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August 1965 (side C)
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I'm mad, and I don't believe we're on the eve of destruction. Elvis, Beatles and Charlie Rich sharing space in the charts with Stevie Wonder. Meanwhile, Phil Spector brushes up on cod french. #madeonzencastr. Support this podcast at the $6/month level on patreon to get extra content! Also, Create your own podcast today! #madeonzencastr
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Transcript
The Beatles' Chant: Motivation and Early Days
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 they would have a bad night or the gig would you know 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'd say, where's that, fellas? they'd say, to the top-most or the pop-most. And I'd say, right. And we'd all sort Cheer up.
00:00:33
Speaker
Nothing's gonna stop us now, lads. We're going straight to the top. The top of most of the pop of most. The top of most
00:01:01
Speaker
Welcome to Side C of August 1965 here on Toppermost of
Host Introductions
00:01:07
Speaker
the Poppermost. I'm Ed Chan. I'm Kid O'Toole. And now I'm Martin Cabell. We are now going into the final two weeks of August 1965 on the Billboard charts.
Chart Toppers of the Time
00:01:19
Speaker
Still at number one is I Got You Babe by Sonny and Cher. Yeah, yeah, cool.
00:01:24
Speaker
Help has moved up to number three. boy this is fast. The next song we'd like to sing is the last one for tonight. like to thank all. been wonderful. It's been great. Yes, haven't it? And it's also our latest record and it's the title song.
00:01:40
Speaker
It's also the title song from our latest film called Help!
00:02:11
Speaker
It debuted last week at number 14 and now it's at number three. Wow. Will it be number one next week? At number 58, Eve of Destruction by Barry McGuire. We all know this song. I really don't like this tune. Big nihilism. And I don't like Barry McGuire's voice. It's almost parody Dylan lyrics.
00:02:35
Speaker
My blood's so mad feels like coagulating. That has to be like the best worst line ever written in a rock and roll song. It it tries.
00:02:47
Speaker
ah Guitar harmonica and backing aren't bad, but the vocal takes me right out. Little meh, although I can see how some might like it more, maybe even a lot more than that.
00:02:58
Speaker
This was a big hit in its day, and want to like it more than I do. But first of all, as you said, it's Barry McGuire's vocals.
Barry McGuire's Unintended Hit
00:03:08
Speaker
And I read somewhere that it was like the first take.
00:03:12
Speaker
In the case of Eva Destruction, Eva Destruction was a song that's gonna be the B-side of Barry Maguire's record. and My partner, of um Phil Sloan, one morning comes in and plays me this song called Eva Destruction. Played it for Lou Adler and Lou Adler said, you know, this is kind of a depressing song. He said, why don't you guys throw Barry Maguire's voice on it and we'll make it the B-side of a record. That way we'll we'll get it out of the way. Because it is kind of good. We threw his voice on it.
00:03:39
Speaker
We were punching in lines all the way through. He really didn't even know the song. And um I'm playing it in my office. I always got in at around 9 o'clock in the morning, no matter what time I worked at night. So I was the only one there, along with Jay Lasker, who was the president of Dunhill Productions at the time. He heard this thing that I'm playing. He said, let me have the tape. I want to take it into the office to listen to.
00:03:59
Speaker
um About three hours later, i hear screaming and yelling going on and pounding on the walls in Lasker's office. And I'm called in and Adler is screaming at me. Why did you know what did you do with the with the Eva Destruction tape? I said, you know, I gave it to Jay. He said, there has to be another one. And I said, why? He said, because I just heard it on the radio driving in this morning. he was on the number one station here in town. I guess he's trying to sound angry, raging.
00:04:30
Speaker
It's the dying of the light. It just
Impact and Significance of 'Eve of Destruction'
00:04:32
Speaker
didn't really work for me. I do like the harmonica in it. Some of the lyrics work. It's clearly about Vietnam and other incidents going on at the time. But yeah, that coagulating, and contemplating line, it just didn't work. So yeah, I'll give it a meh, but with kind of an asterisk that, yes, I know it's an important song. Yes, I know it was a big hit. So when we called the radio station to tell them to please take it off, you know that it's unfinished, they said, it's the most requested record we've had since The Beatles, since I Want to Hold Your Hand. Said, you know we're gonna keep playing it. you You can finish it up, get us a new one, but you know we're gonna just keep playing it. it got exploded onto the charts. It just took off.
00:05:14
Speaker
and And before they knew it, it was getting airplay all across the United States. I was still working at at a record store. And that night when I went to the record store, the first three people that came into the store said, do you have this new record, Eve of Destruction? The first four or five phone calls I have said, you have this Eve Destruction? And so it was an early lesson that, you know, if something is meant to be, it's meant to be. and i wish I liked it more than I do. I also don't know whether the kids know this song anymore. As you say, it was still very popular on what was then oldies radio in the late seventies and through the eighties. Absolutely. yeah I will say one thing else with regards to that lead vocal, the crusher.
00:05:59
Speaker
yeah Oh, yeah.
00:06:15
Speaker
If you don't get that, go and listen to, well, some of our old episodes. Yes. It's crusher.
00:06:27
Speaker
Yeah, my blood's so mad. Feels like coagulating. I'm sitting here just contemplating. I can't twist the truth.
00:06:38
Speaker
It knows no regulation. Handful of senators don't pass legislation. There are a few good lines in this. I do like the line, you're old enough to kill, but not for voting.
00:06:51
Speaker
But there's a lot more bad lines than there are good lines. Untidy and messy lines that are forced rhymes and things. It's heavy-handed. It tries to mimic Dylan quite heavily musically, but which is where it works. The best actually is like the harmonica and the guitars and things.
00:07:09
Speaker
To me, it's sort of a low hit. Vocally, he comes outside in like the angry guy that keeps screaming outside of his window at people.
00:07:21
Speaker
Yeah, the chorus actually works. But you tell me over and over again, my friend, you don't believe we're on the eve of destruction. That works. Yeah, absolutely. The verses are just terrible, though. I wasn't protesting. It was just a bunch of news. Are newspapers protesting new newspapers?
00:07:37
Speaker
You know, it's the news you see on the ah television, a protest news report. They're just telling you what's going on in the world. Well, that's all Eva Destruction was. The Eastern world is exploding, bodies slurring, bullets loading, old enough to kill but not for voting, you know?
00:07:52
Speaker
What's that gun you're toting and you tell me you don't believe in me, you know? You know that Eva Destruction was written into the, I think it's the 26th amendment to change the voting age of the United States?
00:08:04
Speaker
You know, it's the first pop song that was ever written into the Congressional record as a statement of we need to change the voting age from 21 to 18. Yeah.
00:08:20
Speaker
We have a Cashbox review, and what they tell us is, Ex-New Christy minstrelite, Barry Maguire, can rapidly establish himself as a solo performer with this impressive Dunhill bow-tabbed Eve of Destruction.
00:08:36
Speaker
The side is a medium-paced, effectively building, Bob Dylan-ish, blues-tinged message song, which warns mankind to change before it's too late.
00:08:47
Speaker
What exactly is the matter with me is a laconic folk style ditty about a lad who can't understand his role in life. There's a lad for you. o At number 62, Catch Us If You Can by the Dave Clark Five, which we covered over on the UK side in July.
00:09:04
Speaker
at number 70, Baby Don't Go by Sonny and Cher.
00:09:18
Speaker
The way this old town laughs at me I just can't take it no more
00:09:47
Speaker
That is not a harmonica. Yeah, that's crazy. I thought it was. We'll talk about it a bit more after our
Sonny & Cher's Early Work
00:09:54
Speaker
reviews. This is Sonny and Cher's first single, released in 1964 and then re-released in 1965 after I Got You, Babe.
00:10:02
Speaker
Sonny is harmonizing more than singing co-lead, and the effect on the guitar almost feels like a balla-laika to me. A good song, if not a great one. Low hit. I thought that was a mandolin.
00:10:13
Speaker
So did I. I was trying to figure it out. So it is a guitar. Yes. Okay. okay Yeah, because I was trying to figure that out too. like I don't know, it sounded like a Greek song. As you said, mainly share and lead vocals with Sonny providing harmonies. And I think this was at a time when... Cher was still trying to find her confidence and was more comfortable when Sonny would sing with her.
00:10:37
Speaker
I thought the lyrics were pretty simplistic from the perspective of a poor, misunderstood girl. Echo definitely reminiscent of Phil Spector on this. so And as we know, Sonny Bono was ah sort of a protege of Spector's. And boy, did he take the lessons he learned. When get to the city before kind of a dolan rip off i' just never been that crazy about this song i'd give it a man yep this is the song i was on about where i quoted from the che memoirs where she was saying that she wanted sonny to back her up on backing vocals because she didn't feel very comfortable
00:11:16
Speaker
on her own in the studio
00:11:30
Speaker
Don't at all
00:11:49
Speaker
She does the heavy lifting vocally, obviously. And spoiler, I've already mentioned it. I like that effect on the guitar that to me sounded like a mandolin. I'll give it a four out of ten because of her voice and that bit of mandolin. And Sonny, yeah, you can tell he used to work for Phil Spector, can't you?
00:12:06
Speaker
Yeah, sure can. Ladies and gentlemen, I'd like you to meet Harold Batiste.
00:12:17
Speaker
Harold is our musical director and our arranger and producer sometimes and Harold and I have been together longer than you and I have been together. I know that. Harold and I started out as producers for a record company and then later on I met Cher and then Cher and I went on to become infamous background singers. We sang background for the Crystals and for the Ronettes.
00:12:42
Speaker
Who else? you remember? Righteous Brothers. The last song that we did background on was a song that the Righteous Brothers did that became number one that was You've Lost This Love and Feeling. That was the last thing and we worked on before we became saints.
00:12:56
Speaker
So then one day I... I came up with it. I played a riff on the piano. So Sonny wrote this on an $85 upright piano that he had purchased and kept in the garage he shared with Cher.
00:13:14
Speaker
He was working in the middle of the night and did not have any paper, so wrote the lyrics down on a piece of shirt cardboard. So we've had lyrics on a napkin and now lyrics on a piece of shirt cardboard. That's right.
00:13:27
Speaker
Interesting thing about that is Sonny thought that that was a good omen and he would continue to write lyrics on shirt cardboard. but Whatever ever works. It's not a bad idea because, I mean, all those shirts you buy, what are you going to do with the card that you get with them?
00:13:42
Speaker
Exactly. The musical arrangement features a rhythmic, rollicking piano and clavietta foundation. As I said, that's not a harmonica. That is a clavietta melodica mouth organ.
00:13:55
Speaker
Oh, okay. It's one of those. I've got one of those behind me.
00:14:01
Speaker
Sin, 8 o'clock, channel 2 and 3. Do you want to follow this? No, no. Channel 2. We have to get on channel 2. We're on this thing now in a minute.
00:14:13
Speaker
Ready, fellas, let's go.
00:14:24
Speaker
If anybody wants another famous instance of a melodica, if you know the song by Depeche Mode, Everything Counts, there's one in there very prominently.
00:14:34
Speaker
Interesting. The instrument, which nobody could quite identify, is a tremoloed electric guitar. Oh, be darned. Boy, it sounds nothing like that. That's amazing. So lyrically, Cher sings as a poor 18-year-old girl from a broken family who is frustrated and not well-liked in the small town she's lived in all her life. She would go back to this theme, wouldn't she? Yes. Yes.
00:14:56
Speaker
She shares her visions of going to the big city and becoming successful. At number 83, Laugh at Me by Sonny Bono, which we covered on the UK side.
00:15:07
Speaker
At number 87, Two Different Worlds by Lenny Welch. This is the definition of MOR.
00:15:25
Speaker
As we walk together in the sun.
00:15:45
Speaker
Way overdone strings and terrible backing singers bigged up to choir territory. The soaring vocal at the end is the only thing that saves it from being a complete disaster. Still, it's a miss.
00:15:56
Speaker
Ding!
00:15:59
Speaker
I liked it a little better, not for the arrangement. I agree with that. By the way, this was produced by Tom Catalano, who a longtime producer of Neil Diamond. Definitely overranged, and I did not like the female backing singers that sounded like a choir at times. Strings are a little over the top, but Lenny Welch's voice, his vocals on this, as I've said before about some people, he's not a singer, he's a singer. He really... just soars on this. So to me, that elevates it to a low, low hit just to hear his voice. I would say otherwise, yeah, arrangement way overdone, but just listen to it to hear his vocals.
00:16:42
Speaker
Great voice that lifts up a not great arrangement that could have been a lot better. Yep. I would agree. Listen to it once, but I just don't care for it after you've heard it that one time.
00:16:53
Speaker
At number 94, If You Wait for Love by Bobby Goldsboro. Slightly interesting vocalizing that starts the record, but it gets old quick. Otherwise, the lead throughout the song is really not great.
00:17:07
Speaker
Nothing notable in the backing. The drums are all fairly tappity-tap-tap. Lo meh. Yeah, we agree on this one. It's very average at best.
00:17:18
Speaker
When I'm gone, you'll understand That in you wait for love It may be too late for love This day you'll never forget And when I'm gone, you'll have no regrets Ooh!
00:17:40
Speaker
I think there were wah-wahs.
00:17:59
Speaker
those vocals got really annoying. Lyrics are nothing memorable. Again, we've got those choir-like backing female voices that seem to be really hot at this time. Cheesy and just overall boring lead vocal from Bobby. Low meh at best.
00:18:16
Speaker
Yep. Louise asked her it was. I said it was Bobby Goldsberry and she couldn't get honey out of her head. Luckily, we got carried away chatting because otherwise I probably would have fallen asleep to this absolutely boring song.
00:18:28
Speaker
Yes.
Songwriters Behind 'You Got Your Troubles'
00:18:29
Speaker
At number 95, You Got Your Troubles by The Fortunes, which we covered on the UK side. Marv has been looking into Cook and Greenway. They wrote the Coca-Cola song, I'd Like To Teach The World To Sing.
00:18:42
Speaker
Oh, wow. They got together with Don Draper. The finale ends with the suggestion, as you said, that Don Draper is the guy behind the famous Coke campaign. So who was really behind this ad?
00:18:54
Speaker
Yeah, really interesting for ah for Mad Men to kind of take credit for an ad that has a real story behind it. The guy the guy who was responsible for this ad or was credited for is a guy named Bill Backer, who was an account executive at McCann Erickson, which is also featured in Mad Men as well, the the agency is. And he had the inspiration for this ad in 71, as you say, when he was flying into, supposedly going into London, got delayed on an airline trip, saw lots of angry passengers, and then the next day noticed these very same passengers kind of ah communing over drinks, and specifically at Coca-Cola or so the story goes, and had this idea about Coke bringing the world together, people from different backgrounds kind of uniting in this real thing beverage. So from there, the the song came out of it first, and then the the video or the the commercial was shot and turned out to be a smash hit and went down to be you know one of the most iconic ads in history. At number 96, Do You Believe in Magic by The Lovin' Spoonful. It's a great bit of folk pop.
00:19:59
Speaker
Layered overlapping guitars, good backing, nice drums, quality lyrics. A bit more than romantic, a bit less than overtly sexual.
00:20:09
Speaker
tell you and the free of soul But it's like trying to tell a stranger about a rock and roll that
00:20:21
Speaker
Bye. Bye.
00:20:42
Speaker
I like those lyrics and maybe if the music is right, I'll meet you tomorrow, sort of late at night and we'll go dancing baby. Then you'll see how the magic's in the music and the music's in me.
00:20:55
Speaker
This was the loving spoonful debut. I will rate it a hit. I agree. I've always liked this. This is mid-60s pop done right. Catchy hook, memorable lyrics, believe in the magic of rock and roll. and This is like the epitome of summer pop. Positive message with this folk pop kind of sound. As you mentioned, this is Love and Spoonful's first hit, and it drew inspiration from a teenage girl who attended one of the Love and Spoonful's performances at a club in Greenwich Village, and she was dancing enthusiastically to their music, and that inspired the lyrics of this
The Inspiration Behind The Lovin' Spoonful's Hit
00:21:36
Speaker
track. Love it, hit.
00:21:38
Speaker
Yeah, it's interesting. They were a straight folk group at the time, and it was that girl who convinced them that, hey, maybe we can do this pop thing. Yeah, yeah exactly. John Sebastian. What a writer.
00:21:51
Speaker
Wow. Really well-written song, great music, great vocals. If people only know The Loving Spoonful and they haven't gone into John's solo career, do, because there are some gems on his solo albums as well.
00:22:06
Speaker
That guitar solo is great in this song as well. Do you believe in magic would become a top 40 hit again in 1978 in both the U S and Canada when Sean Cassidy released his version as a single Cassidy's cover reached number 31 on the billboard hot 100. Wow. Wow.
00:22:25
Speaker
wow no And we are going to have a supercut of this song. Yay! Some of the artists you will see in here.
00:22:36
Speaker
Barry McGuire backed by the Mamas and the Papas. Interesting. The Swingin' Blue Jeans. Cher. Cool. An artist is named Cook E. Jar. Cool.
00:22:49
Speaker
What a name. Johnny Cougar. When he was still Johnny Cougar before the Mellencamp came along. Oh, wow. Underrated artist. Yes.
00:23:00
Speaker
Sean Cassidy. Yep. Dion. Dion. The Pogues. Oh. Not Sean's brother, David Cassidy. And Allie and AJ for the youngsters out there who remember them from the Disney Channel.
00:23:15
Speaker
Ooh.
00:23:23
Speaker
Hi!
00:23:26
Speaker
David Cassidy? Do you believe in magic?
00:23:32
Speaker
Do you believe in magic? In a young girl's heart The music can free you Whenever it starts in its magic
00:24:06
Speaker
I think I love you. I think I love you.
00:24:19
Speaker
When you believe in magic, and the hokey-do, you'll always have a friend wearing big red shoes. Anything can happen right before your eyes.
00:24:31
Speaker
Whatever you're expecting, expect a surprise. When you believe in magic, only Ronald can do. I believe in magic.
00:24:42
Speaker
I believe in you. When you believe in magic. I was a magician. True story, I was a magician, children's birthday parties all over Los Angeles between when I was like the age of 12 to 15, 16, and I was Thank you very much.
00:25:03
Speaker
And one of the first birthday parties I did my magic show for was for a little girl named Jennifer Aniston, who was like four or five at the time.
00:25:17
Speaker
so cut ahead like thirty years later I have an office at Warner Brothers. she's working on Friends at Warner Brothers, and they call me and they say they want to use a poster of me for a flashback sequence they're doing and her characters like high school or college, bedroom.
00:25:32
Speaker
And I said, sure, great, use my poster, awesome. And then afterwards she signed it for me.
00:25:43
Speaker
Dear Sean, thanks for the awesome magic show. Love gin.
00:25:52
Speaker
Cassadini had some stuff, see.
00:26:34
Speaker
Don't bother to choose, if it's just band music, rhythm and blues Just go listen, it all starts with a smile You won't wipe off your face no matter how hard you try Your feet start tapping and you can't seem to find how you got there So just close your mind
00:27:13
Speaker
Yeah, we'll dance in the morning till it's just you and me And maybe if the music is right, I'll meet you tomorrow So late at night, we'll go dancing, maybe then you'll see Got the magic's in the music and the music's in me
00:27:33
Speaker
I believe in magic, yeah. Believe in the magic of a young girl. Oh, I do. Believe in the magic of a rock and roll.
00:27:44
Speaker
Oh, yes, do. Believe in the magic that will set you free. Ah, do
00:27:51
Speaker
you believe like I believe? Do you believe like believe? Do you believe like I believe? Do you believe like I believe?
00:28:06
Speaker
At number 97, Good Times by Gene Chandler. Good horns and arrangement. Suitably subtle backing vocals. It's not Gene Chandler's best lead vocal, but it's still pretty good.
00:28:19
Speaker
I particularly like the fills at about 90 seconds in. It's gonna be good
00:28:27
Speaker
times, good times. To smooth stop at the first girl's door.
00:28:39
Speaker
Oh folks, they don't worry, you see They have trust in me
00:28:46
Speaker
Nothing earth-shaking. A little workman-like, but to quote the title, Good Times. Modern hit. As soon as that intro started, like, this is Curtis Mayfield. It's a Curtis Mayfield production, not a bad thing. In fact, I wondered if the Impressions sang back up on this.
00:29:02
Speaker
It's not one of Curtis's all-time best compositions, but Gene Chandler sings it so well. Just a classic soul voice. Low hit for me.
00:29:14
Speaker
Yep, could tell immediately that it was Curtis Mayfield written song. It's okay musically. I wish the orchestration was a bit lower and the other instruments were a bit higher up in the mix. His voice could have done with another take on it.
00:29:27
Speaker
If I'm being honest, low hit, like Kit says. At number 98, Ride Away by Roy Orbison. This is a bit more country from Roy. There's some interesting ideas here. The strings do go a bit M.O.R.
00:29:41
Speaker
However, there's good guitar and the tune, while fine, lacks the buildup you expect from Roy Orbison. The Ride Away backing singers aren't great, though.
00:29:52
Speaker
Low hit, and that's predominantly for Roy and his voice.
00:30:06
Speaker
But I know she's like me Crying for others to be What can I say? Others ride away Ride away, boy, ride, ride away Big motor run,
00:30:23
Speaker
run Ride, ride away Right on away from
00:30:34
Speaker
This is a surprisingly M.O.R. song from him. Overplayed piano, even a little Liberace-ish with the arpeggios and so forth. Lyrics aren't terribly memorable. And it's weird because it kind of goes in different directions. At times, song sounds a bit like 50s doo-wop. Other times, fifty s easy listening. even a little country. It just kind of goes all over the map, and it it just didn't work for me in that way. So I'd give it a high man, mainly, as you said, now the redeeming feature is Roy's voice.
00:31:10
Speaker
Yeah, Roy's voice saves this. Probably a low hit, maybe, if I'm being generous. That's about as much as I thought about the song, really. Yep. At number 99, Can't Let You Out of My Sight by Chuck Jackson and Maxine Brown.
00:31:26
Speaker
The piano opening is slightly country, but then it goes into our old favorite, that Sesame Street melody. The tune is fairly simple. Hand claps and rhythm are maybe just a bit overdone.
00:31:50
Speaker
From an angel baby to a devil woman, you changed right before my eyes. All you do is scream and think of evil ways, how to cheat and tell me lies.
00:32:02
Speaker
Well, to make sure you see no one else, here's what I'm gonna do. I'm gonna take steps to protect myself and keep my eye on you.
00:32:12
Speaker
Oh, I can't hit you.
00:32:21
Speaker
It's a good vocal from Chuck Jackson and Maxine Brown, although it's maybe just a little bit too pop. And to be honest, kind of a little bit Sonny and Cher. The backing singers keep this from being a banger, but I'll still give it a low hit. Yeah, I thought this was more pop oriented for Chuck Jackson and Maxine Brown, particularly at the very beginning.
00:32:42
Speaker
Definitely Motown influenced in places, particularly in the percussion and the backing vocals, which I agree the backing vocals are wonderful. But I just feel like these two incredible singers deserve better than this. I'd give it a high meh.
00:32:57
Speaker
Yeah, their voices were what I liked. i thought their voices were great. Low hit to high meh. Closing out this week, at number 100, Someone is Watching by Solomon Burke.
00:33:10
Speaker
Good guitar, good lead vocal. However, the horns are average. Although there is a really nice, better than average solo from the horns there.
00:33:49
Speaker
A mediocre to poor backing singers again, a high man, but unfortunately this record really could have been so much more. Yeah, I agree. It just doesn't really go anywhere. You're waiting for it to reach some kind of crescendo. it just doesn't quite get there. But Salmon's voice, as always, saves from complete mediocrity.
00:34:11
Speaker
He is just pure soul, and his vocals on this are just his typical, wonderful, deeply soulful style. I like the sax solo. We all agree on that. Yeah, that's kind of sexy.
00:34:23
Speaker
The rest of the sax is just, new oh, okay, all right. Yeah, but the solo, yes, that's good. solo's good, yes. Yep, so I would say due to maybe that and, of course, Solomon's voice, I'd give it maybe a low hit.
00:34:37
Speaker
Yeah, we're all in agreement. Solomon's voice this time is in a yearning, soulful mood, and he does a great job of it. I like Steve's guitar on this. I think the saxophone solo is great. But other than that, it could have been better.
00:34:51
Speaker
And by the way, this was co-written by Eddie Floyd, who is best known for Knock on Wood. I think we've talked about him before. So everything after Do You Believe in Magic, we all basically put into the high man, low hit category. Right. All right. We move on to the final week in August, the week ending August the 28th. So to answer Marv's question from last week...
00:35:13
Speaker
No, Help is not yet at number one. It will soon be, though. I Got You Babe by Sonny and Cher is still at number one. Help has moved up. It is now the number two song.
00:35:25
Speaker
Knocking on the door. Help me if you can. I'm feeling down. And I do appreciate you being around.
00:35:38
Speaker
Help me get my feet back on the ground. Won't you please
00:35:56
Speaker
in the head At number 70, I'll Make All Your Dreams Come True by Ronnie Dove. Big opening, big drums, sappy strings, a slight Elvis imitation on the lead vocal, although he's not doing a PJ Proby.
00:36:13
Speaker
Nope, nope, nope, miss. Just you two love me till the rest of the world disappears.
00:36:40
Speaker
I'll make all your dreams come true. At one point, as I was listening to this, I started singing I Can't Stop Loving You. Same melody, same chord changes. I mean, it was it was really funny. This is not...
00:36:55
Speaker
As good as I Can't Stop Loving You, for sure. Sappy strings. Lyrics are just sort of a stereotypical country ballad. Ronnie Dove, his vocal is okay. i mean, it's nothing that distinctive. So not only a miss, but a snooze.
00:37:11
Speaker
An arrangement that is sort of halfway between fiies crooner and early sixty s Nashville orchestration, rather than a crooner, more of a snoozer. yeah We're always on the same page.
00:37:27
Speaker
At number 72, Just You by Sonny and Cher. More imitation wall of sound. It's probably less interesting than even Sonny's solo record. A good Cher vocal and an adequate Sonny vocal.
00:37:41
Speaker
High, mad, low hit.
00:38:14
Speaker
Once again, wow Sonny learned a lot from Phil Spector. I mean, this really sounded like a Phil Spector production, particularly in the strings and drums. I half expected the Ronettes to come in. i mean, I could picture them singing most of the song. Lyrics are pretty average. You know, I'll stand by you. I'll die for you. We've heard this before. However, I thought it was interesting. I think in this song, you can really hear Shears Confidence growing.
00:38:41
Speaker
as a lead singer here. That really impressed me. And then toward the end, I thought strings were going into this weird psycho sounding, the kind of ee, ee, ee, ee. And I thought, where'd this come from? There's a dissonance toward the end, isn't there? I thought the end could have been cut by like 30 seconds. little too long. For Cher's vocal, maybe, maybe low hit.
00:39:07
Speaker
Yep, shares vocal I like. The song is, to be nice, basic. There's a bit of a guitar section that sort of liked in there, but that's as much positivity as I'm going to give this song.
00:39:22
Speaker
All right, so a little bit of background on the song, which comes from the Sonny and Cher site. I'm sorry, guys, you need to update your look. It's just a little bit 2005 MySpace looking.
00:39:37
Speaker
But the information is good. What they tell us is that the overdub string sustains and plucks whistle and weave elegantly throughout, and the whole production is tied together with a perfect mix. I don't know that I agree with that, though. Nope. Some folks, however, hear Sonny doing a bit more wall of sound melodically.
00:39:57
Speaker
Just use resemblance to the Ronettes' Baby I Love You or get the lawyers involved. Oh, funny, so I wasn't too far off. No. So Sonny and Cher would subsequently add two Spectre, Greenwich, Berry compositions to fill out their albums later in the year. Something John Lennon knows a little bit about. Yeah. Cher actually wrote in her autobiography that this song remains one of her favorite tracks.
00:40:28
Speaker
Wow. However, based on Baby Don't Go's promise and some completed cuts, Ahmet Erdogan would sign Sonny and Cher to Atlantic's Pops subsidiary Atco for only $5,000 upfront, generous studio time, and 8.5% of sales, which for them actually ended up being a pretty good deal. Mm-hmm.
00:40:50
Speaker
For his Nicola Disc and Sonny's creative freedom, Amit would get five years worth of finished masters and a chunk of the publishing. Wow. The productions, even though they were all predominantly produced by Sonny, would go to York Pala Productions, and that's who you'll see listed as producer on this record. Wow.
00:41:13
Speaker
So interesting. As I say, don't go for the look of the site, but if you can get past it, there is some really good information there on Sonny and Cher. At number 82, With These Hands by Tom Jones, the US chart debut, which we covered in the UK in July.
00:41:33
Speaker
at number 83, I'm Yours by Elvis Presley. It was written by Don Robertson and Hal Blair. Those two guys are the same duo who co-wrote Lauren Green's song, Ringo.
00:41:49
Speaker
This was actually before that, though. This was a 1961 recording from Potluck with Elvis. Yet another leftover resurrected and reheated for the Tickle Me soundtrack.
00:42:02
Speaker
Nope, I don't like this.
00:42:15
Speaker
you
00:42:37
Speaker
Bad church organ. Good, but more than slightly syrupy Elvis vocal. This reeks of something that the colonel just begged Elvis to record. Miss.
00:42:47
Speaker
A Betty-ism here, she said. The organ sounds like a funeral home. And it does. So annoying. At times this tries to almost sound country. It has kind of a galloping, loping kind of rhythm.
00:43:00
Speaker
Almost stereotypical Elvis vocal. Almost like he's trying to parody himself in a way. Hate the talking in the middle. and Hold out your hand and I'll be there.
00:43:12
Speaker
Ugh. Miss. Well, maybe PJ probably should have covered it. Maybe. Maybe he could have improved upon it. I don't know. I don't want to talk about this song any longer than it needs to. Miss. Miss.
00:43:25
Speaker
Ouch! But it does lead us into another Elvis connection, which is also a Beatles connection. At 86, Mohair Sam by Charlie Rich, a song written by Dallas Frazier, who would later write Elvira for the Oak Ridge Boys. Yes!
00:43:48
Speaker
Cool bass and passion vocal. Nice hand claps. Very catchy, although the record itself is a bit more novelty. It's more or less something in the chic of Araby mode.
00:43:59
Speaker
It's not brilliant, but it is good and fun. Give it a hit. Who is the coolest guy that is what I am?
00:44:12
Speaker
Fast talking, slow walking, good looking boy.
00:44:25
Speaker
It's interesting to hear Charlie Rich do this song because this is much poppier than you would expect from him. It's a cute song, making fun of hippies and, you know, all the long hair. andla I agree with you. It feels like a novelty song. Somewhat amusing lyrics and Charlie's vocals. Yeah, low hit, I guess. A song that features on a lot of mod scene compilations in the UK.
00:44:53
Speaker
Oh, no killing. Only enough. His vocals all right. I sort of like the piano-ish. It's a fun novelty song. Yeah.
00:45:10
Speaker
it's
00:45:12
Speaker
for novelty some yeah So the interesting thing about the writing of this song was the producer had gone to Charlie Rich and said, oh, I've got a great song for you.
00:45:26
Speaker
But he did not have a song. So the producer went to Dallas Frazier and said, oh, oh, come up with a song. Came up with Mohair Sam that evening.
00:45:38
Speaker
So I promised this guy a song which is going to be a hit song and Dallas Frazier delivered. Pretty cool, actually. Yeah. We've heard that story more than once from other people, but we have Charlie Rich is probably better known to us for some of his songs from the 1970s, most notably Behind Closed Doors and The Most Beautiful Girl.
00:46:03
Speaker
Yes, those were all over the radio. Now, this is the song that Elvis was playing over and over again on his jukebox the night that the Beatles came up and met him in Beverly Hills.
The Beatles Meet Elvis
00:46:18
Speaker
Wow. So as the story goes, the Beatles were in the car. They got kind of ridiculously high. When they arrived, there were two things they noted.
00:46:28
Speaker
One, Elvis had the first remote control they'd ever seen on a television set. And second, he had a jukebox in the living room, and the track that he kept playing over and over again was Mohair Sam.
00:46:44
Speaker
how Now, latter day, Paul says, that's how we knew that things were all right with Elvis, because Elvis liked records, Elvis was really into music, and we were really into music, so we bonded over that.
00:46:59
Speaker
Hmm. Now, supposedly on the third, fourth, or fifth play of the record, that was when the instruments came out. That was when Elvis picked up the bass and kind of started plucking along. Paul, of course, being Paul McCartney, oh, you know, I kind of play the bass. Yeah.
00:47:18
Speaker
And so he would go and demonstrate some things for Elvis. And that would lead to the jam session, which we have heard so much about, which we will find more about from Ken Womack when we get volume two of the Mal Evans book, I guess next year sometime. I think so. Yeah. So yes, that is the song which would bring Elvis and the Beatles together. no Interesting. Interesting.
00:47:47
Speaker
At number 89, Home of the Brave by Jody Miller. Jody Miller sounds more than a little bit like Cher on this song.
00:48:29
Speaker
I like the piano, but most of this record is only okay. The protest is a little bit lukewarm. Oh boy, it's a protest song about a kid who was kicked out of school for his long hair.
00:48:41
Speaker
Ironically, it is her ad-libs at the end of the tune that hit the hardest.
00:48:48
Speaker
Hi, man. Low hit.
00:49:16
Speaker
um may low hit Yeah, I actually like this version better than another one we're going to hear. she has a nice voice, a rich voice. I could almost picture her on Broadway or something. The string arrangement's definitely overdone on this, but it's not drowning in echo, Jodi sings it with more feeling. You know, the song is it's nothing special, but at least in this version, you can actually hear and understand the lyrics. So I would agree. High, mad, low hit.
00:49:46
Speaker
Yep. I like Jodie's voice on this. I'll give it a meh because I'm not particularly fond of the song. Yeah. Home of the Brave was composed by Barry Mann and Cynthia Weil.
00:49:56
Speaker
The song was then brought to the attention of Steve Douglas, a producer at Capitol Records, who ultimately chose Jodie Miller as the one to cut the track.
00:50:07
Speaker
As mentioned, this is a folk protest song. Lyrics include the lines, the school board said he can't come to school no more unless he wears his hair like he wore it before.
00:50:20
Speaker
The PTA and all of the mothers say he ought to look like the others. Not great lyrics. No. Yeah, I kind of snickered when the PTA was brought into it.
00:50:32
Speaker
Ha ha. Yeah. Yeah. Now, Capital would put out a full-page trade ad, and what they tell us is that this is the best record and the first record.
00:50:49
Speaker
Because there were two versions of it out at the time. They also tell us that this was already on the air at WORC, Worcester, WMEX, Boston, WWDC in Washington, D.C., WNDE in New Orleans, KBOX in Dallas, KNUZ here in Houston,
00:51:10
Speaker
KBLR in Los Angeles, and WDRC in Hartford. So there's another excuse for us to talk about radio. That's right. Yes.
00:51:20
Speaker
And we're going to have to talk about this song again shortly. So the flip is, this is a live from Golden Boy, and this was on Capitol Records, Capitol 5483.
00:51:33
Speaker
eight three And as mentioned, we are going to have another version of this song and another trade ad coming very soon. Yes. At number 90, Heartaches by the Number by Johnny Tillotson.
00:51:49
Speaker
Oh, it's a Harlan Howard country tearjerker. I don't care for it. This is moving in the orchestral direction. Not really a good record, not really sung all that well. I'd give it a meh. I would have to agree. It's okay. Country pop.
00:52:09
Speaker
Heartache number one was when you left me. I never knew that could hurt you.
00:52:22
Speaker
It's kind of weird, though. It's a pretty upbeat arrangement and tempo for a song about heartbreak. And I was trying to figure out, at one point, the melody in it. I thought, is that from, like, Santa Lucia or something? There was a weird section where I was trying to figure out.
00:52:39
Speaker
Now I've got heartaches by the number Troubles by the score Every day you love me less Each day love you
00:52:55
Speaker
definitely has some of that in it although it's not a direct rip oh
00:53:20
Speaker
It definitely reminded me of that. So an interpolation, I guess. It was okay. Although apparently it was a hit and I think others have covered it. 50s by the numbers.
00:53:31
Speaker
Yes. Meh. So yes, Kit, you are correct. There are 168 different versions of Heartaches by the Number. The original was by Ray Price in 1959.
00:53:44
Speaker
George Jones did a version. Our old friend Buck Owens did a version.
00:54:17
Speaker
That was all before the Johnny Tillotson version that we're talking about here. Bing Crosby did it. Porter Wagner did it. Willie Nelson did it. Waylon Jennings did it. Jerry Lee Lewis did it, but we're not doing a supercut. So you can go and look for some of these versions yourself if you really want to.
00:54:35
Speaker
Do your own supercut. That's right. ah We also have a cash box review, which says, The Songster is a natural to duplicate the success of his last time out, Coin Catcher Then I'll Count Again, with his fine updating of Heartaches by the Number.
00:54:53
Speaker
Tillotson reads the Harlan Howard pen, Country Tearjarker, same language I said, in an infectious, high-spirited, rhythmic style, nicely complemented by a fine orc choral backing.
00:55:06
Speaker
I didn't use Orcs, so there you go. Your memory comes along is a catchy, warm-hearted, down-home, C&W-ish romancer. If you need a job in the future, I'm sure that cash books could probably do with some writers.
00:55:20
Speaker
That's right. Unfortunately, they're not around anymore. Yeah. They could sponsor this podcast if they were. Yes. Of course, they also can't sue us for reading their copyrighted material. That's true.
00:55:34
Speaker
At number 92, I Want To Do Anything For You by Jotex. It's a slower number by Jotex. There's some genuine heartbreak in the vocal. I love the guitar. The horns work well. Nice piano.
00:55:49
Speaker
A little bit of the Jotex, James Brown alike in the fade. Big hit. I thought it was okay. I thought the lyrics were pretty wordy, or or at least that's how Joe Tex was doing it, trying to cram too much into each lyric.
00:56:05
Speaker
did like the Fats Domino influenced piano. want to say sweet things to you till you say I've said enough I want to stand right by your side of the window I want to mend your broken heart till you say the hurt is gone.
00:56:26
Speaker
want to stay with you always so that you won't be alone. I want to do everything for you. Cause that's all that a man can do.
00:56:37
Speaker
We love a woman like love you. And love you. Hey!
00:56:43
Speaker
Spit Country tinged, mid-tempo track. I just was waiting for Joe, because we know how he can sing, and as you said, at that James Brown style he has. I was waiting for him to cut loose at some point, and he just didn't. Now, if you want to hear an interesting take on it, Huey Lewis and the News, which I'll always have affection for because they were my first concert, covered this for their 2010 album, Soulsville.
00:57:12
Speaker
And I kind of like that version better. I like the arrangement and Huey Lewis's approach. He took a little more time with the words, which I like. I wish Joe had done it that way. And I like the harmonica solo in the middle of that version.
00:57:29
Speaker
This is okay. this version but check out the hue and lewis version i never thought i'd say i like it better than joe tex but you like the song and this record you may even give a low hit yeah low hit at best yeah i'm going to go with kit on this and double down on that one and say that i love the guitar interplay between chris and johnny on the hue and lewis and the news version a heck of a lot i love how they work on that It's it's okay. um Lower middle to me, maybe about four.
00:57:59
Speaker
It got more interesting for me towards the end, which is irritating because I would liked it to have gone a bit further with the almost James Brown-esque ending that he did. And then it ended before you got what that could have been.
00:58:13
Speaker
And we have a cash box review here as well. The vet blues songster can have his biggest hit in quite a while with a top-notch self-penned affair tabbed. I want to do everything for you.
00:58:26
Speaker
The side is a slow-moving, throbbingly bittersweet romancer about a lucky guy who is head over heels in love. Oh. At number 94, the same song we had above, Home of the Brave by Bonnie and the Treasures. This time, the tune is treated in a girl group setting.
00:58:48
Speaker
Not good. With the wall of sound, the feel of protest is lost completely, and it feels uncomfortably close to something like Lee Greenwood to me. Missed. Yeah, this did not work at all. This is wall of sound overload. Even though technically Phil did not produce the track, it was on his label, but his protege, Jerry, and I'm sure I'm going to massacre this name, I apologize, Jerry Riopelle or Riopelle, I'm not sure.
00:59:17
Speaker
Jerry Riopelle. So he was the actual producer of it, but the sound is so overwhelming that you couldn't decipher the lyrics.
00:59:52
Speaker
Sounds like it should have come out in the early 60s rather than 65. I did not like the lead vocal. I thought... At times sounded like she had inhaled some helium. I'm really sorry, but that's what it sounded like to me. Too much in every way.
01:00:07
Speaker
Miss. Yeah, Charlotte Ann Matheny is the lead singer. The backing singers are Shirley Matthews and Clyde King. Mm-hmm. Right, so they haven't even got the classic Phil Spector backing singers on this either. Right. Yeah, immediately noticed the wall of sound. Of course I did. Everybody knows my opinion of the wall of sound.
01:00:30
Speaker
I had a problem with this straight away. I couldn't tell what was going on. And ironically, I've got to shop people here. Louise actually thought that this was the better version.
01:00:41
Speaker
So I don't know why I think she just liked the voices and the instruments for some reason. I couldn't tell what they were singing or doing on the song at all. Yep. All you really get out of this version is that land of the free home of the brave thing. And it's like, okay. All right. yeah Hmm.
01:00:56
Speaker
Where have we heard that before? So, we read you the Capital trade ad. Phil and Capital both thought they possessed an exclusive on this song.
01:01:09
Speaker
Phil, being Phil, was adamant that his was the original and the best, and would take out a full-page trade ad in magazines. We're going to read that to you in a minute here. Didn't help this version of the song very much, though. No.
01:01:27
Speaker
The ad reads, Evitez les confusions. Now, why are you writing this in French, Phil? Cod French, I might say.
01:01:40
Speaker
He continues, avoid confusion. This ad is being taken out in behalf, in behalf not on behalf, okay of the original recording, Home of the Brave by Bonnie and the Treasures on Fidan Records number 5005, a master which I purchased.
01:02:00
Speaker
To avoid any confusion, there is no doubt that this is the original recording and original creativity is still the backbone of our industry, isn't it?
01:02:10
Speaker
Thanks, Phil Spector. Ooh, mic drop. So, who knows, but this did indeed end up going to court And, you know, there was no real solution to this.
01:02:24
Speaker
At number 97, Too Hot to Hold by Major Lance. A nice rhythmic song. I like the chorus in the back. It's Major Lance doing the Major Lance thing. low Low hit, maybe even a little bit more. I thought in some ways there were some similar chord changes in the pre-chorus to do Believe in Magic, which was kind of weird.
01:02:47
Speaker
But don't get me wrong, Foster.
01:02:58
Speaker
Oh, too hot to talk.
01:03:20
Speaker
It's okay. I like Curtis Mayfield's songs for Major Lance better. This one was written by another Chicagoan, Gerald Sims. I think we've talked about him before. Horns are nice and some unusual chord changes, but not very distinctive overall. More pop than soul in some parts. We've heard better from Major Lance than this. But hi, meh.
01:03:42
Speaker
Yep. Major Lance's voice always pulls me in. But other than that, didn't think much to this. Well, agree with the I, meh. Want read the cash box, Marv? The cash box says, Major Lance is destined to rack up some mighty impressive pop and R&B sales totals with this latest OKEH candidate. The go side here, too hot to handle, is a rhythmic chorus-backed affair about a man who has some major problems getting things to work out with his girlfriend.
01:04:22
Speaker
Couplers, a soulful R&B traditional on a familiar theme of romantic rejection. Ooh, got some new things there, like the go side and the coupler.
01:04:35
Speaker
Nice. At number 98, The World Threw a Tear by Neil Sedaka. ah This is middling Neil Sedaka. It's a nice tune and a decent vocal, but he has done and will do much better. Cookie cutter backing, high man, although there's probably a much better record which could come from this tune.
01:04:57
Speaker
Yep.
01:05:13
Speaker
Now only me, hoping she'll appear.
01:05:25
Speaker
The world threw a tear from days gone by. The world threw a tear too slow to dry.
01:05:36
Speaker
I thought it was interesting in the beginning. I thought he was going to go for a full bossa nova. So I thought, oh that's interesting. But then not really. i mean, it went back to that a bit at times. I didn't care for the change which occurred in the chorus. That sounds more like straight pop. I kind of wish he had stayed in the bossa nova lane. i hate the harp.
01:05:57
Speaker
in the pre-chorus. Just didn't work there. Bad organ out of Lawrence Welk. The lyrics just aren't memorable. It's like he's trying to imitate Tracks of My Tears in terms of cleverness with a metaphor, but it falls way short. Other than some interesting chord changes, I would give it a meh.
01:06:17
Speaker
Yeah, it almost sounds like an experiment in songwriting. Is Neil double-tracking the lead vocal? It doesn't sound like a single vocal most of the time doing the lead. It sounds like two vocals put together, two vocal tracks. It is indeed a double-tracked vocal. It sounds like a song that should have been a vocal group singing it and not Neil on his own.
01:06:38
Speaker
At number 99, High Heel Sneakers by Stevie Wonder. Stevie's having fun.
01:07:09
Speaker
It's a little bit of fingertips redux, but it does work here. ah This is Stevie coming into his own. A lot to like beyond the vocal and the harmonica. The organ played by Earl Van Dykes works really well, and the record kicks. I like those horns, and this stands as a rest stop between little Stevie and what we would actually know as Stevie Wonder.
01:07:31
Speaker
Low to medium hit. Yeah, I mean, even I will say this is not one of my all-time favorite Stevie tracks, but it's a live recording, so you've got that energy. You know, like fingertips, as you mentioned. You, of course, hear Stevie is no longer a little Stevie Wonder in that his voice has gotten deeper. Incredible harmonica. Not surprising there.
01:08:17
Speaker
Also not surprising that he kills the vocals. It's one of those things where like, man, I wish I'd been in the audience. I would have been dancing because he really was getting the crowd into it. Even though at the beginning, you just hear sort of polite applause, but he wins them over. Drums are booming on parts. May not be Stevie's best, but you can hear what a remarkable talent he was and was becoming. The band cooks behind him But he never lets them overshadow him So I'll give this hit Another live recording 15 I'll say that again 15 year old Stevie Shows people how it's done When he's having fun with a song And the band are really cooking on this And enjoying themselves as well
01:09:04
Speaker
All right, Kit, let us know what Motown Junkies had to say about this tune. Okay, it was an interesting review. said, i couldn't in good conscience give it a high mark given that it shares so much of the dna of fingertips without ever scaling the same heights given that it appeared in the middle of the most glorious golden summer ever enjoyed by any record label in america so far given that it's so self-limiting and it's dopey ambitions to get your booty shaking and no more but it's not embarrassing and it's pretty good fun in its own way it sets its sights low and hits its mark well enough he gives it a five out of ten i might give it a little more than that yeah maybe six yeah but it's it's not a bad mark No.
01:09:47
Speaker
I would argue with his most glorious golden summer ever enjoyed by any record label in America so far. Capitol Records in 1964, anybody? Exactly.
01:09:57
Speaker
Nothing against Motown, and Motown was indeed having an amazing summer. Maybe if you say independent. I'll accept that if you add that caveat. Yep. At number 100, These Hands, Small But Mighty by Bobby Blubland.
01:10:12
Speaker
Great horns, drums, and lead vocal.
01:10:46
Speaker
it goes to gospel analogies which don't quite work it's good but the record is too short and i wish there were a bit more of it low hit i love bobby's vocals on this bobby boobland sounds incredibly soulful i love that growl he got in his voice uh at that point a bit curtis mayfield ish in terms of the chord changes in the horns but obviously not a Curtis Mayfield composition not one of Bobby's best so I mean the lyrics I thought could have used some work but his always powerful vocals elevate this to a low hit Bobby's vocals I really like especially when he throws in those emphasizing screams they're pretty cool
01:11:29
Speaker
I'd probably give it a lower middle, maybe three out of ten, four out of ten maybe. I do like some of that stuff that the drummer's doing in the background. Yeah. All right. So before we get out of here for the month of August 1965, we've got our playlist to give you We start with the UK where, again, it was actually pretty easy to choose our two selections.
01:11:54
Speaker
We've got to go with help. Of course. yeah And we go with I Put a Spell on You. Yes. For the US, we chose the McCoy's version of Hang On Sloopy and Do You Believe in Magic?
01:12:09
Speaker
And then we each have chosen our own individual editions. I went with Agent 00 Soul. Yes. Yeah. Cool one. Yep. And I went with, I'm sure this will shock everybody, High Heel Sneakers by Stevie Wonder. Again, his all-time best, but you can really hear the progression in his vocals. And great fun.
01:12:32
Speaker
Yeah, he's in a transition at this point, you can hear it in there in what he's doing. Exactly. And I've gone for See My Friends by The Kinks, which nobody would be surprised about, I'm sure, just because of the importance and what it does for music and elevating the influence of Indian music on the world of pop music.
01:12:52
Speaker
Well, Reprise Records might be a little bit surprised at that. Yeah, they made a mistake. Shut up. All right. Yeah. We will be back real soon with September of 1965, and i guess we're almost catching up again. Talk to you then.
01:13:11
Speaker
See you soon. Take care.
01:13:43
Speaker
There was a piece in the NME, a news piece that said the top rank records, remember when top rank had a record label? and They introduced an LP series next week that will be called Toppermost.
01:13:54
Speaker
And it's coinciding with their current advertising slogan, Toppermost of the Poppermost. They said 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.
01:14:11
Speaker
And they've taken it from there. They've obviously thought how stupid that is. How stupid is is 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.
01:14:26
Speaker
Toppermost of the poppermost.