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Post by ry4n on Jul 7, 2015 4:31:51 GMT -5
0228. Jackson 5 - "I Want You Back" [1 week - 1970]YouTube Link But with every goodbye comes a new hello. There's no more Elvis or the Supremes songs to review (and not much longer for the Beatles either), but it's only the beginning for another legendary act. "I Want You Back" is, of course, the introduction to an 11 year old Michael Jackson (and his brothers). The group's funky rhythms and youthful energy were the answer to Motown's path for the new decade. And they quickly became the label's top priority in the early 70's. A common complaint regarding kids singing love songs is that they're too inexperienced to know what they're talking about. This notion is, however, challenged by the conviction in Michael's lead vocal performance in "I Want You Back". Especially the way he cries out "Oh baby, give me one more chance" in the chorus and his uncontrollable shouting ad libs towards the end. He's consumed by regret and angst. And puts forth an effort to prove that he's sorry; offering insight such as "When I had you to myself, I didn't want you around" and "Following the girl I didn't even want around". In other words, he's recognized that his situation is the classic "took her for granted while together; missing her now that she's with someone else". He's learning the complexities of relationships. And, although he misses her, he isn't asking for a lifetime commitment or acting like she's the only girl he'll ever love. The instrumental is, likewise, youthful and complex; though not as melodramatic. The sliding piano keys, the funky bassline, and the danceable percussion (plus Michael's brothers showing their support and the "ababababooboo" bridge) are radiant and full of life. While these separate sections (including the strings) continually exchange their placing in the foreground. It's a frenzy school gymnasium dance of a song. It's also difficult to root against a child pouring his heart out. Michael makes it believable despite his age. My only issue is the lack of hooks outside the chorus. Still, I can't give this anything less than a 9/10 milestone watch: this was #1 when my mom was born (if I got the chart dates correct)
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DJDaveMick69
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Post by DJDaveMick69 on Jul 7, 2015 10:51:53 GMT -5
Wow I feel old ;) If your mom was born between January 25 (start of week) and January 31 (week ending).
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Post by ry4n on Jul 7, 2015 11:05:10 GMT -5
Wow I feel old ;) If your mom was born between January 25 (start of week) and January 31 (week ending). Oh, oops, should be the next one then.
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Post by ry4n on Jul 7, 2015 16:52:37 GMT -5
0229. The Shocking Blue - "Venus" [1 week - 1970]YouTube Link But the 60's aren't quite over yet. "Venus", a rare Dutch #1 in the US, contains a psychedelic organ and references ancient Roman mythology. They imagery is certainly fantasy-like. The song begins with one distressing guitar riff. This quickly transitions into a swinging guitar groove. Frontwoman Mariska Veres, meanwhile, competes for her significant other's attention. Her rival is compared to Venus, the Roman goddess of love and sex. She stands on a mountain top above everyone else; her beauty enticing all the men below. Her perfection is exaggerated and she's portrayed as more myth than human. Mariska responds with resentment in the verses and key hook ("She's got it / Yeah, baby she's got it"). And shrieks "WOW" at one point. She also shoves Venus off the mountain top (or possibly vice versa) during the bridge. One of them exclaims "ahhhhhhhhhh" through an echo effect as they sink to the depths below. Ultimately, Mariska declares herself as " your Venus" and "at your desire" to her lover. Though, her tone is more commanding than flirtatious or seductive. Venus might have the whole package, but she'll be overwhelmed by numerous offers. Mariska, on the other hand, can be all his. "Venus" is just ridiculous enough for its camp-ness to work. And that's why I love it. I look forward to the Bananarama version whenever I get there. 8/10
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Post by DJDaveMick69 on Jul 7, 2015 23:56:38 GMT -5
Venus has always ranked high among my top tunes of 1970.
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Post by ry4n on Jul 8, 2015 11:18:19 GMT -5
0230. Sly & The Family Stone - "Thank You (Falettinme Be Mice Elf Agin)" / "Everybody Is A Star" [2 weeks - 1970]YouTube Link ["Thank You"] YouTube Link ["Everybody Is A Star"] Heading into the 70's, Sly & The Family Stone were being plagued by drug abuse and internal conflicts. "Thank You" / "Everybody Is A Star" incidentally became their last single release until late 1971. The turmoil was, at least partly, responsible for a deviation in lyrical approach. For instance, they transitioned from an inspiringly optimistic "Everyday People" to a bleak and outraged "Thank You". "Thank You" addresses repression in our daily lives. Like how we disguise our true identities to appease other people. The oddly spelt "Thank you falettinme be mice elf agin" snarl is Sly's effort to be himself. The first verse references racial violence (he runs from a shooter), the second remarks on conformity in the workplace ("Stiff all in the collar" = his boss), the third reiterates messages from the band's previous hits (as if they've become ineffective), and the fourth uses underwater acoustics to sum up the hopelessness. Sly, instead of offering a solution, ends with the ominous line "Dyin' young is hard to take / Sellin' out is harder". Is living like this worth it if we died tomorrow? Meanwhile, there's a descending siren horn spelling out danger in the middle of the verses. The arrangement, however, balances out the fear and cynicism with an instrumental persuading the audience to dance. The dancefloor is a place where you can be yourself, after all. The circling funky bassline (that bawmp-bawmp-bawmp guitar beat and the vibrating stomp that Janet Jackson later samples) overpowers anything else. It also sounds fresh and previews the newborn decade; though the cycle is repetitious. "Everybody Is A Star", on the other hand, is a reminder of the band's 60's optimism. It features each member swapping turns at the microphone; signifying that they're all "stars". The lyrics bounce around celestial metaphors to convey a message of equality and togetherness - such as the lines "You don't need darkness to do what you think is right", "I can feel it when you shine on me", and "One big circle goin round and round". The horns and piano, meanwhile, establish a relaxing atmosphere. And the "ba-ba-bah bah"'s voice concern. Though I like the "I love you for who you are / Not the one you feel you need to be" line, the song is a tad cheesy and boring. These double-A sides are going to annoy me eventually. 9/10
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Post by ry4n on Jul 9, 2015 8:28:48 GMT -5
0231. Simon & Garfunkel - "Bridge Over Troubled Water" [6 weeks - 1970]YouTube Link Upon the release of the critically acclaimed Bridge Over Troubled Water album, the partnership between Paul Simon and Art Garfunkel had become strained. Though the title track would become one of the biggest hits of the decade, they ultimately decided to call it a day. Art assumes lead vocal duties on the song. He selflessly sacrifices himself to save a troubled person. He promises comfort, companionship, loyalty, stability. She doesn't have to endure it alone and she can always count on him to be there. Also, he'll protect her from harm by laying over the "troubled water" where she can walk across to safety on the other side. The arrangement, meanwhile, encompasses a church hymn-like structure. It opens to a dramatic crashing piano which soon fades into a whisper. Art then speaks in a very fragile, hushed voice (almost as if he's singing her a lullaby and laying her down to sleep). His words struggle to be heard while he fights against the noticeably louder piano keys. Those keys continually increase and decrease in intensity and he attempts to keep up (his desperation and sobbing peaking in the "And pain is all around" line). His efforts to save her, therefore, appear futile. But Art refuses to give up. Suddenly, the words "sail on silver girl" and the heartbeating drums allow him to leap out of the gloom. The melodrama floods in, the strings raise the tension, the Earthquaking drums raise the seriousness, and Art's vocals turn into begging. Then, the instrumental reaches its dramatic climax; followed by the tense strings hanging on, by a thread about to snap at any moment, until the very end. It's certainly an emotionally intense song. The stakes are high; and Art is caring, passionate and determined. But "Bridge Over Troubled Water"'s dreariness, especially with the transition from minimalistic to overblown, can be draining to listen to. It's so weighty that he sounds more pained and depressed than she is. 6/10
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Post by ry4n on Jul 9, 2015 17:57:01 GMT -5
0232. The Beatles - "Let It Be" [2 weeks - 1970]DailyMotion Link Though Abbey Road signalled a farewell, the Beatles were still contractually obligated to release the recordings from the Get Back sessions (later renamed the Let It Be album) and the corresponding documentary. Phil Spector was recruited to polish up the demos and Paul McCartney was not happy about this. He ultimately quit the band in April 1970. It signified their unofficial break-up since he was the glue holding them together at that point. Indeed, John Lennon's commitments had already shifted to the Plastic Ono Band. "Let It Be"'s church hymn-like arrangement is similar to "Bridge Over Troubled Water". (Note: along with "Spirit In The Sky" and Jesus Christ Superstar, spirituality became a prominent theme in 1970). Here, Paul offers comfort, advice, faith, guidance. The song surfaced following a dream where "Mother Mary" (his actual mother was named Mary) consoled him. He was overwhelmed with holding together a band strained by internal conflicts and she advised him to "let it be". Paul, subsequently, felt that the world needed to hear this inspirational message. The words "let it be" are able to resonate due to the straightforward phrasing, the melody, the repetition, and the word "it" being vague enough to refer to anything. The backbone of "Let It Be" is the piano. The notes become louder whenever Paul says the song title. And it's the only instrument carrying him along in the first verse. As the song progresses, a church choir lets the sun pour in from the heavens above and Ringo's drums begin to stroll along. At the midpoint, the music trips and falls down. The organ notes quickly pick Paul back up again, and the ensuing guitar solo offers salvation. However, "Let It Be" conflicts me. As uplifting and personal as it is, Paul comes off a tad preachy. He acts like everybody should follow his mother's magical answer to life's problems. And I find the way he voices the "let it be"'s in different tones off-putting. 6/10 This and "Hey Jude" are their two most overrated songs. I know that's controversial, but that's just how I feel.
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Post by H. on Jul 9, 2015 18:05:09 GMT -5
Let It Be :'(
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Post by ry4n on Jul 10, 2015 14:33:19 GMT -5
0233. Jackson 5 - "ABC" [2 weeks - 1970]YouTube Link When the Supremes broke through in 1964, Motown opted to recycle the hand-clapping formula of "Where Did Our Love Go" in their successive singles. 6 years later, and the Jackson 5 proved to be no different. "ABC", their second single, opens with a callback to "I Want You Back" (the "ababababooboo" bit). The song also continues to focus on the percussion, the school gymnasium dance rhythm, and the anticipation of an outburst of ad libs. But "ABC" is capable of carving its own identity. It includes a fuzz guitar, it puts more emphasis on the call-and-response routine (the echoing lines of "Teach you, teach you" / "How to get an A" also supply the verses with hooks), and it contains the memorable "A B C / 1 2 3 / do re mi" nursery rhyme melody. Lyrically, Michael establishes an elementary school setting; which is suitable considering that's a major part of life at that age. He declares himself to be a teacher of love and explains to his student that it's as easy as a kindergarten lesson. His efforts may appear overbearing (he even instructs her to sit down), and it's unclear why he's such an expert, but his encouraging vocal delivery conveys a genuine innocence. After all, relationships don't need to be complicated yet at that age. Midway through, there's a spontaneous cymbal crashing dance interlude accompanied by applause. Michael humorously shouts "Sit down girl... No, get up girl" and urges her to "Shake it, shake it baby". He then spends the remainder of the song singing overtop of the chorus; proving that his vocals are impossible to restrain. The lyrics of "ABC" are from a children's point of view, but the vocals and instrumental both breathe life. And the youthful innocence of Michael's intentions has its charm. 7/10
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Post by ry4n on Jul 11, 2015 10:32:09 GMT -5
0234. The Guess Who - "American Woman" / "No Sugar Tonight" [3 weeks - 1970]YouTube Link ["American Woman"] YouTube Link ["No Sugar Tonight"] The Guess Who are a Canadian band; which can only mean one thing: their hits are oversaturated across the oldies stations here. And I've never been a fan. Their songs are pretty insipid for the most part. "American Woman", which is pushed along by its stomping guitar riff, does stand out though. The instrumental also loosens up with the stray fuzz guitar sections and cymbal ticks. The lyrics describe the band's adjustment to playing in American cities. They disapproved of the country's "war machines" and "ghetto scenes". And were apparently dissatisfied with their hook-ups with the female citizens. Lead singer Burton Cummings strongly resists their influence by dispensing some agitated, throaty, growling vocals. He commands them to "stay away from me", as if they'll corrupt his mind. And later throws in a mocking "bye bye". But "American Woman" is mostly pompous complaining ("listen to what I say!") that takes itself too seriously. "No Sugar Tonight" salvages this double-A side; though the single edit omits the entire "New Mother Nature" section of the mash-up; which negates the outcome of the situation. In the "No Sugar Tonight" half, Burton feels neglected by his lover. The drums, meanwhile, nervously patter in and out. When the stomping chorus hits, he tries to stomach the fact that she's withholding "sugar" (ie sex) from him. This is followed by the admittedly catchy "Dat'n-doo-dow dow-dat'n-doo-dow" bit. In the "New Mother Nature" half, Burton's voice is more paranoid, the pattering drums are more frequent, and there's some mellow piano notes. He learns that she's cheating on him with his friend Jocko. Jocko later answers "no" to his suspicions and Burton's distrust grows. He then turns to drugs ("A smoke-filled room in a corner basement" / "A bag of goodies and a bottle of wine") to cope. And declares this new form of acceptance as the "the new mother nature taking over". Still, it's the first sub-5/10 of the 70's. 4/10
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Post by H. on Jul 11, 2015 10:33:59 GMT -5
No! I love those.
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Post by ry4n on Jul 11, 2015 17:53:17 GMT -5
0235. Ray Stevens - "Everything Is Beautiful" [2 weeks - 1970]YouTube Link Ray Stevens was a comedic artist who decided to release a rare serious effort in "Everything Is Beautiful". The song promotes a message of racial harmony and encourages realizing the beauty that the world possess. It begins with a children's choir reciting a Christian hymn titled "Jesus Loves The Little Children". This sets a tone of "children feel this way, so you should to". The song then transitions into Ray's sing-along. He conveys a sense of urgency ("For every hour that passes by / You know the world / Gets a little bit older"), gives a lecture ("We must not close our minds") and dispenses some morally superiority ("Just take a little time / to look on the good side my friend / And straighten it out in your mind"). He also declares that "Under God's heaven / The world's gonna find a way"; enforcing a need to adhere to religious morals. Meanwhile, the jaunty melody and piano displays the problem-free harmonious world the song envisions. And the church choir convenes in the later choruses with overpowering vocals. "Everything Is Beautiful" is so wholesome it hurts. Even if its message of racial harmony is worthwhile, the execution is too much of a self-righteous sermon for me. 1/10
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Post by somelikeitwhen on Jul 12, 2015 7:45:31 GMT -5
Everything is Beautiful gets even worse in retrospect when you listen to some of Ray Steven's later stuff...eek.
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Post by ry4n on Jul 12, 2015 16:25:57 GMT -5
0236. The Beatles - "The Long And Winding Road" / "For You Blue" [2 weeks - 1970]YouTube Link ["The Long And Winding Road"] YouTube Link ["For You Blue"] After a decade of innovation, unparalleled chart dominance, and internal conflicts; the inevitable end arrived in June 1970. The Beatles topped the Hot 100 for the final time. "The Long And Winding Road" was one of the tracks reworked by Phil Spector for the Let It Be album. And Paul McCartney was extremely dissatisfied with the altercations. Subsequently, the single would be their last (barring post-break-up (re-)releases). It's a song about coping with abandonment. Someone whom Paul relies on and trusts has deserted him in the middle of an unspecified location. His vocals are, appropriately, very vulnerable and shaky. He pauses several times and struggles to mouth the words. He's lost, confused ("Why leave me standing here"), on the verge of bawling his eyes out (choking up on the last "You left me standing here"), pleading for guidance and rescue ("let me know the way"), opening his fragile heart ("Many times I've been alone and many times I've cried"), and expressing defeat ("you'll never know the many ways I've tried"). The song is stuck in this one moment. The orchestral arrangement is intensely melancholic. It includes horns, strings, and "ahhhhhhh" backing vocals. Many Beatles fans have dismissed it as utterly unnecessary. While I agree that it needs to be significantly toned down; the concept aims for an effective backdrop. It's a floodgate of tears and a stormy night barrelling down on Paul; contributing to his despair and feelings of neglect. The flipside, George Harrison's "For You Blue", is a relaxed blues number with slide guitars. The song embodies a tension-free lazy sunny Sunday afternoon. And basks in the simple joy of his newfound love. Endings are emotional, but I'm content with the Beatles pulling a Seinfeld. Their legacy remains untarnished. They could've replaced members and they could've released increasingly substandard material for another decade or two. But they didn't. Plus, there's a slew of solo #1's to look forward to! 7/10
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Post by ry4n on Jul 12, 2015 16:55:37 GMT -5
The Beatles #1's ranking:
01. "Help!" 10/10 02. "Ticket To Ride" 10/10 03. "Penny Lane" 10/10 04. "Something" / "Come Together" 9/10 05. "A Hard Day's Night" 9/10 06. "She Loves You" 9/10 07. "Get Back" 8/10 08. "Paperback Writer" 8/10 09. "We Can Work It Out" 8/10 10. "I Want To Hold You Hand" 8/10 11. "Yesterday" 8/10 12. "Love Me Do" 7/10 13. "Hello Goodbye 7/10 14. "The Long And Winding Road" / "For You Blue" 7/10 15. "Can't Buy Me Love" 7/10 16. "I Feel Fine" 7/10 17. "All You Need Is Love" 6/10 18. "Let It Be" 6/10 19. "Hey Jude" 6/10 20. "Eight Days A Week" 6/10
I don't dislike any of them. Even their weakest is a 6/10, which is still a favourable score.
Albums ranking:
01. Sgt Pepper's Lonely Heart Club Band 02. Revolver 03. Rubber Soul 04. The White Album 05. Abbey Road 06. A Hard Day's Night 07. Help! 08. Please Please Me 09. Let It Be 10. With The Beatles 11. Beatles For Sale
The top 3 is pretty locked. Sgt Pepper's is one of those rare albums where I don't dislike a single song (though "Lovely Rita" is probably my least favourite track). It's extremely diverse and I think it's the album that best represents what the Beatles are about; if that makes sense.
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Post by ry4n on Jul 13, 2015 12:49:07 GMT -5
0237. Jackson 5 - "The Love You Save" / "I Found That Girl" [2 weeks - 1970]YouTube Link ["The Love You Save"] YouTube Link ["I Found That Girl"] From the Jackson 5's quartet of number ones, "The Love You Save" is probably the least recognizable one. The instrumental is, similarly, a busy percussion-heavy uptempo dance. The ad libs take on a life of their own towards the end. There's a call-and-response routine. And the arrangement constantly switches between cautionary verses, a brighter melody in the chorus, and a frantic bridge and outro. But the subject matter is more daring than the others. In "The Love You Save", Michael plainly spells out a warning to his crush - her flirtatious behaviour around every boy at school will ruin her reputation. This matter is so urgent that he channels the Supremes and repeatedly orders her to "Stop!" (both songs even open with that command; instantly grabbing your attention). Meanwhile, the forceful crashing cymbals scream "watch out!". In the main hook, he advises that "The love you save may be your own" (an allusion to an anti-drinking-and-driving slogan "the life you save may be your own"). In other words: she'll destroy her chances of finding love because no one will want to date an unfaithful heartbreaker. The lyrics, though, are surprisingly sharp. In the chorus, Michael furthers the traffic puns with "take it slow" and "look both ways before you cross me" (instead of "..cross the street"). After all, speed limits are lower in school zones. He later turns "S-T-O-P" into an acrostic poem. And he lists the gossipy classmates by name; establishing their characters. He does so by referencing famous inventors and explorers; confirming his love for school lessons shown in "ABC". For example: " Isaac [Newton] said he kissed you / Beneath the apple tree / When Benjie [Franklin] held your hand he felt / E-lec-tri-ci-tee! / When Alexander [Graham Bell] called you / He said he rang your chimes / Christopher [Columbus] discovered..." The verse ends on the line "You're way ahead of your times!". She's toying with school boys who have a younger frame of mind than she does. In other words; they're living in the distant past. The song treads dangerously close to the classic double standard. But "The Love You Save" isn't a judgemental lecture. Michael has a personal investment in the matter (his jealousy), he's genuinely concerned about her possible degradation, and he does throw blame towards the other guys. His nerdiness is also endearing. The Billboard website credits "The Love You Save" as a double-A side, but the print editions on Google Books say otherwise. So I've decided to not let "I Found That Girl" affect my score. It's a ballad featuring Jermaine on lead vocals. He explains how his new girlfriend has allowed him to discover true love. And he's hoping his mom will be proud. It's cute in a way, but the arrangement is uneventful. 8/10
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Post by ry4n on Jul 14, 2015 10:30:42 GMT -5
0238. Three Dog Night - "Mama Told Me (Not To Come)" [2 weeks - 1970]YouTube Link "Mama Told Me (Not To Come)" ushers in a new era. It was #1 when American Top 40 debuted. The impact of the radio program, which counted down the Hot 100 (until the early 90's), was significant. In the pre-internet days, it provided an accessible method for people to discover the current chart hits without the subjectivity of radio playlists getting in the way. Indeed, I'm sure there's a fair few Pulse posters who grew up listening to Casey Kasem. The song, though, involves the narrator arriving at a party with naïve expectations. He walks into this overwhelmingly large crowd and is completely out of his comfort zone. He's pressured by an attendant to drink ("Want some whiskey in your water? / Sugar in your tea?"), when he's possibly never drank before. The unfamiliar drug slang confuses him ("What's all these crazy questions they're askin' me?"). The cigarettes intimidate him. And the atmosphere is so suffocating that he feebly pleads for someone to "Open up the window". He's then reduced to repeating the regretful phrase "Mama told me not to come"; which reinforces his sheltered, rule-following personality. Meanwhile, the lead vocalist sings in this goofy, uptight, party-pooper voice. He complains about little things that no one else is bothered by. There's humour in the way he cries over the cigarettes ("'bout scare me half to death!"), yelps out "I ain't NEVER seen before!", and cowers in "I don't wanna see no more". The vibrating piano instrumental suggests a mellowed out party. Though, the guitar solo is more disorderly (it's immediately followed by the "The radio is blastin'" comment). It all seems relatively harmless until the twist: "I'm lookin' at my girlfriend - she's passed out on the floor". Suddenly, his reactions might be justified. There's "someone's knockin' at the door" (the police?). He panics through stutters and screams. And the crowd flees the scene; the final few leaving during the increasingly distant piano notes at the end. I just like how he embraces and pokes fun at his own uncool-ness. 7/10
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Post by popstop on Jul 14, 2015 13:16:28 GMT -5
I need to get seriously caught up! Great thread! I think I'll try to do a page a day, but that sounds like it will be ambitious 0001. Ricky Nelson - "Poor Little Fool" [2 weeks - 1958] He was really hot, though. I watched the video and the jawline, blue eyes, and full lips tell me this didn't hit #1 on its musical merits. 0008. The Chipmunks with David Seville - "The Chipmunk Song (Christmas Don't Be Late)" [4 weeks - 1958 / 1959] 4/10 How can you give a 4 to the Chipmunks? What other acts from the 1950s are still making music today? :'( 0009. The Platters - "Smoke Gets In Your Eyes" [3 weeks - 1959]6/10 There is a movie, I think it's called Always, and it features this song prominently, and I have loved it ever since. Such a sad tale of woe. :'( 0013. Dave "Baby" Cortez - "The Happy Organ" [1 week - 1959]7/10 Never heard this one! ANd I thought I was pretty familiar with all the #1s! So frisky! 0015. Johnny Horton - "The Battle Of New Orleans" [6 weeks - 1959]7/10 My brother has some Dr. Demento collection that has a take-off of this song called The Battle of Kookamunga happened at a summer camp. I think there's a line where it sounds like they are going to see women in the nude, but instead of using the word "nude," they say wellllll, now. SO racy for the 50s. Wonder how many new #1 songs will pop up by the time you finish. :kii: There's only been 2, I think 0020. Bobby Darin - "Mack The Knife" [9 weeks - 1959]8/10 My grandfather said for years he thought this was an awful version, and then as time went on and it became iconic, he realized, he was dead wrong. 0022. Guy Mitchell - "Heartaches By The Number" [2 weeks - 1959]3/10 What the hell is Fallout Las Vegas? The comments reference that a lot with regards to this song.
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Post by josh on Jul 14, 2015 13:23:07 GMT -5
Wonder how many new #1 songs will pop up by the time you finish. :kii: There's only been 2, I think What the hell is Fallout Las Vegas? The comments reference that a lot with regards to this song. *New Vegas it's a video game
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Post by popstop on Jul 14, 2015 13:26:16 GMT -5
Actually, I forget that Cheerleader just hit #1 this week, so 3
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Post by ry4n on Jul 14, 2015 13:45:57 GMT -5
I need to get seriously caught up! Great thread! I think I'll try to do a page a day, but that sounds like it will be ambitious Just wait until you get to ~1965 when I start writing essays for most of them.
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Post by popstop on Jul 14, 2015 16:04:41 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. >:( This is a joke, right
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Post by josh on Jul 14, 2015 16:09:33 GMT -5
:kii:
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Post by ry4n on Jul 15, 2015 0:01:57 GMT -5
0239. Carpenters - "(They Long To Be) Close To You" [4 weeks - 1970]YouTube Link I don't think I'll ever get past The Simpsons association (especially since it appears in such a pivotal scene). Karen opens "Close To You" with a very delicate whisper. The song is carried by pensive piano notes while she carefully mouths each lyric. She describes her crush from the image seen through her eyes only; where he's surrounded by majestic birds and stars falling from the heavens. The saccharine factor is soon magnified in the second verse: "On the day that you were born the angels got together / And decided to create a dream come true / So they sprinkled moon dust in your hair of gold / And starlight in your eyes of blue". While the accompanying backing vocals represent the angels and birds mentioned above. But this love is actually unrequited ("That is why all the girls in town follow you all around / Just like me, they long to be close to you"). He's preoccupied with other offers, and she hasn't even made one herself. Throughout "Close To You", there's this hopeless disappointment hidden within Karen's voice. Her shyness stops it from fully surfacing. But she has accepted her lonely fate. And continually wonders "why". Why does she like him? The cause of her feelings are unknown and uncontrollable, and the resulting grief is unnecessary. So why does her heart defy logic? Later in the song, the ensuing trumpet solo and "WAHHHHHH close to you"'s sympathize with her. And, on the album version, she briefly disappears in a fake-out ending. Without Karen, "Close To You" would be one sappy snoozefest of a song. Her introverted mind draws me in. This is, possibly, the first time she has admitted these feelings, and this might be the only information she'll ever reveal. But I wish it had better lyrics. 6/10But I am now at exactly 45 years ago!
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Post by Deleted on Jul 15, 2015 0:23:16 GMT -5
That 3DN song to me is more of a 8/10, but I'll respect that opinion of MTMNTC.
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ry4n
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Post by ry4n on Jul 15, 2015 23:57:49 GMT -5
0240. Bread - "Make It With You" [1 week - 1970]YouTube Link This is one unassumingly anonymous early 70's soft rock song. In "Make It With You", both the lead vocalist and the instrumental maintain a calm, reassuring tone throughout. He attempts to open a dialogue with his girlfriend ("Hey..."); but ultimately beats around the bush with awkwardly vague lyrics: "...have you ever tried / Really reaching out for the other side / I may be climbing on rainbows / But baby, here goes". In other words: he's asking for an open mind, but worries that he's being too presumptuous or idealistic. He continues to delay the point ("Dreams, they're for those who sleep / Life is for us to keep") until his confidence can finally spell it out: "And if you're wondering what this song is leading to / I want to make it with you". The phrasing still isn't very direct, but he wants to spend the rest of his life with her. He then offers hope ("I really think that we could...") and mentions how she can help him through life's rough patches. All of this despite them being a relatively new couple ("No, you don't know me well"). The toned down, lazy-paced instrumental implies that he isn't asking for a lot. But he probably is. And "Make It With You"'s arrangement is just so uneventful. I've listened to it 4-5 times now and I still struggle to remember how it goes. There's a lack of any hooks, melody, or vocal or instrumental quirks. 3/10
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popstop
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Post by popstop on Jul 16, 2015 10:19:44 GMT -5
0025. Johnny Preston - "Running Bear" [3 weeks - 1960]2/10 Good God, this was painful to listen to! 0027. Percy Faith And His Orchestra - "Theme From A Summer Place" [9 weeks - 1960]5/10 Aw, this is so pretty! It could have used an extra bump in your score. 0028. Elvis Presley - "Stuck On You" [4 weeks - 1960]7/10 Yeah, this isn't doing anything for me, so here is one where we disagree. 0033. Brian Hyland - "Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini" [1 week - 1960]5/10 The conceit I heard is that this is actually about a little girl, but that was probably more for cover, since this is apparently how people sexed it up in the early 60s. 0038. The Drifters - "Save The Last Dance For Me" [3 weeks - 1960]8/10 I had heard a version by MIchael Buble not that long ago and this one shits all over that. 0041. Maurice Williams & The Zodiacs - "Stay" [1 week - 1960]6/10 A 90 second song?? Man, songs were super short back then! 0044. The Shirelles - "Will You Love Me Tomorrow" [2 weeks - 1961]9/10 Actually kind of thrilled by your first 9 - this is one of my favorite songs of the 60s. I think it was written by Carole king. 0045. Lawrence Welk And His Orchestra - "Calcutta" [2 weeks - 1961]7/10 I wish we heard instrumentals on the radio these days. I was blown away when Animals made a dent a couple years ago. But here they had like three instrumentals hit #1 in the span of a year. 0048. The Marcels - "Blue Moon" [3 weeks - 1961]5/10 LOL, I know this song well. I have done it at karaoke. :)
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ry4n
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Post by ry4n on Jul 16, 2015 10:29:37 GMT -5
0044. The Shirelles - "Will You Love Me Tomorrow" [2 weeks - 1961]9/10 Actually kind of thrilled by your first 9 - this is one of my favorite songs of the 60s. I think it was written by Carole king. Yeah, it was. Carole King & Gerry Goffin were one of the most prolific songwriting teams of the early 60's. They were responsible for 4 number ones between 1961/1962.
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Post by ry4n on Jul 16, 2015 22:02:31 GMT -5
0241. Edwin Starr - "War" [3 weeks - 1970]YouTube Link Suddenly, the chants of "WAR! HUH! / What is it good for?! / Absolutely nothing!" interrupts this summer of soft rock. "War" is one passionate protest song; to say the least. Edwin is so riled up over this contentious issue that he frustratingly grunts and hysterically shrieks (as if he's on fire) all over the track. He really freaks out and blows his top. His raging vocals bellow from the deepest depths within him. And he menacingly howls lines like "Who wants to die" and he yells out "God/Lord" several times. Coupled with the uneasy tambourine, he provides urgency throughout. Edwin does find release in the military chant chorus, though. This is where the song marches to this start/stop circling brassy beat (there's even marching stomp sounds towards the end). He asks a rhetorical question ("War! What is it good for?"); and then answers it. It's an effective mantra due to its straightforward, philosophical, dismissive (ie. the backing vocal response of "nothing!") nature. It's also quite memorable. He speaks out against the idea of war in general, instead of a specific one. Because, in an ideal world, there wouldn't be any wars. And that's a difficult point to argue against; regardless of one's politics. In the verses, Edwin offers some chilling lyrics; such as "War can't give life / It can only take it away" and "They say we must fight to keep our freedom / But Lord knows there's got to be a better way". And he focuses on the affect of innocent human life. He mainly mentions death, but also addresses the toll on families, the injuries, the scarred minds, the draft ("induction"), etc. He also comments that war only benefits the undertakers (AKA funeral directors). But this vocal performance is so ridiculous. It's impassioned enough to avoid pretension, but the sensationalism undermines the gravity of the message. I just wind up laughing at it. 6/10
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