Become a Creator today!Start creating today - Share your story with the world!
Start for free
00:00:00
00:00:01
December 1964 (side D)
0 Plays2 seconds ago
What would happen if we locked the door and thre away the key? I don't know, but Jay and the Americans claim to understand this conundrum. Meanwhile, Bobby, the Shangri-Las and James Brown continue their run at that British group at the top of the charts! Support this podcast at the $6/month level on patreon to get extra content! Create your podcast today! #madeonzencastr
Recommended
Transcript
Introduction and The Beatles' Mantra
00:00:00
Speaker
the Beatles had this chant John Paul and George and probably then Stuart and Pete had this chant when things weren't going well which in their world wasn't very often because mostly it was an upward trajectory but nonetheless sometimes you know a bad night or the gig we didn't work properly or the amps broke or whatever I say where are we going fellas and they'd go to the top Johnny And I say, where's that fellas? And they say, to the topper most of the popper most. And I say, right. And we all sort of cheer up. Now then, boys, where are we going? To the top, bro. Where's that? To the topper most of the popper most.
00:00:47
Speaker
Welcome to Psy D of Toppermose, of the Toppermose.
Show Introduction and Billboard Updates
00:00:51
Speaker
A lot of new songs this month. I'm Ed Chien. I'm Kid O'Toole. And I'm Martin Quabel. Still. Tell us what's new or what's not new on the Billboard charts. Okay. Well, for the week of December 19th, number one is Come See About Me by The Supremes.
Joe Tex's Influence on Music
00:01:12
Speaker
ah Number two is I Feel Fine, of course, by The Beatles.
00:01:31
Speaker
And I hope that after that large helping of the Beatles you've had tonight, you feel fine too. And at number 14, we have She's a Woman, also by the Beatles.
00:02:12
Speaker
At number 75 is Hold What You've Got by Joe Tex. You know, I wasn't actually that familiar with Joe Tex other than as a name. This song, it's pure gospel. It was written by Joe Tex. Great backing, well recorded. The drums and horns are complemented by a really nice church organ.
00:02:36
Speaker
Joe Tex came to prominence playing the baritone saxophone in the high school band and then sang in a local Pentecostal church choir here in Texas. He entered several talent shows and came up with an important win here in Houston and won $300 and a trip to New York City.
00:02:58
Speaker
There you go, you got your Texas. And a Houston reference. I wonder if all these exes lived in Texas. That's right. Actually, many people may remember him for the song called I Gotcha.
00:03:11
Speaker
Yes. Which is a great soulful song, which sounds a lot like James Brown, which in fact, he was kind of a rival to James Brown and opened for him. In fact, he opened for a number of artists such as Jackie Wilson, James Brown, and Little Richard. And he was nominated for the Rock and Roll Hall of Fame numerous times, six times in fact, and most recently in 2017. I like this song.
Beatles' Connection with Joe Tex
00:04:02
Speaker
I like Joe Tex. I think he's really a lot of fun. This is, as you mentioned, Ed, written by him. R and&B ballad with a bit of a country feel. This has some nice horns, not over arranged, simple background.
00:04:38
Speaker
that he sang a bit more though on this song. He preaches a bit mimicking Solomon Burke here. Preaching goes on a little bit too long, but when he sang, I love that part. So as I said, I wish that had been a bit more of the focus and it ends a little too abruptly. So it's not top tier Joe Tex.
00:04:59
Speaker
But it's good and I love his voice. Great soul singer. Good soul song. Like you said, a bit too much preach and not enough of his voice. I don't know that much about him. And I wonder, did he ever play live and then get the sax out and actually get into it for like solos? Because that would have been quite a cool thing on stage. I don't know if he did it, but he did have a horn section, which we will discuss real soon here. OK. Nice song. I enjoyed it. Yeah.
00:05:27
Speaker
So we've got several Beatles connections that you may not have known about. First off, George Harrison was a big Joe Tex fan. We know that the record A Sweet Woman Like You by Joe Tex was part of his collection and for a time was in George Harrison's jukebox.
00:05:45
Speaker
you Second, Joe Tex frequently recorded in Nashville, as we might expect, but where he recorded was Sound Studios, where he was produced by Ernie Winfrey, which, as you will know if you have listened to our episode with Alan Cozen and Adrian Sinclair over on the fab side, that is where Paul McCartney and Wings went when they did their little run through Nashville. Wow! Beyond that, Joe Texas' bands included Nashville session players such as Lloyd Green, Johnny Gimbal, Bobby Thompson, the Cates sisters, and horn arranger Tony Dorsey. Tony Dorsey is someone whose name you should know if you are a follower of wings
00:06:36
Speaker
Tony Dorsey would play on Venus and Mars and would later become part of Wings's horn section. In fact, he's the one who put together Thaddeus Richard with Paul. Oh, wow. Cool. So all of that came about because of Paul's visit to Nashville. Very cool. At number 76, He's My Guy by Irma Thomas, a Van McCoy song.
Music Critique: Irma Thomas, Brooke Benton, and Ben E. King
00:07:00
Speaker
No one could ever hold me
00:07:25
Speaker
Great lead vocal. It's a pretty good song, but it's more than a little bit overwrought. I like it, but it could have been better. That's pretty much exactly what I thought. She deserves better for her great soaring soulful voice. There should have been a better showcase for her. This to me sounds more like an early sixties girl group song than a typical Irma Thomas song. She sings it more in a straightforward manner. It just felt like she's holding back here. She deserved a better vehicle for her incredible voice.
00:07:58
Speaker
Wow, ah great vocal on what I think is a middling soul number that she deserves better. agree on this one so wow At number 77, Do It Right by Brooke Benton. It's another Rudy Clark song. Yay! This tune is kind of in some other guy mode. It's a really good vocal. I like the guitar. Good drumming, but unfortunately it's not recorded all that well. Slightly sexy lyrics. I'm not going to squeeze you in the night. What I mean is I love to squeeze you, but I'm going to wait, wait, wait and do it right.
00:08:39
Speaker
Ooh, sexy. Wow, sweaty me. It's getting hot in here. Slightly sexy. Yeah, slightly sexy. Yeah, it's not that over the top. Yeah, I love Brooke Benton's vocals on this. The song has some soul, a little bit of country tinge to it. Wait, wait, and do it right.
00:09:19
Speaker
I love how he reaches his whoa whoa range here even has a little bit of humor to it. You know, this was kind of a grower for me. I think I'll listen to this song again. I like the guitar and drums, but I think his voice really sold this for me. It was just a great vocal performance. And I'm not saying it's an all-time best of his, but yeah, I think his vocals really did it for me. I mean, he just really sold it.
00:09:50
Speaker
It's a decent song but like I said the production's in need of a bit of TLC. Cashbox is running out of descriptive terms here. In two sentences, they describe it as a happy quick beat bloser with lots of zip. A grow on you wistful bloser. Bloser twice in two sentences. Hey, we agreed on something though with Cashbox. I said it was a grower. Wow. At number 78, seven letters by Ben E. King. Great vocal from Benny King, but more annoying backing singers.
00:10:25
Speaker
Nice country influence while it manages to stay on the R and&B side of the fence. However, it's another song where the lyrics are, let's count and explain all the reasons for something. Maybe we should finally forgive Paul for one, two, three, four, five, let's go for a drive. Wow, didn't think of it that way. But yeah, that's that's an interesting point. Benny King actually wrote this.
00:11:33
Speaker
You know, I thought it was interesting. I never really thought of Benny King singing country, but I did like his voice on this. I think Benny King may have had a career in country. I think he could have done some more country material. Now, maybe not write it. He had some other Nashville Songwriters do some, you know, write some material for him. Kind of remind me of like Ray Charles when he would do some country material. It's not the most memorable ballad, as you pointed out, but I just really liked his vocals on this. And I liked the piano as well. But yeah, backing vocals too much. But yeah, I liked the vocal and I think Benny King could have done some more country. We're going three for three here. Great vocal from Ben. Nice piano, but the arrangement just isn't all there, especially with those almost M.O.R. style backing vocals. Yes. So Cashbox described this as a new hitsville lumer that is a slow shuffling, course-backed pop R and&B weeper about a guy who finally decides to break it off with his gal.
00:12:44
Speaker
and you new hate spi um Wow, they tried to throw in as many adjectives and and all as possible on that one.
00:12:56
Speaker
it's phil luma slowuffling chorus-backed pop r and b weeper Wow. They must have paid by the word. Yep, we know where Stephen King got his ideas from then for how he gets paid.
00:13:11
Speaker
At number 80, the next jerk record that was in the charts this month, can you jerk like me by the contours?
Critiquing The Contours and Frank Sinatra
00:13:20
Speaker
Well, it's a better record than the one the miracles presented. Again, it's a dance record with backing that has a mashup of much better records, but it works, well, for at least the first and second listens. By the third, it starts to annoy and would be unbearable for at least a month of force to hear it beyond that.
00:14:01
Speaker
it's better than the miracles jerk song but it's no do you love me not even close i do like the horns on this it adds some energy and the lead singer has more energy than smokey does in the miracles song but as i said it's no do you love me it's forgettable Wow, we're going into November territory here again. Three for three. And we've all got the exactly the same thing. Better than the jerk song earlier by yeah The Miracles. But let's face it, no one is as good at the jerk as Steve Martin.
00:14:37
Speaker
And it should be pointed out that these are not the same contours of Do You Love Me? The only member who had stayed was Billy Gordon, but Motown was not going to let them go away without using the name. Billy Gordon was forced to recruit a new group of contours, and he managed to convince Sylvester Potts to return. So the two of them were there, the rest of the contours were new gentlemen. Cashbox described this as an enthusiastic rocker that sure to set the teen hoofers in motion. Hoofers again. Wow.
00:15:12
Speaker
at number 84, I can't stop by the honeycombs. Now, you know, we love, we like the honeycombs. I don i love it maybe a little bit strong. However, this one, it's a mediocre song. They tried to save with the drums. They really should have kept it as just a straight pop record. Guitar bass and drums might've worked, but the odd instrumentation they chose in the production just are off. Miss. That organ.
00:15:37
Speaker
Yeah. That annoying arpeggio chord after the title, you know, phrase a song every time. Yikes. That got really old, really fast.
00:16:20
Speaker
They're just kind of all over the place. They're trying maybe for kind of a Mersey sound, but it also has kind of a garage rock sound kind of then they're trying for Mersey sound. My girls are trying for the drumming and I mean, she's really just trying to kill herself on those drums. Those drum rolls.
00:16:39
Speaker
and they're cool, but it just doesn't go anywhere. It's just a shame. This band, as you said, we like this band, but they just did not get great material. Yep, well done on the drumming madness, but there's so much in this song that's irritating, and as we've mentioned, the most irritating of which is the organ in those bits. When it becomes like a background instrument, we can put up with that, but the arpeggio is just so annoying. So we are four for four now.
00:17:16
Speaker
This would peak at number 45 on Cashbox, number 47 on Record World, and number 48 on Billboard. And well, you guys had much better taste because as we now know, it did not chart on the UK side. Yep. Well done. Thank you. We probably replaced it with some other questionable stuff.
00:17:34
Speaker
yeah At number 87 downtown by Petula Clark, which we have covered. Now let's see if we agree on this one at number 88, somewhere in your heart by Frank Sinatra. Wow. These are more awful backing singers, pointless orchestration, nice drums. All of the drums just been and in order an amount of time in this song, doing nothing but keeping time.
00:17:58
Speaker
Frank does manage to overcome the backing with his trademark panache, but it really only might have worked during the late show at Caesars, but at best it's a mad record and maybe a high mill. It's funny you should say that.
00:18:50
Speaker
I didn't care for this. This sounded like older Sinatra to me. Earlier in his career when he was very croony, before he changed in the 50s to that tougher ring-a-ding sound, it's almost like he's trying to imitate Dean Martin a little bit, singing like that croonier style.
00:19:12
Speaker
And maybe even trying to incorporate a little bit of rock in there as well with the guitar, kind of like what Dean Martin was doing. Hate those background singers, really syrupy, too much, much prefer when he's using leaner arrangements, leaner productions, getting Nelson Riddle, Quincy Jones. And as I said, using that tougher vocal style and not that super croony style that he wisely realized was going out. He really changed up his vocal and his vocal approach when he established his own label, Reprise. And this just seems like a throwback to me. Did not care for it.
00:19:55
Speaker
Standard Fair nothing special in this version which is why I said what Ed said is really interesting because if you can get hold of it there is a live recording of this on one of his live albums from the 80s where he was in a residency and that is a leaner and smoother arrangement even though it's live And that is far superior to this, and the vocals from the backing are nowhere near as in your face as they are in this, and allow his aged voice to shine through, which works for the song better. Yeah, sometimes his live recordings are better than the studio. So we agree on that one as well. We do.
00:20:43
Speaker
I think we're going to agree on the next one as well. I think so. At number 89, bucket T by Ronnie and the Daytonas.
Ronnie and the Daytonas and Lee Morgan's Jazz Impact
00:20:52
Speaker
I've just got one word to say terrible. We'll read the cash box review, another sizzling hot rotted that win the race through in money making vocal and instrumental style, loads of surf and bird like gimmicks on this potent bill justice prod. What were they listening to? Exactly. Again, if you have to be positive, this is fairly non-committal and being positive, I think.
00:21:30
Speaker
bucket bucket bucket bucket bucket bucket bucket bucket bucket bucket bucket
00:21:47
Speaker
This sounded like, as I've said, it was recorded in a tin can. Terrible organ. Bad organ. Bad organ. That chant of bucket tea is so annoying. Again, Third Rate Beach Boys. It was written by Jan Berry and Roger. I love this hot dog, Rog Christian.
00:22:10
Speaker
ah was a Los Angeles disc jockey dubbed Poet of the Strip who helped surfer bands such as the Beach Boys write about dragsters, obviously early in their career. And he also wrote songs for Jan and Dean, the Ripcords, and Ronnie and the Daytonas, Dick Dale, and and others.
00:22:32
Speaker
And I love how this even rips off Papa Umau Mau. I mean, there's nothing original about this. Awful. And now for the surprise, this was originally recorded by Jan and Dean, which is better, but it's still a dreadful song, even their version is. So if you have to listen to one, listen to the Jan and Dean version. But I'd suggest that you don't listen to any version of this song.
00:23:30
Speaker
bucket
00:23:39
Speaker
At number 93, the Sidewinder, part one, the other side was part two by Lee Morgan. It's a good jazz song. It's horn dominated, ah fairly as expected backing, but the drums do go lots of interesting places. It's a record which demonstrates the diversity of the 1964 charts. And incidentally Lee Morgan would cover yesterday, which we could say about just about everybody. Yeah, this is an important record other than the cover. It doesn't have a direct connection to the Beatles, but it's important to mention this. This is a jazz standard. It's a combination of jazz and R and&B. It's got kind of a Latin beat to it. Great trumpet solos, catchy jazz.
00:24:22
Speaker
crossover track. It has kind of a dance ability to it. Lee Morgan was kind of an early jazz soul figure, unfortunately died young. Tragic story was shot by his girlfriend, which was a terrible story. And I think it was the early seventies.
00:24:40
Speaker
And this recording with tenor saxophonist Joe Henderson, who was a legend himself, pianist Barry Harris, double bassist Bob Crenshaw, and drummer Billy Higgin. And this was from the album, The Sidewinder. And it was a big success and really brought Lee Morgan to prominence in the jazz community internationally. And it's just a landmark in soul jazz. And it's brought the heavy R and&B influence in Latin tinge to jazz. And I think everybody will recognize it when they hear it. yeah It's a famous record. yeah Any fan of jazz should know this.
00:25:58
Speaker
Right, this is seen as a stone cold, and I'm going to use this phrase. It's it's known as hard bop jazz, in sort of like the early to mid 50s. He was a trumpet player on lots of sessions for other musicians. And he and Horace Silver, the pianist, they were all going around doing sessions with other people as well. So at that point, they were working in the form that most people know that's called VBOP.
00:26:25
Speaker
Miles Davis was working in Bebop around the same sort of time, so 53 to 55. And then in 1956, Lee Morgan, with Horace Silver as a member of his band, would release his debut album from Blue Note called Lee Morgan Indeed. And their idea at that point was to try and instill some of the rhythm and blues that was going on early stage, like the black vocal groups of that time and get that sort of feel and merge it into what was Bebop.
00:26:55
Speaker
And in 1964, when this came out, the album itself, the same title, Sidewinder, was seen as almost the culmination of that music and sort of where it would go. And then after that, jazz sort of changed and it sort of almost said that this and then Oris Silver came out with an album the same year and they were seen as like the pinnacle of where hard bop had gone and then jazz changed again after that. History of jazz lesson there, sorry. Yep.
00:27:31
Speaker
Horace Silver is one of the great innovators of Hart Bop. He was schooled in Bebop, but his own contributions to jazz in general are much more in line with some very simple and appealing melodies than was typical of most Bebop. In 1965, Horace recorded what became his best known tune, Song for My Father, featuring a picture of his own father, John Tavares Silver, on the cover.
00:27:52
Speaker
Ten years later, the Steely Dan borrowed, to put it charitably, the distinctive opening riff on their hit song, Ricky Don't Lose That Number. Now, I've always been surprised that this didn't result in a lawsuit, at least to the best of my knowledge, and I assume that's because Horace was not of a mind to pursue it. Had he done so and earned composers credit, it might have resulted in a substantial financial payout.
00:28:21
Speaker
so
00:28:56
Speaker
This is one of the most famous hard-bought records of all time. Ironically, it's one of the last hard-bought records to really make a dent in the charts as that style's dominance, which it enjoyed for about a decade, begins to fade quite rapidly after 1965.
00:29:08
Speaker
At number 94, I just can't say goodbye by Bobby Rydell.
Patti LaBelle, The Dixie Cups, and The Beatles' 1964 Success
00:29:13
Speaker
It's a Goffin and King song. I like the strings. It's a good vocal from Bobby, particularly in the middle eight, but I don't really care for the rest of this record. And I don't like the female backing singers, even though they really aren't that prominent. I realize,
00:29:31
Speaker
oh my, you make me blue.
00:29:56
Speaker
I felt like it was kind of a would-be Phil Spector production. The reverb on the drum strings off failed miserably on this. Didn't like, I guess that's double tracking on Bobby Ray Jones' voice. Sounds lucky. I'm not sure, but I thought it was out of sync at times, which really irritated me. And I didn't really care for the song. I just thought it was not one of Golfing King's best compositions. I mean, it was just kind of a typical, real building pop song. And it faded out way too abruptly, too.
00:30:51
Speaker
Just sort of handed and I was like, what? Where'd it go? So I got sick of the backing vocals. I just didn't care for it. At number 97, Danny Boy by Patti LaBelle and the Blue Bells. This is a really odd choice for Patti LaBelle. It's a song everybody knows. They perform it well. Although the backing is a little bit underwhelming, but this is not really a song that you would expect or even imagine Patti LaBelle ever doing.
00:31:48
Speaker
was a real surprise. I really liked it at the beginning. It was kind of interesting. I liked it when it was just the guitar, bass, soft drums, low strings, flute, or where Patty was singing softly and you could hear really building up. If they had kept the instrumentation at that level before they really started bringing in the strings and really going over the top with that, because I felt like through the rest of the recording, the rest of the bluebells were fighting with the backing. But boy, Patty, she's Patty LaBelle, what do you expect? She was just
00:32:31
Speaker
killing it and toward the end of the song when she finished it. Wow. It was a very different take. Soulful gospel, Danny Boy. But I like the different take of it. I just think the backing was overdone, the arrangement. And if they had toned it down, I think it would have been a better record. But I thought it was an unusual interpretation of Danny Boy, but I love Patti's vocals. mean I just thought, wow, just yet another reminder of what an incredible singer she is. I've never been a huge fan of the song Danny Boy and I don't know why.
00:33:08
Speaker
I'm not either. This made me think I could listen to Hertzling it, but I'm not a big fan of it either. And like you, Kit, at the beginning, I thought, that's quite nice. You've got Patty and the others doing the singing, very light instrumentation. And then I thought, why is this trying to go into Gene Pitney territory? Which it was.
00:33:29
Speaker
But it's not an epic song. yeah So why go all over the top bombastic arrangement with it? Yeah, if they had kept it like they had at the beginning, it would have been great. And so a bit of trivia. Right around this time, Patti LaBelle was engaged to Otis Williams, one of the founding members of the Temptations. The engagement would only last a year before Patti broke it off, fearing Williams would force her to move to Detroit and retire from the road.
00:33:58
Speaker
Nobody puts Patty in the corner. damn right Despite the fact that neither of you like it all that much, we are going to have a Danny Boy supercut because, well, it is one of the classic songs of Western Civ, as Alan Cozen likes to remind us. yeah Let's see. I'll let you guys choose which Osmonds version do we want to include in here. There are the older Osmonds, and then there are the grandchildren, the younger Osmonds. We can have either one. Let's do Ma and Pa.
00:34:26
Speaker
No, no, not Mon Pa. We've got the grandchildren or we have the Osman brothers. Oh, yeah. Let's do the Osman brothers. All right. I'm not going to tell you who some of the others are because well, everybody's on Danny boy. Maybe a bit of Beatles. Maybe just a little bit. yeah Although as John is likely to do on most occasions gets about two of the words, right. And that's okay. I mean, I'm Irish and I don't get all the words right.
00:35:16
Speaker
are Head down the mountain top
00:35:27
Speaker
The summer's gone. Who needs it? Your spad is hot. And all the roses falling.
00:36:42
Speaker
Danny, play your love
00:39:35
Speaker
at the number 100 little belle by the dixie cups oh boy now he's not marrying her yawn despite the twist this is the same record that we've been hearing for the last two years yeah just a retread
00:40:18
Speaker
cookie cutter girl group lyrics, has a sing-song quality in the chorus. I mean, the Dixie Cups sing it fine, although I've got the sense, even they, as they were singing this thought, wow, this isn't great. I mean, they weren't exactly as energetic as in Chapel Love. Just a factory-produced pop song that sounded like You know, it came from 1962. Can't believe this was a Lieber Stoller production. It was arranged by Mike Stoller, but the lyrics are just so cookie cutter, but with a twist, as you said, Ed, that, oh, no, this time it's little bell in the chapel ring. Won't you tell him he's the only one I love? Nope. Get ready. I've got another one of these for you. You ready?
00:41:07
Speaker
Stop the press. Breaking news. They've gone to the chapel and they're not getting married.
00:41:16
Speaker
right We agreed on just about everything, didn't we? I know. All right. We'll see if we can come up with something that we disagree with as we move on to the final week of December, 1964. And we end the year 1964. Oh boy. What a Beatles year. Yes. This is a huge year. And Marv, why don't you tell us just how the Beatles ended up 1964 on the American charts.
00:41:42
Speaker
Okay, so the Beatles, wow, number one, I Feel Fine, the Beatles. Oh, that was John Zay, Merry Christmas, everybody. everybody. Everybody, Merry Christmas, everybody. Thanks for all the cards and that. and be Thank you very much, everybody. Merry Christmas and a Happy New Year, then. And I think they'd also like you to dedicate a song to them. So let's let's have one of the signs of the record, shall we? wish okay Okay, then. I Feel Fine for Christmas, I hope.
00:42:36
Speaker
Number four, she's a woman by the Beatles. Wow. Now then, what can we talk about next? How about records? That's what we're here for, isn't it? That's what you're here for. Records, all. I'd talk about records. Tell me about your new one, apart from the fact that it's marvellous. you Oh, well, you shouldn't. It's the best one you made, and I think the B side is better than the A side. Oh, well, I don't. boun Thank you, Brian.
00:42:55
Speaker
Well, as long as they buy the record, they get both sides anyway. That's for sure, it doesn't really matter. Did you both write them both? Yes. Yes. You did. In fact, the B-side was written the morning of the session. Actually in the studio. Yes. Really? No, no, most of it. We had about one verse, you see, and we had to finish it off rather quickly, and that's why there's such a rubbishy lyrics. Just a bit of soul in the studio there, you see. Right, let's have a bit of soul in this one then, as you sing, she's a woman.
Critiquing Dean Martin and Jay and the Americans
00:43:53
Speaker
At 69 we've got All Day and All of the Night by the Kinks, which we've covered in the UK. At number 79, you'll always be the one I love. More Dean Martin, more Rat Pack, drunk Dino, more terrible backing singers. And what's with the annoying baritone? There's no real definition to the strings or really any of the instruments. At the end where they quote, everybody loves somebody that's cute, but I don't really care about this record and listening to it does nothing to change that opinion.
00:44:25
Speaker
I thought the same thing, doing the kind of quotes, you know, drunk, slurring Dean vocal on the track. Definitely not as strong as you're nobody till somebody loves you. Very corny, dated, sounding. Sorry, Ken.
00:45:11
Speaker
Not a strong Dean Martin track. Yep He's back at the drunk singer shtick here again. So you'll always be the one I love, so long as I've got a vodka and tonic in my hand. That would have been a better lyric. I'm gonna go off and write that now.
00:45:27
Speaker
Yep. We have to come to one that we disagree on. I know. At number 81, Let's Lock the Door and Throw Away the Key by our buddies, Jay and the Americans. Another record where Jay and the Americans imitate everyone they can think of, the return of the tacky mariachi horns. And this record tells us why George Harrison was so pealed at the brass overdubs in the Ferris Bueller version of Twist and Shout.
00:45:54
Speaker
George Martin and the Isley First of all, it's another retread of come a little bit closer in terms of the horns and Latin sound, but not nearly as catchy. Same chord progression as you just went out as twist and shout.
00:46:38
Speaker
I mean, this well has been drained dry. Which in fact goes back to what we were saying previously, that it was La Bamba the last time. And now they're just slightly modifying it to the twist and shout version, which of course there is a direct line there. and Exactly. Just not original in any way. Here we go again. so When will the police arrive to save the lady from being held against her will? Okay, so you're in love, but that does not condone kidnapping them, unlocking them in the house. Also, did they hold the Mariachi players from Ring of Fire to ransom as well?
00:47:16
Speaker
They locked the door and threw away the key. So, you know. Yep. Exactly. There you go. Ed with the punch line. There you go. At number 83, the return of the Shangri-Laz, although I don't think Billy Joel is associated with this record. Give him a great big kiss. I liked the tambourine, more of the recycled talky bit from leader of the pack. I liked that tell him that I care. And then I liked the, again, going slightly sexy. How does he dance?
00:47:44
Speaker
Close. Very, very close. Little naughty for a girl group record. This is a record that I could have seen making a young Linda McCartney kind of nostalgic. That's the only bit I like to know. Yeah.
00:48:34
Speaker
was kind of fun. And as it went along, when I heard the chorus, I suddenly realized, I've heard this. I don't know if this was on Dick Biondi's station. I'm not sure, but I've heard this somewhere.
Shangri-Las' Iconic Lyrics and Covers
00:48:47
Speaker
The lyrics, there are some pretty funny moments here.
00:48:51
Speaker
It's not one of my all-time favorites, but it's kind of enjoyable. and In fact, in 1989, in Dave Marsh's book, The Heart of Rockin' Soul, and I think I own this book many years ago, he ranked this number 200 among the greatest singles ever made. He describes the song as one of the greatest pieces of teen dialogue ever recorded.
00:49:15
Speaker
not to mention possessed of a great beat. And Pitchfork magazine named the song number 96 on their 2006 list of the best songs of the 1960s. I don't know if I'd go that far, but the lyrics are a lot of fun. You just know you're in for a treat when you hear the beginning. When I say I'm in love, you best believe I'm in love. L-U-V.
00:49:41
Speaker
You know this is gonna be a roller coaster ride. When I say I'm in love, you best believe I'm in love, L-U-Z. And yeah, I mean, for 1964, as you said it, there's some kind of sassy, somewhat sexy lines in here. I love the part about...
00:50:16
Speaker
and then the part about dancing and i love this part
00:50:31
Speaker
great lines in this. It's a little bit ahead of its time, this whole bad boy thing. So I enjoyed this more than I expected to. I think you like it a little bit more than I do, but I mean, I like the record as well. Fun. I like the lyrics. I just thought that musically it was retreading ground from a musical point of view so that the backing didn't pull me in as much. But yeah, the lyrics were fun. That's what I thought.
00:50:57
Speaker
And we have a Beatles reference. We got to get it because we're not going to get another Shangri-La tune for a little bit. Mr. H. Adam from McCartney 2. You guys remember that record. Yes. Yep. Banger. The record starts with Paul instructing Linda and Lulu. Lulu, who was in the studio with them visiting McCartney's that day to sing it like the village people meet the Shangri-Las. Yes.
00:51:26
Speaker
Now, that'd be an interesting mash-up. Yeah, that's an interesting combo. Shangri-Laz versus the Village People.
00:51:38
Speaker
Actually, Mr. H. Adam and this song aren't that far apart, come to think of it.
00:52:06
Speaker
At number 90, Look of Love by Leslie Gore. It's a Greenwich Berry song. There are two versions of this song. This version, the single version, has the sound and feel of a Christmas song right down to the sleigh bells without Christmas lyrics.
00:52:54
Speaker
It's not terrible, but I mean it's pretty much just here Leslie saying this. Yeah, and I'm surprised this is of course a Quincy Jones production and it sure doesn't sound like it. I thought it was surprisingly busy sounding production for Quincy. In fact, a little bit Phil Spector sounding with that kind of echoey big sound. Typical girl group sound and Leslie Gore deserved better, deserved a more distinctive sound with stronger lyrics.
00:53:23
Speaker
Definitely not a memorable hook like, it's my party, Judy's turn to cry, you don't own me. I mean, it's just kind of a blah. Ellie Greenwich, Jeff Barry song. I mean, they've written way better than that. Leslie tried. She tried singing it with as much enthusiasm as she could, but it just didn't do her any favors.
00:53:42
Speaker
As I say, go listen to the LP version. I'm not completely certain that Quincy had the final cut on the single version. Those sleigh bells are not on the LP version. The hand claps are not present on the LP version. so Interesting. It is much less messy as you describe it. Okay, interesting. Agreed. I listened to both as well. Album version's much better. Okay.
00:54:08
Speaker
We're here on stage recording star Leslie Gore in her latest record, The Look of Love.
00:54:53
Speaker
It's a fun song on the album. On the single, it's too much for the senses to take. Exactly. Have we mentioned in passing that Leslie Gore was actually ah the assistant to Catwoman in two episodes of Batman where she played a character called Pussycat? No, we have not. There we go. There he is, Pussycat. Do your duty. He's kind of cute. Say, why'd you get me involved in this anyway, Catwoman?
00:55:21
Speaker
Well, Batman has his protege and you're mine. But I'm just a rock and roll singer. I'm not a crook. Oh, forget it. You're 20 years old. You're over the hill. Now, you just do as I tell you and scratch your way into his heart.
00:55:43
Speaker
Uh, excuse me.
00:55:58
Speaker
see a very important part of your education has been grossly
00:56:16
Speaker
She's done it.
00:56:20
Speaker
Now let's see if Cataphronic really works.
00:56:55
Speaker
Come on, gorgeous. This record would peak on Cashbox and Record World at number 20 and get all the way up to number 27 on the Billboard charts. One of Leslie Gore's higher ranking hits because she is definitely on her way down. At number 93, maybe by the Shangri-La's, this is the flip of give them a great big kiss. It's not good, but ah sorry, Kit, I think this is probably the better record. That's got a little hold your hand reference in there.
00:57:27
Speaker
nice drumming and lead vocal. The piano and horns are recorded badly but the catchiness of the tune saves it minimal hit.
00:57:53
Speaker
That was my love
00:58:07
Speaker
This is, of course, a cover of the Chantel's 1957 track. This is okay. I think I like the original better for the 50s sound, and I like the original lead singer's version better. I like her ease with the high notes a little better. I felt like the lead singer, who I can't think of her name right now, of the Shangri-Laz. And... Mary Weiss.
00:58:29
Speaker
ah Thank you, yes. You're struggling a little bit with those high notes. I'm not trying to criticize her because you know those are some high notes that you have to hit in this. And I love this song. It has such a sweetness to it. It's a beautiful song. The original has more of a duop sound to it, so I'd have to go with the Chantals.
00:58:52
Speaker
They haven't really done anything different to the original really to make it the room. So to me, I'd just go with the original version because this is just not to the same standard, nothing against the Shangri-Lars. It just doesn't do anything different with a song that's been done already and been done better.
00:59:12
Speaker
Exactly. At number 95, Have Mercy Baby by James Brown and the Famous Flames.
James Brown's Gospel Influence and Don Covey's R&B with Jimi Hendrix
00:59:19
Speaker
Good sax and the lead vocal as only James Brown can do. Well,
00:59:24
Speaker
Maybe Joe Tex could do a comparable one. a Energetic, but the lead vocal is what saves this song from being just another throwback. The original, which was itself a rewrite of the gospel song, Have Mercy Jesus was by the dominoes with lead singer, Clyde McFatter, before he joined the Drifters.
00:59:43
Speaker
Yeah, and definitely worth hearing. It's a hell of a lead vocal from Clyde McFatter. Holy cow. And it's considered one of the first popular R and&B recordings highlighting passionate black gospel music features. So it's kind of an important recording in itself. And I'm sure James Brown must have heard that many times and it had big influence on him because if you compare that version to this one, James Brown definitely borrowed from Clyde McFatter in terms of his vocal style.
01:00:53
Speaker
too much I heard that you know when that tour I was talking about before when Clyde and I used to finish after the second show of the evening we'd sometimes like just hang around the piano for a bit and I'd play a little bit and Clyde would shantay isn't that right
01:01:43
Speaker
This has a definite blues feel to it. It's a great R and&B workout. I wouldn't say this is top tier James Brown, but this has a great sax solo to it. And I think James Brown is still finding himself in terms of his own style and what would become his imprint on funk.
01:02:05
Speaker
I definitely recommend that you go and listen to the Dominoes version and listen to Clyde McFatter's lead vocal because you will definitely learn where James Brown ah got but some of his style from.
01:02:20
Speaker
It's not a bad version of it but I prefer the original version. I see this as James still in the era where he's experimenting a bit and so he's bringing in these songs that are from people that inspire him and influence him and these songs that he's doing will eventually become the grounding moulding him into who he will become.
01:02:46
Speaker
Yep, agreed. At number 97, Take This Hurt Off of Me by Don Covey. We've had Don Covey before, although what he's most known for is what we're going to see. This is a good record, although it is fairly standard R and&B. I like the drums, I like the guitar. The reason I like the guitar, this is yet another early example of Jimi Hendrix on record. And then there's that cowbell. Yeah. More cowbell.
01:03:15
Speaker
or calmball you can never go wrong with cowbell
01:03:55
Speaker
Don Kobe, great voice. Love the voice on this. Also like the drumming on this. Kudos, the drummer really powers the song along here. As you said, obviously great guitar solo.
01:04:09
Speaker
has kind of a country soul sound to it. It's not the most memorable song, but and I would slap the song on for a summer barbecue. Sounds a little later than 1964, like I could imagine a southern rock band covering this, um you know, in the 70s.
01:04:26
Speaker
you know Overall, I like it. I think Don Covey deserves probably more credit and attention than he probably got. He had a terrific voice and great sound. Wasn't Jimmy on guitar on the previous Don Covey song we discussed? Yes, that was the first one and so this is now the second. Agreed, I like this. Especially carrying on from what Kit said there. Where Jimmy goes with the guitar at the end and where it fades. That guitar at the end is so forward thinking it's like it goes into levels where Jimmy would sort of go in 67 towards the end because he starts burning on the guitar at the end and it cuts it out and I was thinking I'm going to say it now. Dang it! I wish it had carried on a bit more for that.
01:05:13
Speaker
Dang it. Dang it.
01:05:31
Speaker
The guitar on this version is better, but I think overall, I prefer the small faces version of this song.
01:06:00
Speaker
Kit was saying that it sounds like something from a little bit later in the 60s. Go listen to the Faces version. That is from later in the 60s. And we know that Don Covey was also in George Harrison's record collection. And so George would have heard this record. I wonder if George knew who Jimi Hendrix was before Paul did. That might be kind of interesting to find out. Oh, yeah.
01:06:20
Speaker
ah Good question. We know Paul was the first to see Hendrix when Hendrix got to London, but George may have has tipped him off. May be. At number 98, No Arms Can Ever Hold You by The Bachelors. Nice harmony singing, as expected. However, the last start of the song, there is too much going on because you got the harmony, you got the drums, you got the backing singers, and you got the rest of the backing. It just is headache inducing.
01:06:48
Speaker
However, the record is not good enough to hold me even that far. The original was a 1955 Pat Boone song.
01:07:23
Speaker
It sounds like a Papoon song. The Bachelors, I'm sure, had mentioned this before, you know, great harmonies, but they appealed to fans for nostalgic reasons. They brought back the fifties or maybe even the forties in some circumstances. They just aren't for me. I mean, I would rather go back and listen to the originals than these covers and very dramatic toward the end and for no particular reason, you know, with the pounding piano, that kind of thing. I thought that was unnecessary. So yeah, wouldn't choose to listen to this again.
01:07:58
Speaker
Armin is a great, but it's got an old-fashioned feel, obviously. Mid-50s, you know, it goes back to the Pat Boone, the vocals are all right. Not in that many great songs this month, have we?
01:08:09
Speaker
No. Well, we are coming to the final song of 1964 for us. We'll be entering 1965 real soon now. At number 99, Are You
Final Critiques: The Shirelles' Vocals
01:08:22
Speaker
Still My Baby? by the Shirelles. It's slightly Latin. It's got a good lead vocal. The Shirelles do a good job, but the backing overall is just corny. Decent strings. It's sincere enough, but it's only good enough to be a middling record.
01:09:09
Speaker
I found out who wrote this song was Charlie Rich. heads in Behind closed doors, most beautiful girl in the world. That Charlie Rich. Pretty amazing. Overall, the record was pretty boring.
01:09:24
Speaker
Again, production trying to emulate Phil Spector, particularly with the reverb on the drums. The drums fell far short. Lyrics were pretty pedestrian. I got such a thrill the first time that I met you. I knew in my heart I would never forget you. Now when I think of love, you just don't late me. And what I really want to know is, are you still my baby? pretty standard stuff. The chorales do what they can with it. Great singing and harmonies, but pretty routine stuff. Really good vocals by the chorales, which you'd expect anyway. Basic backing and lyrics that could possibly have been written in a preschool group.
01:10:11
Speaker
I thought you were going to say AI. I don't think even AI could do that. That is your common go-to these days, Marv. I know it is. I'd say these were be below AI level. Whoa. Nasty. All right. So that closes out 1964 for us here on Toppermose. As mentioned, this was the year, not that coming up, you know, eight days a week, we're going to have in a couple of weeks as we get in towards Valentine's day of 1965. But there would never be another year like this, certainly not for the Beatles. No, I mean, this is when they conquered the U.S. and started changing not only music, but pop culture. What an incredible year. Yeah, I don't think it means that we'll be slowing down on the show, though. No. And that's why we have a documentary and we have a box set with a bunch of LPs, including the Beatles story, which features, one, Roger Christian. We're not going to go with all the middle names that they gave to poor Roger. Hot dog, Rog.
01:11:15
Speaker
hoochi co hey All right. So the song we disagreed most on is probably the leader of the laundromat song. Oh, that piece of genius. Yes. Dang it. Dang. All right. Join us soon as we enter the brave new world of 1965. See you then and happy new year. Happy holidays to everybody. Bye.
01:12:00
Speaker
There was a piece in the NME, a news piece, that said that Top Rank Records, remember when Top Rank had a record label? and They introduced an LP series next week that will be called Toppamos.
01:12:12
Speaker
And it's coinciding with their current advertising slogan, topper most of the popper most. Yes, and thought, they got it from somewhere. They saw that, they must have seen that in either the NME or record mirror or disc, record and show mirror as it was then.
01:12:28
Speaker
And they've taken it from there. They've obviously thought how stupid that is. How stupid is, it's one of those phrases that someone, an older person who doesn't understand teenagers comes up with a slogan that they think is going to be the hip slogan of the month. Topper most of the popper most.