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Post by Red on May 5, 2015 23:29:19 GMT -5
Dear god, these #1s. "The Sound of Silence", "(You're My) Soul and Inspiration", "Monday, Monday", "When A Man Loves A Woman", "Paperback Writer", "Strangers in the Night" (though I understand why you don't care for it), "Wild Thing", "Summer in the City", and especially "Paint It Black", which is the apex of the Stones and Brian Jones and Keith Richards' finest hours. One of the best rock songs ever made at a time when it was desperately needed.
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Post by ry4n on May 6, 2015 14:29:17 GMT -5
0167. Donovan - "Sunshine Superman" [1 week - 1966]YouTube link Fun fact: The electric guitar and bass players on this went on to become 2/4 of Led Zeppelin. In several of my previous reviews, I alluded to the 60's psychedelic era. The time period when drugs played a substantial role in popular music. When the hippie counter-culture permeates American society. When attitudes shift. 1967, more or less, is when it all comes together. We're not quite there yet; but "Sunshine Superman" is an hard-to-miss landmark along the journey. The Beatles were already experimenting with drug influenced songs on Rubber Soul and Revolver. This song was recorded in December 1965, so the latter didn't exist yet. But, when it was conceived isn't really that important. What is important, though, is where Donovan goes with this concept. He must've been on drugs when he wrote the lyrics and recorded his vocals for this. He babbles on about how superheroes won't prevent him from pursuing his love interest, and sings the song in an unconventional rhythm. Both of which leave the impression that he's living in his own world. One that is different from anything the listener has ever experienced. This world, a drug trip world, may be a strange, perplexing one. One that possibly frightens those who don't understand it. But, with the acoustic guitar and bongo-like drums, he assures that it's a chilled out, mellow world. The instrumental is a bit bare, but that's the point. This song isn't supposed to be big and flashy. Lyrically, Donovan determinedly vows to make this girl his. He doesn't falter from this stance. But by the time he's rambling on about Superman, turtles diving for pearls, and rainbows... I think the drugs have distracted him from his mission. But that's just my interpretation. Who knows what this song is actually about. 8/10
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Post by ry4n on May 7, 2015 17:18:22 GMT -5
0168. The Supremes - "You Can't Hurry Love" [2 weeks - 1966]YouTube link "You can't hurry love No, you just have to wait She said love don't come easy It's a game of give and take"Sound advice from Diana's mother there. Love requires patience; seldom is it wise to rush into things. "You Can't Hurry Love", sonically, isn't a vast departure from the Supremes' previous efforts. However, it's the continual growth of Diana's independence and empowerment (a running theme in their #1's) that keeps their material exciting. This song also features one of their most vigorous melodies yet. An element of that running theme is Diana's terrible luck with boyfriends. At first, she only sulked over her crumbling relationships. Then, in "Stop! In The Name Of Love", she confronts her unfaithful lover. Now, in "You Can't Hurry Love", she develops an introspective view of her behaviours; and offers us some insight. She admits to falling victim to the "I'm incapable of being single" syndrome. By that, I mean, she has a constant need to be in a relationship because the single lifestyle is too unbearable to endure. Loneliness is a part of that, sure, but I also speculate that her insecurities are preventing her from being independent. Either way, she's entering relationships for the wrong reasons and has become dependent on her boyfriends. Unsurprisingly, the end result of that is numerous disastrous heartbreaks. Though Diana acknowledges that reality, you can't expect her habits to change overnight. The lyrics imply that she is trying, but it's not an easy process. She spends much of the song agonizing in distress over how difficult her situation is. Which, incidentally, creates a significant amount of melodrama (though not as melodramatic as their next #1). She typically sings in a timid voice, but she belts these verses with a full force of emotion. Where Diana finds comfort is in the chorus; as she recalls her mother's advice posted above. It's where the song releases its tension as Diana reminds herself of the right path to take. And by doing so, she's showing signs of maturing from her once naive self. Diana's delivery, coming from someone known to be timid, is what makes the song so powerful for me. She's easy to sympathize with. Also, when it comes to "solid catchy pop songs", it's pretty ace. I love it. I think I previously stated that "Stop!" was my favourite of their #1's, but I actually take that back. This is my favourite! And, well, they deserve at least one 10! so... 10/10 :) Did it really need to block "Yellow Submarine" though? >:(
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Post by ry4n on May 8, 2015 10:51:02 GMT -5
0169. The Association - "Cherish" [3 weeks - 1966]YouTube link "Cherish" is often categorized into the subgenre of "sunshine pop". A subgenre defined by being calm, upbeat, unconcerned with serious matters, etc. I can understand the appeal in soothing, feelgood music. However, this is too calm; to the point of being limp and lifeless. I'm not sure if the vocals are in the wrong key or if they're too monotonous or what. But it's as if an office employee assembled his 6 most conservatively dorky, vocally untrained, unassociated colleagues; sent them to a low rent cruise ship; and paid them to sing this infront of a large disinterested crowd. Maybe that's a little harsh, but their vocal style is awfully uncomfortable, plain and emotionless. For a song that's in anguish over unrequited love, they sound anything but. The lyrics, accompanied by wedding bells in the instrumental, border on over-obsessiveness. Wallowing in self pity can be endearing, but here, I'm left with the impression that they're way too hung up on this girl who doesn't even know they exist. And they're so analytical in selecting the precise word to describe their feelings ("Cherish is the word I use to describe..." / "Perish is the word that more than applies...") That said, this dreck does liven up its groove in the middle 8 and final chours. And I kinda get it - the narrator is too awkward to get the girl. But... ehh. 3/10
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Post by ry4n on May 8, 2015 23:23:22 GMT -5
0170. Four Tops - "Reach Out I'll Be There" [2 weeks - 1966]YouTube link When we first encountered the Four Tops in 1965, I discussed how they were, more or less, the male counterparts to the Supremes. Thanks to the two groups sharing the writing / production team of Holland-Dozier-Holland, "I Can't Help Myself" incorporated similar elements to the Supremes' hits. It's a year later and the comparison is still apt. However, by now, H-D-H have progressed into a more dramatic direction. "Stop! In The Name Of Love" and "You Can't Hurry Love" would certainly qualify as dramatic. And, well, there's nothing quite as dramatic as "Reach Out I'll Be There". The song begins with a flute signalling distress, followed by sounds effects of a stampeding horse. My mind is painted with the image of a fairytale prince rushing out to rescue his damsel in distress in the middle of a rainstorm. Idk. But there's a definite sense of urgency here. He doesn't have much time before it's too late. From there, we launch straight into lead vocalist Levi Stubbs bawling like a hysterical preacher (so not really a prince). Except the subject of this song isn't a congregation; it's one specific person. This person happens to be at the lowest point of her life (I believe the subtext is that she's on the brink of committing suicide). Levi deeply cares about her and isn't one to sit idly by. He encourages her to "reach out" to him ("encourage" being an understatement). In the chorus, the tension is cut by the the return of the flute and Levi reassuring that "[he'll] be there" for her. Her response is unclear. But when the chorus fades out at the end, I like to assume that signifies the horse (with her and her saviour riding together on it) galloping away into the distance; towards the rainbow-ed horizon. It's one uplifting message. And Levi's desperate vocals are one captivating listen. That's for sure. Also, I love that predominant flute because it channels those 60's rock songs I usually love so much. There's just something about it. Holland-Dozier-Holland effortlessly mastered melodrama only to part ways with Motown in 1967. 9 or 10. 9 or 10. 9 or 10. One of my favourite Motown songs ever so I guess... 10/10And there's still one more 10 to come this year!
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Post by DJDaveMick69 on May 9, 2015 13:46:05 GMT -5
I have a Facebook friend (music fan at that) who rates "Reach Out" as his all-time fave song. As with most 1966 #1 songs, I love it, but the one I'm *really* waiting for is song #173 (11/12/66).
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Post by ry4n on May 9, 2015 20:29:02 GMT -5
0171. ? (Question Mark) & The Mysterians - "96 Tears" [1 week - 1966]YouTube link Source Right. "96 Tears" features a peppy organ, which I find produces a layer of extraterrestrial mysteriousness. As does ?'s vocal style of taking an extended pause after every 3-5 words (as if his brain's scrambling on what to say next). That vocal style suits the lyrics. ? and his ex have just broken up. He's down in the dumps, crying "96 Tears"; while she's high up on cloud nine. He reacts by begrudging her for this. He, bluntly, promises to make her feel the pain that he's been experiencing. He'll ascend to the clouds of happiness by pushing her off of them. "And then I'm gonna put you way down here / And you'll start crying ninety-six tears", he scoffs. It's one spiteful song. Is he being irrational? Probably. We aren't privy to her side of the story; so who knows. We all say nasty things we don't mean when we get angry. As with any outburst of anger, it soon fizzles out. In the second verse, as the organ also fizzles out, ? succumbs to the reality that he's unlikely to follow through. "But I know now / I'll just cry, cry, I'll just cry", he concludes. At which point, both ? and the song itself are uncertain on how to finish up here. ? resorts to awkwardly ad libbing and reiterating his threat (like he's muttering "Oh yeah... I said those things... didn't I?"), while the instrumental just goes nowhere. I appreciate the song's attempt at breaking down the emotion of anger. Not crazy about the instrumental, though; peppy organ aside. 7/10
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Red
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Post by Red on May 9, 2015 20:36:05 GMT -5
I have a Facebook friend (music fan at that) who rates "Reach Out" as his all-time fave song. As with most 1966 #1 songs, I love it, but the one I'm *really* waiting for is song #173 (11/12/66). And me, I'm on the edge of my seat waiting for #176 (12/10/66). Cannot wait. "96 Tears" is okay, though just a tad bit cheesy. "Reach Out (I'll Be There)", though, is an absolute classic. Levi Stubbs has long been one of my favorite male singers, and that song is the main reason why. I haven't been doing my own scores or anything, but I'd estimate that "Reach Out" would be my fifth 10/10 (after "The House of the Rising Sun", "You've Lost That Lovin' Feelin'", "Ticket To Ride" and "Paint It Black").
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Post by ry4n on May 10, 2015 2:59:36 GMT -5
0172. The Monkees - "Last Train To Clarksville" [1 week - 1966]YouTube link Let's take a snapshot of the status quo of popular music in November 1966. We are currently smack dab in the middle of, arguably, the most revolutionary period of pop music ever. As we approach the climax year of 1967, rock artists are in the golden age of discovery: they're constantly pushing boundaries to unearth what exactly music is capable of being and doing. The experimenting sonically, the conveying deeper meanings, the expressing complex emotions, the bold statements, the powerful and inspiring messages, etc. It defines the spirit of 60's, and I love it. Elsewhere, Motown have mastered their craft, and garage rock bands are doing their own thing. Taking a second glance at those pre-1964 #1's for just a moment (mind you, this is only three years ago) is like stepping onto another planet. Music trends (and societal norms) have evolved at such an unbelievably rapid pace. And it doesn't stop yet. To put it into perspective, consider the disparity between music of 2015 and 2012. The differences are minimal at best, in comparison. It goes without saying that the pioneers of this revolutionary period were those trend-setters that were always one step ahead of the curve: the Beatles. Certainly by late 1966, they are larger than life icons. More famous than Jesus, perhaps. John Lennon may or may not have vocalized something to that effect a few months prior. Anyway. In this exciting era of anticipating what innovative thing music will do next; we encounter the Monkees. Where do they fit into this picture? What purpose do they serve? I mean, if this is supposedly the height of the "music that means something revolution", why is there a superficial boyband, who sing pop fluff and "don't even play their own instruments", on the verge of becoming massive over the next year? Well, think of it this way. Not everyone embraces change. Especially when it's thrown at you like a cannonball. We're in 1966, and the music trends of 1964 are already passé. The Beatles recognized this and rightly progressed into a different direction to avoid becoming stale. As they matured, their fanbase matured alongside them. The deviation into a more artistic direction didn't damage their fanbase in any noticeable way (they still amassed 20 #1's after all). But, when an artist embarks on such drastic shifts (and Rubber Soul and Revolver were drastic shifts), a sizeable segment of that fanbase will inevitably feel alienated. It's impossible to please everyone. And so a void in the marketplace opens up. A void for simple catchy pop tunes one can dance to; which the Beatles used to release. And there's always going to be an audience for that. The Monkees capitalized on this. Anyone who is knowledgeable in 60's music will be all-too-aware of how much criticism has been hurled towards this group. It's so easy to write them off as mere second-rate Beatles. But I don't think that's necessarily fair. Boybands, as we will witness over the decades, are never really original anyway. Yeah, it's a record company marketing young males based on their image, but record companies want to cash in on all of their artists anyway. At the end of the day, music serves multiple purposes. If the purpose of "Last Train To Clarksville" is to create an effortlessly catchy pop song, well they accomplished their goal. I mean, it's not a complex song - he wants to visit his significant other before his train departs in the morning. But the "Oh no no no!" hook is a strong one. Having said all of that, "Last Train To Clarksville" is admittedly one difficult record to try to ignore the "Beatles knock-off" stigma. The harmonies copy the style of the Beatles' early singles, they borrow (not literally) George Harrison's signature 12-string Rickenbacker, and the melody is somewhere between "Paperback Writer" and "We Can Work It Out". Luckily, their other two #1's don't live in the Beatles' shadow as much to my ears. This could also really use a middle 8 or something. "De-de-de-de-de-de-de-de-do" doesn't count. 6/10
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Post by ry4n on May 11, 2015 20:20:54 GMT -5
0173. Johnny Rivers - "Poor Side Of Town" [1 week - 1966]YouTube link Of the fundamental components comprising a typical song, usually the one that matters the most to me is the production / instrumental. When I listen to something new, it's always the first thing to catch my attention. Energetic tempos are generally what I prefer; which explains why my personal chart is inhabited by so many dance songs. It also explains why my initial reaction to "Poor Side Of Town" wasn't an enthusiastic one. I associated it with the "dull easy listening music" I dislike from the early 70's. But that's only viewing things at face value. This is actually more sonically complex than that. There's strings, a flute, a folk-y guitar chord, some bongo-like drums, etc. Combined with Johnny's blue-eyed-soul vocals (and I think I even hear some country elements), there's about 5 different genres being mixed together here. Indeed, Wikipedia describes this song as a "soulful version of California-based pop, with some strong folk elements as well". This was actually a departure in sound for Johnny. His previous material was more rock and roll. There's also a practical purpose being served by the slow instrumental - to establish a breezy worry-free environment to suit the song's message. It's painting the "Poor Side Of Town" as a welcoming place. Johnny lives on the "Poor Side Of Town". The object of his desire (who once live there) temporarily escapes the place by dating a rich guy. However, the rich guy views her as merely a "little plaything" and "an overnight fling". Defeated, she reluctantly returns to the slums. Upon hearing the news, Johnny reacts passive aggressively ("So welcome back baby / To the poor side of town"). However, in the middle 8, the one moment where the instrumental intensifies, his attitude changes. He becomes more understanding and forgiving ("I can't blame you for tryin'..."). As the laidback tempo resumes, he attempts to seize the opportunity that's been presented infront of him ("Will you stand by me girl; All the way now"). Johnny closes the song by offering some promising reassurance to his potential lover ("Together we can make it baby / From the poor side of town"). In the face of socio-economic adversity, it's you and me against the world. We can escape the "Poor Side Of Town" together! And even if we don't, we'll still have each other. It's a bit of a chessy message, but I can get behind it. Still kinda bores me though. 6/10
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Post by ry4n on May 12, 2015 3:29:42 GMT -5
0174. The Supremes - "You Keep Me Hangin' On" [2 weeks - 1966]YouTube link And intense melodrama, now becoming Holland-Dozier-Holland's speciality, returns to the top of the charts! Continuing the narrative of Diana's growth and maturity in regards to her disastrous relationships, "You Keep Me Hangin' On" sees her at her most persistently defiant yet. Even "Stop! In The Name Love" was mindful of his prerogative ("think it over" sounds more like a request than a demand). This time, her demands are firm and clear. "Get out my life, why don't you, baby?"; it doesn't get much more straightforward than that. Diana and her boyfriend have broken up. He's over her; she isn't over him. Diana, the introspective woman she's become, recognizes that it's impossible for her to do so until he vacates her life. "Let me get over you / The way you've gotten over me". Unfortunately, he's not being co-operative. He keeps showing up and toying with her, but has no intentions of reconciling. In other words, he "keeps [her] hangin' on". Diana isn't pleased about this and insists he "get out of [her] life". These types of songs are usually amongst my favourites. As long as the attitude is justified, it's difficult to go wrong with them. Generally, though, they require assertive vocals to match their confrontational lyrics. And Diana's vocals are timid. They don't reach the forcefulness of, say, Kim Wilde crying out the same lyrics (but I'll talk more about that in due time). However, the fact that Diana is incapable of enforcing her demands is actually what makes this all the more powerful. She's trying, and she's made a lot of progress thus far, but her insecurities are still holding her back. And, as I said in "You Can't Hurry Love", it makes her easy to sympathize with. The Morse code instrumental, indicating distress, is brilliant. I love how the song opens with it. 9/10
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DJDaveMick69
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Post by DJDaveMick69 on May 12, 2015 9:09:51 GMT -5
Poor Side of Town--an early precursor to the 70s soft rock sound which I *do* love. You Keep Me Hangin' On--One of the Supremes 3 best #1s! (along with the Happening and Love Child)
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Post by ry4n on May 12, 2015 20:23:03 GMT -5
0175. The New Vaudeville Band - "Winchester Cathedral" [3 weeks - 1966]YouTube link The brief revivals of 1940's music via Frank Sinatra and Dean Martin's comebacks encompassed an underlying smug attitude. They had an ulterior motive of knocking current music down a notch. The New Vaudeville Band, on the other hand, are much less spiteful in their similar endeavours. "Winchester Cathedral" is a pastiche of 1920's music; it revisits the generation before the crooners. In show business, this era is what's known as "vaudeville" (or "music hall" in the UK). It involved what were essentially variety show stage productions. Singing being a part of them, of course. This song replicates the whistling, the trumpets, the bassoon, the odd vocal style, etc from them. Also, performers back then sang in a noticeably different style than what's typical now (and certainly by 1966). One of the prominent vaudeville entertainers was Rudy Vallée; who frequently sang through a megaphone. John Carter, the vocalist of this song, sings through his hands to reproduce the effect. In live performances, such as the one linked above, an actual megaphone was used. Anyway. "Winchester Cathedral" basically parodies 1920's music for novelty's sake. The aloof, nonsensical lyrics only reinforce this: he's blaming a historical landmark, as if it's a person, for not physically preventing his crush from leaving town. Like... what? It's a pretty silly record. 3/10
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Post by ry4n on May 13, 2015 18:47:06 GMT -5
0176. The Beach Boys - "Good Vibrations" [1 week - 1966]YouTube link Before 1966-ish, the Beach Boys were primarily known for their surfing songs. As enjoyable as they were, the themes were becoming repetitive - girls, cars, California, beaches, etc. At a certain point, Brian Wilson decided to pursue a change in direction for the group. With lofty ambitions, he sought to compete on the same level of creativity and innovation as the Beatles. Rubber Soul and Revolver had effectively made albums relevant and Brian's response was the deeply introspective Pet Sounds. It was accompanied by the singles "Sloop John B", "Wouldn't It Be Nice" and B-side "God Only Knows"; all three being career highlights. Much like Revolver, Brian applied a wide variety of instruments throughout the album. All of this was laying the groundwork for "Good Vibrations". Notable for how elaborately constructed it was for 1966; it was assembled from 90 hours of audio recorded over 17 studio sessions over the course of several months. In fact, it was the most expensive single ever produced at the time. The multi-layering of various re-recorded sections (a process still being fine tuned back then) was Brian's attempt to capture Phil Spector's Wall Of Sound effect. Indeed, the instrumental is very complex. It features a multitude of instruments such as the cello, harpsichord, organ, saxophone, harmonica, drums, tambourine, and the very unconventional theremin. The first half of "Good Vibrations" follows the traditional verse-chorus-verse-chorus format. The verses are restrained as the narrator is overwhelmed by the his newfound infatuation. This atmosphere is highlighted by the guitars and drum pounding like a nervous heartbeat. A fantasy-like atmosphere is introduced by (what I believe is) a Hammond organ. It's so low-key, that an explosive chorus is eagerly anticipated. And it doesn't disappoint. Said chorus bursts into an escalating euphoria, supported by an extraterrestrial theremin, a jittering cello, and the influx of backing harmonies. The escalating euphoria is matched by the escalating key changes. In the second half, Brian Wilson toys with song structure. First, the instrumental transitions into a slower, more psychedelic-type fantasy. Note: while other psychedelic rock songs were observing the external world around them, Brian was exploring the internal world inside himself. This is probably the busiest part of the song. It's contrasted by the next section ("Gotta keep those lovin' good vibrations a-happenin' with her"), where the narrator ventures into a serene, chilled out, minimalistic fantasy. It's accompanied by the quieter organ and what sounds like maracas. It's easy to mistake this section for an outro, but it's just a fake out. Because, suddenly, "AHH!"; we're jolted by the mad rush of the chorus again. Finally, the actual outro emerges. It features some "na"'s and "do"'s (he's so overcome with intense feelings that he can't form coherent sentences anymore) and whatever remains of the cello, theremin and tambourine. As I said, it's very complex. Both this song, and the experience of a new crush, are a journey of unexpected twists and turns. "Good Vibrations" captures a single moment extraordinarily well, and I always love songs that do that. It's easily the best thing the Beach Boys have ever put their name to. It also effectively manages to be both artsy and undeniably catchy. An easy... 10/10This going #1 was a bittersweet moment for Brian Wilson, though. Afterwards, he would pursue the extremely ambitious goal of producing the most innovative body of work he could possibly create. It was to be called the Smile album and his mental health deteriorated in the process. The project was eventually scrapped in 1967 and he would take a more muted role in the group thereafter. Also, sadly, this is the last time we'll see them in this thread until the late 80's.
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Post by ry4n on May 14, 2015 14:54:07 GMT -5
0177. The Monkees - "I'm A Believer" [7 weeks - 1966 / 1967]YouTube link lol I'm reminded of that scene from ShrekI think I got carried away in my "Last Train To Clarksville" essay, so I'll keep this succinct. "I'm A Believer" was essentially the Monkees' "I Want To Hold Your Hand" moment (both coincidentally spending 7 weeks at #1). A monstrous smash catapulting their careers into the stratosphere. In the Monkees' case... it lasted for approximately one year. But what a year it was! With 37 cumulative weeks atop the Billboard 200 across '66/'67 (via releasing 4 albums in a 13 month period), they were certainly the most commercially successful artist of 1967. A fascinating fact, considering they were the antithesis of the ideals that this upcoming year will stand for. "I'm A Believer" may recite an overused "I stopped believing in love until I met you" narrative. The lyrics may be incredibly cheesy ("I thought love was only true in fairy tales") and overdramatic ("What's the use in tryin'? / All you get is pain"). But it's a memorable, catchy, light-hearted, well-constructed pop song. There's a vibrant energy, and something oddly charming, in the Monkees' performance of it. And the outburst of "Then I saw her face, now I'm a believer", where they switch from self-pity to spontaneous joy, makes for a fantastic feel-good chorus. I love the 60's for searching deeper meanings and pushing past uncrossed boundaries. But not every song has to adhere to that criteria to be enjoyable. 7/10Thus concludes another year. I didn't realize 1966 had quite so many #1's! It's probably the peak of the 60's for me (even if 1965 got a higher yearly average from my scores).
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Post by ry4n on May 15, 2015 2:18:32 GMT -5
0178. The Buckinghams - "Kind Of A Drag" [2 weeks - 1967]YouTube link His unfaithful girlfriend dumped him. His heart is broken. He begs her to come back anyway. Throughout all this emotional turmoil, the most fitting description of the situation he can muster is... "Kind Of A Drag". Kind of? And only "a drag"? "A drag" is when you've lost a dollar bill or when a freak rainstorm hits on a sunny afternoon. Not when your heart is shattering into a million pieces. Presumably, this phrase is a deliberate understatement; either intended as irony or to downplay the severity of her transgressions. He wants her back, so I'll go with the latter. His feelings of desperation are contradicted by the instrumental advancing at an upbeat rhythm; including those Mariachi band-eque trumpets. The narrator's feeble pleas, aided by messy interrupting backing vocals, come off rather pathetic. And I somehow doubt she's receptive to it. But I suppose that's the point. And that's about it. An interesting concept, but there's just... not a lot to this song. The vocals lack emotion and the lyrics are too concise. 5/10
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Post by ry4n on May 16, 2015 4:58:33 GMT -5
0179. The Rolling Stones - "Ruby Tuesday" [1 week - 1967]YouTube link In January 1967, the Rolling Stones were scheduled to perform the overtly sexual "Let's Spend The Night Together" on the Ed Sullivan Show. However, the band was infamously forced to alter the lyrics to "Let's Spend Some Time Together". Mick rolled his eyes during the performance of it and, due to certain incidents that followed, they were banned from ever appearing on the show again. Fast-forward a few months later, and they would be convicted on drug charges. A sobering moment for them. "Let's Spend The Night Together" was too raunchy for 1960's US audiences, however, so the single was designated a double A-side with the more tranquil "Ruby Tuesday". The lyrics of the latter speak of an unnamed free-spirited girl who travels from town to town. She's so free-spirited that she can't even be limited by names. Though the narrator dubs her "Ruby Tuesday" to avoid confusion. She's discovered a paradise where she isn't confined by the rigid conformities and limitations of society. That paradise isn't a physical place, though, it was reached by challenging her own mind. The song is rather philosophical. Her stop in this current town is, inevitably, brief. As she departs to wherever her next destination may be, the narrator admits he'll miss her. She's shown him a place that he's unable to reach. It's quite depressing. "Ruby Tuesday" prominently features the recorder, as played by Brian Jones. Recorders always conjure up images of medieval times for me. I doubt that's what they were going for, but there's something very serene about it. It establishes that dreamy unattainable paradise. Mick's vocals are appropriately dreary on "Ruby Tuesday", but they lack the required restraint for it. 8/10
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ry4n
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Post by ry4n on May 16, 2015 21:40:19 GMT -5
0180. The Supremes - "Love Is Here And Now You're Gone" [1 week - 1967]YouTube link So where does Diana's over-arching narrative proceed to this time? Well, her boyfriend has abruptly ended their relationship, and she's an emotional wreck. But instead of passively accepting these developments, she decides to have the last word. Without hesitation, she lets her ex know that it's all his fault. He showed her love, she dreamt of the future they could've had, and then he took it away. As if it was one big tease. Diana, singing in her most bitter tone yet, delivers such jabs as "You persuaded me to love you" (I love this line) and "Into your arms I fell / So unaware of the loneliness / That was waiting there". "Love Is Here And Now You're Gone" employs a soap opera-esque atmosphere; a departure from their usual hand-clapping sound. It utilizes a harpsichord (an instrument turning ubiquitous in the psychedelic era) and Holland-Dozier-Holland attempt a left-field technique to create melodrama. This technique involves Diana turning towards the cameras every so often to overact a spoken-word aside. All focus is put on her as the instrumental and Mary / Flo fade into the background. "You close the door to your heart / And you turned the key / Locked your love away from me! UH!", she proclaims. It's very... bizarre. But it's an effective device to draw attention to herself; which is exactly what she wants. "Look at me now!!!", she exclaims. She's going to let her voice be heard and he's going to listen. She's grown to the point of having too much self-respect to tolerate being treated like this. Grown so much that she won't require the support of her backing singers much longer... more on that later. 8/10
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Post by Deleted on May 17, 2015 0:36:42 GMT -5
I think you've been doing a good job so far with these. Keep up the good work. :)
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Post by ry4n on May 18, 2015 10:40:42 GMT -5
0181. The Beatles - "Penny Lane" [1 week - 1967]DailyMotion Link In the 8 months since their last US #1 (and 6 months since their last single altogether), the Beatles quit touring (due to their material becoming too impractical to perform live), they ditched the moptop hairstyles and the uniform dress code, John received backlash for the controversial "bigger than Jesus" comment, and, most importantly, John met Yoko Ono. The band also took time to map out what would become the iconic Sgt Peppers album. "Penny Lane" and "Strawberry Fields Forever" were originally intended for that album, but due to their label pressuring them to release a new single, the two tracks became a double-A side instead. "Penny Lane" and "Strawberry Fields Forever" entail Paul and John, respectively, reminiscing over their childhood memories of Liverpool. The two songs are an example of the disparity between Paul McCartney's more upbeat numbers and John Lennon's more experimental endeavours. Paul establishes "Penny Lane" as a glowing, warm, friendly place. The blaring brassy instrumental highlights this (incidentally, this marks the beginning of The Beatles' obsession with brass instruments in 1967). Paul recounts several anecdotes of some of the citizens from his community - the barber, the banker, the fireman, and the nurse. He enables them to be down-to-Earth and relatable characters by including overly-specific details; such as the barber keeping photographs of "every head he's had the pleasure to know" and the fireman owning a "portrait of the queen". There's also a key change employed towards the end of this song to create a grand finale-type climax (a sign of their next couple singles.) However, despite this apparent positivity, there's something mysterious about this record. Paul's anecdotes, which are meshed into one storyline, contain several plot holes. He mentions "blue suburban skies", yet it's "pouring rain". The nurse is "selling poppies", yet it's summer (Remembrance Day being in November). The line "And though she feels as if she's in a play / She is anyway" implies that the nurse may not actually exist. In light of this, Paul remarks that things are "very strange". But he doesn't offer any explanation as to why. That's because the explanation is hidden in "Strawberry Fields Forever". John takes a much more cynical approach here. He acknowledges a difficult-to-stomach reality. The past is nothing more than thoughts that exist in our minds. Our memories are merely perception and not necessarily fact. This revelation causes him to question the accuracy of his own childhood memories ("No one I think is in my tree / I mean it must be high or low"); and concludes that "nothing is real". Sonically, the atmosphere of "Strawberry Fields Forever" is of a hazy, vague memory. It contains two vocal layers - one that is sped up and one that is slowed down - to create a distorted vocal effect. A Mellotron (a machine that repeats small sections of recorded audio) is used to produce a looping flute note. And the song is replayed backwards at the very end. (These studio technology techniques also preview Sgt Pepper's.) But I digress. The answer to why "Penny Lane" is "very strange" is because "nothing is real". Our memories are selective and neglectful. Over time, details become forgotten and we make logical assumptions in their place; which sometimes results in "recalling" events that didn't actually happen. While John accepts this truth, Paul avoids acknowledging it altogether. He shrugs off the inconsistencies of his story as "very strange". He would rather leave his happy memories intact. It renders him an unreliable narrator, but it's a sentiment that I can empathize with. A perfect example of how Paul's songs can be deceptively simple. And one of my favourite Beatles US #1's. 10/10I'm unsure if they'll have any more upcoming 10's though... At least two more 9's I think...
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Post by Red on May 18, 2015 15:42:02 GMT -5
I wouldn't go as far as a 10/10 for "Penny Lane", but I can't deny that it's a strong record.
Since you mentioned the remaining Beatles #1s...*looks at the rest of the Beatles #1s*
Well, one of the songs is one of my favorite songs of all-time, and the #1s from 1969 are close. This could be interesting.
Okay, the real reason I'm making this post: "Good Vibrations". It's the first song I fell in love with, and it remains one of my favorite songs ever. It is a masterpiece of pop production and also a pop tragedy because of the events that would occur in the aftermath of "Good Vibrations", because we never got to see if Brian Wilson could top himself and "Good Vibrations" at his musical peak. What a shame.
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ry4n
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Post by ry4n on May 19, 2015 10:56:49 GMT -5
0182. The Turtles - "Happy Together" [3 weeks - 1967]YouTube Link One of the many 60's classics that reminds me of the Simpsons and several TV ads.Though the lyrics are considerably cheesy and simple, the power of "Happy Together" is derived more from the arrangement than the lyrics. The song juxtaposes a bunch of whispered verses with an explosive rush of a chorus. In doing so, it creates a substantial volume and intensity difference between the two; allowing them both to stand out more. This structure suits "Happy Together" because the song is a ball of nerves in need of release. The verses thump to an anxious drumming beat while the narrator fantasizes about this girl he wishes to ask out. In the first verse, he makes his nervousness apparent by feeling the need to rationalize his fantasizing ("I think about you day and night, it's only right / To think about the girl you love and hold her tight".) And, elsewhere, he rambles on about how "happy together" they could be. When the horn-blaring vocal-belting chorus strikes, that's when he makes his grand gesture to sweep her off her feet. He boldly proclaims "I can't see me lovin' nobody but you / For all my life". However, this is a song of unrequited love. Once the chorus fizzles out, he retreats back to the hushed verses (rejection? did she simply not notice?). Uncertain, he makes a second attempt. And a third. But soon after the "BA BA BA BA"'s, he admits defeat. And then changes the conversation to awkward small talk ("How is the weather?"). A fine concept all on its own. But what elevates this to 8/10 for me is the lead singer's enthusiastic and sincere vocal tone. He's a character I find easy to root for. 8/10
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Post by ry4n on May 19, 2015 21:17:21 GMT -5
0183. Nancy Sinatra & Frank Sinatra - "Somethin' Stupid" [4 weeks - 1967]YouTube Link On paper, "Somethin' Stupid" is a cute, playful exchange between two lovers over-thinking the boundaries and labels of their relationship. The Robbie Williams & Nicole Kidman version does a splendid job with this. As a duet between a father and daughter, however, it confuses me (and I know it shouldn't bother me as much as it does). I mean, unless the lyrics are re-interpreted as an emotionally detached, possibly estranged, father and daughter trying to reconnect. Admittedly, this would be intriguing angle. But it's rendered implausible due to the lyrics implying meeting in a nightclub and hooking up in a hotel room afterwards. So, presumably Frank and Nancy aren't singing this to each other. They're just a father and daughter confiding in one another. Both are, coincidentally, experiencing the same sticky situation with their respective lovers. Which is an okay concept; although I'm uncertain how believable it is. Either way, I find Frank and Nancy's rendition falls flat. Their vocals don't mesh well together, and she's reduced to being a barely audible backing singer. I do like the lyrics, though, and the Spanish guitar instrumental is enjoyable. 4/10
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Post by ry4n on May 20, 2015 17:23:22 GMT -5
0184. The Supremes - "The Happening" [1 week - 1967]YouTube Link While "Love Is Here And Now You're Gone" was a departure from the Supremes' usual hand-clapping sound, "The Happening" diverges even further outside the box than that. It's taken from the soundtrack of a floppy movie of the same title. The song, accordingly, encompasses a theatrical composition. But, to make it sound more 60's, the orchestral instruments are accompanied by some psychedelic guitar chords. Making it, quite possibly, their most boisterous and vibrant instrumental yet. As well as one of their most overly crowded. In light of this upbeat production (and melody), one might assume that the enigmatic term "The Happening" is used to convey something joyous. Like an unexpected surprise that warrants a celebration. However, in the context of the lyrics, "The Happening" is actually a reality check. In Diana's case, she faces her reality check after a sudden break-up. She was naive and foolish in love, and thought it would last forever. When it didn't, "The Happening" hit her like a ton of bricks. And now she's left in bleak emotional distress. "It happened to me and it can happen to you", she warns. The severity of her distress is expressed by pumping up the melodrama to an 11: "'Cause when you shook me, took me, out of my world", "Now I see life for what it is / It's not all dreams, it's not all bliss", "Is it real? Is it fake? Is this game of life a mistake?", etc. Suffice to say, this break-up has been pretty brutal on her. However, there is a bright side to this. She has learned a lesson (and learned it the hard way) from this experience: she should try to be more cautious in her relationships because they may not always work out. And she should avoid getting carried away in planning out the potential future of them. (As she says, "I saw my dreams fall apart"). Which is some pretty solid advice. And possibly why the instrumental is so upbeat? In regards to Diana's overarching narrative of the Supremes' #1's, this is probably the point when she reaches independence. Her reaction is more shock than anger, she doesn't show any signs of wanting him back, and she doesn't blame herself for the break-up. Nor does she blame him, really. She simply blames "that fickle finger of fate". A mature approach, I suppose. The song makes good usage of Mary and Flo (ironic considering the turn of events about to unfold), and some of the verses tease you by not ending in "... the happening" when you expect them to. 8/10Despite this being the Supremes' tenth #1, it was the beginning of the end. As 1967 roared on, the group name would change to "Diana Ross & The Supremes", the songwriting / production team of Holland-Dozier-Holland would depart Motown, group member Florence Ballard would be replaced by Cindy Birdsong, and Cindy and Mary would be substituted with session vocalists on subsequent singles. The singles that followed "The Happening" would peak at #2, #9, #28; and their first one without H-D-H at #30. As bleak as things were beginning to look, a #1 hit in the autumn of 1968 briefly turned things around...
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Post by Deleted on May 20, 2015 22:54:24 GMT -5
Yas at Penny Lane getting that 10/10! Deserves it.
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Post by DJDaveMick69 on May 21, 2015 11:26:03 GMT -5
Back to back--my all-time top songs by Frank, and the Supremes. And there were yet better #1s coming in '67...
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Post by ry4n on May 21, 2015 14:40:27 GMT -5
0185. The Young Rascals - "Groovin'" [4 weeks - 1967]YouTube Link The exact date of when the Summer Of Love began seems ambiguous. But it was most likely during the 6-week period in which "Groovin'" spent 4 non-consecutive weeks at #1. For those who don't know: The Summer Of Love was when 100,000+ people flocked to the hippie capital of the US; otherwise known as San Francisco. It was a gathering of freedom, love, creativity, expression, drugs, and (of course) music. These developments attracted a significant amount of media attention; which only gave the movement free publicity. When autumn came, and the crowd had to return home for college and such, their philosophies quickly spread across the rest of the country. This lead to much of the rest of the decade being characterized by the hippie counter-culture. On the albums front, the soundtrack of The Summer Of Love was undoubtedly Sgt Peppers - it occupied the top spot of the Billboard 200 for nearly the entire summer. On the singles chart, it's more difficult to select one definitive song. Though, "Groovin'" is an appropriate place to start in the chronological list of #1's. Not only is it titled after the ultimate hippie slang word, but its instrumental and lyrics embody peaceful and loving themes. Not unrelated to some of the motivations behind the counter-culture. Even if those motivations are lost by the end of the summer. "Groovin'" encompasses one of the most chilled-out instrumentals I've encountered so far. The song opens with some bird chirping sound effects, which creates an illusion of being outdoors. As the drums, harmonica, and blue-eyed soul vocals are introduced, an atmosphere of laying under the hot sun on a lazy summer afternoon is set. The Young Rascals use the term "Groovin'" as a euphemism. It was inspired by members Felix Cavaliere & Eddie Brigati remarking that, due to their busy work schedules, Sundays were the only day of the week available for "alone time" with their respective girlfriends. Accordingly, the verses build in anticipation as Sunday draws nearer. But, any tension is minimal and the chorus of relaxation is the focus. "Groovin'" just lives in its breezy care-free moment. It may not have the deepest lyrics ever, but it's difficult to dislike something so calming. 7/10
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Post by ry4n on May 23, 2015 0:36:31 GMT -5
0186. Aretha Franklin - "Respect" [2 weeks - 1967]YouTube Link In 1960, Aretha expanded beyond her Gospel roots to pursue a career in secular music. It took 7 years, and a change in record labels, but she finally cracked the Hot 100 top 10 with "I Never Loved A Man (The Way I Love You)" earlier in 1967. That song is one intense vocal performance, to say the least. Her following single, "Respect", did even better by becoming one of the defining hits of the decade; and of the soul genre itself. One of the things I've learned while doing this project is just how rampant cover songs were in the 50's / 60's. I never knew "Respect" was one of them until today. It was originally written and recorded by Otis Redding in 1965. Albeit, his version is vastly different from Aretha's. She updates it with backing vocals and the "R-E-S-P-E-C-T" bridge. But, more importantly, she ditches Otis' passive approach; because Aretha is not one to submit to anyone else's demands. Either you respect her, or you get nothing. Towards the end, she even threatens "Or you might walk in / And find out I'm gone". On the flipside, she cleverly avoids crossing a dangerous line here - she isn't overly-aggressive about it, nor does she act superior. Her request is perfectly reasonable - I mean, who doesn't want to be respected? It's the bare minimum of human dignity. And she further justifies her stance by reminding her boyfriend that she's faithful ("I ain't gonna do you wrong while you're gone") and that she's providing financial support ("I'm about to give you all of my money"). As the old saying goes: "you have to give respect before you can earn respect". And Aretha, undoubtedly, has shown him respect. So without hesitation, we side with her. As for Aretha's shouty soulful vocals, they play a crucial role in the power and edge that a song like "Respect" requires. They allow her to wholeheartedly express her frustration, as well as her assertiveness, in the matter. The backing vocals, as performed by Aretha's actual sisters Erma and Carolyn, are also pivotal. Her sisters participate in one of the common practices of Gospel and soul music - a call-and-response routine. In doing so, they establish themselves as Aretha's support group. I'm not saying that Aretha needs support; she's made her self-determination fairly loud and clear. But by enlisting two of her closest relatives to sing in agreement, it affirms that Aretha's stance is perfectly acceptable. Maybe her sisters feel disrespected as well? Who knows. But, it's another aspect that endears the listener to her. Additionally, Aretha uses her sexuality to assert her power in this relationship; adding another layer to this song. The expressions "Whip it to me" and "Sock it to me" are outdated sexual innuendos from the 60's. Along with the spunky backing vocals, it prevents "Respect" from taking itself too seriously. For all these reasons, whether intended or not, Aretha sort of sets herself up as a role model. At least within the confines of this song. She embodies the self-determined, self-confident woman that Diana Ross is still desperately striving to be. As the concept of respect extends beyond the scope of Aretha's sinking relationship, "Respect" actually became an anthem for the feminism movement and the civil rights movement of the 60's. Two demographics who, needless to say, felt extremely disrespected by the establishment. Though, musically, this doesn't cater to my tastes so much; I can't deny that it is a wonderfully constructed piece of music. 9/10
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Post by ry4n on May 24, 2015 5:47:17 GMT -5
0187. The Association - "Windy" [4 weeks - 1967]YouTube Link While the Summer Of Love was primarily defined by psychedelic rock; the top end of the Hot 100 (between this and "Groovin'") seems to be inhabited by sunshine pop instead. As such, this June / July 1967 period was probably better characterized by songs like "Somebody To Love", "A Whiter Shade Of Pale", "San Francisco (Be Sure To Wear Flowers In Your Hair)", "White Rabbit", etc. But I can understand why those songs didn't have enough mainstream appeal to go #1. In my "Cherish" review, I commented on how the Association's dry and emotionless vocal performance wasn't my cup of tea. "Windy" is a definite improvement, but it's still too plain. They impede some of the excitement of this considerably upbeat number. Not helping matters, though, is the "everyone knows it's Windy" hook sounding like advertisement jingle. The titular "Windy" is a person. The narrator describes her as a well-known personality in the community ("everyone knows it's Windy!"). She's portrayed as a happy-go-lucky, free spirited, habitual drug user ("tripping down the streets of the city".) I'm assuming that she's named "Windy" because she drifts from town to town like "Ruby Tuesday"? (Either that, or an excuse to use the "lighter than air" and "stormy eyes" puns.) Either way, the chorus finally gives this narrative a point by throwing a twist: "And Windy has stormy eyes / That flash at the sound of lies / And Windy has wings to fly / Above the clouds". In other words, "Windy" may not actually be as happy as one would assume. She's been lied to and feels the need to escape. However, the narrator refuses to offer any specific details. Does she simply feel like an outcast? Are people talking behind her back? I mean, the "everyone knows it's Windy" line indicates that the town notices her eccentric behaviour. But it's so vague; and I'm probably over-analyzing it. Despite "Windy"'s mysteriousness, the Association scramble to stretch this thing out to 3 minutes. They annoyingly repeat the second verse five times in a row at the end. And then try to avoid tediousness by gradually increasing the intensity on each refrain: the tempo is sped up, the backing vocals are pumped up, the recorder is reintroduced, and, lastly, some tambourine is thrown in. I do enjoy the brief "beep beep beep" breakdown between verses / choruses, though. And the song is catchy enough. But, all in all, "Windy" is lacking for me. 4/10Deserves a better score than "Cherish".
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Mikey
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Post by Mikey on May 24, 2015 6:38:45 GMT -5
Considering that your last.fm is full of songs for this project, does that mean you are making up your chart ?
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