ry4n
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Post by ry4n on May 24, 2015 6:56:42 GMT -5
Considering that your last.fm is full of songs for this project, does that mean you are making up your chart ? Huh
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Mikey
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nothing anyhow
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Post by Mikey on May 24, 2015 7:49:26 GMT -5
Nvm
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ry4n
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Post by ry4n on May 25, 2015 2:20:39 GMT -5
0188. The Doors - "Light My Fire" [3 weeks - 1967]YouTube Link Now for a song that most definitely represents the Summer Of Love. As I mentioned earlier, 1967 was a turning point in the history of popular music. "Light My Fire" was, in some ways, a sign of where rock music was headed next. A darker-sounding side, so to speak. It also previews the "overly long songs" era that persists through the 70's. Indeed, 1968 will witness the lengthy "MacArthur Park", an equally lengthy Beatles #1, and the never-ending "In-A-Gadda-Da-Vida". The album version of "Light My Fire" pushes past the 7-minute mark (though the radio edit trims it down to 3). 4 of those 7 minutes consist of an extended organ and guitar solo. This ridiculous interlude can appear daunting, and borderline unnecessary, at times. But, when listening in more patient moods, the utter spontaneity of it is alluring. They just keep going and going without ever giving a s**t. Which is quite similar to the aforementioned "In-A-Gadda-Da-Vida". These lengthy instrumental bits are sort of annoying but sort of cool at the same time. The shortened edit loses some of the magic, but it avoids sounding choppy. It's helpful on less patient days. Stylistically, the Doors had a distinct sound - they fused together blues with psychedelic rock. They also had a distinct lead singer in Jim Morrison. He was mysterious, a badass, a lover of poetry, and sang in a deep hoarse voice that was menacing yet apathetic. He also exerted his seductiveness in his performances. The epitome of that seductiveness being "Light My Fire". Between the poetic language ("No time to wallow in the mire" / "Our love become a funeral pyre") and Jim's restrained vocal tone, the song is able to fall on the passionate side of sexual; as opposed to the sleazy side. That passion is also very raw; as evidenced by the rough-around-the-edges arrangement and Jim screaming "FIYAHHH" at the very end. It's not a complex song, really, but I appreciate it for what it is. Especially since rock generally fails at being sexy. 8/10An example of Jim's badass-ness: When performing "Light My Fire" on the Ed Sullivan Show, Ed forced them to censor the "Girl we couldn't get much higher" lyric to "Girl we couldn't get much better". Despite agreeing to Ed's terms, Jim nonchalantly sang the original lyric anyway. The band were subsequently banned from the show.
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Post by ry4n on May 25, 2015 16:10:58 GMT -5
0189. The Beatles - "All You Need Is Love" [1 week - 1967]DailyMotion Link Sometime by mid-1967, the Beatles had undoubtedly reached "larger than life" status. They were in an extremely influential position. And they were certainly well-aware of these facts. John Lennon even claimed that they were "bigger than Jesus" in 1966. Because of this, they could more freely risk venturing into the left-field with their music. The recently released Sgt Peppers album being a good example. However, in "All You Need Is Love"'s case, John takes advantage of his influential position to dispense some advice. On June 25, 1967, the first ever international TV satellite transmission was broadcast. Several countries contributed a segment towards the program. For the UK's piece, they had a brilliant idea - they asked the Beatles to debut a new song. It was a golden opportunity for the massively popular band to promote an uplifting message to the world. Being the Summer Of Love, it was perfect timing as well. The Beatles agreed to it and that song wound up, of course, being "All You Need Is Love". John crafted the hook around a memorable slogan ("All You Need Is Love!"); much like he would with "Give Peace A Chance" a few years later. He purposely wrote the lyrics to be unambiguous, sing-along-y, and easy to relate to. It wasn't intended to be something to analyze the meaning of. The song was written in the second-person and encourages loving yourself and your flaws. It was an obvious attempt at creating an anthem. A grandiose one, at that; especially with the orchestral arrangement (where the tense strings and "love love love"'s are held back by this steady force throughout the verses). There's also celebratory brass in the chorus ("All you need is love" WOMP WOMP WOMP WOMP WOMP). And the horns at the very beginning sample the French national anthem, apparently. However, as an anthem, this doesn't quite work for me. "All You Need Is Love" may be practical advice in some instances, and I suspect John was genuine about it, but it's too generic to be anything that meaningful. There's also the ridiculous outro where they basically improvise as they go along. They encourage the audience to join in via hand claps and ad libs ("ALL TOGETHER NOW"). And then Paul randomly breaks off into "She Loves You Yeah Yeah Yeah" (he also mentions the song title "Yesterday"). I'm not exactly sure what to make of it. As easy as it is to hate on this song... I can't deny that it's one of their weakest. 6/10
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DJDaveMick69
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Post by DJDaveMick69 on May 26, 2015 11:42:28 GMT -5
Windy and Light My Fire: 2 of my all-time top 100.
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ry4n
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Post by ry4n on May 26, 2015 16:08:38 GMT -5
0190. Bobbie Gentry - "Ode To Billie Joe" [4 weeks - 1967]YouTube Link Bobbie Gentry was the second female singer-songwriter to top the Hot 100 after the Singing Nun (if she counts). The number ones of 1967 so far have been mostly psychedelia, sunshine pop, Motown and soul. But then, out of nowhere, there arose an acoustic folksy country song in the late summer. "Ode To Billie Joe" is a narrative-driven song. The story involves Bobbie and her family (her mother, father, and brother) gathering for dinner where the mother shares a piece of news: "Today Billie Joe MacAllister jumped off the Tallahatchie Bridge". In other words, he committed suicide. The line "I was out choppin' cotton and my brother was balin' hay" suggests that this family lives in a rural area; one of those places where everyone knows everyone else. While Bobbie is devastated by this tragedy, her family appears less concerned and continue eating their food. Her father unsympathetically remarks "Well, Billie Joe never had a lick of sense; pass the biscuits please" and quickly changes the subject "There's five more acres in the lower forty I've got to plow". Bobbie's brother recollects several times he met Billie Joe ("And wasn't I talkin' to him after church last Sunday night?"), but the loss isn't enough to kill his appetite ("I'll have another piece of apple pie, you know it don't seem right"). Meanwhile, Bobbie's mother is puzzled as to why Bobbie looks so sad ("Child, what's happened to your appetite?"). The mother then indirectly confirms that Bobbie had a personal connection to Billie Joe ("He said he saw a girl that looked a lot like you up on Choctaw Ridge / And she and Billie Joe was throwing somethin' off the Tallahatchie Bridge"). However, the song never clarifies much beyond that. Despite being incredibly specific on the dialogue happening at the dinner table, it never reveals exactly what was thrown off the bridge; nor does it explain why Billie Joe committed suicide in the first place. Or if these two events are possibly connected. Bobbie Gentry, the singer, has purposely kept these facts hidden. So "Ode To Billie Joe" remains a mysteriousness song. The fact that Bobbie's family reacts so passively suggests that they had little personal connection to Billie Joe themselves. And are likely unaware that Bobbie did have one. Though her brother and mother acknowledge that Bobbie and Billie Joe have interacted, they don't seem to put two and two together. Which arises some more questions. Like why would Bobbie be so secretive about this relationship? Were the two of them dating? Would her family not approve if they were? I also wonder if Bobbie is trying to suppress the traumatic news and maybe even blames herself for it? I tend to get carried away with speculation, though. In the last stanza, the present time shifts forward a year. Bobbie's father has died and her mother has fallen into depression ("And now Mama doesn't seem to wanna do much of anything"). It juxtaposes the mother's earlier indifference of Billie Joe's death. This song examines the different ways people react to the news of someone's death. For some, it completely shakes their world. For others, it's as if they've lost a penny. Aside from the strings, it's not the most interesting instrumental ever. But the point of the song is to focus on the lyrics. And those lyrics detail a story that is definitely interesting. 9/10
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Post by ry4n on May 27, 2015 6:42:09 GMT -5
0191. The Box Tops - "The Letter" [4 weeks - 1967]YouTube Link Now for a song that pre-dates grunge by about 24 years. "The Letter" opens with a bright drum beat. However, this mood is only brief. Because, suddenly, the listener is caught off guard by the introduction of lead singer Alex Chilton's menacingly raspy vocals. They grab your attention from that very first line; and are probably the most memorable part of this song. The eponymous letter is from the narrator's ex. It's the best news he could possibly hope for - she's had a change of heart and wants him back ("she couldn't live without me no more"). Without hesitation, Alex heads for the soonest departing aeroplane to meet her. (I'm unsure why Alex uses the word "aeroplane" since he isn't British; other than to fit the meter.) Clearly, there's a sense of urgency here (the instrumental supports this). He's, understandably, desperate to see her as soon as possible ("Gimme a ticket for an aeroplane / Ain't got time to take a fast train" / "I don't care how much money I gotta spend"). And still loves her, as he considers where she lives to be his "home". But, for such a promising turn of events, this sentiment is contradicted by Alex's distraught vocal delivery. He reads the line "My baby just wrote me a letter" as if he's received a Dear John. Though, it's more likely that there's an obstacle preventing his pursuit of seeing her. The vague line "Listen mister, can't you see I got to get back" sort of implies this. Later on, the song closes out with some "aeroplane" sound effects; possibly signifying that his flight has departed without him on board. "The Letter" has a decent melody and it somehow manages to get its point across in just under 2 minutes (30 seconds of which having no vocals). But it's over before you know it. And I wonder what's stopping him from taking the next flight or the "fast train" instead. Is she only going to wait so long? Is he just overeager? 7/10Also lol
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Post by ry4n on May 28, 2015 5:04:11 GMT -5
0192. Lulu - "To Sir With Love" [5 weeks - 1967]YouTube Link Going into this project, I realized that I'd be reviewing numerous songs taken from movie soundtracks. In light of this, I considered actually watching all those respective movies as I went along... but then I decided I was too lazy. I watched A Hard Day's Night and Help!; but I skipped out on The Happening, for example. In the case of To Sir With Love, though; I felt like I was missing a piece of the puzzle upon my first listen of the title track. So yesterday morning, I took the initiative to watch the film. And I understand the context better now. A quick synopsis of the film (without spoiling too much of the ending): a class of disorderly inner city teens are given a new teacher (played by Sidney Poitier). After a rough start, he eventually teaches them about the outside world they'll soon embark on. At the end of the term, one of the classmates (the one played by Lulu herself) sings "To Sir With Love" as a thank you for everything he's done. The title of the song, with its confusing syntax, is written like the opening of a letter. Like "To ry4n, with love"... or something. This moment is a very emotional one for Lulu. Sidney's character has helped her tremendously on her journey of becoming a woman ("someone who has taken you from crayons to perfume"). To the point where she can now consider him a friend ("And as I leave I know that I am leaving my best friend"). And she concludes that there's no proper way to show her gratitude ("but what can I give you in return?"). She also has an introspective moment with "Those schoolgirl days of telling tales and biting nails are gone / But in my mind I know they will still live on and on". It's a reminder that: despite growing up, she's still a kid at heart. On the one hand, these lyrics contain some schmaltzy hyperbole. Especially the lines "If you wanted the sky I would write across the sky in letters" and "If you wanted the moon I would try to make a start". Mix that with the melancholic strings (especially when they hang on at the end) and Lulu belting like a pre-Beatles female singer, and it's all a bit excessive. On the other, I do believe that Lulu's performance is earnest. Earnest enough that I can regard this as a tasteful dedication to her teacher. The lyrics are specific enough to the plot while being general enough to relate to other audiences. Also, the song has a memorable title, which is usually a plus. 6/10Sadly this is Lulu's only US top 10 hit. A shame cuz she has some really fun songs in her discography.
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Post by ry4n on May 29, 2015 7:12:59 GMT -5
0193. Strawberry Alarm Clock - "Incense And Peppermints" [1 week - 1967]YouTube Link In the aftermath of the Summer Of Love, the hippie counter-culture branched out across the rest of the US. Their lifestyle and their music becoming ubiquitous in the process. As such, "Incense And Peppermints" became one of the defining hits of the psychedelic era. It makes obvious drug references. Such as "Turn on, tune in, turn your eyes around"; an allusion to a speech by Timothy Leary (a psychologist who went around the country advocating the use of LSD.) As well as the title itself: "Incense And Peppermints"; devices used to hide the smell of marijuana. These themes are so blatant, though that it feels more opportunistic than authentic. That said, the instrumental does effectively embody the drug-trippy vibe that it aims for. It employs the typical psychedelic instruments - the tambourine, the organ, the fuzzy electric guitars. This atmosphere is further enhanced by the vocal technique of odd enunciations and the brief East Asian music interlude. The "sha la la" outro, where the song drifts off into its own sky high world as the organ completely takes over, also adds to this. Even the cowbell has a weird effect I can't quite describe. It's certainly a complex instrumental. Lyrically, though, the song is utter nonsense. It mostly dances around a series of buzzwords. There's an attempt to express a profound statement on 60's drug culture; but it's unclear what that statement actually is. The first verse seems to debate the morality of doing drugs, but it contradicts itself. "Good sense, innocence, cripplin' mankind" urges against being closed-minded. While, conversely, "Occasions, persuasions clutter your mind" comments on peer pressure. Then the chorus and the bridge are sung in a foreboding tone; as if they're conveying an ominous warning. "Who cares what games we choose?" states that it's no one else's business; while "Little to win but nothin' to lose" wonders if it's all worth it. The "Look at yourself (x4)" bridge is rather patronizing and I'm uncertain who it's directed at (the drug users or the closed-minded ones?). Further complicating matters is the second verse; which focuses on the division between the hippies and the rest of society. It states that the outsiders deem drugs as "A yardstick for lunatics" and "divide this cockeyed world in two". The narrator advises them to "Throw [their] pride to one side". However, these phrases could just as easily be applied to the hippies. So, is this song attempting to criticize both demographics then? Luckily, Strawberry Alarm Clock do offer some clarity. The line "Incense and peppermints, meaningless nouns". It's their confession that this song is indeed nonsense. They're in on the joke. It's a "we may seem serious, but maybe we actually aren't, so we're going to have fun by confusing you about it" type thing. Therefore, either no serious statement is being made; or if one is, that statement is intentionally ambiguous. Are they saying that drugs are self-destructive? That both camps are too judgemental of each other? That neither side is right or wrong? That this societal divide is dangerous? Does any of it actually matter? I don't know. I could be reading too much into something that's not saying anything at all. Which makes this a conflicting song for me. I don't really know what to do with it. 6/10
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Post by ry4n on May 30, 2015 10:18:44 GMT -5
0194. The Monkees - "Daydream Believer" [4 weeks - 1967]YouTube Link Throughout 1967, the Monkees were constantly labelled as an "inauthentic" band. And this backlash really got to them. As the year progressed, they fought for artistic control over their music and yearned to change their reputation. In spite of these efforts, though, their careers would still be short lived. In early 1968, their TV show would get cancelled; and their chart success would tank quite rapidly afterwards ("Valleri" being their only really significant hit after this one). And it wouldn't take long before the band disintegrated (bar reunions in later years). Quite an enormous comedown for a group that was so ubiquitous in 1967. "Daydream Believer" is definitely an evolution from their their first two number ones. It's more lyrically and instrumentally complex, for instance. Some of these lyrics even channel "Incense And Peppermints" in the ambiguity department. Regardless of their meaning, though, it's an excellent uplifting song. It involves the narrator waking up one morning (via alarm clock sound effects) and noticing his significant other's gloomy outlook on their relationship. He responds by encouraging her to "Cheer up, Sleepy Jean". The verses, accompanied by a pensive piano and melancholic strings, reflect on the growth of their relationship and the life they've experienced so far. They were young when they began dating; he was a "Daydream Believer" and she was a "Homecoming Queen". He acknowledges that this carefree youth has passed by ("You once thought of me / As a white knight on his steed"), that there are newfound hardships (being broke "Without dollar one to spend"), and that they've fallen into a daily rut ("The six o'clock alarm" / "My shavin' razor's cold and it stings"). But, as the chorus bursts open with optimistic brass and melody, these life changes haven't discouraged the narrator's positive outlook. He still believes in his daydreams and still envisions a bright future ahead of them. Because love will get them through anything ("But how much baby do we really need"). This uplifting mood is supported by the Supremes-esque hand claps (their songs may not have been joyous but their hand claps were) and the ascending melody of "quuEEEEN". Later, the piano and strings return one last time for a brief instrumental interlude before heading into the "one last hurrah" of the final chorus. A few clichés aside, I love the message behind "Daydream Believer" and the earnest delivery of it. And I appreciate the Monkees' efforts in progressing their sound. I also like the music video; which depicts the four of them as lifelong friends just goofing off. Indeed, the chorus of "Daydream Believer" has that feeling of friends (or two lovers) coming together and just celebrating what they have in the face of adversity, doubts and anxieties. It really couldn't be a more fitting "one last hurrah" for the Monkees. That intro though... lol. 8/10
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Post by ry4n on May 30, 2015 15:38:23 GMT -5
0195. The Beatles - "Hello Goodbye" [3 weeks - 1967 / 1968]DailyMotion Link "You say goodbye and I say hello Hello, hello I don't know why you say goodbye, I say hello"Surely they were taking the piss by this point? There's no denying it - these lyrics are pretty terrible. The song is basically a list of the most commonly used opposites of the English language. But it's so basic that it must be intentional. It's the mid 60's; the Beatles are the biggest band in the world at the moment. They have all the creative freedom they could possibly ask for. And yet, out of all the innovative compositions they could've released, they have the audacity to go with "you say yes, I say no". Accordingly; the B-Side, "I Am The Walrus", is the far more interesting track. It's probably the Beatles' weirdest composition. John intentionally tosses together a bunch of random nonsensical phrases to bait the people who over-analyze their lyrics. Including lines like "Sitting on a cornflake", "yellow matter custard", and "pornographic priestess". It's a song living in its own drug induced world of bizarre visuals. Mostly because it despises the real one. John menacingly threatens whoever's listening via a weird vocal distortion effect. But, since he refers to himself as "the egg man" and "the walrus", he can't be taken that seriously. I'd like to think of "Hello Goodbye" as baiting the audience as well; the ones that weren't fond of their ever-evolving sound. But, it's more likely that Paul thought this was a brilliant statement or something. The lyrics, though, don't contain enough substance to carry an entire song on their own. So, "Hello Goodbye" borrows the spectacle-esque instrumental and the impromptu outro from "All You Need Is Love". (Note: the latter repeats the word "aloha"; which of course means both "hello" and "goodbye" in Hawaiian.) But it's this arrangement that makes "Hello Goodbye" so catchy. The instrumental and melody constantly build and release tension as such: Release: descending melody of the verses Tension: from "go go go" / "I don't know" onwards Release: the swooshing brass note Tension: "oh no" followed by dramatic strings Release: another descending melody of "you say goodbye..." Tension: the entire chorus that follows "...I say hello"; including intenser strings and some backing vocals later on (repeat) Release: the instrumental interlude Tension: "Why why why why why why do you say goodbye goodbye" (repeat various parts mentioned above) Release: the outro This continuous up-and-down structure is enough to salvage the silly lyrics. And the backing vocals and instrumental are used to their best potential. "Hello Goodbye" is the end of a chapter of the Beatles story. What I deem the Rubber Soul - Revolver - Sgt Peppers chapter; with the next one being the Apple Records chapter. Following the death of their manager Brian Epstein in August 1967, the band essentially lacks direction and focus from 1968 onwards. Among other reasons, the recording sessions of The White Album would completely tear the group apart; and lead to their eventual break-up in 1970. 7/10And with that, we say goodbye to the turnaround year of 1967 and hello to the tumultuous year of 1968. A year of protests, riots, two major assassinations, a controversial war losing whatever little support it had left, and the election of a new president in November.
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Post by ry4n on Jun 1, 2015 8:31:59 GMT -5
0196. John Fred And The Playboys - "Judy In Disguise (With Glasses)" [2 weeks - 1968]YouTube Link Replacing the Beatles at #1 is... a song parodying the Beatles. Specifically, their track "Lucy In The Sky With Diamonds" (released 7 months ago on Sgt Peppers). Rating parody records is tough, though. I have to judge them on different criteria from other #1's. Namely whether they accomplish the goal of being funny or not. The title "Judy In Disguise (With Glasses)" is fairly absurd. Especially when the instrumental, bar the strings, halts to emphasize the words "with glasses". And the concept is pretty silly. Where John Lennon characterized "Lucy" as an elusive free spirited girl; John Fred characterizes "Judy" as... a materialistic girl that fools him because she wears glasses. It works because he's so fixated on the glasses (even going as far as stealing them at the end). And because of his frustrated yet chipper vocal tone. "Judy" has more substance than a gimmicky title, though. It imitates other Beatles traits. Such as incorporating multiple instruments (strings, brass, piano, sitar). The lyrics being intentional nonsense of bizarre visuals. The song replacing "kaleidoscope eyes" from "Lucy" with "cantalope eyes". And, at the very end, John Fred lampooning psychedelia by singing "I guess I'll just take your glasses" in a slowed down voice that's drowned out by a sitar. Conversely, the arrangement is vastly different between the two songs. Where "Lucy" moves at a sluggish drug trippy pace; "Judy" is a jolly rock n roll song with overexcited horns. Regardless, "Judy" is a well constructed parody. But, from the moaning to the whispering of "come to me tonight", it also has an underlying sexual vibe that doesn't work for me. And that ending comes out of nowhere. 6/10
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DJDaveMick69
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Post by DJDaveMick69 on Jun 1, 2015 11:17:32 GMT -5
Judy in Disguise is a MAJOR guilty pleasure for me.
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Post by ry4n on Jun 1, 2015 18:33:44 GMT -5
0197. The Lemon Pipers - "Green Tambourine" [1 week - 1968]YouTube Link The trends of pop music are cyclical. Every so often, a new and exciting sound will emerge. That sound will eventually become ubiquitous. At a certain point, anybody and everybody will begin hopping on this dominant trend. Psychedelia, of course, was no different. It reaches its saturation point around 1968 (in the post Summer Of Love period). The result being gimmicky stuff, such as "Green Tambourine", poking their way though the cracks. Indeed, it is a pretty silly song. The tambourine, which was a very common instrument in the 60's, is distinguished as being "green" solely for the novelty factor. The vocals are aloof and distorted to sound like a sheep bleating. An intimidating echo effect is used on the word "play". The instrumental includes a triangle and a vibraslap (of all things). And the percussion hangs on for a while during the outro. Admittedly, these factors give the illusion of the lead singer being completely high whilst playing his green tambourine. But they also allow this to border on being a novelty song. I don't necessarily have an issue with novelty songs. But the concept of a "Green Tambourine" has such little substance to work with; as confirmed by the lyrics. The narrator is a street performer who plays a green tambourine. And he desperately begs for pity money to "fill his pretty dream". And that's about it. It attempts to be either endearing or absurd; and I'm not really sure which. Either way, there's so few details given that it's difficult to form much of an emotional connection to this story. The odd techniques of the arrangement are catchy and unique, but "Green Tambourine" doesn't really leave me feeling anything. I had a similar issue with "Winchester Cathedral". 3/10
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Post by ry4n on Jun 2, 2015 9:30:42 GMT -5
0198. Paul Mauriat And His Orchestra - "Love Is Blue (L'amour est bleu)" [5 weeks - 1968]YouTube Link "Love Is Blue" is an orchestral instrumental cover of Vicky Leandros' 4th placing Eurovision entry from 1967. Though, the only similarity between the two songs is the melody; really. She lost out to Sandie Shaw's "Puppet On A String" ("one day THAT, you'll say THAT..."). It's the first instrumental to go #1 in the US since "Telstar"; which was before the Beatles / British Invasion. And that feels like forever ago now. The song describes how Vicky's love is "blue" because her significant other is always leaving her. Paul's rendition, however, isn't quite as depressing. It does contain some melancholic strings; but, once the harpsichord (?) notes begin, it transforms into a very romantic atmosphere. This is heightened when the horns join in. I imagine a long-awaited first date on a Venetian gondola on a quiet night... or something. Afterwards, the pace speeds up into a moonlit dance; which actually feels out of place to me. I prefer the slower, more anxious tempo. The rest of the song alternates back and forth between the romantic and dance-y sections. As I've said before, I never know what to do with these instrumental #1's. But I love the romantic bits of "Love Is Blue". 6/10{Recap of the previous instrumentals (since I basically wrote "yeah idk what to do with this 5/10" for most of them).} "The Happy Organ" was... well happy. Its fast pace and short peppy organ notes were very danceable. "Sleep Walk" used steel guitars at a draggy pace. It painted the picture of a slow day on the countryside. "Theme From A Summer Place" was a strings-heavy soothing lullaby. "Wonderland By Night" was a brass-heavy chilly snowy day. "Calcutta" was a continuously changing instrumental of dances from various foreign places of the world. "Stranger On The Shore" used a clarinet to express dreariness. Like moving on after the loss of something / someone special. "The Stripper" was a flashy jazzy attention seeking number. "Telstar" used a wonky keyboard to sound extra terrestrial, and curious of the age of space discovery.
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Post by ry4n on Jun 3, 2015 11:58:53 GMT -5
0199. Otis Redding - "(Sittin' On) The Dock Of The Bay" [4 weeks - 1968]YouTube Link In the late 60's, there was an emergence of soul in the charts. One of the key names of this era was Otis Redding (the biggest name was probably Aretha Franklin). Several years into his career, he attempted to break through to pop audiences by performing at the Monterey Festival in San Francisco during the Summer Of Love. However, in December 1967, tragedy struck - he died in a plane crash at the very young age of 26. Subsequently, "Dock Of The Day" (which he had recorded only few days beforehand), was released as a single in early 1968. And it soon became the first posthumous #1 on the Hot 100. The song begins with some waves and other beach sound effects (which reappear at various points later on). Along with the minimalistic instrumental, it establishes an atmosphere of loneliness. Following this, we're introduced to a scene of Otis sitting on this dock in San Francisco; staring into the distance; contemplating his life choices ("Sittin' in the morning sun / I'll be sittin' when the evening comes"). Meanwhile, the rest of the world continues about its business unconcerned ("Watching the ships roll in / Then I watch them roll away again"). Otis then opens up to the listener as if this is a therapy session. He explains how he left his home in Georgia, a place where he "had nothing to live for", so that he could fulfill his dreams. It was his motivation to come to San Francisco. However, he confesses that he's just as miserable here as he was back home. He acknowledges that he has to learn to live with the decisions he's made ("I can't do what ten people tell me to do / So I guess I'll remain the same"). But, at the same time, he can't help but feel hopeless ("Two thousand miles I roam / Just to make this dock my home"). So, for now, he settles on sitting on this lonely dock for an undetermined amount of time. As this scene fades out, he resorts to whistling his troubles away. Few songs are able to capture a single moment so realistically, insightfully and sincerely as "Dock Of The Day". I mean; I know that I've needed a moment, at one time or another, to just meditate and reflect upon on things. For Otis, though, it's a sobering realization. His pained vocal tone, the despair in the verses, and his overall self-awareness make this song work. It's almost impossible to not sympathize with him. "This loneliness won't leave me alone" sums it up, really. 10/10
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Post by ry4n on Jun 4, 2015 14:39:03 GMT -5
0200. Bobby Goldsboro - "Honey" [5 weeks - 1968]YouTube Link I hate this song. It's ridiculously over-the-top in the sentimental department. I mean, it's so tear-jerking that it drains all the life out of the room. The overblown church choir doesn't help matters either; especially when it becomes excessively intense in the final verse. As well, Bobby's vocals are aloof and his emotion seems contrived. The "big shocking twist" at the end (ie. that she died) is utterly predictable. And, above all else, there's the fact that Bobby comes off like an insensitive jerk in this. At first glance, it appears that Bobby is rambling on about a bunch of mundane memories of Honey. Though, only the audience is supposed to think them as mundane. To him, they're the most precious moments he had with her. This is where the "awww" sentiment aspect kicks in. However, there is something unmistakeably off in each of these anecdotes. Firstly, when Honey plants the tree, Bobby mocks her for doing so. Like this is some sort of highly abnormal activity. You never know, the tree might have actually meant something special to her. I mean, it was obviously important enough to risk venturing in the dangerous winter weather to protect it. And after she does just that, she slips and falls on the ice. He husband's reaction? To carelessly laugh at her misfortunes. And simply remark "She was always young at heart / Kinda dumb and kinda smart". In other words, in his mind, she was a silly girl who did silly things. Following this, Bobby attempts to fix his blunders by buying her a gift. A puppy, to be exact. But, he only comments on his own enjoyment of it ("kept me up all Christmas Eve two years ago"). So this gift wasn't really for her, was it? Next up, Bobby complains about how she would cry all the time (and how she would feel embarrassed whenever he caught her doing so). Cause, you know, the most appropriate time to complain about someone's irritating habits is right after their death. Bobby then offers some generic words in the chorus about how much he misses her ("And honey, I miss you and I'm being good / And I'd love to be with you if only I could"). "I'm being good" is especially vague. In the next anecdote, Honey gets into a car accident. Bobby, instead of being concerned if she was ok or not, decides to get mad about it. And not only that, she was afraid that he would react like that (abusive husband?) Then comes the big plot twist. Bobby catches his wife crying "needlessly" one day, and before he knew it, "the angels came". Or, in less ambiguous words, she died. Though, her death is only implied. Technically we don't know if she actually did or not. Or why. The rest of the song turns into a bunch of schmaltz about how he misses her. There's just a complete lack of awareness from Bobby. He doesn't seem to realize that he was emotionally detached from his wife the entire time. There's no evidence that he ever bothered to help her or be there for her. But maybe that's the point. Maybe this song is his confession of remorse. But, I don't buy it. He doesn't express any remorse in the lyrics. And his bland vocal delivery doesn't either. There's probably worse songs out there, but "Honey" doesn't have one single redeeming factor to it. 1/10Of all the songs to be the landmark 200th... Of all the songs to be #1 when Martin Luther King was shot...
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Post by ry4n on Jun 4, 2015 15:04:30 GMT -5
On a more positive note, 200 reviews!! Only 843 to go. From rock n roll to the hodgepodge of the early 60's to Motown to Beatlemania / British Invasion to psychedelia to soul to... well we'll find out soon enough ;) My average score so far is 5.91 My favourite #1 so far is: "Good Vibrations" maybe? so hard to decide. My least favourite #1 so far is: "Mr Custer"
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Post by trustypepper on Jun 4, 2015 15:07:45 GMT -5
Love your work through the first 200! Excited to see the next 843 :)
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Post by ry4n on Jun 5, 2015 9:03:13 GMT -5
0201. Archie Bell & The Drells - "Tighten Up" [2 weeks - 1968]YouTube Link ...And we don't have to wait much longer! As psychedelia reaches its saturation point, the next big thing begins to emerge on the horizon. The sound that will carry mainstream music into the 70's. It's a sound that James Brown has been popularizing. "Tighten Up", a sign of what's to come, is one of the first funk #1's. The song is a lot like "The Twist" and "The Loco-motion". It contains inane lyrics about a dance that they just invented. In this one, Archie explores funk like a giddy kid at Christmas discovering a new toy. He's in awe of it; and his curiosity leads him to investigate everything it can possibly do. He directs the band members to, one by one, "tighten up" their instruments. And does so like an enthusiastic aerobics instructor. He wants the song to be more professional, as it has an amateurish quality to it. Furthering these ambitions, the video linked above features Archie and the Dells' "tightened up" in conservative attire and hairstyles. However, based on the "but don't you get too tight" line, I assume that there's some intentional irony here. The last thing dancing requires is "tightening up"; as it's more about letting loose. What gives "Tighten Up" its charm is its sense of humour (especially that part where the group exchanges dialogue with each other) and its spontaneity. It's as if Archie improvised the entire thing as he went along. The song also breaks from monotony midway through (and again towards the end). Archie gives the instruction "Now make it mellow", which is followed by some handclaps. "Tighten Up" may be overly straightforward, but it's also a lot of fun. 7/10
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Post by ry4n on Jun 6, 2015 12:31:09 GMT -5
0202. Simon & Garfunkel - "Mrs. Robinson" [3 weeks - 1968]YouTube Link The 60's was a decade of drastic and rapid change. Both in mainstream music trends and in social norms. Sometime by 1968, a generation gap had formed; and both sides were defending their way as being right. The younger generation was developing a new set of rules to live by; while the older generation was trying to uphold their old fashioned values. However, the latter was fighting a losing battle. In the folksy acoustic "Mrs Robinson", Simon & Garfunkel examine the perspective of the older generation. In the first verse, the narrator plays the role of a psychiatrist in a mental institution ("We'd like to know a little bit about you for our files") who welcomes his newest patient, Mrs Robinson. She's a representative of her entire generation; while the institution is a representation of her/their mentality. They're both imposing limits and they're both alienated from the rest of society. The second verse sarcastically remarks on how Mrs Robinson hides all of her secrets and represses who she really is ("Hide it in the hiding place where no one ever goes"). Especially from the kids, since feels the need to teach values to them. The third verse references the upcoming 1968 presidential election ("Going to the candidates' debate"). It comments on how this vote won't make any difference in her struggles ("When you've got to choose / Every way you look at this you lose"). And that she's in a lose / lose situation in general. If she stays the same, she'll be ridiculed; if she changes, she'll be seen as a hypocrite and a phony. Despite the song's gloomy lyrics, the chorus is sung in an upbeat melody. The "woah-woah-woah" and "hey-hey-hey" hooks (plus the opening "dee dee dee doo doo doo" bit) especially. It starts off with Simon & Garfunkel giving a toast ("And here's to you, Mrs. Robinson"), followed by offering Mrs Robinson some solace. There may not be an easy solution to her problems, but "Jesus loves you more than you will know" and "Heaven holds a place for those who pray". Which also brings up the religion aspect; something that the older generation cherished. The final chorus deviates from the first three. It sees Mrs Robinson yearn for the innocent past. The days when her values were commonly accepted. The days when people idolized Joe DiMaggio for his (as Paul Simon once put it) "grace and dignity" and "fierce sense of privacy". "Mrs Robinson" sits somewhere between sarcastic ridicule, comforting reassurance, and attempting to understand the elders. And I'm never really sure which. Either way though, it's an intriguing song. And one with many possible interpretations. 8/10This was #1 when Robert Kennedy was assassinated; and very shorty after Martin Luther King was also assassinated. I couldn't find a way to fit that in, but it was something I wanted to note.
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Post by ry4n on Jun 6, 2015 21:10:07 GMT -5
0203. Herb Alpert - "This Guy's In Love With You" [4 weeks - 1968]YouTube Link Herb Alpert is one of those artists with a significant amount of chart success whom I know next to nothing about. Well, until preparing this review, anyway. He's a trumpet player who released a string of jazzy instrumentals throughout the 60's. He took a risk with "This Guy's In Love With You" by singing for a change. He asked Burt Bacharach and Hal David, the kings of writing adult contemporary ballads, to provide him with some lyrics. (Note: this won't be the last time Burt's name will pop up in this thread). Herb performed it on a TV special; singing it to his wife on a beach. The audience reaction was so strong that it was immediately released as a single. And it subsequently topped the Hot 100 for a month. Herb was by no means an astounding vocalist. The song suited him because of its limited range. At face value, it's easy to dismiss "This Guy's In Love With You" as boring easy listening music. But, beneath that, there's melodramatic moments in between the gentler ones. Notably from the "My hands are shakin'..." part onwards (and the "How can I show you I'm glad I got to know you" line). The song builds to this anxious suspenseful moment of whether she reciprocates his feelings or not. We never find out; but it's nerve-racking. At the end of the chorus(?), Herb breathes "if not I'll just die", as the scene fades into silence. A few seconds later, he's revived by a trumpet solo. The chorus is accompanied by backing vocals, but I find that they detract from Herb's message being so personal. Though, I suppose his vocals weren't capable of carrying that section by themselves. "This Guy's In Love With You" is classy; and Herb's limited vocals allow it to be genuine. But, his vocal style and the instrumental are still pretty boring to me. 4/10
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Post by ry4n on Jun 7, 2015 18:52:47 GMT -5
0204. Hugh Masekela - "Grazing In The Grass" [2 weeks - 1968]YouTube Link 1968 seems to be the year of instrumental hits making a comeback. First, "Love Is Blue", then the #2 peakers "The Good, The Bad And The Ugly" and "The Horse", and now this. It's almost as if the decade has come full circle, after they were pushed aside during the midpoint. The bottom layer of "Grazing In The Grass"'s instrumental consists of a repetitious cycle of piano notes. It's catchy but monotonous. The next layer, however, features a banging cowbell. It starts and stops every few seconds in a very hypnotic groove. The topmost layer involves the trumpet, which follows its own irregular pattern. It's the one part of the song with any variation; so it breaks the monotonous cycle a bit. The thing about instrumental tracks is that they allow the listener to form their own mental images to correspond to it. For example, I envision a herd of easygoing cattle grazing in a synchronized motion to the groove of the cowbell; while various other barnyard animals dance flash mob style to the rhythm of the trumpet. Lol I don't know. But the tone of "Grazing In The Grass" is quite warm, welcoming, and buoyant. And there's an air of quirkiness in it that makes it stand out. 7/10
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Post by ry4n on Jun 8, 2015 12:02:12 GMT -5
0205. The Doors - "Hello, I Love You" [2 weeks - 1968]YouTube Link During the late 60's, the rock genre was being shipped off to the albums charts. And it's something that persists through the 70's (even getting to the point of some bands not releasing singles altogether). Case in point: the year-end #1 album of 1968 was Are You Experienced by Jimi Hendrix; yet his highest peak on the Hot 100 was #20. As such, the Doors scored their second (and last) #1 by releasing their pop-iest single yet. Indeed, "Hello, I Love You"; while still retaining some psychedelic elements, is noticeably less bluesy than their other material. It encompasses one of their most polished arrangements; thereby diminishing the rawness usually found in their music. And it's partly carried by a catchy guitar riff (but what a riff it is!) and a memorable phrase ("Hello, I love you / Won't you tell me your name?"). That said, I don't really consider it to be a throwaway pop song. The song involves Jim Morrison eyeing a girl walking down the street whom he desires to meet. His tactic is to seductively flirt "Hello, I love you...". However, she's "blind to every eye she meets"; including his. Plus, he's competing against other guys for her attention ("Do you think you'll be the guy..."). Midway through the song, there's an unexpected turn. Jim growls "When she moves my brain screams out this song", followed by a descending-then-ascending "doiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiing" sound. Afterwards, his jealousy and resentment peak by lashing out at his competitor(s): "Do you hope to make her see you, fool? / Do you hope to pluck this dusky jewel?". By doing so, he shows little confidence of his pursuits being successful. The other guy might have even gotten to her first. Jim then spends the rest of the song screaming "HELLO" over and over again in a desperate plea to grab her attention. But, as the song fades out into static-y guitar noise, she's walked away. And he's forced to concede that his opportunity just slipped out of his hands. It may be their pop-iest single, but, thanks to Jim exerting his personality all over it, it still distinctly sounds like a Doors song. 8/10Re: the legal dispute of it "ripping off" "All Day And All Of The Night" by the Kinks... I don't think they sound that similar.
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Post by ry4n on Jun 9, 2015 11:04:59 GMT -5
0206. The Rascals - "People Got To Be Free" [5 weeks - 1968]YouTube Link And now it's time for the Young Rascals to turn serious. Hello to the beard, goodbye to the word "Young" in the their name. The band wrote "People Got To Be Free" in the wake of Martin Luther King's shooting. It was a call for peace and for the world to come together. 1968, as I've previously mentioned, was a very tumultuous year in the US. With the assassinations, the riots, and the uproar at the Democratic National Convention, it's easy to see why this went #1 in the late summer. I appreciate the ambitions of "People Got To Be Free"; but, for a song responding to so many grown-up issues, it's execution is too childish to be effective. The melody resembles a children's campfire sing-a-long. The lyrics are simple, unrelentingly positive, and avoid addressing anything overly serious. They also contain some clichés ("Love can move a mountain", "Shout it from the mountain on out to the sea") and convey elementary school lessons ("I'll do unto you what you do to me", helping someone who "needs a helpin' hand"). And then there's that spoken word aside towards the end. Where the lead singer encourages the audience to board the "train of freedom", while the band produces train sounds. It's like an elementary school assembly promoting playing nice on the playground. Despite all this, the lead singer is passionate in his delivery. He emphasizes the pained blue-eyed soul vocals (uncontrollable ad libs and all), and acts like a preacher during the "train of freedom" bit. The backing vocals are also gospel-esque. Though, these elements feel out of place considering what I just said. But at least it isn't guilt tripping me into doing anything. 3/10
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Post by ry4n on Jun 10, 2015 13:29:29 GMT -5
0207. Jeannie C. Riley - "Harper Valley P.T.A." [1 week - 1968]YouTube Link Country music is unfamiliar territory for me and I'm unsure how to approach the crossover #1's. For the most part, the genre is just simply not my thing. That said, here goes... "Harper Valley PTA" is a narrative-driven song; much like "Ode To Billie Joe". The lyrics are the main focus instead of the instrumental or creating hooks. Jeannie, our narrator, recounts the story of Mrs Johnson. One day, she receives a note from the Harper Valley PTA sent home by her daughter. The note states that she's an unfit role model for her child - she wears her "dresses way too high" and she's "been drinking and a-runnin' 'round with men and going wild". Needless to say, Mrs Johnson is very enraged after reading this. In response, she attends the next PTA meeting. She shocks the attendants by boldly wearing a mini-skirt and calling them out on their own transgressions. And concludes that they're all "Harper Valley hypocrites". She may want to knock these people off their high horses, but her unapologetic rebellion is justified. She isn't victimizing herself, nor is she pretending that she's perfect - she's just standing up for what's right in an unfair situation. Her personal life is none of their business. And she's an easy character to root for. I can imagine "Harper Valley PTA" hitting a nerve with a lot of listeners. I mean, who hasn't felt Mrs Johnson's frustration in dealing with judgemental and hypocritical people poking into their private business. Superiority complexes aren't pretty. The song may be set in a small town, but its themes exist outside of that. As well, the usage of proper nouns (Harper Valley, Shirley Thompson, Kelly's Bar) has a down-to-Earth effect that I can't quite explain. Jeannie's vocal delivery is very impassioned and riled up throughout the song. Especially towards the end when she enunciates the words "fit", "hypocrite" and "socked" as if she's spitting. And, in the final lines, she sounds proud of Mrs Johnson's actions. The reason for this is because (as revealed in those final lines), Mrs Johnson's daughter is actually Jeannie herself. Which isn't all that shocking, really, but that doesn't matter. But yeah, this is a country song that I actually like. Like a lot. 9/10
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Post by ry4n on Jun 11, 2015 23:18:32 GMT -5
0208. The Beatles - "Hey Jude" [9 weeks - 1968]DailyMotion Link I'm not sure which is longer: the amount of time this spent at #1 or the song itself. Going into September 1968, Elvis Presley currently held the record for the most #1's in both the US (including the pre-Hot 100 era) and the UK; with 16 and 15, respectively. The Beatles, on the other hand, were currently sitting at 15 and 14, respectively. The song that allowed them to tie both of these records? "Hey Jude". The Beatles' story has had a natural progression so far. From "boyband fodder" to Rubber Soul to Revolver to Sgt Peppers. But, following the death of manager Brian Epstein, they lacked direction and unity. They were a group with four separate visions. In 1968, they headed off to India to find inspiration, and created their own record label (Apple Records). The end result was a double album (the White Album) and an accompanying single in "Hey Jude" / "Revolution". However, the recording process tore the group apart. Much of the tracks were completed in absence of other members. The album, although extremely ambitious, was very disjointed. It juggled several themes and it had the vibe of "let's just throw what we can at the wall and see what sticks". Though, at the same, there was a little something for everyone; leaving it up to the listener to decide what to take away from it. Despite the band falling apart, "Hey Jude" was a sign of unity. At least lyrically. It was also a grandiose anthem and a career defining hit. Paul wrote it as a means of consoling John Lennon's son (Julian) while his parents were going through a divorce. Though, the lyrics mention encouraging one's friend to pursue their love interest, so it doesn't quite apply to Julian's situation. Let's break this into two parts: Part 1: The First 3 MinutesThe entirety of Part 1 is a gradual increase of anticipation of Part 2. The song begins minimalistically - just Paul and his piano. The second verse introduces the tambourine; with the "ahhhhhhhh" backing vocals following soon after. The drums kick in during the third. The tambourine becomes more lively in the fourth. And, in the sixth and final verse, the backing vocals mouth the actual words. Paul, meanwhile, twice teases the eventual "na na na na na"'s. (Note: there isn't really a chorus; though certain parts are repeated in slightly altered ways.) Lyrically, Paul offers some heartfelt advice to Jude/Julian. He tells him to stay positive ("take a sad song and make it better"), that it's ok to express his true emotions ("it's a fool who plays it cool"), and he tries to boost his confidence ("the movement you need is on your shoulder"). The lines "Don't carry the world upon your shoulders" and "hey Jude, you'll do" are also encouraging. The song then transitions into a football stadium chant; beginning with the "better BETTER BETTER BETTER OHHHHHHH" bit.Part 2: The Other 4 MinutesThis section notably repeats "Na na na na na na, na na na, hey Jude" ad infinitum; and includes a minute-long fade out. It's clearly designed to turn the song into an anthem of "everyone join hands and sing along to show your support of Jude/Julian". The repetition is to assure that their support is unwavering; that they're not giving up on him. But would Jude/Julian want all this attention? Also, one of my pet peeves are long songs that can't think of anything interesting to fill the extra time. They can come off as either self-indulgent or tedious. And "Hey Jude", unfortunately, falls into this category. Paul's over the top ad libs ("JUDA JUDA JUDA JUDA") are grating as well. I like the sentiment and the hummable melody of "Hey Jude", but I've always found it overrated. My least favourite part takes up over half the song. "Revolution" would rate much higher. 6/10
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Post by ry4n on Jun 12, 2015 12:41:29 GMT -5
0209. Diana Ross & The Supremes - "Love Child" [2 weeks - 1968]YouTube Link Despite the shady artist crediting, "Love Child" may as well be a Diana Ross solo single. Cindy and Mary don't even appear on this; and are instead replaced by session vocalists. Since the Supremes' last chart topper ("The Happening"), their singles had been performing progressively worse. Panicking, Motown head Berry Gordy gathered a team of songwriters to brainstorm a hit song for them (he also paired them up with the Temptations on a collaborative album). The think tank ultimately decided to venture away from the typical love songs and composed a socially concious one instead. Which paid off in the form of an 11th #1. "Love Child" is a contrast to the group's glamorous image. Diana is now a character born out of wedlock and raised by a single mom in a poor "tenement slum". She's consequently endured a negative perception from the public. They've made her feel ashamed of something that isn't her fault (this was a bigger deal in 1968). In light of this, Diana decides she doesn't want her future children to suffer the same fate. So she urges her boyfriend to wait on having sex. But, realizing this could jeopardize their relationship, she repeatedly assures him that "I'll always love you" in her closing words. The Supremes were known for being melodramatic, and "Love Child" is no different. Diana's vocal performance is especially passionate and intense. Like the way she cries out "hurt, scorned, rejected", her emphasis on "no CHILD of mine", and her increasing sense of urgency in the bridge ("This love we're contemplating / Is worth the pain of waiting / We'll only end up hating / The child we may be creating"). She can't remain timid on an issue this important to her. The melodrama is heightened by the overly busy production - the deceptive chimes, the marching percussion, the melancholic strings. As well as, surprisingly, the backing vocals - the dreary "tenement slum" intro, the snippy "scorned by" bit, the operatic screams. "Love Child" may be a socially concious song, but it focuses more on the personal than the political. It isn't preaching about abstinence; it's examining the emotional stakes of Diana's specific situation, the affect of her own life experiences, and her concern of the well-being of her potential child. 8/10
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Post by ry4n on Jun 15, 2015 1:07:25 GMT -5
0210. Marvin Gaye - "I Heard It Through The Grapevine" [7 weeks - 1968 / 1969]YouTube Link Initially, Motown head Barry Gordy wasn't pleased with Marvin's rendition of "I Heard It Through The Grapevine". So he gave it to Gladys Knight & The Pips instead. It reached #2 in late 1967. However, a year later, Barry changed his mind due to some positive radio reception. Marvin's version was finally released and it became an even bigger hit. Marvin's approach was drastically different from Glady's, though. Hers was a sassy come back; while his was a struggle to regain the dignity his ex deprived him of. He spends much of the song fighting against himself to not be seen as pathetic. His ex has, supposedly, been secretly cheating on him. He "heard it through the grapevine", but that isn't concrete evidence. This uncertainty is driving him mad. His mind is racing in paranoid circles; questioning everything and jumping to conclusions. The song begins with a single drum bang (which sounds like the dropping of a heavy object out of shock - he only "found out yesterday" after all); followed by the warning of something bleak and distressing via the instrumental. Marvin leads into the first verse by crying out a painful, soulful "oooooh". He then lets out everything he desperately wishes to say to his ex. He doesn't want anyone to know how he truly feels about the situation, so this is his confessional. He isn't just heartbroken, though. He's upset that she didn't have the decency to tell him. That she made him into a fool. That he was oblivious while other people somehow knew about it. He was, perhaps, the last to know; maybe they laughed at him behind his back; maybe they took pity on him. None of which are a very good feeling. In the first verse, Marvin acts passive aggressively ("I bet you're wonderin' how I knew"); like it's officially over ("You know I loved you more"). But, in the second verse, he's already breaking down. He can no longer mask his vulnerabilities ("But these tears I can't hold inside"). He still deeply loves her, so he can't simply walk away (though he'd be doing so based on an assumption anyway). In the third verse, he blames himself for being so naïve ("People say believe half of what you see"), and pleads to know the truth. Throughout all this, his emotional repression isn't totally successful; leading to several screams ("some other GUUUY", "losin' YOUUU", "but I can't HEEEELP"). During the chorus, Marvin attempts to release himself from this misery ("honey honey yeah"). But the tense strings trap him in (actually, they do that throughout the entire song - the bleak instrumental (especially the piano and drums) never lets up). Even by the end, as the music fades out, he's still hasn't found his rescue. It's one of the most emotionally complex songs I've ever listened to. Though those emotions were all sparked by a single rumour, the overreacting is pretty realistic. One of the best things Motown has ever produced. 10/10On to 1969! The year of Woodstock, the moon landing, and the beginning of the Nixon era...
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Post by ry4n on Jun 15, 2015 20:42:21 GMT -5
0211. Tommy James And The Shondells - "Crimson And Clover" [2 weeks - 1969]YouTube Link Tommy James And The Shondells originated from the garage rock subgenre. But, in late 1968, they switched to psychedelia to adapt to the times. And it scored them a second #1 hit. Much like their #3-peaker "Mony Mony", "Crimson And Clover" contains sexual undertones. The former was a raunchy outburst of thirst, while the latter is more seductive. Here, Tommy and his lover are laying down on clover-covered, crimson-coloured, satin sheets. The verses (including Tommy's vocals) move at a slow, patient but eager, pace. They build in anticipation by adding a tambourine, then the "shick" swiping sounds, and later the mellow "da da da da da da" backing vocals. Meanwhile, each line ends with a stuttering guitar sound (the rhythm of an anxious heartbeat?) In between the verses is an instrumental break; which leaves it up to the listener's imagination as to what happens next. The song speeds up and builds into a climax. Once it arrives there, everything goes quiet for a brief moment; before resuming the slower pace of building-up again. In the last part of the song, Tommy sinks into a different dimension. The stuttering effect is employed on his vocals; making him sound like he's underwater. It's as if Tommy is high while having sex. Or possibly even comparing the two experiences? I don't know. Either way, the stuttering effect is quite hypnotic. It's the main aspect that draws me into the song. And, by existing in its own separate universe, it's effective at establishing a psychedelic atmosphere. 8/10
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