Their second release of the year, Rubber Soul indicated the beginning of a new direction for the group. Here was an album full of folk rock influence with not a single bad song among the bunch. The Moptop era was nearing a close.
Other noteworthy British bands and songs included The Who, who exploded onto the scene with songs such as "I Can't Explain" and the classic "My Generation". However, they would remain unknown in the US for a couple more years. The Kinks also saw a change in song subject matter as songwriter/lead singer Ray Davies started writing more narrative and quintessentially English songs such as "A Well Respected Man". The Rolling Stones had an equally amazing year with several of their greatest early work being recorded.
1965 could be the best year for top 40 music and again, this is due to so many pop artists wanting to progress musically and put out music that meant something. There will still be pure pop artists who top the chart, but even those groups and singers added a level of sophistication to their simple tunes. Needless to say, there is not a single #1 from 1965 that I'd consider bad. Consequentially, if you're reading my reviews to hear me bash the living daylights out of a bad pop song, this isn't your year.
So join me as we venture in to a year which began with jingle jangle mornings and ended with the first seeds of psychedelic rock/pop being planted. The days of innocence and naivety are already ancient history.
First up for 1965 - "Downtown" by Petula Cark.
Until Next Time - I'm Dr. Rock -
Several distinct American styles emerged during this year, the first being folk rock. Introduced in The Byrds' cover of Bob Dylan's "Mr. Tambourine Man", the genre would become the next big American sound for the next couple of years. Surf rockers put down their surfboards and instead picked up Rickenbacker guitars. Bob Dylan would cause outrage in the folk community by going electric. Out of this phase of his career, we got some of his best albums. One of those songs, "Like A Rolling Stone", remains one of the greatest songs of all time.
Another result of The Beatles' success was the surge of garage rock bands sprouting up all over the country. Teenagers and 20-somethings all wanted to form bands of their own and have their own slice of success. Many of these bands became no-hit wonders, forever destined to appear on some of the many garage rock and Nuggets compilations over the years. However, therein lies the charm of the genre as many of these garage rock unknowns produced long lost gems that are downright fascinating to discover. Notable songs and artists who recorded in 1965 include The Standells ("Dirty Water"), The Seeds ("Pushing Too Hard"), and The Sonics ("Psycho").
This year also saw the very beginnings of the psychedelic scene. By year's end, The Grateful Dead were the house band for a series of acid tests. Many bands and artists that would become counter-cultural icons began making themselves known. One of those groups, The Doors, recorded demos in September. Even Brian Wilson of The Beach Boys had taken acid and strived to make music that way ahead of its time. By year's end, influenced by The Beatles' Rubber Soul, he had started work on what would become a classic - Pet Sounds. The times were a-changin' indeed.
American R&B and soul music remained strong during 1965 with Motown releasing some of the best work by The Temptations, The Four Tops, and The Supremes. Over in Memphis, Stax records gave us such legendary songs by artists such as: Otis Redding ("I've Been Loving You Too Long"), Wilson Pickett ("The Midnight Hour"), and Sam & Dave ("You Don't Know Like I Know"), to name a few. However, it was Motown that charted the highest on the pop charts so unfortunately, no artist from Stax or Atlantic records will be on the list this year.
Meanwhile over in Britain, The Beatles continued to reign supreme. They began the year by recording songs meant for their second film: The rather campy, but nonetheless enjoyable, Help! Their second release of the year, Rubber Soul indicated the beginning of a new direction for the group. Here was an album full of folk rock influence with not a single bad song among the bunch. The Moptop era was nearing a close.
Other noteworthy British bands and songs included The Who, who exploded onto the scene with songs such as "I Can't Explain" and the classic "My Generation". However, they would remain unknown in the US for a couple more years. The Kinks also saw a change in song subject matter as songwriter/lead singer Ray Davies started writing more narrative and quintessentially English songs such as "A Well Respected Man". The Rolling Stones had an equally amazing year with several of their greatest early work being recorded.
1965 could be the best year for top 40 music and again, this is due to so many pop artists wanting to progress musically and put out music that meant something. There will still be pure pop artists who top the chart, but even those groups and singers added a level of sophistication to their simple tunes. Needless to say, there is not a single #1 from 1965 that I'd consider bad. Consequentially, if you're reading my reviews to hear me bash the living daylights out of a bad pop song, this isn't your year.
So join me as we venture in to a year which began with jingle jangle mornings and ended with the first seeds of psychedelic rock/pop being planted. The days of innocence and naivety are already ancient history.
First up for 1965 - "Downtown" by Petula Cark.
Until Next Time - I'm Dr. Rock -
Wednesday, November 13, 2013
1964 Reflection
For the first time on this blog, I can truly say that the year I'm reflecting on was just about perfect in terms of #1 hits. 1964 is the first year where there was no awful or hideously outdated songs that topped the US Hot 100. From the numerous Beatles hits to classic Motown, it was nearly all perfect. The best part is, 1965 would be even better!
In a year dominated by British rock and American R&B hits, many other American music styles were a bit displaced, chart-wise. Many of the artists who dominated the charts for the previous five years are nowhere to be found. The age of self-contained bands and progressive artists was finally upon us.
Naturally, picking the best and worst of this year was like pulling teeth. I've decided to never do tie votes, so only one can win the coveted position of best. Even picking the weakest song was tricky as you'll soon find out. So, with out any further adieu -
Best #1 Hit Song Of 1964 - "I Want To Hold Your Hand" - The Beatles.
You have no idea how tough it was for me to place this as my top song. Even though The Beatles are my favorite band, I wanted to fairly rank all of the singers and artists who hit #1. The other two choices, both of which were just nano meters away from being picked as the best are "Oh, Pretty Woman" and to a lesser extent, "House Of The Rising Sun".
"Oh, Pretty Woman" is such a fantastic song, and it is sung by someone who easily was among the top vocalists of all time. It also has an equally iconic guitar riff."I Want To Hold Your Hand" features a tight self-contained band who completely wrote and played the song themselves. It is, as previously mentioned, one big hook all the way through. Plus, the combined vocals of John Lennon and Paul McCartney are irreplaceable.
So why I finally decide on "I Want To Hold Your Hand"? Because, it changed music and cultural history when it became a hit. As wonderful a song as "Oh, Pretty Woman" is, it never changed pop music history when it was released. It is because of this that I, just barely, vote "I Want To Hold Your Hand" as the best US #1 of 1964...But don't get me wrong, "Oh, Pretty Woman" is a fantastic song as well.
Weakest #1 Hit Song Of 1964 - "There! I've Said It Again" - Bobby Vinton.
Believe it or not, this was an equally tough decision as there were no truly bad or even completely mediocre #1 songs from 1964. I went through all of the songs deciding which ones were the least innovative, and which ones I get sick of hearing over and over again first. I came up with three possibilities "There! I've Said It Again", "Leader Of The Pack", and "Ringo".
"Leader Of The Pack" was almost picked as the weakest mostly because of its extreme melodramatic nature. The song also gets a bit tiresome when you hear it three times in a row. "Ringo" was considered for similar reasons: It gets quite campy the more you listen to it. However, I didn't even remotely dislike either of these two songs.
"There! I've Said It Again" was voted the weakest because, in addition to being lyrically a bit too sugary and a bit behind the times, listening to it more than once proved to be progressively more unenjoyable. However, I do not dislike the tune, and I do acknowledge that Bobby Vinton's other #1 from this year, "Mr. Lonely", is a major improvement in every way. So, just by process of elimination, I consider "There! I've Said It Again" to be the weakest #1 of 1964.
So join me in a short while as we enter one of, if not the best years of pop music history. A year where even the worst songs are some of the most iconic and treasured of all time. And the best songs? among the best music ever recorded by humankind.
Coming Up Next - 1965 Overview.
Until Next Time - I'm Dr. Rock, See you in '65!
In a year dominated by British rock and American R&B hits, many other American music styles were a bit displaced, chart-wise. Many of the artists who dominated the charts for the previous five years are nowhere to be found. The age of self-contained bands and progressive artists was finally upon us.
Naturally, picking the best and worst of this year was like pulling teeth. I've decided to never do tie votes, so only one can win the coveted position of best. Even picking the weakest song was tricky as you'll soon find out. So, with out any further adieu -
Best #1 Hit Song Of 1964 - "I Want To Hold Your Hand" - The Beatles.
You have no idea how tough it was for me to place this as my top song. Even though The Beatles are my favorite band, I wanted to fairly rank all of the singers and artists who hit #1. The other two choices, both of which were just nano meters away from being picked as the best are "Oh, Pretty Woman" and to a lesser extent, "House Of The Rising Sun".
"Oh, Pretty Woman" is such a fantastic song, and it is sung by someone who easily was among the top vocalists of all time. It also has an equally iconic guitar riff."I Want To Hold Your Hand" features a tight self-contained band who completely wrote and played the song themselves. It is, as previously mentioned, one big hook all the way through. Plus, the combined vocals of John Lennon and Paul McCartney are irreplaceable.
So why I finally decide on "I Want To Hold Your Hand"? Because, it changed music and cultural history when it became a hit. As wonderful a song as "Oh, Pretty Woman" is, it never changed pop music history when it was released. It is because of this that I, just barely, vote "I Want To Hold Your Hand" as the best US #1 of 1964...But don't get me wrong, "Oh, Pretty Woman" is a fantastic song as well.
Weakest #1 Hit Song Of 1964 - "There! I've Said It Again" - Bobby Vinton.
Believe it or not, this was an equally tough decision as there were no truly bad or even completely mediocre #1 songs from 1964. I went through all of the songs deciding which ones were the least innovative, and which ones I get sick of hearing over and over again first. I came up with three possibilities "There! I've Said It Again", "Leader Of The Pack", and "Ringo".
"Leader Of The Pack" was almost picked as the weakest mostly because of its extreme melodramatic nature. The song also gets a bit tiresome when you hear it three times in a row. "Ringo" was considered for similar reasons: It gets quite campy the more you listen to it. However, I didn't even remotely dislike either of these two songs.
"There! I've Said It Again" was voted the weakest because, in addition to being lyrically a bit too sugary and a bit behind the times, listening to it more than once proved to be progressively more unenjoyable. However, I do not dislike the tune, and I do acknowledge that Bobby Vinton's other #1 from this year, "Mr. Lonely", is a major improvement in every way. So, just by process of elimination, I consider "There! I've Said It Again" to be the weakest #1 of 1964.
So join me in a short while as we enter one of, if not the best years of pop music history. A year where even the worst songs are some of the most iconic and treasured of all time. And the best songs? among the best music ever recorded by humankind.
Coming Up Next - 1965 Overview.
Until Next Time - I'm Dr. Rock, See you in '65!
Subscribe to:
Posts (Atom)