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March 1965 (side C)
121 Plays3 days ago
The Beatles still have "Eight Days a Week" and their EP (including "Mr. Moonlight") in the charts while two versions of "For Mama" appear, Brian Wilson gets stoned and the discussion of brightly colored suits continues! Support this podcast at the $6/month level on patreon to get extra content! Create your podcast today! #madeonzencastr . If you are looking for Beatles summer fun, join our friends at the Magical Mystery Camp!
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Transcript
The Beatles' Charm and Aspirations
00:00:00
Speaker
The Beatles had this charm, John, Paul and George and probably then Stuart and Pete, had this charm 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 a bad night or the gig didn't work properly or the amps broke or whatever. I say, where are we going, fellas? And they go, to the top, Johnny.
00:00:23
Speaker
And I say, where's that, fellas? And we say, to the toppermost of the poppermost. And say, right. And we all sort cheer up. Now then, boys, where are we going? To the top, bro.
00:00:36
Speaker
Where's that? To the toppermost of the poppermost.
00:00:47
Speaker
Welcome to Side C of Toppermost of the Poppermost for March of 1965.
00:00:56
Speaker
Happy birthday, Kit. Thank you very much. Even though the day doesn't exist this year. When they get this, it will be several weeks ago. Yes, true. But, you know, this is the first time we've had a chance to chat since your birthday,
1965 Music Charts and Birthday Celebrations
00:01:09
Speaker
so. Yes, indeed. So thank you very much. Merry Kitmas.
00:01:14
Speaker
Thank you. Love it. So we are going to start with the week ending March the 6th, 1965. Kit, why don't you lead us off with the first couple of songs on the Billboard chart that we want to mention.
00:01:27
Speaker
Okay, so number one, a very deserving song, My Girl by The Temptations. We'll accept that. Yes, we will accept that. No problem.
00:01:37
Speaker
Number two, we have This Diamond Ring, Gary Lewis and the Playboys. At number three, You've Lost That Love and Feeling by The Righteous Brothers. Three pretty good songs. you know yeah All those are acceptable. Now this next one.
00:01:51
Speaker
Yes, number four. The Jolly Green Giant by The Kingsman. Really? Potatoes! Tomatoes! Avocado!
00:02:03
Speaker
Guess all the vegetable lovers bought this record. Must be all the green grocers. That's right. Exactly. like And at number five, much better, Eight Days a Week by The Beatles.
00:02:16
Speaker
One, two, three, four.
00:02:25
Speaker
Ooh, I need your love, babe. Guess you know it's true.
00:02:50
Speaker
On its way down the charts, which is all right. We know something's coming up before too long. You know they got that new help album just around the corner. Oh, that's right.
00:03:00
Speaker
I've heard it's a good album, you know.
Critique of Brenda Holloway's 'When I'm Gone'
00:03:02
Speaker
Yeah. It's got good reviews. So we move down to number 74, When I'm Gone by Brenda Holloway. This song, it's an old-fashioned vocal.
00:03:13
Speaker
I do like the bass and the finger snaps. Does she seem to be imitating Diana Ross? little bit of cooing here to you? A little bit. Yeah. They just don't know you And what they see isn't what we've got We're happy in the public's eyes They think you're such a wonderful guy But they don't know how much you've lied And they don't know how much I've cried For real Dr. Jekyll, Mr. Hyde
00:03:50
Speaker
Good backing. I like the piano. There really isn't all that much that's original in this record, but it does still work. A low hit. Interesting that you talk about who is Brenda trying to imitate, because this song was first recorded but never released by Mary Wells.
00:04:07
Speaker
Oh. You can almost hear a little bit of hints of my guy in the hand claps. I've got broken mouth. What are you going to?
00:04:28
Speaker
I like Brenda's voice on this, but the song itself doesn't really take off. We mentioned Motown Junkies quite a bit on this show, the terrific blog where they go through all the different Motown songs.
00:04:41
Speaker
I think they're a little hard on her voice. It's not as emotional, probably, as Mary Wells, which, by the way, you can hear that version online. But it's smooth. and Maybe she needed to put a bit more power into it.
00:04:53
Speaker
I think her voice sounds a little too delicate for this song. It's not one of s Smokey's better compositions. It has some nice chord changes, but no super memorable hook. It's not my girl or my guy.
00:05:07
Speaker
Marv? The vocals are good. the lyrics are, if I'm being nice, passable. Musicians are playing well, but there's just something about it that for me, and I hate to say this, I i love Motown, but there's just something about this that for a Motown song, it doesn't really jump.
00:05:23
Speaker
Yes. It's just lacking something, but I don't know what, so lower tier hit. That's exactly how I felt. It just never took off. So we all basically agree that it's a low hit.
00:05:34
Speaker
Yeah. It's
Motown's Contrast Element
00:05:35
Speaker
good enough. It's better than just a so-so, a meh record, but it's not a great one. It's not even really a very good one. Right. The problem with this is, or one of the problems that you don't find in a lot of Motown is, you know the better Motown songs? You've got contrast in sections.
00:05:52
Speaker
There is no contrast in this song. It just stays on the same thing all the way through. There's very little differentiation between the sections. I think you're right. I think that's a good point because the best Motown songs take sort of a journey.
00:06:08
Speaker
Yeah. And they have these contrasting sections. Yeah, this doesn't have it. Maybe that's it. You may have nailed it,
Remembering Jerry Butler and Beatles EP Release
00:06:14
Speaker
Marv. I think that's maybe why the song never soars. And we have our first cash box review for this episode. Kit, why don't you read it for us?
00:06:23
Speaker
The top lid, When I'm Gone, is a moody, teen-angled rocker about a gal who tells her guy that he'll be lost when she leaves him. Yeah, you know it'll be good when they refer to gals.
00:06:38
Speaker
I like the teen angled rocker because it's not really a rocker at all. No, it isn't. No. And top lid, I think I'm going to use that from now on.
00:06:48
Speaker
Top lid? Oh. They just keep coming up with these synonyms for the A side and the B side. Yep. At number 76, Good Times by Jerry Butler. We like Jerry Butler around here.
00:07:01
Speaker
This one, it's a good gospel vocal, but it's only decent backing. The guitar is awfully repetitive. The drums are sparse, but they still manage to annoy me.
00:07:12
Speaker
Sadly, a miss. Yeah, great vocal from Jerry Butler. mean, he's Jerry Butler. So great, as you said, gospel tinge. But I really hated the harp, that weird harp part that adds this flourish that the song doesn't really need. The backing singers are way too high up in the mix and are dangerously close to drowning him out at times.
00:07:36
Speaker
Definitely not a memorable track for Jerry. Yep. Middle tier, it's okay. It doesn't quite hit the mark. His voice is really good, but it needs more bite to it. There's no bite in the song, even though the musician is doing a good job of what they're given and the backing singers to a degree, but it's just not got that powerful push there to make it any better than middle tier.
Debate on 'Mr. Moonlight' by The Beatles
00:08:00
Speaker
Yep.
00:08:20
Speaker
have the world on a silver platter
00:08:29
Speaker
Yeah, yeah, yeah.
00:08:37
Speaker
Soul music has lost a legend. Jerry, the Iceman Butler, a pioneering R&B singer and songwriter, passed away at age 85. Butler, known for classics like For Your Precious Love and Only the Strong Survive, was a key figure in shaping the Chicago soul sound.
00:08:53
Speaker
Beyond music, he was a dedicated public servant in Chicago for over 30 years. His smooth voice and lasting impact on both music and public service will not be forgotten. Jerry Butler died on February 2025.
00:09:09
Speaker
At number 77, a special for by the Beatles, Capital, once again going back into the EP vault, four tracks off of the recently released LP, Honey Don't and I'm a Loser on Side a ah great Side a Yes.
00:09:26
Speaker
And then the flip is Mr. Moonlight and Everybody's Trying to Be My Baby. Mr. Moonlight is an interesting one to find on an EP, you know? Mr. Moonlight
00:10:14
Speaker
I am kind of surprised that they picked that one. I've defended Mr. Moonlight to an extent over the years because John's vocal on that is incredible, particularly that opening the line when he's practically screaming Mr. Moonlight.
00:10:29
Speaker
But then the organ comes in. The Hamburg version is so much better than the studio version of Mr. Moonlight. Absolutely. The studio version is kind of cheesy, but John's voice rescues it from being a complete miss.
Original Doo-Wop vs Contemporary Covers
00:10:45
Speaker
The Beatles studio version of Mr. Moonlight is at least a low to even middling hit to me. Yeah. I stand up for this as well. I sort of say, you know, oh John's voice on this is fabulous and this the vocals.
00:10:57
Speaker
But yeah, that organ, you know, when I hear it sometimes, I imagine club singers in the velour suit or whatever, you know, the red lame suits almost looking a bit creepy at the front of the stage, giving the wink to the women at the front of the thing, like, Mr. Moonlight, hey there, girl.
00:11:13
Speaker
And all this with that organ. It's got that sort of feel to it with that organ. That was a very vivid picture and I love it. I'm going to say five words here.
00:11:24
Speaker
Rory, Storm, and the hurricanes. but That was the thing. Ringo said, we have these brightly colored suits. That's exactly what you made me think of there, Marv.
00:11:36
Speaker
Apologies to fans of Rory. Yes. At number 80, Long Lonely Nights by Bobby Vinton. Oh boy. This is a very bad cover of a good but not great 1957 chess record by Lee Andrews and The Hearts.
00:11:52
Speaker
The original was doo-wop and it had a lot of nice soul to the vocal. Vinton's, in comparison, just sounds cheap and boring. The backing singers are terrible and make it worse.
00:12:05
Speaker
Take it off. Yes. It's like Bobby Vinton listened to the original and thought, let's suck out all the soul out of it and make it as boring and safe as possible.
00:12:18
Speaker
Not that it had to be safe to begin with. I mean, this is like Pat Boone. Sorry, Pat Boone fans. But Pat Boone kind of stuff. I guess you'll never come home.
00:12:28
Speaker
Oh, oh, oh.
00:12:47
Speaker
Long, long and lonely nights I guess you're never coming home Lee Andrews and the Hearts version is better.
00:12:59
Speaker
I like the doo-wop of that. It's much more charming. And by the way, Lee Andrews is Questlove's father. Cool. so And they were renowned doo-wop group in Philadelphia.
Beach Boys and Dionne Warwick's Vocal Prowess
00:13:12
Speaker
and Kind of developing the Philly soul sound.
00:13:15
Speaker
Listen to their version, not this. Less blue velvet and more blue shelved. At number 83, Please Let Me Wonder by The Beach Boys.
00:13:26
Speaker
Now this is The Beach Boys going back to the well, repeating their formula, but it is still a pretty good tune and the harmonies keep me interested all the way through. Brian produced this record himself and claimed it was a tribute to Phil Spector.
00:13:41
Speaker
you know, it's got a bit of the wall of sound, but not too much. And the instruments are all so clean here. i don't know why he would call this a tribute to Phil. This is reportedly the first tune that Brian wrote while high.
00:13:55
Speaker
Cool. Kind of middling Beach Boys. it was funny as it started. I thought it sounded very similar to Don't Worry Baby. Yes. yeah I thought you might be with me on that, Mark.
00:14:08
Speaker
Yes. Same chord changes, similar harmonies. And it does foreshadow the elaborate Brian Wilson production and instrumentation that he would use on Pet Sounds.
00:14:39
Speaker
I agree, Ed, that the recording is nice. and that It is very clear. I mean, you can hear all the different instrumentation. And as I said, this is kind of a preview to what he would do to the nth degree on pet sounds.
00:14:55
Speaker
Well, I mean, Marv has been saying that to us but almost since the first time we've seen the Beach Boys. Brian does the wall of sound better than Phil ever did. Yep. Yep. I have said that.
00:15:10
Speaker
This would have been worth waiting forever I always knew it'd feel this way And
00:15:23
Speaker
please forgive my shaking Can't you tell my heart is breaking Can't make myself say what planned to say
00:15:42
Speaker
So Marv, give us your opinion. Then we've got both a cash box review and a commentary from all music reviewer Matthew Greenwald, which are worth mentioning here. So give us all of that, Marv.
00:15:54
Speaker
Okay. Right. First thing I thought when it started was, doesn't this sound like Don't Worry Baby? Middle tier Beach Boys song. And I do love the Beach Boys, as people know.
00:16:06
Speaker
The funny thing is, this would be a great song for another band, but for the Beach Boys, it's sort of lower mid-tier to me. I agree. Yeah, it's not their best, for sure.
Tasteful vs Over-the-Top Vocal Performances
00:16:17
Speaker
Again, it sounds like Brian Wilson was a little bit high when he wrote the song. So, anyway, the all-music reviewer, Matthew Greenwald, wrote about the song...
00:16:28
Speaker
Built around a lilting, gracious melody that vaguely recalls some of Wilson's doo-wop influences, it's also somewhat akin to some of the contemporary, and mostly upcoming, ballad statements that folk rock would embrace.
00:16:46
Speaker
Through the years, it has become known as one of the most treasured of Brian Wilson's more obscure album cuts, a quantum leap for this gifted composer.
00:16:57
Speaker
And Cashbox also gave us a review, including a typo. Uh-oh. So, the other end, please let me wonder, is an easygoing, slow-rocking ode about the abiguities.
00:17:13
Speaker
Excuse me. Is that the typo? Abiguities. That is the typo. that's Somebody forgot the M in there. Oh, ambiguities. Yes. It's supposed to be. Okay.
00:17:24
Speaker
Overloved relationship. Somebody sort out the person who typed that up. and Then why don't you also mention the next record? Because we are going to trade off a couple while we go through the rest of these more.
00:17:37
Speaker
Number 84, we've got Real Live Girl by Steve Alemo that we've already covered. Kent and Mai's favorite song about the ah real doll industry.
00:17:48
Speaker
Yes. That's right. NC-17. It's a living doll. At number 86, the first of two versions of this tune we're going to mention, For Mama, La Mama by Connie Francis.
00:18:04
Speaker
This record recorded well, good guitar, okay backing that's only a little bit faux Italian, which I wish we could say about the other version of this song. Nicely vocal. It's not really something I want to listen to, but it's a good enough version of the tune.
00:18:19
Speaker
Low hit. Yeah, I agree. Connie Francis's voice is really the only reason to listen to this. She really sings it well. It's pretty. You know, the song contains some very pretty chord changes, but it's overranged, you know, to an extent with the strings and backing singers.
Cultural Critiques of Major Lance and Solomon Burke
00:18:36
Speaker
bit overdone there, but kind of typical of the period. I did like the acoustic guitar. Mmm, the Spanish guitar, yeah. They're bits and pieces. It's enough that I'll rake it a low hit, but not any more than that.
00:18:46
Speaker
These kinds of songs just aren't to my taste, but she performs it very well. Yep. Great vocal but by Connie. And I love the nylon strung Spanish guitar on this very much.
00:18:58
Speaker
But everything else that's in there, the orchestration and everything else is just too syrupy and takes away from it. Personally, i would have loved this if it was just Connie with the Spanish guitar and nothing else.
00:19:12
Speaker
Yeah, that could work. Please promise me that you will stay and take my place while I'm away and give the children love each day.
00:19:24
Speaker
I had to cry. What could I say?
00:19:33
Speaker
How hard I tried to find a word I prayed she wouldn't see me cry So much to say that should be heard And we have a Cashbox review of this record as well. Kit, why don't you read that? So Cashbox said, The Lark reads the pretty, slow-moving, sentimental tale of maternal devotion in an emotion-packed, soulful style complete with Latinish guitar backing.
00:20:02
Speaker
On the undercut, She dishes up a rousing chorus-backed reading of She'll Be Coming Round the Mountain, the old folk evergreen. That is just so priceless to me. That was the B-side of this record.
00:20:16
Speaker
Interesting. And so two spots down at number 88, we have the second and decidedly much worse version of this tune, For Mama by Jerry Vale.
00:20:29
Speaker
Ick. Terrible backing. This is the faux Italian that I was just mentioning. And what the heck is Jerry Vale doing with his voice?
00:20:40
Speaker
It's very much a bad copy of the tasteful, but not subtle, Matt Monroe version. If you ever wanted definitive proof of the significance of George Martin, go and listen to the Matt Monroe version.
00:20:53
Speaker
I still don't really love the song, but it is tasteful and listenable, as I said. all because of George Martin, and Matt Monroe definitely has a better voice than Jerry Veil. Oh,
Curtis Mayfield's Songwriting Influence
00:21:04
Speaker
no. Another version of this same song in the same week.
00:21:07
Speaker
Please, turn it off. Take it off. It's still not quite Hello Dolly, you know. No. but You never know, we might have some more versions of this coming up in the next few months. We might.
00:21:21
Speaker
They say in time you will forget Yet still today my eyes are wet I tell myself to smile
00:21:38
Speaker
Now soon there'll be another spring, and I will start remembering the way she loved to hear us sing her favourite song, Ave Maria.
00:21:49
Speaker
This is the guy who was thrown off the stage earlier by the chap in the red lame suit.
00:21:59
Speaker
That's great. Yeah, this was definitely, let's throw everything in the background and see what sticks. Holy cow. Strings, the backing singers, the church bells, even some electric guitar in there, which was kind of out of nowhere. it is fantastic.
00:22:18
Speaker
Too much. So over the top in the arrangement. And the way Jerry Vale sings this, it's it's so overdramatic. So over everything. Yeah, I listened to this and the Matt Monroe version a couple times.
00:22:32
Speaker
They definitely started with the Matt Monroe backing. Yes. And then they they just said, well, let's add this. Let's add this. Let's add this. And they just kept going. Exactly. And it's just too much overdone in every way.
00:22:45
Speaker
Please, no more. That tape must have been so thin by the end of it with all of those overdubs and those different instruments that they've added. True. Oh, dear me.
00:22:56
Speaker
At number 90, Girl Don't Come by Sandy Shaw, which we covered on the UK side. At number 91, Got to Get You Off My Mind by Solomon Burke. Again, we are big fans of Solomon Burke.
00:23:09
Speaker
This is a great vocal from him. Smoother Than Butter. I love that bass line, and it's a good use of the horns. However, subtract a few points for those backing singers, particularly that hey, hey, hey.
00:23:22
Speaker
But otherwise, it's a pretty big hit for me. I agree. Now we're talking. Listen to me. Someday, this old heart of mine.
00:23:41
Speaker
I gotta get you
00:23:52
Speaker
another great soulful gospel drenched vocal from Solomon Burke. yeah And at first I thought, boy, this has kind of a Southern soul sound and then found out Jerry Wexler produced it.
00:24:04
Speaker
And I like the gospel choir-like background singers to a point, but I agree it's a bit overdone at parts, but love the horns on this. They're just so crisp, punctuating his words and just adding...
00:24:21
Speaker
drama to it in the best way. But yeah, Solomon Burke's vocals are the real star here. Just another incredible performance by him. More soulful call from Solomon Burke in a song that's perfect other than the vocalist need knocking down a notch on the control.
00:24:41
Speaker
And what's interesting is that the backing vocals were the sweet inspirations featuring, of course, Sissy Houston and D.D. Warwick.
Motown Sound and Lyrical Style
00:24:50
Speaker
Yep. Cool.
00:24:52
Speaker
At number 92, You Can't Hurt Me No More by Gene Chandler, the first of two Curtis Mayfield songs we're going to see. It's a big song, maybe just slightly too big.
00:25:03
Speaker
The opening feels a little bit James Brown-like to me. Again, a really nice lead vocal and a pretty good backing, but I might have preferred that they stripped it back a little bit.
00:25:14
Speaker
There was a lot to like, particularly i like the way that the strings play off of the emotion in Gene Chandler's vocal. Low to low-medium hit, I think. Yeah, took some of the words right out my mouth, that First of all, Curtis Mayfield wrote this, and I was kind of surprised because it doesn't sound like a typical Curtis Mayfield track. He uses those certain chords, and I didn't really hear them here.
00:25:38
Speaker
But great vocal from Gene. He sings this with conviction, and so I love his voice. But yeah, I agree. The song is a bit overranged, particularly with the strings, and it fades out too fast.
00:25:51
Speaker
um which we've said about many songs. You can't hurt me no more Cause it doesn't matter now what you do Get a hold of yourself
00:26:30
Speaker
If the arrangement had been stripped back a bit, it would have made a big difference. I don't know. you You know, chord-wise, I can see where you're coming from, Kit, but, you know, lyrically, i can hear Curtis's hands on this.
00:26:43
Speaker
Even starts with, you know you can't hurt me no more, no matter what you might say. You can't hurt me no more, after all the pain you sent my way. You can imagine Curtis actually singing that. It's got his inflection in there, and the...
00:26:58
Speaker
You Can't Hurt Me No More, there's a lot of that in Curtis's writing, whereas if you were writing trying to be real English and use proper English, you know, would You Can't Hurt Me Anymore or something like that.
Hit Attempts by Major Lance and Jimmy Witherspoon
00:27:10
Speaker
Yeah. There's like that almost street level, I don't mean that nastily or any derogatory way or anything. know. It's just got that cool to it, the way that they speak on the street.
00:27:20
Speaker
So lyrically, it's very Curtis, but yeah, musically... It doesn't sound like Curtis from a musical point of view, for sure. No. But my opinion of the song, though, vocal is great from Gene. He's fantastic. I like his voice. The musicians are doing okay.
00:27:38
Speaker
But it's just unfortunate that it's got such a thin production that lets it down. Yeah. So are we all in agreement? Low to even maybe low-medium hit. Right.
00:27:49
Speaker
Yeah, yep it's his voice. It's Gene Chandler's voice that really rescues it. And now to another Curtis song. Yes. Our second Curtis Mayfield song immediately following at number 93 is Come See by Major Lance, our buddy.
00:28:04
Speaker
It's a good groove, ah nice mid-tempo beat, interesting emphasis points, great horns. I love those drums.
00:28:24
Speaker
I see.
00:28:42
Speaker
It's a dance record a la Curtis Mayfield. A bit of blues. I like the stabs on the strings. I like that, yeah, come see. And it's a trifle of a tune.
00:28:52
Speaker
It's not quite enough to be more than a middle hit, but a middle hit it is. Yeah, now this, I can hear Curtis Mayfield here. The chords and the impressions... like backing vocals.
00:29:04
Speaker
That was pretty obvious. As you mentioned, this is Curtis trying to write a dance hit for Major Lance, and we're going to see a number of dance songs on these charts, on these episodes. But for me, I didn't think it was quite as successful. I think the guitar solo was kind of average and maybe also buried in the mix a bit.
00:29:25
Speaker
And I thought, very busy arrangement. yeah I would have liked something a little more straightforward to really emphasize the rhythm, which, as you said, the drums are great. but I like the drums a lot and a nice bass line.
00:29:37
Speaker
I think it just maybe, again, with a simpler arrangement, those elements would have stood out a lot more. So a load of middling hit for me. Great vocals by Major Lance. It's a good song.
Novelty and Instrumental Song Reviews
00:29:50
Speaker
I think because you've got Riley Hampton doing the arrangement on this, I'm wondering if it's almost like, oh, we're trying out Curtis's production, but we're not sure if we'll let him have the whole 100% it.
00:30:03
Speaker
We'll get a different arranger in to do the arrangement. And I'm thinking if it wasn't Riley Hampton, who sometimes does really great arrangements, would If they'd have completely have just said to Curtis, do the lot, do the arrangement and everything, it might have been more stripped back and laid back and more nuanced if Curtis had done the whole thing, the production and the arrangement.
00:30:24
Speaker
Major Lance is kind of an odd choice to be doing a dance record, you know? Yeah, but I think this was kind of cash-in because dance records were hot at this time. We've got some great soul dance music coming up later. Yes, we do. The next song is neither great nor soul nor dance.
00:30:44
Speaker
At number 98, You're Next by Jimmy Witherspoon. Song and lyrics by Jimmy Witherspoon. Heavy, heavy ick. 40s arrangement.
00:30:55
Speaker
Clawing background singers. A lead vocal that might have worked under other circumstances, but is just a complete failure and a miss here. And then those lyrics.
00:31:07
Speaker
You're Next to Have a Broken Heart. Feels like the theme to a bad slasher movie to me. Freddie hates bad background singers. I've caught two, and now you're next.
00:31:21
Speaker
How how am I supposed to follow that? How do follow The Crusher. The Crusher. That's right.
00:31:31
Speaker
Tearing my arms. knew the thrill of all her charms now i'm just her used to be she wants you instead of me you're next you're next next to have a broken heart
00:32:09
Speaker
This is another lame attempt at trying to capture what Tony Bennett did and I Want to Be Around, that kind of kiss-off record of I want to see your heart be broken like mine, but I want to be around and Tony Bennett's performance on it were a hundred no a thousand percent better than this the song doesn't even really give jimmy witherspoon a chance to show off his vocal range i hated that sing-song quality of the chorus you're next have fun this was a miss for sure five words boring boring boring what's next
00:32:50
Speaker
Before we move on, I will mention something which is genuinely bizarre. In the 70s, Jimmy Witherspoon did a cover of Take Out Some Insurance On Me Baby, the song that the Beatles did with Tony Sheridan.
00:33:05
Speaker
It has to be heard to be believed. Wow. Okay. don't need you. You don't know me, baby.
00:33:16
Speaker
Like I know myself.
00:33:20
Speaker
I couldn't live. You should give your love to someone else. Take out some insurance on your face.
00:33:31
Speaker
Better get some insurance on your face.
00:33:45
Speaker
number 99, El Pussycat by Mongo Santa Maria. Now everybody do El Pussycat!
00:33:54
Speaker
They definitely dug into the effects library. ah Give them some credit for that. Another case. We haven't had one in a little while. Very much the Sesame Street opening. Now everybody El Pussycat.
00:34:25
Speaker
It does manage to get quite a bit better when the horns get in gear. There's a nice little bit of Latin percussion. Is out that the gyro, Martin? It sounds like a gyro to me, yes.
00:34:42
Speaker
novelty record but mongo does a good enough job on it it's not enough to be ah big hit but a low hit he's done much better than this of course we've talked about before as as part of the boogaloo genre those cat sounds some of them sounded like they were in hate or something i just really ah really didn't like that
00:35:06
Speaker
i get it it's all pussycat they're dry all cats And I just didn't find it terribly danceable even. I mean, it's a dance record, but it's just kind of repetitive with no particularly interesting solos. The horns help a bit, that's true.
00:35:22
Speaker
But I just didn't think this was the kind of record that really would get people on the floor all that much.
Johnny Rivers' 'Midnight Special' Critique
00:35:28
Speaker
So it was miss for me. Not bad instrumental that goes on for about a minute longer than it needs to.
00:35:35
Speaker
Yes. Get rid of the cat sounds and it would have been okay, but still would have needed that minute less. Good point.
00:35:44
Speaker
Marv, why don't you read the next couple and take us into the next week? Okay, so finally, at number 100 that week, we've got Baby, I'm Sorry, by The Three Degrees, which we covered in February.
00:35:56
Speaker
Then we go into the week of March 13th, number one, we've got Eight Days a Week by The Beatles. Hope you need my love, babe, just like I need you.
00:36:19
Speaker
Hey, new song by the Beatles at number one. and number one We were wondering about that because it's eight days a week replacing my girl. Why were they sending them a telegram?
00:36:34
Speaker
Who knows? yeah At number 20, our old buddy Johnny Rivers is back with yet another cover doing Midnight Special. Now if you're ever in a Houston, well you better walk right.
00:36:48
Speaker
Oh, you better not dim, old boy. I say you better not fire.
00:37:06
Speaker
Potentially found Left for midnight special
00:37:13
Speaker
I love this song, but I don't love this version. Most of the train rhythm is lost in the Johnny Rivers version, although he's not at least copying his Memphis rhythm once again.
00:37:23
Speaker
There is just no semblance of the whole train and separation and the pain of prison in his vocal. Good guitar break. And then i don't like this version of the second verse where they're talking about Miss Lucy.
00:37:38
Speaker
The whole Warden, the Sugar Land thing is better to me. Yeah, it's interesting what you were saying about his voice. That's one thing that bothered me about it, that he was trying to vary his voice a bit on this.
00:37:51
Speaker
You know, he was trying to imitate little Richard's woos at some points. But it's like he doesn't think at all about what he's singing. He doesn't even think about the subject of the song.
00:38:04
Speaker
I said, let the midnight spin
00:38:11
Speaker
Yes, it doesn't use the Memphis beat. I agree with that. But it's otherwise ah kind of a typical Johnny Rivers cover treatment. Didn't think the audience screaming and hooting, i or maybe it was the band, I don't know, during the song really worked. I don't know if they were trying to inject more life into the song, but that I thought was irritating at times.
00:38:30
Speaker
So, yes, there are way better versions than this. Oh dear. Johnny is good at what he does sometimes, but this just doesn't work for him. The voice and the song and and the music don't match at all.
00:38:47
Speaker
And another one that I suggested was, and here we go, this will give you something to laugh at. Now, imagine Tammy Wynette doing her country voice over War Pigs by Black Sabbath.
00:39:03
Speaker
And now I want somebody to send me that as a mashup. Yes, it must be done. Time to call our friend Peter Jackson again. Let's do some Mao, Peter. That's right. Then once you've got the lead vocal isolated, we can tone correct and make it all fit together.
00:39:16
Speaker
Yeah. I wouldn't let a McCartney and Beatles favorite, which Paul does at almost every soundcheck and a song that the Beatles jammed on during the Get Back sessions go by without a supercut.
Analysis of The Beach Boys and Beatles Covers
00:39:29
Speaker
So in addition to Paul with an extended talking intro and a bit of the Beatles version, some of the artists you will hear included in the supercut.
00:39:40
Speaker
r Andy Griffith, Bobby Darin, CCR, Creedence this Clearwater Revival with a hit version of Midnight Special. The original version by Dave Pistol Pete Cottrell from 1926.
00:39:55
Speaker
teen twenty six Harry Belafonte. Lonnie Donegan covered the tune on a 78 from Pi Records. That's probably the version which Paul and the Beatles learned it from.
00:40:10
Speaker
The lyrics are... fairly malleable, and the Beatles slash McCartney versions tend to match up with the Lonnie Donovan version. That is then followed by Little Richard, the Spencer Davis group, the Springfields, and Van Morrison.
00:40:28
Speaker
There might be some other ones, but that covers most of them. Guys? Yeah. Now
00:40:37
Speaker
this story. I'm on
00:40:41
Speaker
And the story goes that this train used to work past the prison. And the legend was that if the light from this train shot on you, you would be released.
00:41:10
Speaker
Marching down to the cabin, to the once-man, let the midnight space show shine a light on me.
00:41:21
Speaker
Let the midnight space show shine a ever-loving light on me. If you ever go to Houston, boy, it's better walk right.
00:41:34
Speaker
And you better not stay again And you better not fight or the sheriff will arrest you And carry you down And if the jury finds you guilty The penitentiary bound In the midnight special Shine a light on me At the midnight special Shine a several of a light on me
00:42:50
Speaker
She came to see the governor. She came to see the governor.
00:43:30
Speaker
Midnight special, yeah! Midnight special Shine a light on me Let the midnight special Shine a light on me, yeah!
00:43:45
Speaker
Midnight special Shine all over me Let the midnight special Let the midnight special Shine table of light on me
00:44:12
Speaker
Well, if you ever go to Houston Boy, you better walk right Well, you better not squabble And you better not fight That cop will arrest you He'll sure take you down Well, you can bet your bottom dollar as you jailhouse bound.
00:44:34
Speaker
Let midnight special shine your light on me. Let midnight special shine your light on me.
00:44:51
Speaker
At number 29, You Want to Dance by the Beach Boys. This record feels a bit like filler. The major deviation from the original is that whole do you, do you, do you part.
00:45:03
Speaker
And I'm not really sure that works.
00:45:38
Speaker
I like the harmonies after the break. It's fine as an album track, but not much more. Good enough guitar solo.
00:46:07
Speaker
This would be one of the first times that Brian would go all in with the studio musicians. He didn't even worry about calling in the other Beach Boys. We had Hal Blaine and Leon Russell and our friend Billy Strange on this record.
00:46:19
Speaker
I've never particularly loved this version of Do You Want a Dance? You have Dennis singing lead, and unlike the previous Beach Boys song we talked about where Brian Wilson said he was trying to pay homage to Spector and we didn't hear it, I think in this case you do hear it.
00:46:38
Speaker
The wall of sound is a bit present here, and the reverb trying to create this big sound. loud kind of sound in the background. I thought it sounded like those musicians were being double, tripled, you know, but I just felt like it just doesn't have as much life as I'd like to hear.
00:46:58
Speaker
It's an okay version. I like the harmonies, as you said, Ed. But other than that, this has always fallen a bit flat to me. It's album track. Even as a B-side, it's a bit disappointing. Exactly. It's an album track. Yep. The best thing I can say about this is it's good for a cover version on an album.
00:47:16
Speaker
not good as a single, and also al great that Dennis has finally got his first lead vocal on a Beach Boys song. Yes. All right, Marv, read the Cashbox review, and then we've got a couple more that we want you to tell us about. Okay, so Cashbox review is, The crew treats the rhythmic, romantic oldie in an infectious, neo-surfing style, complete with rapidly changing, danceable riffs.
00:47:45
Speaker
What is Neo surfing style? That's what I want to know. I know. Now we need to get a Matrix section now with Neo from Matrix suddenly going surfing, don't we? You know, with all these or the code in the background.
00:47:59
Speaker
That's right. Neo surfing. You're next. Oh, sorry. yes Wrong song.
00:48:08
Speaker
Dang it. Dang it. That's also
Vocal and Production Critiques of 60s Hits
00:48:11
Speaker
the wrong song. Number 43, Marv. but okay Number 43 is I Must Be Seeing Things by Gene Pitney, which we previously covered in the UK.
00:48:21
Speaker
That's a bit of an epic song. Number 44, we've got I Don't Want to Spall the Party by The Beatles. Yay! Yay! There's nothing for me here, so I will disappear.
00:48:35
Speaker
If she turns up while I'm gone, please let me know. but At number 51, another of our old buddies, Joe Tex is back with You Better Get It. This is a little bit less James Brown.
00:48:50
Speaker
It's a soul ballad, piano and cymbal heavy. I like the guitar, but I don't like the context of the song. One, two, three, if you don't do it, four, five, six, another woman will beat you to it.
00:49:03
Speaker
And then even more talky bits. Mm-hmm. Mm-hmm. Mm-hmm.
00:49:23
Speaker
But one, two, three, make sure when you get Four, five, six. You know what to do with it. It sounds like he's tapping on a tabletop with the drumsticks or something. He's definitely not playing a kit.
00:49:42
Speaker
Yeah, he's a great soul singer, but this song just isn't very distinctive. It does sound a little Southern soul, but I didn't like those counting lyrics you just mentioned and the bells that represent in the pre-chorus.
00:49:58
Speaker
I thought those were really unnecessary. And the preaching in the middle. Now girls, I know that there have been times that you've seen a man that you love to call your very own.
00:50:13
Speaker
But you know all the time that your best girlfriend had her heart on that same man. So you stood aside because you didn't want to hurt her in case you warned him and she lost him.
00:50:26
Speaker
But listen girls, remember the old saying that says, All is fair in love and war. And if you see a man that you want, you go on and get that man.
00:50:37
Speaker
Because let me tell you one thing. It's like he's trying to do a Salmon Burke here. i didn't think that was really necessary. i don't know if this song could have been rescued that much other than a complete rewrite of the lyrics.
00:50:49
Speaker
Yeah, the only thing I like about it is when it reverses genders at the end. you see...
00:50:58
Speaker
A woman and you want her, you had better get her.
00:51:13
Speaker
Oh, yeah. That's kind of clever. Otherwise, I agree with you. This is definitely not contemporary in any way. It's not bad, but it's at best a high meh.
00:51:24
Speaker
Yes. Marv? Yep, nice soulful number with a great vocal and some really nice instrumentation, but yes, nice. It's sort of backgroundy, and I'd listen to it, but it doesn't jump out at you that much.
00:51:38
Speaker
It's not memorable. No. Number 62, we've got the superb Tide of Waiting for You by The Kinks, which is new to the US charts, but we've spoken about that before in the UK charts.
00:51:49
Speaker
At number 66, the return of Dionne Warwick with Who Can I Turn To, which is a song we've had several versions of already. It's a great lead vocal from Dionne.
00:52:00
Speaker
Good, but not excellent backing. The piano pulls up some questionable elements, though. maybe still a touch too big. I'll rate it low and medium hit. Yeah, I love Dionne Warwick's voice on this.
00:52:14
Speaker
What a singer. She just sings it beautifully. but We've talked about vocalists who don't always think about what they're singing. Dionne does. Her phrasing is lovely here.
00:52:25
Speaker
She really considers every word. But this was produced by Bacharach and David, and I thought they went a little over the top with the arrangement here.
00:52:35
Speaker
The strings, the horns, and I think you were kind of referring to this, and the overplayed piano with the arpeggios and the flares. The questionable elements that imagine, yes. I agree.
00:53:03
Speaker
I'll go
00:53:33
Speaker
If they had paired back the arrangement, this would have been a much higher hit for me. But I would say to listen to it just to hear her beautiful, beautiful voice.
00:53:44
Speaker
How great is Dionne's vocal on this? We've heard this song before. It's the Antonia Nullian, Leslie Brickus written song from the musical. It's a decent take on the song, but it's weird because it's almost like Bacharach and David are trying to make it into a Bacharach David written song and looking at it that way what if Dion would have done that over here with ah George Martin production and arrangement or even a John Barry arrangement like the Anthony newly written Goldfinger for instance
00:54:21
Speaker
That'd be interesting.
Covering 'Apache' and Freddie and the Dreamers
00:54:23
Speaker
At number 69, Apache 65 by the Arrows featuring Davey Allen. I see no reason for this version to exist.............
00:55:01
Speaker
It's passable surf, but is mostly just an okay copy of the Shadows original. Interestingly, in the near future, Davey Allen will become known as one of the masters of the fuzz guitar.
00:55:13
Speaker
Yeah, and that's pretty much the only thing that rescues the song, that his guitar is quite good and here I love the solos, but... I said exactly what you just said. Is this cover necessary?
00:55:25
Speaker
If they had done some kind of a different take on it, that could have been interesting. But other than Davey Allen's guitar, it just sounds like a copy. And I said, why? Yeah.
00:55:37
Speaker
The Shadows version is fabulous. That's the gold standard. This is not. To me, it irritated me. I like surf music, but this just sounded really messy.
00:55:53
Speaker
Like they were trying to force a square into a round hole. All right, Kit, give us the next couple of songs. Okay, at number 71, we've got I'm Telling You Now by Freddie and the Dreamers, which we already covered on the UK side.
00:56:07
Speaker
And at number 73, Four by the Beatles. Once again, our EP. so Yes, indeed.
Musical Styles of Iketts and The Reflections
00:56:14
Speaker
Ah, ah, ah, honey, don't. I'll rock on George One-Five-Vita.
00:56:19
Speaker
Ah, ah, ah, ah,
00:56:45
Speaker
At number 79, Peaches Un-Cream by the Iquettes. you're going to hate me for this, but it reminds me a little bit of bread and butter. The harmonica is an interesting choice.
00:56:56
Speaker
Otherwise, fairly standard girl group, vocal and backing. The only thing that's unique is those ah-ah-ahs. And I do like the horns.
00:57:37
Speaker
A low hit, maybe a very low hit. Better than bread and butter. Yeah, these, of course, are the Iketts that were the backing vocalists for the Iketina Turner review.
00:57:48
Speaker
The harmonica is an interesting touch. But again, we've got that Sesame Street melody, you know, which was apparently very hot in this era. It's a bit of that.
00:58:00
Speaker
And this is like a girl group kind of song, but with a bluesier tinge. I liked it okay. It's catchy. I don't know if it's something I'd listen to repeatedly, though.
00:58:10
Speaker
couple of interesting moments with the harmonica and so forth. But other than that, yeah, I'd say, eh. It could have been better somehow, maybe in the production. I'm not sure. so you you'll go, Mary, very low hit where I went.
00:58:24
Speaker
I would say very low hit. Okay. Mm-hmm. I had completely forgotten that the backing singers did their own songs as well. Yes, I did too. Yeah, I'll stay with the majority there and just say lower hit and get on with the next song.
00:58:39
Speaker
At number 81, we've got Here They Come from All Over the Place by Jan and Dean, which we've already covered. It was in Cashbox last month. Memorable for saying that the Rolling Stones came from Liverpool.
00:58:52
Speaker
That's the one. Oh, that you yeah, yeah, yeah. Fake news. ah's right At number 83, Poor Man's Son by The Reflections.
00:59:11
Speaker
ever win.
00:59:22
Speaker
I washed my hands nearly to the bone This awesome mind never let me know
00:59:36
Speaker
Terrible record. Maybe even Tor-able record. Oh, no. no Cliche lyrics. Very weak and unmemorable lead vocal. The harmonies are just a big fail.
00:59:49
Speaker
This is absolutely miss. And despite my disinterest, we will see this again soon enough because it will show up from our friends, the Rockin' Berries.
01:00:00
Speaker
And what's with that stealing of the ooh-ah grunting from working on the chain gang? I know! That was the first thing I noticed. Like, what the heck? they have the chain sound effect as well.
01:00:11
Speaker
Yes! Exactly! man, I did not like this either. The lyrics are pretty uninspired, I think borderline silly at times. The arrangement is busy. I mean, the clanging of the hammers...
01:00:24
Speaker
Gets on your nerves after a while. The Reflections were Blue-Eyed Soul doo-wop group from Detroit. And it just really was a miss. I mean, as I said, just silly lyrics and ripoff of ah but working on The Chain Gang.
Hits and Misses of 1965's Charts
01:00:42
Speaker
1965's answer to saying to ai ah yeah, just come up with a soul number that sounds like every single other song that's come out before and see what you can come up with.
01:00:53
Speaker
At number 84, we've got Goldfinger by John Barry and his orchestra, the instrumental version from the film. Goldfinger! I knew he was going to do it. So that's followed then at 85, I Understand Just How You Feel by Freddie and the Dreamers, which we covered in the UK.
01:01:12
Speaker
At number 87, Anytime at All by Frank Sinatra. Not the Beatles song Anytime at All. ah This is a pretty good Sinatra. Of course, it's a great lead vocal.
01:01:23
Speaker
A good but not great arrangement by Ernie Freeman. Hal Blaine is on the drums. Middling hit. Wow, to have to disagree with you here. I thought this was a lower head. I thought this was C-level Sinatra. I did not like, and I love Frank Sinatra, but I didn't like his vocal approach on the song, that sliding vocal he did quite a bit.
01:01:47
Speaker
When you need new affection And you're looking for somewhere to go
01:02:22
Speaker
hated the background singers, and borderline screeching. I just thought this just wasn't a great fit for him. He's better with the standards, or at least a more memorable song than this.
01:02:34
Speaker
This was not a hit for me. So at least for this track, we flip places because I'm the one who's been dogging on Frank and you've been defending him now. Exactly. All right, Marv? I'm going completely against my usual stance on Frank as well here. Okay.
01:02:52
Speaker
Ordinary by the old Blue Eye standards itself. The only thing of any interest to me at all in this song was Al Blaine's drumming.
01:03:04
Speaker
Yeah. Now there is something interesting about the album that this came off of. The name of the album was Sinatra 65, the singer today. And it is believed that Capitol was taking advantage of both the latest Beatles album and the latest Beach Boys album.
01:03:23
Speaker
Because of course the most recent Beatles album in the States was Beatles 65. And the most recent Beach Boys record was the Beach Boys today. Smash them together and you get,
01:03:34
Speaker
The singer today.
01:03:38
Speaker
Never confirmed, but that sounds like something capital would do, you know? Yeah, to try to cap... ki I almost said capitalize. Wow. That was a bad pun. um To try to take advantage of... I'm applauding that one, actually. I think that's cool. Oh, thank you. Thank you. Yeah, that was completely unintentional.
01:03:55
Speaker
But yeah, trying to... take advantage of some of the titles by the big pop rock acts of the day, and i could see them doing that. At number 88, a much worse incidence of cashing in. This Is It by Jim Reeves.
01:04:12
Speaker
The guy's just died. You're going to issue this maudlin piece of beep.
01:04:22
Speaker
And then if you listen to the record, you've got that heavy echo on, Well, this is it. The rest of the record, typical smooth Jim Reeves sound. It's not bad, but the circumstances just ruined whatever reverb this tune might have carried.
01:04:37
Speaker
Time's run out. It's over. This is it for me. I mean, of course, it's not the fault of Jim Reeves or the team, but this just feels icky.
01:04:49
Speaker
Well, this is it. That day is here The day knew would come When you
01:05:11
Speaker
I agree. Obviously, when he recorded it, didn't know what would happen, but it just takes on such a grim tone here. It was produced by Chet Atkins, and it's that same kind of Nashville sound, smoother than what you would consider a stereotypical country sound.
01:05:30
Speaker
But I wondered if this was a leftover from previous recordings, because I didn't think this was one of Jim Reeves' best vocal performances, and he speaks half the lyrics.
01:05:42
Speaker
It's just not a strong track in any case. Piano's nice, but otherwise, i just found it boring to, as you said, mod one. It's interesting that we've all got the same sort of opinion with this.
01:05:56
Speaker
How many songs about the end did Jim actually record? There's a lot of songs that have come out after his passing that are that way inclined. Not including that awful medley we had over on the UK side. It's like the country version of emo Yes!
01:06:12
Speaker
Yep. There you go. His voice sounds like he's singing from inside the coffin as well. Yes. We've heard much better vocal performance from him. Free as a Bird has a clearer vocal than this. Yes. Yeah.
01:06:24
Speaker
This is like a first pass, oh, I'm learning the words. Right. At number 89, Land of a Thousand Dances Part 1 by The Midnighters, which we covered last month in the Cashbox chart.
01:06:39
Speaker
At number 90, interesting, it's a song called Be My Baby by Dick and Dee Dee. This is not the Ronettes tune, and we have mentioned Dick and Dee Dee before because they toured with the Stones in 1964. This tune, lukewarm surf leftovers, and then there's that whole... Yeah, yeah, yeah, yeah, yeah.
01:07:02
Speaker
Yeah, yeah, yeah, yeah, yeah. Be my little baby, yeah. Be my baby, too. I don't need nobody else.
01:07:12
Speaker
All I need is you to be my baby. Be my little baby.
01:07:33
Speaker
Are they trying to do a She Loves You there? That shout is just awful. Most of the song is just Dick and Dee Dee trading off singing Be My Baby. Miss. Yep.
01:07:44
Speaker
It begins with that same Sesame Street melody.
01:07:54
Speaker
It was written by Dick, Dick St. James. And to me, it was a cookie cutter. Let's make a dance tune. Maybe a little bit rocky in there, but mainly just a poppy dance tune. And it just was blah. I hate the falsetto.
01:08:09
Speaker
It's all over the place production-wise. I mean, at times I felt like it was this close to going off the rails. Again, just throwing everything with the kitchen sink in there.
01:08:20
Speaker
Instantly forgettable. Miss. An irritating song that just bugged me from zero to whenever the song finished. Hated, hated, hated it.
01:08:30
Speaker
Now we did find out something which is kind of interesting about Dick and Dee Dee. They too had their appearance on the Dick Van Dyke show aired 60 years ago in March 1965.
01:08:43
Speaker
nineteen sixty five Hey, perfect timing. In the episode Bupkus, we learned that Rob Petrie actually wrote a record which is becoming a hit.
01:08:54
Speaker
The song Bupkus was sung by Dick and Dee Dee. They made up a prop record which they actually show in the episode. And so what we are told is that the artist on this is the Dum Dums.
01:09:08
Speaker
They must have loved that. Yeah, nice. Yeah. The other thing about this prop record, it was on Reiner Records, which I love that. Oh, that's a nice touch. Oh, it's in Carl Reiner.
01:09:20
Speaker
Exactly. right so you know, it's cool that the record is still around. And I won't say anything about Bupkus. We all agree that ah Be My Baby by Dick and Dee Dee is a miss.
01:09:32
Speaker
Yes. Cashbox disagrees with all of us, though. They tell us this song is destined to run up the Hitzville path, a top-notch follow-up stanza.
01:09:44
Speaker
the The top side is a fast-moving, raunchy blues-tinged affair about a twosome who seem aptly suited to each other. Did we hear the same record?
01:09:55
Speaker
Raunchy blues-tinged affair? Where did the raunch or blues come into this? Agreed. Add an S to the beginning of Hitsville and you're closer. yeah That's right. number 91, I Can't Stop Thinking of You by Bobby Martin, a song written by Bobby Martin and Guy Lewis.
01:10:16
Speaker
I think we're going to have some disagreement on this. I find it a mediocre country croon. The chorus is just repurposed. I can't stop loving you. The backing and the strings just miss any real forward momentum.
Dionne Warwick's Vocal Range and Style
01:10:57
Speaker
I can't stop thinking of you Why must we be
01:11:10
Speaker
It's a miss, but it's not completely awful. What is interesting to me is that in 1970, Bobby Martin would do a cover of something. So just after the original on Abbey Road, I wanted to hate it. It's got a lot of really terrible elements.
01:11:27
Speaker
Sickly strings, weird church organ, and the backing is the up, up, and away singers. But... yeah I can't completely dismiss that one either. i won't say it's worth a listen, but if you listen to it, you won't be offended by it.
01:11:42
Speaker
Wow, that's a ringing endorsement.
01:12:12
Speaker
She has a nice voice. She had a nice, clear voice. But otherwise, there was nothing really special about it. Kind of boring. Nashville sound, but we've heard Nashville sound done better than this.
01:12:24
Speaker
This song was first introduced on the Dean Martin Show. And it won her the Cashbox Disc Jockey poll as most promising female vocalist of 1965. Well, since you mentioned Cashbox, we have a Cashbox review. don't you tell us what Cashbox said about this song?
01:12:44
Speaker
Okay. It's a dual track heartfelt romantic weeper about an unfortunate gal who can't seem to get her old beau out of her mind.
01:12:56
Speaker
Once again, an unfortunate gal. Yes, people love unfortunate gal songs, I guess. Marv. Middling hit to me personally, so I'm the one who likes it the most out of all of us.
01:13:07
Speaker
I didn't mind the musical backing. The backing singers were further up in the mix than they should have been. It would reach its peak on the Billboard charts at number 46 in the third week of April.
01:13:18
Speaker
Miss Martin released more than 30 singles in her career, eight albums. She was 25 when this came out. and sadly passed away at the relatively early age of 60 to the C word, cancer.
01:13:32
Speaker
Oh. At number 92, our old friend from the boxing ring, Ronnie Dove, is back with One Kiss for Old Time's Sake. This record, old school country schlock.
01:13:44
Speaker
The drums do help things a bit, but the tune is simply not good. It feels to me like something that Jim Reeves might have rejected. Terrible backing. And then the combination of the strings with that backing are nothing but a big miss.
01:13:58
Speaker
Yeah. When the song started, you heard that over-tatic crescendo of the strings. I thought, uh-oh. One
01:14:22
Speaker
For old times sake Could bring you back
01:14:33
Speaker
To me, it was just kind of another boring country ballad. I do like Ronnie Dove's voice. I mean, he has a nice classic country kind of sound, but the song is just nothing to write home about.
01:14:47
Speaker
As you said, would have been rejected by Jim Reeves. I think that's a good way to put it. Clichéd old hat. Yes. Old cowboy hat. Yeehaw. Yeah, 10 gallons. And not like Ringo's cowboy hat, which is really nice. It's right.
01:15:03
Speaker
At number 94, Jackie Wilson with a version of Danny Boy. Another pop version of Danny Boy. This the second one we've had. Jackie Wilson will answer the call of the pipes with Danny Boy next on Chippery, right?
01:15:17
Speaker
Right. Right.
01:15:33
Speaker
Oh, Danny Boy, the the
01:15:44
Speaker
um the
01:15:52
Speaker
Jackie Wilson in his inimitable style, but the lead vocal is really the only reason to listen to this record. The tinkly piano is nice, but everything else, primarily the horns and backing, are just window dressing.
01:16:06
Speaker
Still enough to be a low hit. I love Jackie Wilson, but I did not like this version. Yeah, but you don't like Danny Boy either. Not a big fan of Danny Boy, and I'm Irish, so I can say that. I'm not a big Danny Boy fan. You would see you.
01:16:18
Speaker
You must go and honor you.
01:16:35
Speaker
a i um from are I thought this was such a strange version. The way Jackie sang this was just so overdone. I hated when he sang line, you know, down the mountainside when he was going down. I mean, thought, what?
01:17:01
Speaker
And
01:17:20
Speaker
And then when he hits the high range on the line, come to me and start saying, oh, Danny, oh, Danny. I just thought it's almost borderline parody to me. I did not care for that.
01:17:34
Speaker
a a
01:17:46
Speaker
Now, like the piano. I like that. But also over arranged with the strings, horns, backing singers, I know. And in the horns almost sound like something out of New Orleans or something. i mean, it was just such a strange record altogether. And I just think, wow, I don't know if Jackie really wanted to do this record, but had no choice.
01:18:08
Speaker
I still find it interesting that this is the second time we've seen this in the charts. Yes, exactly. Exactly. So yeah, missed for me. And that kills me to say it because I love Jackie Wilson.
01:18:20
Speaker
Hmm. I'm doing to repeat it. I like Jackie Wilson. I don't like his voice on this. And I still don't like any version of Danny Boy. Yes. Okay, so I'm the only one who thinks that his vocal was okay, but we agree on the rest of it. The rest of the record is entirely disposable. Yes. Yeah.
Critique of Novelty and Country Songs
01:18:37
Speaker
at number 95, the flip from Dionne Warwick.
01:18:41
Speaker
You can have him. It opens with those Hawaii Five-O drums.
01:19:01
Speaker
We only wanted someone to play with, but all I wanted was a love to stay with.
01:19:12
Speaker
Good vocal from Dionne Warwick, but there's a little bit of Tina Turner in the styling. Although I don't know if it's the other way around. Tina may have been imitating Dionne. ah However, it doesn't matter because her vocal is lost in the percussion, the backing vocals.
01:19:27
Speaker
And this is peak cowbell since we mentioned SNL. More cowbell. No, no more cowbell.
01:19:48
Speaker
Boy, the drummer was really going to town on this song. The rolls and fills. I mean, it was too much. You know, Dion sings this fine, but I just felt like it didn't really suit her. She's so sophisticated. I know Bacharach and David produced this. I'm not sure if they wrote it. This just sounded like they were trying to write a song that sounds a bit more like what's on the charts.
01:20:13
Speaker
And it was so bizarre when at one point, you know, most of the music drops out except for the horns and then the drums come crashing in. I was almost startled when they came back in. i just odd record.
01:20:26
Speaker
You say that, but it's a three and a half minute record, which for the charts in 1965, that was an eternity. Yeah. And good point. Too long.
01:20:37
Speaker
That's another good point. Yep. What's with the Salvation Army style brass in the little musical interlude, then followed by military style drum on its own?
01:20:51
Speaker
Yep. It's very strange. If you took those out and pull back on all the instrumental, oh, we'll just throw this in there and this in there that doesn't go anywhere, doesn't fit with any of the song at all, then would I say passable?
01:21:07
Speaker
Not sure I'd even say passable, really. i agree. i like Dion's voice. I just find the song odd. And those bits in there make it even more odd. Loma is about how I rated it. Her voice is just enough to take us over the miss mark, but just barely. Her voice sells it, and that's all that sells it.
01:21:27
Speaker
Agreed. At number 96, one that I'm going to nominate for the worst of 1965, Ten Little Bottles by Johnny Bond.
01:21:38
Speaker
It's a song that celebrates alcoholism. Johnny Bond talking about how he obtained 10 little bottles of moonshine that his wife demands that he throw out. And then, oh, well, yeah, I started throwing it down the sink all except for one little swallow, which I drank.
01:21:58
Speaker
He continues this for each of the bottles. getting progressively drunker. And then at the end, well, us drunks don't have to attend all them dang old meetings. Dang.
01:22:09
Speaker
There you go. Dang it. Yeah, yuck. Come on, who doesn't love a fun song about getting drunk and alcoholism? It's made for a fun banger of a song.
01:22:21
Speaker
Yeah, it was clearly recorded live, and Maybe his facial expressions on as he was getting progressively drunker drunker may have been amusing. but yeah And there wasn't even singing. I mean, he was just talking, essentially, over a slow country backing.
01:22:37
Speaker
Didn't really find it funny, even like on a novelty level. It was just stupid. What's the difference between a drunk and an alcoholic?
01:22:49
Speaker
I'll tell you, us drunks don't have to attend all them dinged old meetings, you know. I want
01:23:07
Speaker
you to know one other thing. You better not say nothing against my wife, Buster. Talkie, supposedly funny, but bored me.
01:23:17
Speaker
It's possibly one of the worst songs of the 60s. look After that, we have got at number 97, Losing You by Dusty Springfield, that we covered in the yeah UK in October of 1964. All the way back wow back in October. It's it's interesting.
01:23:34
Speaker
you know We're getting many more songs which are in the charts on both sides of the pond at the same time. Yet here's a song from six months ago almost. Yeah, and then we've got a new single at number 98, Baby, The Rain Must Fall by Glenn Yarbrough.
01:23:51
Speaker
And since I'm saying this, theme song from the film with the same name. The song is possibly trying to reach epic arrangements of Jean Pitney, but doesn't get anywhere near that.
01:24:02
Speaker
ah Outstays its welcome and is bordering on the meh. I agree.
01:24:18
Speaker
Some men climb a mountain, some men swim the sea, some men fly above the sky, they are what they must be, but baby, the rain must fall.
01:24:40
Speaker
I didn't care for Glenn's voice on this. I thought his bravado was very annoying.
01:24:55
Speaker
He oversings at times very average song, not memorable. However, the arranger on this was David Gates. The Breadman.
01:25:06
Speaker
The bread man. Yep. Thankfully, the bread material was much better than this. Take it off. Since you played me, I will play you, Marv. The rain must fall. Well, then I'm going to slip and drop this record and hopefully break it
01:25:23
Speaker
That's very good.
Ian Whitcomb's Career Highlights
01:25:24
Speaker
Well done. You know, if Eddie Murphy can do Tracy Morgan in front of himself, then, you know, you can do me while we're on the same call. Number 99, we've got to find my way back home by the Nashville teams that we covered on the UK charts.
01:25:40
Speaker
And we close out Side C with a song called This Sporting Life by Ian Whitcomb and Bluesville.
01:26:13
Speaker
It's not bad backing, but I don't really like Ian Whitcomb's vocal. I agree. I did not like his voice on this. You know, he goes is almost out of tone at times.
01:26:23
Speaker
The production was really, to me, sounded very amateurish, like it was recorded in a garage by a band that's barely rehearsed. This was a big miss for me. If you want to hear a better version, listen to Brownie McGee's original version, which is actually called Sporting Life Blues.
01:26:41
Speaker
And it's just him and the guitar, and it's way better than this. Yeah. Interesting dramatic pause. Good musicians on here. Surprised by this one, because more than anything, I'm surprised that a voice that's so, how can I word this in a nice way, distinctive, is actually in the charts in 1965. Yes.
01:27:09
Speaker
Agreed. So, all right, our Beatles connection. Ian Whitcomb actually came to the States during his summer vacation in 1965, so shortly after this record, and he would appear on Shindig, Hollywood at Go-Go, and American Bandstand.
01:27:26
Speaker
He would play with the Beach Boys at the Hollywood Bowl in 1965 and tour with the Rolling Stones, the Kinks, and Sam the Sham and the Pharaohs. Sam the Sham.
01:27:39
Speaker
so So following that, he decided to extend his career as a musician. He went back to England and Brian Epstein hired him to appear on a recording of Right Said Fred by Tommy Quickly, our good old buddy Tommy Quickly.
01:27:57
Speaker
Ah, yes. That version would be produced by Brian Epstein. Oh my gosh. Wow. Produced by Brian Epstein. Wow. yeah The only other record I know Brian produced was the the Roy Storm, that copy of America. Oh, right.
01:28:15
Speaker
So the musicians chosen to back... Tommy, Jimmy Page, the Blue Flames, and Ian Whitcomb. The same Ian Whitcomb.
01:28:25
Speaker
Wow. So during this session, he either went into a Beatles session or he was hanging out with George Martin. George Martin would play him the forthcoming Beatles record, Yellow Submarine. Wow. Wow.
01:28:39
Speaker
And so Ian Whitcomb went and offended George Martin by saying, you know, don't you think it sounds a little bit like that old tune, We All Live in a Pocket Battleship?
01:28:54
Speaker
Well, you know, it's not a unicorn. yes So despite that, Ian Whitcomb would continue in the music business and he would recreate the music played on the final voyage of the um RMS Titanic.
01:29:09
Speaker
for the film Titanic. Oh, wow. Wow. ah He would win a Grammy Award in 1998 for package design and a nomination for the liner notes.
01:29:21
Speaker
Cool. Thank goodness. The other thing that Marv is going to appreciate, Whitcomb would play a big role in the revival of the ukulele as an instrument in popular British culture.
01:29:33
Speaker
Oh, thank you, buddy. Thank you. All right.
Origin of 'Toppermost of the Poppermost'
01:29:37
Speaker
That closes out. Side C. We've got two more weeks in March, which we will cover in Side D. Talk to you then.
01:29:45
Speaker
See you then. Take care, everybody.
01:30:07
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.
01:30:18
Speaker
And it's coinciding with their current advertising slogan, Toppermost of the Poppermost. I thought, they got it from someone. 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.
01:30:35
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.
01:30:50
Speaker
Toppermost of the poppermost.