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Post by ry4n on Apr 20, 2015 20:32:43 GMT -5
0143. The Beatles - "Help!" [3 weeks - 1965]YouTube link I actually watched the Help! film today in preparation for this! (I also watched A Hard Day's Night back when I did that one). For being a 90 minute cat and mouse game, it wasn't as bad as I had anticipated. Much like their first movie, the plot was... uneven, but the humour was a notable highlight. The fact that they were high on drugs during much of the filming is lolz (how appropriate I get to review this on 4/20). But I preferred A Hard Day's Night for its harmless fun. But anyway. The song "Help!", unlike the movie, is quite brilliantly put together. The frantic instrumental (especially the drums), John Lennon's anxious vocals, the yelling of "HELP!" at the very beginning, and the backing vocals butting in at seemingly random times combine to effectively establish a mood of distress. The Beatles were excellent at doing things like this. It's not a complicated song lyrically - John is facing the reality that his youthful carefree days are over and now he feels "insecure" and "not so self assured". But that's fine. It continues down the path of maturer, darker lyrics of deeper unhappy emotions. As well as John exposing his vulnerability again. He's growing up and life is changing. He also heavily reflect ons, and long fors, the past. Disguised behind the troubled subject matter, is the upbeat energy maintained from their earlier singles. Oddly, I find this to be one of their poppiest singles. Makes sense that Bananarama covered it for Comic Relief later on. But it's interesting I say that because it's not an upbeat song at all. The "help me, help me, help me" ending sounds like they're begging for mercy. And I'm just realizing whom John is asking "help" from might be drugs. I came into this one thinking I'd be an 8 or 9, but after reviewing it... it's another solid 10/10. They just capture one solitary moment so well.
Also this top 4....
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Post by ry4n on Apr 21, 2015 20:08:23 GMT -5
0144. Barry McGuire - "Eve Of Destruction" [1 week - 1965]YouTube link So the Vietnam War. After WWII, the country separated into the communist north and the democratic south. These tensions led to an all out civil war in the late 50's. And by 1965, the US had become heavily involved in aiding the south in combat. And, well, a substantial amount of opposition to that soon arose. Especially with the draft in place. Opinion on the war was mainly a generational divide (a recurring theme I've alluded to in some of these #1's). On one side were, mostly, the younger generation against it based on moral grounds, that the US had no business being there, and wanting to avoid the draft. While the other side were, mostly, the older generation for it based on communism expansion paranoia. It played a big part in fuelling the hippy culture that the 60's are known for. But this isn't a history lesson, it's a song review! "Eve Of Destruction" was about as blunt of a protest song as you could get. It spells everything out in clear letters and Barry's ridiculously raspy vocals sing in one aggravated tone. Everything about it is so dramatic (like this war is an Armageddon) and tries to make you feel disgusted about it. It raises one big middle finger to the government and the military. But the excessiveness serves a purpose. To shock listeners into giving them a wake up call. To get the opponents of the war to sing along. And to guilt trip the supporters into changing their minds. If anything, though, it just riled up the pro-war side. Conservatives called out Barry, and songwriter P. F. Sloan, for being unpatriotic. Political protest songs are hard to rate. The motivation behind them is different from the rest of pop music, which is usually intended as entertainment. I appreciate this one for making one big bold statement, and I do think it had the right intentions. There's some good points like "You're old enough to kill but not for votin'" (the voting age was 21 at the time). But the execution is too self righteous and hopeless for me. 4/10
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Post by ry4n on Apr 22, 2015 6:08:58 GMT -5
0145. The McCoys - "Hang On Sloopy" [1 week - 1965]YouTube link One of the things I love about doing these reviews is the odd transitions between #1's. From the really heavy handed to... the not. In the 21st century, determining which songs can be considered "generic" is much clearer. My knowledge of chart music is much more broad than it is for past decades. For the 60's, I'm aware of the trends and the significant hits of that decade, but not a whole lot beyond that. But I know enough to deem "Hang On Sloopy" as really "generic" sounding. I mean, sonically, it just sounds like every other song from its time period. The story isn't even original either - we already heard it in "Rag Doll". Falling for the girl from the poor side of town. Though the narrative still has its charm. He doesn't care the she's a social outcast and I like the sentiment of it. The chorus is catchy enough and the sax(?) bit is infectious. But overall, really average. 5/10
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Post by ry4n on Apr 22, 2015 15:12:02 GMT -5
0146. The Beatles - "Yesterday" [4 weeks - 1965]YouTube link The Beatles' singles up to this point have been, noticeably, fairly John Lennon centric. "Yesterday" marks a turning point, however. This is when, singles-wise, it becomes the Paul McCartney show for a little while. John and Paul were the songwriters for the band, but they usually wrote songs solo, not collaboratively (except early on). Inevitably, they often-times weren't on the same page and wanted to pursue different directions for the group. Paul wanted to be more pop while John wanted to be more experimental. This power struggle reached a temporary compromise by releasing double A-sides... but that's a topic more suitable for their next chart topper. "Yesterday", one of their most ubiquitous hits, is evidence that the Beatles were never afraid to try something new. A stripped down tear-jerking ballad was certainly a change of pace from their previous singles. Paul, apparently, came up with the melody in a dream (but took a while to find lyrics that fit). He was initially worried that he had accidentally stolen someone else's song. Ironically, "Yesterday" would be the song everyone else would steal (it's the most covered song ever). It continues the theme from "Help!" of reminiscing on the past because life's changes have left you unhappy in the present. Where "Help!" reacts with anxiety and distress, "Yesterday" reacts with depression and loneliness. Much like "Help!", the arrangement emphasizes the emotion. Paul is literally on his own here. Not only is there an absence of backing vocals (well ok there is an overdub), but John / George / Ringo aren't included on the recording at all. The only vocals are Paul's and the only instruments are his acoustic guitar and a string quartet. That's it. Short of Paul singing a capella, this was about as minimalistic as they could go. I can understand how some may find the bareness boring, but for me, the strong melody and the strings save it from that. The lyrics are fairly non-specific, though, which prevents "Yesterday" from hitting my emotions as hard as it should. It's definitely not my favourite Beatles ballad, but I love how it captures loneliness and isolation well. 8/1010 down, 10 to go :o
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Post by somelikeitwhen on Apr 22, 2015 19:49:30 GMT -5
At first I thought You've Lost That Lovin' Feeling was the most covered song in history but it's actually the most performed. Pretty cool feat regardless.
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Post by lyhom on Apr 23, 2015 0:27:02 GMT -5
okay I really missed out on a lot because lots of these songs are so good holy shit
special emphasis on "Stop! In The Name Of Love", "I Can't Help Myself (Sugar Pie, Honey Bunch)", "(I Can't Get No) Satisfaction" and "Help!"
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Post by ry4n on Apr 23, 2015 11:45:30 GMT -5
0147. The Rolling Stones - "Get Off Of My Cloud" [2 weeks - 1965]YouTube link In "Satisfaction", Mick was pushed to the breaking point by people on the TV/radio. Whereas, in "Get Off My Cloud", the aggressors are people he encounters in day-to-day life. First, he's interrupted by a door to door salesman in a Union Jack suit (?). Then by his uptight neighbour expressing a noise complaint. He decides to escape these nuisances by taking a late night drive; only to wake up to a window full of parking tickets the following morning. He just can't catch a break. All Mick wants is some alone time to enjoy his carefree lifestyle disruption-free. But these people, whom he feels are being prudish and unreasonable, are suffocating him and killing his vibe. Mick obviously isn't bothered with what anyone thinks (which plays into that rockstar attitude). So he reacts by, basically, shouting like a volatile maniac. "HEY (HEY) YOU (YOU) GET OFF OF MY CLOUD". His approach is certainly more hostile than in "Satisfaction". Yeah he comes off like a jerk, but who doesn't lash out in anger every now and again. I know I've experienced moments where I feel like telling the whole world to "fuck off". As for the recording itself, it's very rough around the edges and Mick's vocals are awfully incoherent. But when you're angry, you often lose focus and ramble on without making much sense. In a weird way, the hostility of this record draws me in. Also the "HEY (HEY) YOU (YOU) GET OFF OF MY CLOUD" chant is pretty catchy. 8/10
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Post by ry4n on Apr 23, 2015 14:09:52 GMT -5
0148. The Supremes - "I Hear A Symphony" [2 weeks - 1965]YouTube link 1965 brought us numerous chart toppers filled with angst, hostility, loneliness, desperation, etc. But in the middle of it all, there's the Supremes singing about undeniable unquestioned love. Well, ok, Sonny & Cher were pretty upbeat too.. but still. "I Hear A Symphony" is like the conclusion to Diana's run of back luck with her boyfriends. She's finally found the one and she's overcome with joy. She compares this new found love to a (wait for it) symphony. Their #1 streak was broken with the #11-peaking "Nothing But Heartaches", which made 6 consecutive similar sounding singles. Taking that as a cue, "I Hear A Symphony" explores a new avenue. This time, adding in several instruments you would find in a (wait for it [2]) symphony. The song starts at a slow pace with just crashing cymbals and a piano. But then, every few lines, the orchestra surprises the listener by introducing a new instrument into the arrangement. It continues to intensify to a bigger and bigger peak as the song progresses. The drums, the brass, the strings, the more piano, the tambourine, etc. Meanwhile, Diana's joyous emotions elevate to a higher and higher peak as well. I love the concept. However... towards the end, the orchestra produces such a large sound that I feel like Diana's low-key vocals struggle to keep up with it. She sounds engulfed into the background. But maybe that's the point. She's overwhelmed by the production like how she's overwhelmed by emotions?... I don't know. The lyrics kind of ramble on as well. 7/10 I guess.
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Post by ry4n on Apr 23, 2015 23:52:25 GMT -5
0149. The Byrds - "Turn! Turn! Turn! (To Everything There Is A Season)" [3 weeks - 1965]YouTube link A cover of a late 1950's folk song which fused a Bible verse with an original chorus. The concept is interesting, but it causes some lines to fit awkwardly into the melody (I'm looking at you "A time to cast away stones..."). I believe this is the only #1 to contain lyrics interpolated directly from the Bible? I hope so anyway.This is one of those songs where I'm never sure if I actually like it or not. I'm not a religious person so I'm generally hesitant with a pop song whose message is motivated by religion. But I like the message itself. "Turn Turn Turn" does avoid most of the traps that would rub me the wrong way, though. First off, it isn't too preachy or sanctimonious. Which is good because when I listen to a song, I don't want to feel like I'm in church (only Hozier can get away with that). Second, despite the lyrics being Biblical quotes, they don't necessarily read like Biblical quotes. It doesn't allude to specific figures or events, though it is written in Biblical English (there's got to be a better term for that). Third, despite the message being inspired by a religious passage, the message can be taken independently from anything religious. The Biblical verse referenced is, in effect, conveying the old saying "there's a time and a place for everything". And that the good times come with the bad. Things may be shitty now but better times lie ahead. It inspires a positive outlook during life's lows. The verse itself is a bunch of "A time to (X), A time to (Opposite Of X)". Which, annoyingly, allows this to be what I like to call, a "list song". But also cites several examples to support its message. As expected, the lyrics are fairly general, which leaves it up to the listener to define how it relates to them. For example, I can possibly see a meaning of coming of age and coping with new found hardships of adulthood... idk. Of course, this being the mid 60's, the intended underlying meaning from The Byrds was Vietnam. "A time of war, a time of peace" indeed (I like the shoe-horned "A time for peace, I swear it's not too late!" at the end). "Turn Turn Turn" is like the optimistic version of "Eve Of Destruction". It's hopeful where the latter was hopeless. With an escalating war during uncertain times, along with Christmas soon approaching (a time when people just want to feel happy), I can understand why this resonated with so many. Life's tough and hope can go a long way. So... 7/10? but can't go any higher for reasons stated above.
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Post by ry4n on Apr 24, 2015 9:31:17 GMT -5
0150. The Dave Clark Five - "Over And Over" [1 week - 1965]YouTube link One of those British Invasion acts that were constantly stuck in The Beatles' shadow. Their big UK #1 smash was with "Glad All Over" in early 1964 (which is probably their more well-known song). But it took a while longer to finally propel themselves to the top of the US charts. And with a single that peaked at #45 in their homeland, I might add. "Glad All Over", with its energetic thumping beat, was brimming with excitement and joy; and was pretty damn catchy too. "Over And Over" is rather underwhelming in comparison. The production and hooks aren't that strong. The overly repetitive lyrics don't exactly help either (not to mention the enlightening "Everybody there was there" line). He arrives at a party in a cynical mood. Until an attractive girl catches his eye. He makes a move, but the girl informs him she's already seeing someone. Well so much for that. 4/10
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Post by ry4n on Apr 24, 2015 17:35:00 GMT -5
0151. Simon & Garfunkel - "The Sound Of Silence" [2 weeks - 1966]YouTube link For some reason I thought these guys didn't appear til the 70's. Welp. They debuted with a folk album in 1964; which flopped. Defeated, they temporarily called it a day. Until, suddenly, "The Sound Of Silence" started receiving spins from a number of stations. Tom Wilson, their producer, capitalized on this new found interest. He noted the recent success of The Byrds, Dylan, etc who merged folk with rock. He, accordingly, assembled an overdub featuring electric guitars and drums. This new version quickly caught on and rose all the way to the top of the charts; salvaging the duo's career in the process. The original acoustic version is very chilling. We've had #1's concerning isolation before, but this one exhibits it in a much darker and deeper context. The isolation here is a result of the breakdown of communication in society. The cause of said breakdown isn't all that clear. Commercialization shifting people's values, people afraid to express themselves ("People writing songs that voices never share"), people simply not caring about anything meaningful anymore... something along those lines. The lyrics are poetic, and therefore ambiguous. The narrator recounts a recent dream where he observed 10,000+ people in a crowded street at night. All he heard amongst the crowd was "the sound of silence". By that, he means the crowd converses with one another, but it's all insignificant chatter ("People talking without speaking; People hearing without listening".) The narrator attempts to open their eyes to reality, but his pleas fall on deaf ears. They answer him with "the sound of silence". He also witnesses the crowd worshipping the neon signs as a deity and advertising on subway walls are their holy scriptures (which is where the commercialization point comes from). The opening line "Hello darkness, my old friend, I've come to talk with you again" reveals that he's relaying this dream to... no one. Which is even more depressing. In ways, the narrator might appear as a self righteous snob (hating on society, the mainstream, etc). But I believe that he genuinely feels ignored, dejected, like an outcast through no fault of his own. Which is supported by Simon & Garfunkel's singing tone. Not fitting in is certainly relateable; especially for the mid 60's. In the original version, I like whenever "the sound of silence" lyric approaches, the instrumental and vocals literally fade into silence (even more noticeable when the volume intensifies immediately afterwards). It's a nice little touch. Simon & Garfunkel's harmonies, highlighted by the subtle instrumental, are also quite haunting. As for the rock remix, I'm not much of a fan. It detracts from the chilling mood and it's too disconnected from the overall meaning. A minimalistic approach works better on this one. Remixes should, in theory, enhance an already existing work and add a new layer of depth to it. The timing also sounds off. 9 for the original. Unfortunately, have to deduct a point for this useless remix. 8/10
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Post by ry4n on Apr 25, 2015 12:05:27 GMT -5
0152. The Beatles - "We Can Work It Out" [3 weeks - 1966]YouTube link The Beatles amassed 11 number ones in the span of just under 24 months. Insane, really. However, the other 9 will be much more spread out in the upcoming 5 years. Up till now, they had one hectic work schedule since they basically formed. The constant single releases + 6 albums + 2 movies + non-stop touring... 1966 was the year that exhaustion finally set in. Drugs and Lennon / McCartney feuds probably had something to do with it too. Either way, it was time to take a step back. Their output level decreases and they cease touring this year. As well, in the wake of the revolutionary Rubber Soul album, they opted to concentrate more time and effort into crafting their music. "We Can Work It Out" and "Day Tripper" were recorded during the Rubber Soul sessions, but were kept off the album. Though the Lennon / McCartney songwriting duo collaborated on both songs, the former was more of "Paul song" and the latter was more of a "John song". John lobbied for the sexual innuendo-filled "Day Tripper" to be the next single, but the others wanted "We Can Work It Out". The compromise was a double-A side. A practice that would continue with later singles (John being assigned one side, Paul the other; usually with Paul landing the bigger hit). At the time, Billboard's rules stated that A-sides and B-sides (or double A-sides) must chart as separate entries. Therefore, only "We Can Work It Out" is credited for being a US #1. "Day Tripper" charted on its own, and peaked at #5. At face value, "We Can Work It Out" can seem pretty weak. It's not the most inspiring piece of advice ever. However, the interaction between Paul's and John's roles makes this interesting for me. It's set up as if they're singing it to each other (I don't mean in the romantic sense, of course.) Paul's peppy dialogue is actually disguising a very passive aggressive tone. "Try to see it my way"; "Think of what I'm saying"... in other words: "we can work it out, if you'll just admit that I'm right, that is!". John responds "Life is very short, and there's no time; For fussing and fighting, my friend". Basically "I don't have time for this, let it go already!". There's even a comedic exchange where John pleads "So I will ask you once again", to which Paul replies "Try to see it my way!" Later on, John's bridge shows up a second time, which turns this into a circular argument. Somehow, I don't think anything was worked out. 8/10
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Post by ry4n on Apr 25, 2015 13:41:02 GMT -5
0153. Petula Clark - "My Love" [2 weeks - 1966]YouTube link Ok these essays are draining. Luckily, I have very little to say on this one. Petula broke into the US market via the British Invasion. But, from her songs I know of, her style (with the belting vocals and blaring backing orchestra) is more in line with the pre-Beatles era. The consequence is that "My Love" sounds really out of place in this string of #1's. It's like a step back to 1962. That's not a bad thing, necessarily, as diversity is always welcomed. "Downtown" utilized those sounds well. But there's simply not a lot going on here. It's an uneventful cheesy repetitive love song. The "I had given up on love before I met you" story is so overdone. 3/10
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Post by ry4n on Apr 26, 2015 9:15:25 GMT -5
0154. Lou Christie - "Lightnin' Strikes" [1 week - 1966]YouTube link This seems like a fairly obscure #1. I certainly never heard of Lou Christie before doing this project. Watch me be completely off base on that. Anyway. So transparent it's sort of hilarious. This guy tosses around excuses to justify cheating, scratch that: to KEEP cheating, on his girlfriend. His flimsy rationalizations include "You're old enough to know the makings of a man" (it's normal for young men to sleep around!) and "When I see lips beggin' to be kissed... I can't stop myself" (it's those temptress women!). Eye roll. He doesn't take ownership for any his actions; as if it's some sort of uncontrollable urge. "Nature's takin' over my one-track mind" (Honey, I don't mean to cheat, these things just happen!) Furthermore, he plays the victim via his melodramatic falsetto in the "Lightning is striking again" chorus. He sings it as if he's crying and expects sympathy. All the while, he selfishly expects her to remain to faithful to him! "For the time being, baby, live by my rules", he pleads. Nope, it's non-negotiable: his way or the highway. Realizing how ludicrous this all sounds, he vows to marry her someday (because that'll definitely fix everything. It's not like a married man is ever unfaithful... right?) Imagine a serial killer announcing "There's no need to prosecute me, I promise I'll stop murdering people in 2019." It's difficult to sympathize with Lou here. If he truly feels guilty and wants forgiveness, he should look for a way to stop. Not scrounge up excuses to keep doing it. The bridge is pretty hook-y, though. The female backing singers demanding "STOP!" creates a melodramatic build-up to the chorus. But he's still a twat. 3/10
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Post by ry4n on Apr 27, 2015 1:11:48 GMT -5
0155. Nancy Sinatra - "These Boots Are Made For Walkin'" [1 week - 1966]YouTube link Camp, flirtatious, sassy, self-confident, infectious bassline, unforgettable chorus. What is there not to like? What makes this work is Nancy herself. She has full command of both the song and the situation, and sells it like pumpkins in late October. Carrying the cheating theme over from the previous #1, Nancy's boyfriend has been caught red handed. Her stance on the matter is quite clear: She's done. She's (literally) walking out of here; using boots as a symbol of her own empowerment. She cleverly sums it up "These boots are made for walkin' ... one of these days these boots are gonna walk all over you". Borders on novelty, but I love it. She continues to deliver snarky remarks throughout the rest of the song. My favourites being "You keep losin' when you oughta not bet" and "you keep thinkin' that you'll never get burnt. Ha! I just found me a brand new box of matches". Proving she is not one to be messed with, she uses a playful singing tone to tease her soon-to-be-ex. As if she's saying "this is what you'll be missing out on *winky face*". She's really just enjoying herself on this. Right down to that outro ("Are you ready boots? Start walkin'!") A revolutionary female empowerment anthem? Probably not. But it doesn't need to be. It's an enjoyable listen because it's nothing intended to be taken that seriously. I initially disliked the muted instrumental, but it sort of makes the song. 9/10The Jessica Simpson cover is dreadful.
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Post by ry4n on Apr 27, 2015 15:44:03 GMT -5
0156. SSgt Barry Sadler - "The Ballad Of The Green Berets" [5 weeks - 1966]YouTube link Chart toppers that are a direct response to an event ripped from the headlines aren't that frequent in the US, are they? I can think of another from 1985, but otherwise, it's more of a UK chart phenomenon. Though, this is the decade of making one statement or another. The 1960's saw the charts overwhelmed with constant experimenting, challenging and pushing boundaries. It also saw a nation divided over a controversial war. Within the popular music world, it was clear which camp was reigning victorious. As evidenced, there was several protest songs and a lack of "support our troops / war / nation"-type of songs. Which brings us to Staff Sgt Barry Sadler. Along with co-writer Robin Moore, they provided a record to appease the alienated conservatives. As we can see, the purchasing power of that demographic earned them 5 weeks of the right to be smug... and then it was back to business as usual. As for the song itself: Sadler doesn't sing here so much as talk. He performs in one emotionless straightforward manner. I mean, I'm aware military officials are supposed to conduct like that, but it makes for a disengaging listen. He illustrates the bravery of the men fighting overseas and highlights the loss of human life. He also brings it home by mentioning the fallen soldier's family. To say this doesn't appeal to me would be an accurate assumption. The entertainment usage I get out of it is very minimal. It's just there. And it's impossible for me to disassociate it from its context and reads too much like military propaganda. Therefore, 1/10
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Post by DJDaveMick69 on Apr 27, 2015 19:10:08 GMT -5
I don't rave over the Green Berets song either.
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Post by ry4n on Apr 28, 2015 10:15:55 GMT -5
0157. The Righteous Brothers - "(You're My) Soul And Inspiration" [3 weeks - 1966]YouTube link Proving if it ain't broke..., The Righteous Brothers scored a second #1 by rehashing most of the elements from their first. However, they accomplished this without the assistance of producer Phil Spector; despite him being responsible for the slew of hits that followed "You've Lost That Lovin' Feelin'". In Spector's absence, Bill Medley (one half of the duo) assumed the enormous task of replicating the "Wall Of Sound" effect himself. And paired the dramatic strings, backing vocals and cymbals with more lyrics of sheer desperation. In "You've Lost That Lovin' Feelin'", the narrator yearned to rekindle a dying spark with his girlfriend. The relationship was on the rocks, but there was hope. "Soul And Inspiration", while having a similar sense of urgency, seems hope less. She's not coming back and there's not much Bill can do about it. That won't stop him from trying, though. It's hard to resist sympathizing with such an outpouring of emotion. It's what endeared me to their earlier tracks, and this is no different. It also builds to another epic sounding chorus. However, that spoken word middle 8 is so extra. It may be a carbon copy, but it's a well assembled carbon copy. 7/10
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Post by ry4n on Apr 28, 2015 17:38:50 GMT -5
0158. The Young Rascals - "Good Lovin'" [1 week - 1966]YouTube link Some trite lyrics here and an equally trite storyline. The narrator visits his doctor because he's "feelin' so bad". So what does the doctor prescribe for his ailment? Why "Good lovin'" of course! (I think I would switch doctors if I were him.) This motivates him to hook-up with a girl. I think. Or maybe this doctor anecdote is just his incredibly corny pick-up line. I'm not so sure. Either way, it's pretty terrible. But terrible doesn't necessarily mean unenjoyable. The hectic pants-on-fire energy of the lead singer, from screaming "OWWWWW" to going nuts on an organ solo, is enough to elevate this to below average. "Good Lovin'" sure raised his spirits alright. 4/10
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Post by ry4n on Apr 29, 2015 17:13:25 GMT -5
0159. The Mamas & The Papas - "Monday, Monday" [3 weeks - 1966]YouTube link Sadly, the arguably more well-known "California Dreamin'" only peaked at #4 (during "Green Beret"'s run). To me, that song is one of the defining hits of the psychedelic era of the 60's. Its earnest yet hopeless desire to escape drabness gives me chills. It would probably be pushing a 10/10 tbh. "Monday Monday" doesn't hit me quite as hard, but it's still an excellent song. Monday. It's only one word. But, for many, that one word has mostly negative connotations. It's that one day of the week everyone dreads. That one day where you just plod along and go through the motions; continually eyeing the clock as it seemingly ticks slower than it's supposed to. It feels like noon, but it's only 10:30. You groan in agony as you realize it's the maximum amount of time possible before another weekend can occur. Might not necessarily be Monday mornings at work for everybody (or Tuesdays when Monday is a holiday), but what I just said is presumably a common feeling. This song captures the essence of that feeling. The verses quite literally plod along and go through the motions; as emphasized by the unenthusiastic "Bah dah Bah dah dah" ad libs and the slow paced melody. It switches up to a more chipper middle 8 where "Every other day of the week is fine" (which also prevents the song from getting boring.) Afterwards, it comes back down to the dreaded "Monday, Monday" again. Like "California Dreamin'", their harmonies are key in establishing a depressing atmosphere. There's just something about them that stands out. "Monday, Monday" isn't literally about the day of the week. It is intended as a metaphor. A metaphor for what, though? I don't even think The Mamas & The Papas know. 8/10
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Zeebz
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Post by Zeebz on Apr 29, 2015 17:39:20 GMT -5
The Mamas & the Papas are fantastic. I never knew that "California Dreamin"" never hit no. 1. Regardless, "Monday, Monday" was equally as deserving. <3
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ry4n
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Post by ry4n on May 1, 2015 13:32:34 GMT -5
0160. Percy Sledge - "When A Man Loves A Woman" [2 weeks - 1966]YouTube link Interestingly, "It's A Man's Man's Man's World" by James Brown was in the top 10 while this was sitting at #1. Two soul classics, and two of the most overused song selections on TV talent shows. I won't pretend that I'm an expert on what distinguishes all the subgenres of music from one another; especially in the R&B realm. All I know is that soul is rooted in gospel and it's defined by its vocals. Of course, vocals aren't exactly my area of expertise either. But I will say, Percy's soulful vocals are a significant part of why this song is so powerful. They express the suppressed unrelenting pain that's felt deep in his heart. Percy sets this up in a philosophical point of view; describing any old "man" and "woman" in any old relationship. At first, you may expect this to be a song about a couple defining their love. But it's actually something much more one-sided. The "man" in question loves the "woman" in question; but he loves her to a fault. He's willing to sacrifice his own happiness to do everything and anything for her. He will put her ahead of his own friends and give her everything he owns. Even if she doesn't reciprocate. She can treat him like garbage, she can string him along, she can play games with his mind; but his heart will keep him completely oblivious. Which is the tragedy of love, I guess. Partway through the song, Percy confesses that he's actually talking about himself. And that he's living proof of everything he just said. "I know exactly how he feels, 'Cause baby, baby, you're my world". I don't know why, but I love that part. I appreciate this song for the different perspective it takes. 8/10
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Post by ry4n on May 2, 2015 10:23:52 GMT -5
0161. The Rolling Stones - "Paint It, Black" [2 weeks - 1966]YouTube link By 1966, there was a growing fascination with this foreign instrument called the sitar; which is predominately featured in "Paint It Black". It wasn't exactly common in Western pop music at the time. The Beatles (well George Harrison) already experimented with it on Rubber Soul's "Norwegian Wood" (and he will continue to do so on later albums). And it becomes a signature sound of the 60's psychedelic era. But that's not to say it's used as a novelty by the Stones. They recognize and take advantage of its potential. Band member Brian Jones uses it to establish an atmosphere of unfamiliarity. The song is about grieving the death of one's significant other. The emotions Mick is experiencing are unknown territory for him; just like how the foreign sounds of the sitar are unknown territory for Western audiences. The song depicts a juxtaposition of Mick's reactions to this death. Every 2 lines he switches his mood. In the depressed sections, he watches the funeral procession ("I see a line of cars") and he's still in shock ("I could not foresee this thing happening to you"). He also wishes to paint objects black; specifically a red door. In other words, his heart is devoid of emotion and he wants the world to reflect that. The death is inescapable from his mind, he's incapable of confronting any form of happiness, and it appears impossible to move on. In the angry sections, Mick observes the surrounding strangers who go about their day unaffected. He scoffs at them ("Like a newborn baby, it just happens every day"). He feels, and wants to be, alone in his pain. He later stares into the setting sun; a reminder that he'll see his late girlfriend again one day. The song then transitions to some ominous humming, followed the peak of Mick's anger ("I wanna see the sun blotted out from the sky"). He's experiencing whirlwind. A poignant performance from Mick, an anxiously distressing instrumental, and my favourite Rolling Stones song ever. 10/10
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Post by emerald on May 2, 2015 17:48:34 GMT -5
Light years ahead of it's time, and their most instant single. Love it.
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Post by ry4n on May 3, 2015 0:50:44 GMT -5
0162. The Beatles - "Paperback Writer" [2 weeks - 1966]YouTube link Daily Motion link where the music video ISN'T blocked I was first introduced to the Beatles at the age of 8-10 via my nana playing their 1 album on long car rides. Back then, I regarded "Paperback Writer" as a bizarre concept to base a song on. Some 10+ years later, I've come to realize that's exactly what makes it brilliant! The vast majority of pop music involves the "I" and the "you"; and the interpersonal relationships between the "I" and the "you". A sizeable amount of those being love songs. The early Beatles were no strangers to that topic. But, now they've crossed the point of expanding beyond that. "Paperback Writer" isn't a love song and the protagonist is a fictional character. Much like "Nowhere Man" (from Rubber Soul), the song applies a biographical point of view. It's still written in the first person, but Paul is acting out a role. It also abandons middle 8's and the only resemblance of a chorus is the repetition of the song title. The protagonist aspires to be a paperback writer, obviously. He's, presumably, singing this song to a potential publisher. However, his authenticity and motivations are questionable. It certainly hasn't been a lifelong dream of his ("And I need a job..."); he's an amateur needing to pay the bills. And because getting published is his only objective, he has no problem compromising his artistic integrity ("I can make it longer if you like the style; I can change it round..."). He also inadvertently admits to being a hack by saying "It's based on a novel by a man named Lear" (that line being an allusion to Edward Lear, who was famous for writing nonsensical poetry.) His attempts at persuasion appear quite desperate and he's really overselling himself. Like, even he is aware of his inauthenticity. I've read that "Paperback Writer" is satirical in nature, though. Likely a jab at the Beatles themselves. But that's sort of why I like it; doesn't take itself too seriously. I also love how the percussion kinda sounds like the clicking of a typewriter (to me it does, anyway). Obligatory mention of the incredible B-Side. 8/10Paul replicates this concept later on in 1966 with "Eleanor Rigby"; AKA a legitimate contender for the best Beatles song ever. Unfortunately, though, it ISN'T a US #1. Nor is its double-A side, the hysterical "Yellow Submarine". Both these facts disappointment me greatly. Would be a 10/10 and a 9/10 for those two, respectively. In fact, the next Beatles #1 isn't for another 8 months (!). Also lol: www.youtube.com/watch?v=MzXhYVuXU8E
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Post by ry4n on May 3, 2015 22:20:25 GMT -5
0163. Frank Sinatra - "Strangers In The Night" [1 week - 1966]YouTube link Earlier in 1966, Frank's daughter Nancy secured a major #1 hit. The (unfortunate) by-product of that was a revival of his own career. "Strangers In The Night" isn't a complex song. One night, by chance, two people meet and fall in love. Despite it being his first #1 in eleven years, Frank has expressed some extreme disdain for this track. I'll admit, aside from projects like these, I can't envision many instances where I'd want to listen to it. A cliché story supported by bland vocals, an equally bland instrumental, and Frank improvising some silly "doobie doobie doo"'s. But I can't hate something this innocuous. Dean, Petula, and Frank may have had their hurrahs in restoring the top of the charts towards their generation's favour. But, as we've seen, they're small victories. A blip followed by a return to business as usual. 3/10
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Post by ry4n on May 4, 2015 14:14:22 GMT -5
0164. Tommy James And The Shondells - "Hanky Panky" [2 weeks - 1966]YouTube link (Not to be confused with the Madonna song of the same title.) Garage rock was the US's answer to the British Invasion. The earliest break-out hits included "Louie Louie" by The Kingsmen and "Surfin' Bird" by the Trashmen. It reached its mainstream peak around 1966; and declined rapidly thereafter. Bands of the subgenre were often characterized as being young, amateur, having simple lyrics about girls, singing incoherently, and exhibiting youthful energy (for lack of a better way of saying that)... its Wikipedia page sums it up better. Fittingly, the most accurate word to summarize this song would be amateur. It's so underdeveloped it sounds like a demo. Actually, no, it sounds like they're not even prepared to record a demo yet. It's as if they've assembled in their parent's garage to test out their very first performance of it. The instrumental, aside from the guitar solo, seems unpolished. The "My baby does the hanky panky" being repeated ad nauseum sounds like placeholder lyrics; waiting for an actual chorus to be constructed. There's a melody, sure, but it hasn't undergone the "insert some catchy hooks" rewrite stages yet. But I suppose that's the point: to be as un-manufactured as possible. I can understand and appreciate the appeal in that. I could list plenty of songs that I love for similar reasons. And there's an element of unabashed fun with this track. But when it sounds this underdeveloped, it's difficult to get excited by it. Their other #1, and their two songs which become late-80's #1's when covered by other artists, are much better than this. 4/10
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Post by ry4n on May 4, 2015 19:44:49 GMT -5
0165. The Troggs - "Wild Thing" [2 weeks - 1966]YouTube link "WILD THING YOU MAKE MY HEART SING YOU MAKE EVERYTHING" Yeah, it's the slightly less ridiculous cousin of "Do Wah Diddy Diddy", but I still love it. Both songs involve an overzealous lead singer that's impulsive enough to, quite literally, exclaim their infatuation to the entire world. The difference, though, is that "Do Wah Diddy Diddy" brags too much about how he landed the girl (I wish I included that in my review of it). It also gets distracted by its nonsensical hooks. "Wild Thing", on the other hand, is still trying to get the girl. It also has a balance in the verses where the narrator attempts to "play it cool" and be flirty. The instrumental briefly pauses and he seductively breathes "Wild thing, I think I love you" and "Come on and hold me tight". The lead singer is living a, what I assume, stereotypical young man's fantasy. Lusting over a girl because she's "wild". She's not like them other girls 'round town. She lives by her own rules and can show him a thing or two he hasn't experienced before. She's perhaps out of his league, as well. Doesn't mean he'll waste the opportunity, though. From attempting a smooth Casanova in the verses to yelling the blunt "WILD THING YOU MAKE MY HEART SWING" in the chorus, his approach seems misguided; albeit determined. But the fun is in not knowing whether the "wild" girl is enticed by his advances or not. The song also has an addictive stomping guitar riff. 8/10
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trustypepper
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Post by trustypepper on May 5, 2015 7:00:08 GMT -5
I can't hear "Wild Thing" without thinking of the movie Major League.
Never even knew who sang it but it's a good song for sure.
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Post by ry4n on May 5, 2015 17:56:11 GMT -5
0166. The Lovin' Spoonful - "Summer In The City" [3 weeks - 1966]YouTube link Picked an appropriate day to review this. 20°C and sunny outside today. Every year, there arises this big hoopla over what song will be crowned as the definitive "song of the summer" for that respective year. And I'm curious as to when this fascination started. Is there a watershed of "summer songs"? Beach Boys perhaps? The "summer of love"? Billboard dates their relevant chart back to 1985; but I've always assumed that cut off point was arbitrary. Then again, this is like wondering: what is the origin point of associating memories of past events (in this case summer) with the music that happened to be popular during said event. It just... happens. Regardless, it's fair to say that 1966's champion would be "Summer In The City". If not statistically (by Hot 100 calculations), then certainly by means of standing the test of time. Definitely a notable classic in its category. The song hit #1 in August. Which is that point when the humidity has you worn out and has drained all of your energy. Summer can be a highly enjoyable time of year... just not during daylight hours. No one needs to endure that. Summer nights, however, now there's a different story. The Lovin' Spoonful take note of this and express the dichotomy. The verses, which outline the days, feature the lead singer sounding sweaty and exhausted while bitching about the humidity. It's a chore for him to bear through it. This unpleasantness is highlighted by the car horn and jackhammer sound effects (it's set in New York City). The chorus, which outlines the nights, allow the song to relax into a more carefree mood. It's all been worth it for the rooftop parties and the chance of meeting someone special. It's a realistic way of looking at the realities of summer, while putting a positive spin on it. Plus, how can I hate lyrics such as "Walking on the sidewalk, hotter than a match head", "Cool cat, looking for a kitty" and "Till I'm wheezing like a bus stop". 8/10
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