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Post by surfy on Jun 16, 2015 2:40:52 GMT -5
I can't at Hey Jude being less than an 8/10, but congrats on making it this far, and I'm loving following this!
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Post by ry4n on Jun 16, 2015 16:21:06 GMT -5
0212. Sly & The Family Stone - "Everyday People" [4 weeks - 1969]YouTube Link There are numerous inspirational anthems that I find to be ineffective. Many are cliché, preachy, patronizing, lyrically vague, and/or offer nothing useful. "People Got To Be Free", which encompassed similar themes of racial harmony as "Everyday People", fell into some of those traps. It, accordingly, received a low rating. "Everyday People" is a little preachy ("I am no better and neither are you"), but it's one that I do rate highly. It's more straightforward and genuine. This is partly due to the band itself embodying the song's message. The group members are a mix of different races and genders. Their style combines different genres - soul / funk with psychedelic rock. And the vocals in "Everyday People" switch back and forth between Sly and Rose; conveying a sense of togetherness. But it extends beyond group dynamics. The motivations behind the message are made clear - "There is a yellow one / That won't accept the black one / That won't accept the red one..." etc. And it provides a simple, common sense solution. There may be "Different strokes / For different folks" (I believe this song coined that term), but we're all "everyday people". It's a very valid point that's difficult to argue against. And a message worth promoting (certainly during the late 60's). "Everyday People" also contains a hopeful, laidback energy; the horns especially. The vocals and instrumental aren't overpowering. Well, maybe aside from Sly's occasional Gospel cries of "I am everyday people" and "we got to live together". But those phrases are emphasized to sum up the message. In the bridge / chorus, Rose sings in a rope-skipping-esque melody; expressing the silliness of discrimination. It's supported by the "And so on and so on / And scooby dooby dooby / Oh sha sha" bit. Why be so hateful when life can be as happy as this song? 8/10 I'm giving out way too many 8's lately. I think a couple of them should've been 9's...
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Post by ry4n on Jun 16, 2015 16:23:54 GMT -5
I can't at Hey Jude being less than an 8/10, but congrats on making it this far, and I'm loving following this! Yeah, I had a feeling that "Hey Jude" would be one of my controversial scores.
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Post by H. on Jun 16, 2015 18:11:30 GMT -5
Cool song and list.
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Post by ry4n on Jun 17, 2015 14:23:25 GMT -5
0213. Tommy Roe - "Dizzy" [4 weeks - 1969]YouTube Link In the late 60's, a division was forming between albums artists and singles artists. The former category was housing the rock genre, while the latter was being taken over by so-called "bubblegum pop" music (I find this term cringeworthy for some reason). It's a form of pop that's uncomplicated, sugary sweet, and aimed to be catchy. 1968 had its fair share with "Green Tambourine", "Yummy Yummy Yummy" (I got love in my tummy) and the 1910 Fruitgum Co. While in 1969, it becomes a running theme in the #1's. And this trend, oddly, allowed Tommy Roe to score a second #1 seven years after his first ("Sheila"). Of course, it's difficult to resist liking catchy pop music. There's an upcoming "bubblegum pop" #1 that I unabashedly adore. But "Dizzy" falls a bit flat for me. It incorporates elements that should, in theory, make it a solid pop tune. The strings are daydream-y, the drums are eager, the bridge builds tension, and the keys change as Tommy's dizziness escalates. But his vocals lack the personality required to sell the hooks. He needs to sing certain parts with more force. And he sounds more content than dizzy from this girl's mind games. It's just average, I guess. 5/10
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Post by ry4n on Jun 18, 2015 19:18:39 GMT -5
0214. The 5th Dimension - "Aquarius / Let The Sunshine In (The Flesh Failures)" [6 weeks - 1969]YouTube Link "Aquarius / Let The Sunshine In" was an anthem for world peace and harmony. It was a medley brimming with optimism and unquestionable hope for the future. As well as promoting hippie ideals. Both songs were taken from the popular Broadway musical Hair; a show that addressed many of the socio-political issues of the time. The first half eagerly anticipates the Age Of Aquarius (astrology being trendy at the time for some reason). The concept took me a while to grasp. But basically: over the course of ~2100 years, the sun's vernal equinox position shifts from one astrological star sign to the next (due to the Earth's wobbly rotation). Aquarius, an age of "Harmony and understanding / Sympathy and trust abounding" etc, is the upcoming one. The song begins with a Medieval flute; seguing into a matter-of-fact astrological report ("When the moon is in the Seventh House / And Jupiter aligns with Mars"). The female singer leads the first and third verses like a prayer circle. While the second verse sounds like people running across stage exchanging lines. Surrounding them is a chorus exploding in joyous harmonies. The instrumental, meanwhile, has a daydream-y quality to it. Oftentimes, I can embrace such camp-ness. But the astrology stuff is taken so seriously. And the stretching of "Aquariuuuuuus Aquariuuuuuus" into a hook doesn't work for me. However, the song then suddenly transitions into a more down-to-Earth setting. The curtains are blown wide open; brightening up the room that's disconnected from the rest of the world. The group breaks into uplifting Gospel harmonies and invites the audience on stage to sing along. The cheerful horn-led instrumental feels like part of the crowd. Meanwhile, group member Billy Davis Jr reinforces the anthemic feeling by spontaneously ad libbing and screaming soulful vocals overtop. The "let the sunshine" part gets repetitive, but it doesn't overstay its welcome like "Hey Jude". It's such an odd record. The first half is laughable (albeit unique), but I actually find second half pretty encouraging? So I don't know. 5/10 Milestone note: this was #1 when my grandparents got married
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Post by ry4n on Jun 19, 2015 18:53:19 GMT -5
0215. The Beatles with Billy Preston - "Get Back" [5 weeks - 1969]DailyMotion Link While "Hey Jude" was the song to tie Elvis' US and UK records for most #1's; "Get Back" was the one to break them. In the aftermath of the tense White Album sessions, Paul attempted to reunify this dysfunctional band. He was basically the only reason why they were still together at this point. Which, in turn, allowed him to assume the power position. He planned a "back to basics" approach for their next album. He wanted to reduce the number of elaborate studio techniques and to perform live again. The other three complied, but the infighting persisted anyway. The proposed Get Back album was subsequently scrapped (though much of the recordings would appear on Let It Be and the title track was, obviously, released as a single). Billy Preston was brought in to ease tensions. And they settled on performing live once - on a rooftop. In "Get Back", Paul plays the role of an uptight grouch. He instructs the troubled characters of Jojo and Loretta to "get back to where you once belonged". The former left home due to loneliness and the latter makes her girlfriends jealous by hanging around men. I think. Either way, Paul's goofy voice assures he isn't serious. There's also a subtext here of mocking the idea that the Beatles should "get back to where they once belonged". The arrangement of "Get Back" is like a jam session. It's relaxed and uncomplicated. There's a recurring anticipation of the "DAH DAH" guitar notes (especially in the volume-increasing intro). The marching beat is hard to resist (it induces some pressure, but the song is fairly tension-free). And the song avoids tediousness via stray guitar chords, Billy Preston's piano, Paul yelling things like "Get Back Loretta!", the fake-out ending, and the "Your mother's waiting for you" spoken word section. I've always had a soft spot for this one. 8/10
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Post by ry4n on Jun 20, 2015 15:00:39 GMT -5
0216. Henry Mancini And His Orchestra - "Love Theme From Romeo & Juliet" [2 weeks - 1969]YouTube Link These orchestral instrumental numbers can easily be brushed off as dull and risk-less. "Love Theme" initially appears that way. But, as the song progresses, it refuses to sink into the background. The struggling-to-carry-on piano, the deeply melancholic strings, and the intensely haunting vocal chants (each in a stronger volume than the last) take turns shoving themselves into the foreground. The instrumental balances bleakness and agony. Which is the essence of the tragic loss of love; the main theme of Romeo & Juliet. Though, I don't think Henry's version appears in the film. Nor do I know which scene it's taken from. But, I can imagine it being Romeo's reaction to seeing Juliet's unconscious body. He takes his life during the break of silence around 1:36. Juliet, upon waking up to Romeo's actual dead body, experiences the same emotional turmoil. She then follows him into the afterlife as the final piano notes become softer and further apart; the last one notably delayed (the last sign of life). I don't know. It's decent, but it doesn't cater to my tastes so much. 6/10
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Post by ry4n on Jun 21, 2015 20:09:24 GMT -5
0217. Zager & Evans - "In The Year 2525 (Exordium And Terminus)" [6 weeks - 1969]YouTube Link It's probably no coincidence that "In The Year 2525", a song wondering about the future of human civilization, was #1 on the historic date of July 20, 1969. AKA the day that humans first walked on the moon. The event was certainly an inspiring one. The song, however, is much more cynical. The first verse is slow and ominous. The horns paint a picture of a hero trying to defeat whatever his antagonist is. From the second verse onwards, the arrangement turns folksy; accompanied by a sci-fi narration and sombre harmonies. The strings maintain tension throughout. Meanwhile, Zager & Evans speculate the status quo of future years in increments of 1010 (3535, 4545, etc). That is, until they reach the point where the syllable count no longer fits the meter and compromise with 7510 and 8510 instead. The song later concludes by returning to the year 2525 as it fades out; signifying that these events are cyclical. According to them, this is what will happen: "In the year 2525"... we will be wondering about the year 3535, apparently "In the year 3535"... our free will will be suppressed by pills "In the year 4545"... our teeth and eyes will be rendered useless (huh?) "In the year 5555"... machines will do everything for us "In the year 6565"... our children will no longer be conceived by sexual intercourse "In the year 7510"... God will sigh "Guess it's time for the Judgement Day" "In the year 8510"... God will spend 1000 years deciding whether to press the reset button "In the year 9595"... humanity's fate will be determined by our treatment of the environment (it'll take that long?) The accuracy of this timeline is debatable and these dates are absurd. I mean, how today's actions will affect the world of 9595 is anyone's guess. And I presumably won't live to see the age of 533, so these predictions will probably be irrelevant in my lifetime. Though, the song does avoid becoming dated for another 510 years. Furthermore, Zager & Evan's fearmongering doesn't help matters. The Judgement Day stuff especially. They warn that our reliance on medication and technology will eventually erase what makes us human and violate what nature (or God) intended. The song is a call to action to change the current course before it's too late. Their predictions may come to fruition someday, but the song's execution just doesn't hit a nerve with me. It's also pretty lazily written. 2/10
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Post by DJDaveMick69 on Jun 22, 2015 11:33:07 GMT -5
Never been big on 2525 either, but I'd still give it a 4 maybe. Moderate instrumentation, silly lyrics.
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Post by ry4n on Jun 22, 2015 20:45:50 GMT -5
0218. The Rolling Stones - "Honky Tonk Women" [4 weeks - 1969]YouTube Link Released shortly after the death of band member Brian Jones, "Honky Tonk Women" became the Stones' first US #1 in nearly 30 months. During that time, they experienced a drug bust, a brief dabble in psychedelia, a comeback of sorts with "Jumpin' Jack Flash" (#3 in 1968) and a couple of socially concious singles. I used to hate "Honky Tonk Women" because I never understood what the title meant. In fact, I only just discovered its meaning today. Honky-tonks were American bars, generally in the south; and the women in question were most likely prostitutes. In the song, Mick explains how he's overcome with the "honky tonk blues". He cries out in frustration "I just can't seem to drink you off my mind". And responds by pursuing a "gin soaked, bar-room queen in Memphis" and "divorcee in New York City". But he was too drunk to walk upstairs with one and wanted to resist the other. The instrumental is almost like another distraction for Mick. The consistent, laidback cowbell and the dominating, unrestrained guitar chords are like a live band jamming in the bar. The song especially loses control from the instrumental break onwards; which culminates in Mick yelling "WOO". That said, the chorus has never really hooked me in for some reason. It's a bit too minimal I guess? I'm not sure what the right word is. But either way, it's responsible for "Honky Tonk Women" not exciting me as much as the rest of the Stones' 60's output does. 6/10 (more like a 6.5 though)
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Post by ry4n on Jun 22, 2015 20:55:58 GMT -5
Never been big on 2525 either, but I'd still give it a 4 maybe. Moderate instrumentation, silly lyrics. Yeah the instrumentation is probably my favourite part lol.
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Post by ry4n on Jun 23, 2015 23:10:42 GMT -5
0219. The Archies - "Sugar, Sugar" [4 weeks - 1969]YouTube Link So far, I haven't been very favourable towards late 60's "bubblegum pop". I found "Green Tambourine" too gimmicky and "Dizzy" too stiff. "Sugar, Sugar", on the other hand, refuses to be brushed off. The song makes it a mission to get stuck in your head. For example, it's packed with multiple hooks. The chorus contributes the obvious ones: "Ah sugar!", "Ah honey honey!", the xylophone-esque "do do do do do do" notes (instrumental sections can be hooks), and the elongation of "candy girrrrrl". The bridge supplies an offhand "pour a little sugar on it" and the interjection of female vocals ("I'm gonna make your life so sweet"). While the verses feature responding backing vocals ("I just can't believe it's true"). "Sugar, Sugar" also employs an effective structure. It develops from a teenage boy confessing his crush into a frenzied group celebration. And juxtaposes subdued verses with an explosive chorus. The lead singer begins somewhat alone. But, in the verses, he's soon joined by those encouraging responding backing vocals. They boost his confidence enough to lead the next chorus with a more forceful "AHH SUGAR". And, as the elation rises, the handclaps become more noticeable. During the bridge, he impulsively blurts out "pour a little sugar on it"; along with some ad libs. Meanwhile, the female vocalist (his crush) removes any worry of possible rejection ("I'm gonna make your life so sweet"). Then, finally, the gang gathers together for that celebration. The bassline is pumped up, the narrator exclaims "And you've got me wanting you!" more assuredly, and the backing vocals are at their most active. Despite "Sugar, Sugar" being intended for cartoon characters, there's a lack of obvious Archie references. It isn't too gimmicky, but it really does embrace that sugar theme (" candy girl", "so sweet"). If it weren't for the cheesy, unimaginative lyrics ("I just can't believe the loveliness of loving you"), it would be a perfect pop song. 9/10
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Post by DJDaveMick69 on Jun 24, 2015 10:55:14 GMT -5
Sugar Sugar--#1 on my birthdate! (Sept. 29, 1969) Popstop's will be in 1971, but I'm not sure what month he was born.
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Post by ry4n on Jun 24, 2015 11:16:43 GMT -5
Sugar Sugar--#1 on my birthdate! (Sept. 29, 1969) Popstop's will be in 1971, but I'm not sure what month he was born. Popstop isn't quite that old ;)
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Post by ry4n on Jun 24, 2015 23:17:13 GMT -5
0220. The Temptations - "I Can't Get Next To You" [2 weeks - 1969]YouTube Link The Temptations would routinely rotate lead vocal duties amongst their members. And in some instances, such as "I Can't Get Next To You", they would do so on the same track. It was an effective trick because all five members had their own distinct vocal style. As an example: despite all of them experiencing the same situation in this song, their separate tones imply different circumstances and perspectives. "I Can't Get Next To You" occurred during the group's "psychedelic soul" chapter in the late 60's. Indeed, the song incorporates multiple instruments and its structure is rather disorganized. It opens with some loud rowdy applause. Which is cut short by a voice commanding the crowd to settle down. Things turn serious for a moment via fading piano notes; as if to say this isn't an occasion worth celebrating. Suddenly, the audience is jolted awake by blaring horns. Which is soon followed by a funky guitar loosening all the tension that's surrounding it. Later, there's a cymbal instrumental break and an outro set to a different melody. Meanwhile, each member takes short turns venting their relationship frustrations (which is later summed up in an "UUUUHH YEAH" grunt). They do so either as friends consoling each other or as a group collectively confronting this girl. Either way, they decide to compile a list of poetic exaggerations they can do. But, with the one exception that they "can't get next to" her. It might seem conceited (they are continually emphasizing the word "I"), but that's negated by this girl's extremely high standards. And their soulful cries of pain, particularly from Dennis and Eddie, and Dennis breaking down in the outro allows us emphasize. The song isn't concerned about hooks, really; it's more of a series of changing parts made to forcefully grab your attention. And that's exactly what the five of them want - their frustrations to be heard. And in a weird way, it actually works. 8/10
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Post by ry4n on Jun 25, 2015 21:14:09 GMT -5
0221. Elvis Presley - "Suspicious Minds" [1 week - 1969]YouTube Link ...and Elvis goes and ties the record again. As the 60's progressed onwards, his chart success had greatly diminished ("Crying In The Chapel" aside). Music trends were drastically shifting and he was being brushed off as yesterday's news. However, towards the end of the decade, he staged a comeback; silencing any naysayers in the process. "In The Ghetto" returned him to the top 10 and "Suspicious Minds" granted him his first US #1 in seven years. Though, it would be he his last. In "Suspicious Minds", Elvis endures a cyclical, never-ending nightmare. He loves his significant other too much to walk away, but any relationship without trust is doomed to fail. He continually begs to be set free from this trap, but it's futile. He's frustrated and hurt by her overreacting, her jealousy, and her stubborn refusal to consider his side of the story. Someone not believing you when you're telling the truth is always infuriating. This melodrama is pumped up by the strumming guitar, the horns, and the "ahhhhhhh" backing vocals. Meanwhile, in the slower choruses, he attempts to compose himself to reason with her. Following the second chorus, the lights are dimmed. The instrumental hushes and the spotlight focuses on Elvis. He offers one final plea; but he's on the verge of falling apart without a faster instrumental to keep him going. A "Yeah Yeah" then picks him back up, while marching horns and drums do their best to push him along. However, this only leads to the cycle resuming itself. The opening verse ("We're caught in a trap / I can't walk out / Because I love you too much baby") returns to haunt Elvis again. And again. And again. The female backing vocalists offer some relief (they do this in other parts of the song too). But, it's never quite enough. Almost like a tease. Elvis finally appears to be rescued as the song fades out. Except, it doesn't. The music reluctantly fades back in, and it's clear this cycle never ends. It's one mess of emotions. His run of #1's could've ended on such a limp note ("Good Luck Charm" in 1962), so I'm glad it wraps up here instead. 9/10 Elvis' comeback wouldn't last long, though. He would, sadly, suffer a downward spiral throughout the 70's; eventually leading to own his death...
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Post by ry4n on Jun 25, 2015 21:32:41 GMT -5
And here's my ranking of Elvis' 17 US #1's (including pre-Hot 100 chart toppers). I want to do this each time I say goodbye to an artist in the 10+ number ones club. 01. "Jailhouse Rock" either a 9 or 1002. "Suspicious Minds" 9/1003. "Heartbreak Hotel" 8/1004. "Are You Lonesome Tonight?" 8/1005. "Hound Dog" / "Don't Be Cruel" 7/10 (as an average) 06. "Stuck On You" 7/1007. "All Shook Up" 7/1008. "Too Much" 7/1009. "Hard Headed Woman" 6/1010. "I Want You, I Need You, I Love You" 6/1011. "It's Now Or Never" 6/1012. "A Big Hunk O' Love" 5/1013. "(Let Me Be Your) Teddy Bear" 4/1014. "Good Luck Charm" 3/1015. "Surrender" 3/1016. "Love Me Tender" 3/1017. "Don't" 3/10Something like that... keeping in mind that I'm not as familiar with some of the ones I didn't get to cover in this thread.
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Post by Deleted on Jun 25, 2015 22:51:37 GMT -5
^YES at Jailhouse Rock being your #1 out of the 17.
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Post by ry4n on Jun 26, 2015 13:16:26 GMT -5
0222. The 5th Dimension - "Wedding Bell Blues" [3 weeks - 1969]YouTube Link "Aquarius / Let The Sun Shine" was a very oddball #1. "Wedding Bell Blues", on other hand, is more conventional. The song involves group member Marilyn McCoo persuading another group member, Billy Davis Jr., into marrying her. She explains that romance just isn't enough; she needs a ring. And further reasons that she's been faithful and has always been there for him. The instrumental, which features piano and bells, is quite jubilant. Like she's already booked a wedding ceremony. Meanwhile, the backing singers support Marilyn and pressure Bill. As if this is a public confrontation. There are moments of tension, such as the "Oh, come on Bill" bit. However, they're brief. And "Wedding Bell Blues" isn't so much about melodramatic suspense as it is Marilyn being whiny, marriage-obsessed, and giving Bill no choice in the matter. She's forcing him into such an awkward situation. Either he humiliates her by saying "no", or he reluctantly commits to something he (presumably) isn't ready for. But then the video above suggests she's in on the joke. Her delivery seems serious, though. And the arrangement is kind of boring. 3/10
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Post by ry4n on Jun 27, 2015 12:06:50 GMT -5
0223. The Beatles - "Something" / "Come Together" [1 week - 1969]YouTube Link ["Something"] YouTube Link ["Come Together"] Well that didn't last very long. As of "Something" / "Come Together", the Beatles definitively had the record for most US number ones. A record they still hold to this day, of course. Both songs were taken from Abbey Road; an album which became an informal goodbye to their fans since their break-up was imminent. Though, technically it wouldn't be their last one. In November 1969, Billboard reversed their policy regarding A-sides and B-sides (and double A-sides). From now on, they would no longer chart as separate entries. "Something" / "Come Together" benefited from this and surged to #1 on the week of the rule change. I'm not sure if that's the only reason why it went #1 (the former was peaking at #3 and the latter had just fallen 2-7), but I'm not complaining in the slightest! "Something":Finally, a George Harrison song has been permitted A-side status. His compositions, specifically "Love You To" and "Within You Without You", were very philosophically introspective. He was always looking deeper and deeper within himself. "Something" is similarly self-aware and perceptive. The instrumental conveys a sublime, daydream-like quality; while George uses sentimental lyrics to explain how actions are more expressive than words. He observes that his significant other displays love through body language ("Something in the way she moves" / "Somewhere in her smile she knows"). And he's unable to describe this effect through words; so he settles on the vaguest term possible - "something". In the chorus, he assures "Don't want to leave her now / You know I believe and how". But he adds that word "now". Why? Because love is never this simple. His happy dream is constantly interrupted by the "ba-da-da..da...da....DAH" guitar notes. And the middle 8 disrupts it entirely. This is where Ringo's dramatic drums send George into a panic. All of his doubts and insecurities get the better of him. He anxiously yells out "I don't know!" as the piano notes descend into an abyss. Afterwards, during the guitar solo, he lets nature take its course. Which further emphasizes that words aren't always necessary. Later, the song ends on a positive note where the interrupting guitar becomes more uplifting. "Something" understands that love isn't premeditated; and that its future can never be guaranteed. George also paints it as an external force that humans can't control. His attraction and his lover's reciprocation occur without any concious effort. It's one of the best Beatles ballads. "Come Together":John Lennon's venture into the experimental and left field continues with "Come Together"; his final A-side with the Beatles before their break-up. The song is surrounded by a bluesy bassline and the phrase "shoot me". The latter being made to sound like a percussion instrument. John, meanwhile, is off in a separate universe; a place where he can draw attention to himself (he even supplies the backing vocals). He stands at a distant podium; authoritatively commanding his followers; while bouncing up and down to the marching drum beat. He personally attacks several idolized figures, describing them through bizarre visuals. And establishes himself as their definitive leader instead. The guitar bit on "come together... right now... over me" even encourages rallying together. But John plays this role in a satirical manner. And his nonsensical lyrics mock the ridiculousness of this campaign. A common interpretation of "Come Together", however, is that it's about the band members themselves. The first verse concerns Ringo, the second George, third John, and then Paul is saved for last. It's a comment on their inability to "come together" as a band; and on their roles within it. Regardless, it's an innovative song and John's character is pretty amusing. 10 for "Something"; 9 for "Come Together". I guess I'll round down for the average. 9/10
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Post by ry4n on Jun 29, 2015 1:29:19 GMT -5
0224. Steam - "Na Na Hey Hey Kiss Him Goodbye" [2 weeks - 1969]YouTube Link Continuing the theme of "everybody sing and clap along to a phrase that's repeated over and over again" from "Hey Jude" and "Let The Sunshine In" is this sports stadium chant from Steam. An ubiquitous chant at that. "Na Na Hey Hey Kiss Him Goodbye" is comprised of two contradictory parts. One of them being, of course, the repetitious chant of "na-na na-na, na-na na-na, hey hey-ey goodbye". The song opens with it, and it occupies the entire second half. It's a simple, triumphant melody that's supported by jubilant chimes. It's also a smug, superior "rub it in their face" victory dance that's easily singable. Its usage in sports makes sense. The other part lies beneath that chant; where one of the band members sings tearfully and desperately. He misses his ex, he doesn't think her new boyfriend is right for her, and he wants her to "kiss him goodbye". The narrator's words are difficult to discern, however, as they're drowned out by the instrumental; and by more dominant vocalists reinforcing his request. Which causes him to not seem as confident in succeeding. Even the phrase "kiss him goodbye" sounds too polite for such a crass song. But the chorus decides to celebrate like she's already dumped the new guy anyway. The chant of "Na Na Hey Hey Kiss Him Goodbye" has attitude (albeit an arguably obnoxious one), but the verses are lacking in it. 4/10
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Post by ry4n on Jun 29, 2015 22:04:41 GMT -5
0225. Peter, Paul & Mary - "Leaving On A Jet Plane" [1 week - 1969]YouTube Link Alongside Elvis' comeback and the Beatles on the verge of breaking up, Peter, Paul & Mary's sole #1 hit, "Leaving On A Jet Plane", is a sign of the 60's coming full circle. It's a return of folk to the top of the charts from a trio whose previous highest placings were before the British Invasion (the #2's "Puff, The Magic Dragon" and "Blowin' In The Wind"). It would mark their final appearance on the Hot 100, however. The instrumental, which consists merely of an acoustic guitar, focuses all attention on Mary's emotional moment, free of distraction. It's her last chance to say goodbye before her flight departs. She mournfully expresses finality ("All my bags are packed I'm ready to go"), mindfulness ("I hate to wake you up"), and urgency ("The taxi's waitin' he's blowin' his horn"); while also painting a vivid image of an early morning. When her lover opens the door, the harmonies turn louder as she realizes her need for affection and reassurance. This climaxes with the "Cause I'm leavin' on a jet plane" line; which immediately sinks into quietness afterwards. Mary then elaborates on the couple's back story. She apologizes (in a more a passionate vocal) for her past mistakes. And tries to prove her remorse through rationalization ("I tell you now, they don't mean a thing"), saying she'll think of him, and then by promising to marry him someday (because that fixes everything.) In the third verse, however, she resumes the softer vocals for her final words. And, towards the end, the guitar sombrely fades away as she chokes up on the last "Oh baby, I hate to go". The constant ups and downs of emotional intensity, the "I guess this is it" atmosphere, and the down-to-Earth setting makes "Leaving On A Jet Plane" an effective song. The end has arrived, but life carries on. 7/10
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Post by ry4n on Jun 30, 2015 20:46:08 GMT -5
0226. Diana Ross & The Supremes - "Someday We'll Be Together" [1 week - 1969]YouTube Link As the decade continues to come full circle, "Someday We'll Be Together" signifies the end - it's the last 60's #1, the last Supremes #1, and their last single to feature Diana Ross. At this point, her solo career was already being prepared and Motown were ready to concentrate their efforts on the next big thing (an act I'll get to talk about very soon.) Which is just as well; the group had drastically changed by 1969. Indeed, Cindy and Mary are once again absent from this track. "Someday We'll Be Together" is like a continuation of "Leaving On A Jet Plane". Time has flashed forward (the song even opens with busy cellos swinging to a ticking clock) to several months / years after Diana was separated by distance from her other half. She doesn't sulk about it, however. She's actually at peace with the world. Her soothing vocals, the uplifting tambourine, and the tensionless strings establish a sunshine-y atmosphere. She lays peacefully on a cloud as the Gospel-esque backing vocals confidently assure that "someday [they'll] be together" again. A fact that's never doubted for even a second. She also adds comforting, natural-sounding ad libs that repeat and reinforce certain phrases ("Say, say, say it again" / "Yes we will, yes we will" / "You, you, you posses", etc). Diana later admits to making "a big mistake", but her vocal tone conveys acceptance. She acknowledges that it's pointless to dwell on the past. There is one moment of melodrama, however, in the "now all I wanna do is cry" bit; thanks to the passionate backing singers. It suggests that she isn't content 24/7. Which is realistic - some days will be rougher than others in her situation. It isn't a very melody-driven or hook-filled song. It just lives in a world free of worries and anxieties in anticipation of a brighter tomorrow. And that's a sentiment I can appreciate. 7/10
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Post by ry4n on Jun 30, 2015 21:01:43 GMT -5
And here's the Supremes #1's ranking!
01. "You Can't Hurry Love" 10/10 02. "You Keep Me Hangin' On" 9/10 03. "Stop! In The Name Of Love" 9/10 04. "Where Did Our Love Go" 9/10 05. "The Happening" 8/10 06. "Love Child" 8/10 07. "Love Is Here And Now You're Gone" 8/10 08. "I Hear A Symphony" 7/10 09. "Come See About Me" 7/10 10. "Someday We'll Be Together" 7/10 11. "Baby Love" 6/10 12. "Back In My Arms Again" 5/10
They did pretty well.
And with that, we say goodbye to the 60's. I can't believe I've made it this far.
FYI: I'm going to be taking a break for about a week before I begin the 70's.
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Post by H. on Jun 30, 2015 21:04:12 GMT -5
And here's the Supremes #1's ranking! 01. "You Can't Hurry Love" 10/10They did pretty well.
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Red
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Post by Red on Jul 4, 2015 0:18:12 GMT -5
Okay, got a lot of catching up to do...
First, of course, "Hey Jude". I can appreciate the honesty of your review, but I can't bring myself to do anything but sway along any time I listen to the song. And when it gets to the "better Better BETTER, OHHHHHHHHHHHHHHHH!" part...chills, every time. It's easily one of my favorite songs. 10/10. No contest.
I had a feeling we'd agree on "Grapevine" much more, and we do. I know that Marvin Gaye made one of the seminal albums of the 70's and all, but he never touched the greatness that is "Grapevine" again. It's one of the most viscerally exhilarating and emotional tracks ever made, and it's still amazing to think that it was one of the biggest hits of the decade, considering just how much of an emotional rollercoaster it is. And yes, I'd give it a 10/10, too.
Some "lesser" #1s in "Everyday People" and "Get Back" follow, but they're lesser only when compared to two absolute titanic tunes. I unashamedly love "In the Year 2525", if only for how goofy it is, but there's a reason it's generally considered one of the worst songs ever, and certainly one of the worst to top the Hot 100.
Okay, back to the heavy hitters. "Suspicious Minds"! It really needs to be said over and over again how amazing Elvis' comeback really was. He was a relic of a different era by the time he made his comeback, passed by by The Beatles and The Stones and so many other bands and artists. "In the Ghetto" was a revelation, and "Suspicious Minds" is even better. I'd go as far as to give it a 10/10, as it's just immaculate. Elvis at his very best.
"Something"...oh, "Something". Every time I listen to you, you find new ways to win me over. "A Day in the Life" is probably the best Beatles song, imo, but "Something" might be my favorite. It's a testament to how much Paul and John respected George by this point (and hated each other at the same time) that George got a legitimate chance at the spotlight. What that gave us is possibly the quintessential love song. It's absolutely pitch perfect. If (or when) I get married, I want this to be "our song". 10/10 again. (I'd probably go the same rating as you for "Come Together", for the record.)
Bye, '60s. Time for you to make way for perhaps the best decade of them all. Bring on the big winners (and the equally big losers)!
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Post by Deleted on Jul 4, 2015 8:08:50 GMT -5
Overall, you've done a good job so far doing all this. :)
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ry4n
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Post by ry4n on Jul 6, 2015 9:14:11 GMT -5
0227. B.J. Thomas - "Raindrops Keep Fallin' On My Head" [4 weeks - 1970]YouTube Link And here we go! Musically, the 60's were a decade of innovation, risk taking, and conveying a deeper meaning. The 70's, by contrast, are much less weighty. At least on the singles front. It's not my favourite decade (there are some downright horrendous #1's in the first half), but it still provides plenty of exciting moments. And I'm looking forward to reviewing them! Leading us into this new decade is BJ Thomas' philosophy of maintaining a positive attitude in the face of oncoming metaphorical "raindrops". They're a metaphor for the (unmentioned) negative experiences he encounters in life. He's made a decision to not cry or complain about them. He can't control the weather, for example, so it's pointless to do so. Which is further implied by silly lyrics that compare his situation to "the guy whose feet are too big for his bed" and criticize the sun's poor workplace performance. BJ, meanwhile, skips along to a jaunty, humble-voiced melody as the rain pours down around him. He's completely unaffected by the dreary surroundings (such as the melancholic strings and backing vocals). And, as he declares "Nothin's worryin' me", he's greeted by cheery horns. Which allow the sun to poke through the dark clouds occupying his mind. The part that sticks out to me the most, though, is the line "Because I'm free / Nothin's worryin' me". BJ's advice might sound overly simple and easier said than done, but the potential result of feeling liberated is worth it. He also sounds like someone who needs a dosage of positivity in his life. So there's no concern of him being blindly optimistic. An appropriate way to follow a tearful goodbye to the 60's. 7/10
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DJDaveMick69
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Post by DJDaveMick69 on Jul 6, 2015 9:56:14 GMT -5
And the best decade begins! :) And a great, fitting adult oriented classic to start! And even better #1s coming this year!
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