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June 1965 (side B)
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More of the UK charts for 1965. Cliff, Donovn (Colours - don't forget the "U"), the next one from the Moodies, Genet Pitney and our old friend (and Band on the Run cover boy) Kenny Lynch! Support this podcast at the $6/month level on patreon to get extra content! Create your podcast today! #madeonzencastr
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Transcript
The Beatles' Morale Boosting Chant
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 didn't work properly, or the amps broke, or whatever.
00:00:19
Speaker
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-a-most or the pop-a-most. I'd say, right. And we'd all sort cheer up.
00:00:31
Speaker
I'd say, where are we going, fellas? And they go, to the top, Johnny. I'd say, where's that, fellas? And they say, to the top-a-most, to the pop-a-most. And I'd say, right. And we'd all sort of cheer on.
Introduction to Hosts and UK Charts Discussion
00:01:07
Speaker
Welcome to toppermost of the poppermost. I'm Chan. I'm Kit O'Toole. And I'm Martin Quibble. We are here for June of 1965.
Analyzing Donovan's 'Colors' and Its Folk Influence
00:01:19
Speaker
More of the British charts. We're going to pick up with the second week in June of 1965, the 3rd to the 9th of June on the UK charts.
00:01:30
Speaker
At number 10, we've got Ticket to Ride, and now Ed is going to talk about a song that I love. Aren't you, Ed? Yes. At number 32 colors by Donovan, which would move from 32 to 21 to 10 to five. We mentioned this when we had the first Donovan song. This is his followup and it is also doing quite well here on the charts.
00:01:56
Speaker
This is a bit folkier Donovan. It's a beautiful song, fairly Dylan-ish, but it's maybe a bit more of Donovan's own personality. A hit, but unlike Marv, I'm not going to rate it the highest hit.
00:02:10
Speaker
I'll have to agree with that. I'm sorry, Marv. Yeah, this is very Dylan-esque, particularly his vocal style. mean, that's not a bad thing or anything. Donovan, I like his guitar picking here, his finger picking style.
00:02:23
Speaker
I don't love the lyrics. Maybe a clearer story. The color metaphors don't always register. Yellow is the color of my truth. Love's here in the morning.
00:02:36
Speaker
And then adding the part freedom at the end.
00:03:02
Speaker
and then adding the part about freedom at the end
00:03:11
Speaker
Freedom is a word I rarely use without thinking, without thinking of the time.
Donovan's Influence on The Beatles and Unique Style
00:03:30
Speaker
That seems sort of tacked on to me. You know, it's pleasant. It's got some pretty chord changes to it. But I've got say Catch the Wind is better. I like that a lot better. So I would agree. Low hit for me. Right. So me being the one who likes this song the most. um It's funny. i thought I thought that Ed would be the one that would say that it sounds a bit Dylan-esque.
00:03:50
Speaker
Yeah. um Well, I did say that. I said it was fairly Dylan-ish. Of course, yeah. I like the vocal melody that he's got on this, and I love the chord progression that he's using and the instrumentation.
00:04:02
Speaker
I really do like Donovan overdubbing himself as well, where he's doing the acoustic guitar and then he's playing the banjo over the top. The banjo is really nicely accompanying it, as opposed to it being a carbon copy of what he's doing on the acoustic. It's playing something a bit more intricate in the background. and I've always liked this song.
00:04:20
Speaker
For a song that I do love, and I think is one of my favourites of his, yeah, the lyrics might be seen as a bit lazy, but it's almost more like train of thought lyrics. What he's come up with at the moment, and that's what goes out there to the universe, using Donovan's own words.
00:04:38
Speaker
Interesting, and hadn't thought of it that way. And I agree with the banjo. That was a nice touch. yeah And our sure you did, Don, Beatles connection, because, well, we're going to have lots and lots of these.
00:04:50
Speaker
Quote from Donovan. Well, one time I gave George two very distinct descending guitar patterns. Those became While My Guitar Gently Weeps and Later Something.
The Beach Boys and Johnny Cash on the UK Charts
00:05:04
Speaker
Unquote. Yeah, sure you did, Don.
00:05:08
Speaker
Yeah. but At number 33, Help Me Rhonda by The Beach Boys, which would move from 33 to 31 to 30 to 28. We covered this on the U.S. side.
00:05:20
Speaker
At number 35, It Ain't Me Babe by Johnny Cash, which would move from 35 to 34 to to which we also covered on the U.S. side.
00:05:31
Speaker
At number 36, Engine Engine number 9 by Roger Miller, which would move from 36 to 35 to which three,
Critique of 'Jealous Heart' by The Cadets and Eileen Reed
00:05:40
Speaker
which are... also covered on the u s side so there's three which are rolling over from the u.s side and we end out this week with a song that we haven't yet covered at number 42 jealous heart by the cadets with eileen reed this would be the only week this song would be on the charts uh i don't love eileen reed's vocal it's a bit harsh it's kind of grating the backing is fairly plain and ordinary
00:06:09
Speaker
The horns really should have been used better. The only thing that stands out to me about this record is the piano, and even that's a little bit more subdued than I'd like. That leaves me with a high meh.
00:06:21
Speaker
I have to agree. know, the backing's okay. That piano, the kind of boogie-woogie piano kind of saves it. But I felt like Eileen Reed's voice just didn't match the song. I mean, I wanted to hear vocalist that had a bit more gospel in her voice.
00:06:39
Speaker
And it's a mismatch to me. It's so hard to know he'll be.
00:06:49
Speaker
Because he had your beating jealous heart. Because he had your beating jealous heart.
00:07:07
Speaker
The song dates back to 1944, and the Cadets were an Irish show band, originally called the Corals. And Eileen Reed was, of course, it was they called it the time the girl singer. And they were very popular in Ireland.
00:07:25
Speaker
And I don't know if they had a lot of huge hits in England, but in Ireland, I mean they had some number one singles. Even with that, high meh. It's like a TV show personality type of person trying to do something to show that they are really down with the kids.
00:07:43
Speaker
Yeah, that's true. However, the occasional almost yodel puts pay to that. The music is okay, but for crying out loud, lose the warbler.
00:07:56
Speaker
She's dreadful. Where are you going to rank it, Marv? Meh. We all agree. Yeah, pretty much we all agree. We move to the third week in June, the week of June 10th to the 16th.
00:08:09
Speaker
Ticket to Ride is standing steady at number 14. At number 27, Stingray by the Shadows, which would move from number 27 to number 23 to number 19. The record? It's the Shadows.
00:08:22
Speaker
the record it's the shadows The only really unique and interesting thing about this record is that the fuzz is being used on the bass.
00:08:34
Speaker
It sounds a little bit like what we're going to get from Paul on Think for Yourself real soon now. Other than that, it's low to middle tier shadows. Repetitive with just enough panache to avoid being boring.
00:08:49
Speaker
Only the bass keeps this in the ballpark. Jaime. Yeah, I agree. I think the fuzz bass really is the real redeeming feature of the song. Certainly a different sound, and as you mentioned, very influential.
00:09:28
Speaker
It's an okay rock instrumental. I agree that, as you said, it was repetitive. I know I've said this many times on this show, but it's no Apache. So yeah, middle to high math for me. 1960, some kind of studio mishap during the recording of Marty Robbins' hit Don't Worry inspired the creation of the first fuzz pedal.
00:09:47
Speaker
Some say the fella carrying the amp in got distracted by an attractive lady and dropped it. Some say the clumsy engineer spilt his tea all over at desk and then blamed the equipment. But whatever happened that day led to Grady Martin's Dan Electro sounding like this.
00:10:07
Speaker
Okay, for those people who are fans of the puppet show, marionette show, Stingray, this is not the theme tune to that. ah It's interesting that the bass is the melodic instrument on this, I suppose, which is different.
00:10:24
Speaker
Other than that, it would work nicely as one of those songs that you listen to in the background on an album. But as an A-side single, it doesn't really work for me.
00:10:35
Speaker
And I actually found the production to be a bit muddy. Mm-hmm. I agree. Yeah, Shadow's productions usually sound better than that. You've done a bad job on this one, Norrie. Sorry. At number 28, Looking Through the Eyes of Love by Gene Pitney, which would move from 28 to 17 to 10.
00:10:54
Speaker
A Barryman Cynthia Weil song. It ends up being fairly standard Gene Pitney. The backing grows. The vocal gets bigger. It's good enough, but it's a second-rate Roy Orbison copy.
00:11:07
Speaker
Fairly low, man. looking for a cover? The Partridge family covered this song. No way. Yes, they did. Yeah. I hope it's better than this.
00:11:24
Speaker
make a dime.
00:11:44
Speaker
In the eyes of the world, being born was my first big mistake.
00:11:55
Speaker
I can't get a break. But in the eyes of my woman, I stand like a hero, a giant, a man who's as tall as can be.
00:12:11
Speaker
And if you can't see.
00:12:24
Speaker
She's looking through the eyes of love, what she looks at
00:12:37
Speaker
You will never hear me say this again. i like the Partridge Family version better. Thank crikey for that. David Cassidy did a better job singing this than Gene Pitney.
00:12:50
Speaker
i mean as i so I'm sorry, David Cassidy, Partridge Family fans, but this is a rarity to hear this from me.
00:13:01
Speaker
Oh, my woman, they're wrong. I'm a king and a lover. As strong and as brave as can be, any fool can see.
00:13:15
Speaker
Wow, the Gene Pitney version. So overdramatic. The arrangement with the swelling strings and the drums. You know, times Gene Pitney, even though he can pretty much do it, is fighting to be heard over this.
00:13:31
Speaker
And he way oversings it. It's melodramatic. i mean, his voice almost grated on me here because it was just so over the top. And I love the self-pitying lyrics, too.
00:13:43
Speaker
Being a loser and sorry he was born, but only his woman thinks he's special. Oh my gosh, get out the violins. This was a miss for me, but do check out the Partridge Family version.
00:13:54
Speaker
It's a little better. Right. And in a mission to make here, I was worried about some of my opinions about the UK for this month. And this was one of those because I think I've become well-known for the person that that says this about Gene Pitney.
00:14:11
Speaker
Oh, look, it's an epic again. I'll admit, I feel it's over the top. The almost staccato styling of his voice grated me. And i really did not like the song at all.
00:14:25
Speaker
It might even go below a meh. Yep. So you're going to rate it a miss. I'm going to rate it a wish this didn't exist. oh at number 32, the new one from cliff on my word, which would move from 32 to 31 to It's got that train rhythm going a pretty good cliff vocal.
00:14:50
Speaker
The break it they say, and the horns work pretty well. And the backing is pretty good. They say I'm the cheatin' kind They say Lookin' close you'll find someone new Some someone new deep in my heart But don't believe them, cause I know That deep inside they love you too, honey
00:15:21
Speaker
On my word, there will never be anyone but you, child. It's somewhat cliche and probably could have been trimmed by about 30 to 45 seconds, but that's okay.
00:15:35
Speaker
A low to moderate hit. Wow, once again, ah low to moderate hit for me as well. I definitely hear the Elvis influence here, and at first I thought, wow, that sure sounds like Elvis. Well, no kidding. He recorded this in Nashville with the Jordan Ayers as his backing vocalist.
00:15:51
Speaker
So I thought, oh. ah We talked about Cliff recording in the States. Exactly. So, yep, so this this was recorded in Nashville as part of that. I think you know it's nice that he explores his lower register here.
00:16:03
Speaker
And nice piano. I do like the piano on this. So as you said, not the best song. It's a little cliché. And by the way, it was originally written and released by Chip Taylor, who I think we've encountered on this show, as a single in April 1964. I'm not insane about the song, but I think he does a good job of singing it. I like the Jordanaires.
00:16:26
Speaker
Nicely recorded. yeah low to medium hit. Lower hit, I suppose. i wouldn't go out of my way to ever hear this again. i just found it bordering on bland.
00:16:39
Speaker
So you like it a little bit less than Kit and I do. do. We don't love Love It. Yeah, I don't love it. but yeah Good enough. At number 33, From the Bottom of My Heart by The Moody Blues, which would move from 33 to 29 to Denny Lane song.
00:16:54
Speaker
it's a pendered any lane song The producer was Denny Cordell. It's not a great song. The record is slow and kind of draggy, but I do like those backing vocals.
00:17:06
Speaker
Oh, I really do. Oh, I really do love you.
00:17:16
Speaker
I really do love you, babe. Yeah, I really do love you. Yeah.
00:17:53
Speaker
Is that Yoko or is that Denny in the fate of this record? Ooh, harsh. Hi, man, but I do like pieces of it.
00:18:04
Speaker
Yeah, this was a weird song for me. It's another one that was kind of all over the place. Wanted to be, you know, blues, pop, even a little country. Kind of went all over the place. I thought the arrangement was too busy.
00:18:18
Speaker
Just doesn't know what kind of song it wants to be. The lead vocal is fine, except, as you just pointed out, Ed, that end, what was that? Yeah. ah That was not good.
00:18:29
Speaker
Maybe low meh if I'm being generous, but probably more of a mess. Yeah, really didn't do anything for me. Denny and the guys, for the most part, do well with the vocals.
00:18:41
Speaker
The mood and the song just wasn't interesting. The outro thing, that doesn't really work very well there, Denny, but it would work a few years later when he does his solo single, Catherine's Wheel, and he puts those high bits in. It works there, but not in this.
00:18:58
Speaker
At number 36, My Child by Connie Francis, which would move from 36 to 31 to 26. A song by Don Black and Vic Lewis. We're going to see some different Connie Francis over on the U.S. side.
00:19:11
Speaker
This record, the big horn intro is just completely unnecessary.
00:19:35
Speaker
I'll build a better life for my child
00:19:50
Speaker
I would have started with the tremendous lead vocal. The strings don't help things. They're sappy and they're syrupy. Hi, man.
00:20:00
Speaker
Yeah, as listeners of the show know, and you guys know, I'm not a big Connie Francis fan, but I will say her vocal on this was strong. She sang this quite well, but the strings and the backing singers just ruin it.
00:20:15
Speaker
Absolutely ruined it for me. Way overdramatic. Maybe this could have worked with a pared down arrangement, but the song itself isn't that memorable. Shirley Bassey recorded this in 1964, but it wasn't released until later, I believe.
00:20:31
Speaker
Yeah, it was not released until a CD of hers in 1994. Yep. I just thought, over the top, the only thing that saves it is Connie's lead vocal. Yeah, hi, meh.
00:20:42
Speaker
ah Yeah, the Bassey arrangement is much better. I don't know if it's George Martin who did it, but while I still don't love the Bassey record, I do prefer that version to this one.
00:20:54
Speaker
Tears won't fall from the eyes of my child.
00:21:07
Speaker
cry. No one will break the heart of my child.
00:21:22
Speaker
as I, spending endless days.
00:21:39
Speaker
I think this is a really good song that's been wasted by a bad arrangement that gets in the way of Connie's voice. And that's as much as I'm going to say, really, except for I wonder why that version by Shirley never came out.
00:21:55
Speaker
That's weird. I think she probably just didn't like it as a single. maybe Maybe. And then for whatever reason, it just never ended up as an album track. So. We're remembering the life of the trailblazing Pretty Little Baby singer Connie Francis who passed away overnight.
00:22:09
Speaker
I submit that we might not be enjoying Taylor Swift or Beyonce if it wasn't for Connie Francis, the first woman in history to have a number one on the Billboard Top 100 and the first woman to have three number one hits on that chart. Somebody's Fool, we were just celebrating Connie Francis' all those amazing songs, Stupid Cupid. We were just celebrating her legacy in 1962, Pretty Little Baby came out, and it made a comeback on TikTok.
00:22:34
Speaker
That song has been featured tens of millions of videos in just 2025 alone. Connie reacted to her song going viral saying, to think that a song that I recorded in 63 years ago is captivating new generations of audiences is truly overwhelming for me.
00:22:50
Speaker
Connie Francis was 87. years old. So glad she got to experience that last moment. Me too. Sold hundreds of millions of albums. yeah Before anybody. anybody yeah There wasn't a female pop star on the number one charts before her. And then we're talking about the 1960s.
00:23:06
Speaker
Right. Wow. Because you can only imagine what she went through. Right. 50s and 60s, her time. What a legacy. All right. Thank you for that, Sam. At number 40, Back in My Arms Again by the Supremes, which would move from 40 to 46, then back to 40, which we covered on the U.S. side.
00:23:22
Speaker
At number 50, Strong Love by the Spencer Davis Group, which would be out of the charts the next week, then come back in for one more week at number 44. It's a good record, not a great one.
00:23:35
Speaker
I like the lick, even though it is a copy of Rock Around the Clock.
00:23:41
Speaker
A really nice lead vocal. The call and response backing good. Ever so slightly gospel. Low hit.
00:23:53
Speaker
up and i just made it that and yeah a really nice lead vocal the call and response backing is good ever so slightly gospel low hit Yeah, I didn't like this.
00:24:08
Speaker
little bit by the numbers kind of rock and roll. I thought the bongos were really overplayed. Steve Winwood, I felt like, you know, he's kind of underused here. You know, you were waiting for him to really let loose, and he never really does.
00:24:22
Speaker
Also, scatting is definitely not his forte. I just found it surprisingly boring. I mean, I was really excited when I saw another Spencer Davis group song, but I just thought, hi, meh for me.
00:24:35
Speaker
yeah Yeah, and it is just too close to rock around the clock. Yeah, yeah and that's what I mean by you know kind of standard by-the-numbers rock and roll. I mean, yeah, exactly. Cover version of a song by the American group The Malibus, written by Mary Brown, Don Raby, and eddie Silvers. Steve Winwood's voice is okay. Spencer does a, I'm going to say it again, okay guitar solo, not really anything to write home about or anything, but otherwise it's just nothing special.
00:25:05
Speaker
We move on to the next week, the week of the 17th to the 23rd of June. At number 32 is Heartful of Soul by the Yardbirds, which would move to number 20.
00:25:17
Speaker
It's another Graham Goldman song. Jeff Beck had replaced Eric Clapton in the Yardbirds by this point. If you've ever heard the demo, the original version of this song, it featured a sitar.
00:25:30
Speaker
Mm-hmm. Mm-hmm.
00:25:40
Speaker
Beck claims that this was a gimmick and they were just trying to ape the harpsichord thing on For Your Love, but it sounds intentional to me. And if it were ah only a gimmick, why did they go with the tablas?
00:25:53
Speaker
Yeah. Yeah. However, the Yardbirds didn't have George Martin, so they couldn't get the Indian sound, assuming that's actually what they wanted. So they would re-record it with Beck and the Fuzz Box, giving us this version of the record.
00:26:24
Speaker
Deep in dark despair, I'm thinking one thought only Where is she, tell me when And if she says to you, she don't love me Just give her my message, tell her of my plea You can very much see the coming of 10cc as we have previously commented on with the Yardbirds.
00:26:53
Speaker
A slight drone, a nice change in tempo, better performance than For Your Love, great lead vocal, and that rhythm is almost Lennon-esque in its acoustic strum.
00:27:06
Speaker
A great record, big hit. Absolutely. This is another song, as we talked about earlier, is with The Who, that points the way to the future. This is more psychedelic rock, but certainly not exactly like The Who.
00:27:22
Speaker
Beck's guitar work on this, he later said he was trying to sort of imitate the future. a sitar on his guitar. Jeff, you're kind of thrown into this amazing scene in a band, the Yardbirds, that just seem to have an endless stream of hit records. There's one I just want to talk about, and that's Heart Full of Soul.
00:27:38
Speaker
You really push the envelope when it comes to different sounds and and using music from different genres. And I believe that one of the ideas was possibly to get a sitar player. Yeah, they had this sitar player in there.
00:27:51
Speaker
and they they asked him to play a 4-4 time. they did o did And he wasn't getting it, it was like some sort of 21 and 3 quarters time signature. And I got the octave, the G octave, and then played. And I said, why the hell have we got him here? I can play that.
00:28:27
Speaker
I think he was a rock pioneer from day one. He was doing stuff that didn't exist. i can't do it properly on this one. The figure is this. Oh, oh, oh, oh, oh
00:29:05
Speaker
that sound. That is one of the most distinctive guitar solos. The riff is just incredible. Love the unusual harmonies, you know, when they're singing the title phrase.
00:29:16
Speaker
I love how it goes into double time. And I know if she had me back again Well, I would never make her sad I got a heart
00:29:46
Speaker
I love Keith Rafe's vocals here. He has almost this lazy kind of sound at lingering over some notes. Kind of a cross between lazy with maybe a little snark.
00:29:58
Speaker
And it's just perfect for this song. As you said, just a great Graham Goldman composition here. And this has been cited as an early version of Raga Rock, which was rock combining elements of Indian music. Huge hit.
00:30:13
Speaker
Groundbreaking record. Yep, absolutely. Lovely lead guitar by Jeff Beck that sounds like sitar, which has already been mentioned. It's the first single that was released by the Yardbirds after Jeff Beck had replaced Eric Clapton.
00:30:27
Speaker
Great vocals, really well written by Graham Goldman. I wonder, Kit, do you think that it sounds better than For Your Love? Because Beck was...
00:30:38
Speaker
really wanting to do this song and he he felt enthused to do this whereas with For Your Love Clapton wasn't happy about almost being forced to record that side to the saying that he didn't like doing that song I think so. Jeff Beck put a great amount of work in his solo, as we've said, to make it sound like a sitar.
00:30:58
Speaker
And don't get me wrong, i love For Your Love, but Heartful Soul just seems like a step forward. It's a bit more futuristic kind of sounding in terms of you know foreshadowing, as I mentioned, Psychedelic Rock, Summer Love. And I think it does have that difference now, and maybe it is because Jeff Beck was 100% invested in this.
00:31:20
Speaker
invested in this you know And separate from that, Jeff Beck was just a better pop guitar player than Eric Clapton. Eric Clapton has a lot of skills, but not only does he not want to do it, I think he is certainly less talented at doing pop leads.
00:31:35
Speaker
Mm-hmm. I think Eric got better later. At this point, Eric had this very much blues-centric thing going on with him. But then when he got to like the 1980s and you had things like the August album and that, I think his pop guitar work was a bit better than it was in the nineteen sixty s That's probably true, and then you also have years of being buddies with George Harrison in there, too. so Yeah, that's true. That's true. And he was definitely in his blues purist phase here. I mean, that's, course, why he left the Yardbirds, because he thought they were too poppy.
00:32:10
Speaker
There are a ton of cover versions of this song over the years. Gary Lewis and the Playboys, Chris Isaac, great version by Chris Isaac.
00:32:20
Speaker
That's lovely that one. The Zarkons, Paul Gilbert of Mr. Big, the guitarist for Mr. Big. He did that. LA Guns have done it. Graham Goldman did a really nice version on his 2000 album, self-titled, I think that was. Rush did a cover version of it on their cover album. Loads of different versions of this. If you want to try and check them all out, they're ones that i think you'd enjoy.
00:32:44
Speaker
At number 36, I'll Stay By You by Kenny Lynch, which would move from number 36 to number 29. It's nice, but it's not a great vocal.
00:32:55
Speaker
It sounds a little like a predecessor of Reach Out, particularly the horns. Nice drums. I like it, but I don't love it. Low hit. I agree. Not the best vocal we've heard from Kenny.
00:33:06
Speaker
Lyrics were pretty trite. and I could almost predict the next line and the next rhyme. and
00:33:14
Speaker
You may find that someone else's arms will thrill you for a little time.
00:33:23
Speaker
You may hear some pretty words of love, but they won't be as true as mine. Darling, I'm
00:33:33
Speaker
stay by you. I will never be the one to break your heart. I'll stay by you.
00:33:45
Speaker
Nothing's gonna keep us apart. I'll never be the one to break your heart. I'll stay by you. Nothing's going to keep us apart. Pretty standard stuff.
00:33:56
Speaker
There may be a germ of a good song here in terms of the chord changes and so forth, but the lyrics needed some work to eliminate some of those cliches and another run at the lead vocal. So I would say it's a high meh for me.
00:34:12
Speaker
Yeah, I would go there. High Mare, maybe luck low hit. Maybe it's a push. The arrangement is basic. The lyrics could have been done with a bit of a clean-up.
00:34:25
Speaker
And I hate say this about Kenny's voice, but it's almost like it's sticking to one single range. It's not going anywhere else. It's just stuck in that one vocal area all the way through the song. There's no variation there.
00:34:39
Speaker
Yeah, that's true. I can see that. At number 37, she's about move her by the Sir Douglas Quintet, which moved from 36 to 27, which we covered in the U.S. I guess the British had no question about this not being a British invasion group.
00:34:55
Speaker
Right. At number 38, Mr. Tambourine Man by The Birds, which would move from 38 to 33. thirty three We covered that in the U.S. and had a supercut of it.
00:35:06
Speaker
At number 40, Maggie's Farm by Bob Dylan, which would move from 40 to 35. We just covered the Solomon Burke B-side that he did of it, right? i think so, yeah.
00:35:19
Speaker
This record, Dylan Blues, it was recorded in one take. Guitar, vocal, and harmonica. There are a lot of interesting interpretations of the lyrics. My favorite being that this is a song of rebellion from Dylan against the record company.
00:35:34
Speaker
Yes. Still, it's a big hit. And historically, this song is notable because it is this song on which Dylan chose to go electric at Newport.
00:35:46
Speaker
And we all know what the reaction was. what Judas. Yes, exactly. We're talking to Pete Seeger. And on this allmusic.com bio of you, it says, Pete Seeger's adherence to the sanctity of folk music came to a boiling point with the advent of folk rock. And it's long been rumored that he tried to pull the plug on Bob Dylan's very electrified set with the Paul Butterfield Blues Band in 1965. Is that true
00:36:17
Speaker
no It's true that I don't play electrified instruments. I don't know how to. On the other hand, I've played with people who play them beautifully, and I admire some of them.
00:36:30
Speaker
Howling Wolf was using electrified instruments at Newport just the day before. bob did. But I was furious that the sound was so distorted you could not understand a word that he was singing.
00:36:42
Speaker
He was singing a great song, Maggie's Farm, a great song, but you couldn't understand it. And I ran over to the sound and said, fix the sound so you can understand him. And they hollered back, no, this is the way they want it.
00:36:55
Speaker
I don't know who they was. But ah I was so mad, I said, damn, if I had an ax, I'd cut the cable right down. I really was that mad. ah But I wasn't against Bob going electric. Matter of fact, some of Bob's songs are still ah my favorites.
00:37:13
Speaker
What an artist he is. What a great, I'd say maybe, He and Woody and Buffy St. Marie and Joni Mitchell and Malvina Reynolds are the greatest songwriters of the 20th century.
00:37:25
Speaker
Even though Irving Boleyn made the most money, they they wrote songs that were trying to help us understand where we are, what we gotta do.
00:37:39
Speaker
Still are writing them. This is one of my favorite Bob Dylan songs. I love Maggie's Farm. This continues his fusion of rock, pop, and folk. It's all there.
00:37:51
Speaker
i love his voice on this. He is suitably pissed off. and and You can hear it. It's his version of the blues because it's really ah standard blues construction. Yes, 12 bar.
00:38:04
Speaker
Exactly. And lyrics, you know he repeats the opening line of each verse and then goes into... Third to fifth lines of each verse ah expand on the sentiment expressed in the first. I mean, it's typical blues construction, but this is Dylan's blue. Some of the lines in this, some of them are funny.
00:38:24
Speaker
And some of them, of course, are just, well, he puts a cigar out in your face just for kicks. Another one that made me chuckle toward the end, but I ain't going to work for Maggie's mom no more.
00:38:37
Speaker
Everyone says she's the brains behind Pa. She's 68, but she says she's 54. I mean, you know, come on. No, I ain't gonna work for Maggie's mom no more.
00:38:55
Speaker
Well, she talks to all the servants about men and God-in-law. Everybody says she's the brains behind Pa.
00:39:06
Speaker
She's 68, but she says she's 54.
00:39:23
Speaker
Only Dylan could write these kind of lyrics. ah High hit. Can't say enough about it. I love that you've said that because as somebody who is a big fan of Dylan, it's irritating to me when people say that he's not got a sense of humor.
00:39:38
Speaker
And there is humor throughout his entire discography everywhere, all over the place. It's got a great sneering vocal by Bob on this with a marvelous musical backing.
00:39:51
Speaker
It's produced wonderfully by Tom Wilson. And I'll just call out Bobby Gregg's drums are fabulous. Yes. Agreed. At number 42, Someone's Taken Maria Away by Adam Faith, which would move from number 42 to number 50.
00:40:08
Speaker
Nice guitar intro. Adam's vocal is only so-so. The backing vocals sound kind of hollow. I like the piano, but the song itself is more than a little cliche. Almost sounds like lesser Tony Orlando to me.
00:40:23
Speaker
Meh. This song was written as a pastiche of Bacharach and David mixed with concrete and clay. And you know, I can hear that. This would become Adam Face's final UK Top 40, although we will see him once more in the charts.
00:40:40
Speaker
And he is pictured with the Beatles on the set of Ready, Steady, Go from April the 17th, 1965. That makes a lot of sense, really puts into context that you said this was his final UK Top 40 hit.
00:40:54
Speaker
Because I'll tell you, i don't know if you guys felt this way, but when you listen to Heartful of Soul, Maggie's Farm, The Who, and then you listen to this, you think Adam Faith was behind the times.
00:41:15
Speaker
How we laughed in the rain Moments so sweet Will I find them again? I can't say just how much I miss Her lips being there to kiss Someone's taken Maria away Somebody's taken Maria away
00:41:41
Speaker
She won't come back no more. No, no, no, no. This is kind of ah remnant of early 60s kind of sound. The lyrics are predictable. Once again, you can almost predict the next line.
00:41:56
Speaker
It has a slight Latin feel, a bit like Save the Last Dance for me. I can hear a little in terms of the beat. Man and Faith sings it fine, but the song is just so cliched and just sounds so passe now.
00:42:09
Speaker
Nothing new. Throwback to previous sounds and not in a positive way. Meh. one I like the mention of Tony Orlando, by the way, because I was thinking of the Maria, the use of the name Maria.
00:42:21
Speaker
When you said that, yeah, it's better than some other songs that we've had from him recently. But that's not saying very much because those songs were the lowest bar. And this is a slightly higher bar that's still low.
00:42:33
Speaker
Not good enough for me to actually care about it. Ouch.
00:42:39
Speaker
Again, we all agree. Yes. At number 43, Leave a Little Love by Lulu, which would move from 43 to 25. ah guitar and drums intro and a good vocal from Lulu. Nice use of the echo.
00:42:54
Speaker
Tasteful backing singers. But I've got to take a few points off because it's not the best song. Leaving this record is only a low to moderate hit. Once again, we agree. low hit for me.
00:43:05
Speaker
it was written by Reed and Robin Conrad, and the latter wrote a song we've talked about before, Walking Tall. Yeah, I definitely think some of the chord changes, it's like they're trying to do their own version of Bacharach David. I do like Lulu's vocals on this.
00:43:22
Speaker
They're strong and flawless, and you can really hear how influenced she was by R&B, the real soulfulness.
00:43:55
Speaker
I like the drums, but otherwise it's just not a memorable song overall, as you said. Not a top tier kind of song, so low hit. Yep. Lulu's voice is strong as always, but the song still doesn't do enough for me to want to listen to it again.
00:44:12
Speaker
Yep. At number 44, Goodbye! by Peter Cook and Dudley Moore, which would move from 44 to 37. It's a comedy disc.
00:44:24
Speaker
we' meet We'll meet again some sunny day. is the time to whirl.
00:44:54
Speaker
ftertoto photototo Dudley Moore is on the piano. It's serious, but it's got an intentionally screechy pop talky vocal outro from Cook.
00:45:05
Speaker
I'm really not sure what I think of this record. You can definitely see how this is the roots of Monty Python, and that may be the best way to view it. Low hit? I don't know. I guess it was written by Dudley Moore and the accompaniment lists the Dudley Moore trio. I'm not sure if this is making fun of Music Hall or... It has to be.
00:45:26
Speaker
The farewell song, you know good night everybody, thanks for the memories kind of thing. There were some funny lines. I love describing Shakespeare as bold but sexy.
00:45:38
Speaker
I've never heard that before. ah Hey, Shakespeare is really pretty sexy if you read I guess so. I never thought of him as being sexy, but, you know, hey, what do I know?
00:45:49
Speaker
Next week on Musical Psychosis, Ed will tell us all about his love of Shakespeare. That's right. I want to know why he's sexy. But hey, you know, well, Shakespeare in love. go read his short form poetry.
00:46:05
Speaker
yeah yeah I'll give you that one. Yeah. Okay. So yeah, I think this would have worked better on the stage rather than just listening to it. Seeing them perform, it would have been funnier.
00:46:16
Speaker
And so, yeah, I'd say low, maybe low hit. And there are videos of them performing it. Look at the comedy we've had before and the comedy that's after. This is very much in the same forward-looking style as the pop records are.
00:46:30
Speaker
Mm-hmm. Yeah. The thing is that Dudley was a really accomplished pianist and composer. Yes, he was. Louise said that she isn't a big fan of comedy songs anyway, so this song was irritating to Louise.
00:46:46
Speaker
To me, i can hear some Goon's inspiration here for sure. Yeah. I liked it when I was younger, and it sort of makes me smile at times now, but only if it's in the background and I'm doing something else, because ah think ah got a bit irritated with it now, and it's the first time I've heard it for years and years.
00:47:07
Speaker
I wish it didn't irritate me, because I had nice memories of this until we listened to it again. Sure. And I will mention the film Bedazzled. Well, Peter Cook and Dudley Moore, that's a great film.
00:47:18
Speaker
Don't go looking for the latter-day copy. And there's a very funny segment, which is quasi-Hard Day's Night-ish. The devil gives them their wishes, and one of their wishes is to become Beatle-esque pop stars.
00:47:33
Speaker
At number 47, Just a Little Bit Too Late by Wayne Fontana and the Mindbenders, which moved from 47 to 38. We're not going to cover it here because we feel like covering it on the U.S. side. Don't ask us why.
00:47:46
Speaker
Yes, that was the other Clint Ballard Jr. song, by the way, that I mentioned we'll be talking about. Ah! We move to the final week in June, and even though we've already mentioned these, I just want to read this top five because it doesn't sound like a top five from 1965, much less the middle of 1965.
00:48:06
Speaker
At number one is Crying in the Chapel by Elvis. At number two is The Price of Love by the Everly Brothers. At number three... Long Live Love by Sandy Shaw.
00:48:17
Speaker
And then the first, which kind of sounds like it belongs here, that number four, I'm Alive by the Hollies. And number five, Furt Bacharach's version of Trains and Boats and Planes.
00:48:29
Speaker
At number 24 is Ticket to Ride. at number 45, Tossing and Turning by the Ivy League. Nice harmonies. Slightly in the Four Seasons mode. More than a little bit of Frankie Valli.
00:48:44
Speaker
and a touch of Beatles backing. The tune is kind of simple. I like the break where it goes a little bit rockier. Low hit. First of all, this is not to be confused with Tossin' and Turnin' by Bobby Lewis. This is a tossing and turning. They're two entirely different songs. Although some of it does sound a bit like tossin' and turnin', particularly in the chorus and in some of the lyrics, but again, completely different.
00:49:22
Speaker
Was really holding you tight? Did I really kiss you goodnight? Toss in and turn in.
00:49:33
Speaker
I'm toss in and turn in all night. What you gonna do at night? Nobody to hold you tight.
00:49:49
Speaker
I like the three-part harmonies, which, of course, was the Ivy League specialty. But the song itself, I just didn't find that interesting. But for the vocals, I would maybe give it a low hit.
00:50:01
Speaker
In agreement, again, the vocals are really good because it's the Ivy League, and there's a reason why they get called in to do sessions as backing singers for people because it's got great voices. But other than that, I thought low hit to high meh.
00:50:17
Speaker
At number 47, To Know You Is To Love You by Peter and Gordon. This is indeed the Spectre Teddy Bears tune, To Know Her Is To Love Her, and I don't know why they went with the altered version of the lyrics. Yes.
00:50:53
Speaker
is to love love love you just to see you smile
00:51:03
Speaker
worthwhile John Lennon loved this song, but this is not the strongest version of it. Good harmonies, as you'd expect from Peter and Gordon, but they end up being swallowed up by these swirling strings, and the needed intensity in the lead vocal really isn't there.
00:51:20
Speaker
I like some of it, but the record itself is only a high meh. Yeah, this was really disappointing to me because when I saw that it was Peter and Gordon covering this, I thought, oh, they have such great harmonies. This should be good.
00:51:31
Speaker
But it just was ruined by that over-arrangement. There are times, as you said, trying to fight against it. I want to hear their voices at the forefront rather than the strings and bass drums.
00:51:44
Speaker
I didn't like the new arrangement of the And I Do part.
00:51:52
Speaker
Is to love, love, love you And I do Yes, do Yes, do
00:52:05
Speaker
I would love to hear them do this kind of like the Everly Brothers, like some of their you know records, like All i Have to Do is Dream. And so I think that would have been a much better record. I actually think the Beatles version they did during the Deco auditions is a little better than this in terms of the arrangement.
00:52:25
Speaker
I mean, that's more minimal, and I wish they had done that here. So maybe high meh. Wow, this is the other one where I thought I was going to be the odd one out, but I am not.
00:52:37
Speaker
All right. How many versions of this song are there? We've got a supercut coming here, Marv, and not because of the Peter and Gordon record, which we did with that Buddy Holly number too, but just because of the song.
00:52:49
Speaker
Absolutely, yeah. If this had had a more stripped-back arrangement to allow Peter and Gordon's vocals to shine through... then it would have been better. But this was so overdone that if it was a fried egg, I would throw it in the bin because it would be inedible.
00:53:11
Speaker
I like that. You're going with meh? I'm joining the meh team. And so as mentioned, we are indeed going to do a super cut of this song because of the song, not because of the Peter and Gordon version of it.
00:53:22
Speaker
Some of the versions you will hear include the original by the teddy bears. Again, not because of Phil Spector. Well, at least a little bit because of Phil Spector, but the Beatles version from the Deca audition, the Lennon version from the rock and roll sessions, and nancy sinatra covered this o the shirelles covered it wow leslie gore covered it cilla black covered it gary glitter covered it what
00:53:52
Speaker
what david bromberg covered it David Bromberg, someone we just talked about over on the Fab side not too long ago because he and George would work together. He was actually a Dylan compatriot.
00:54:06
Speaker
well A really nice version featuring Dolly Parton, Emmylou Harris, and Linda Ronstadt. Amy Winehouse covered this song.
00:54:17
Speaker
And then somewhere in there, we'll try and find space for Bambi Kino, which is a quasi Hamburg Beatles cover band, but they also do other things. Their version is pretty cool and not just a straight copy of the DECA audition.
00:54:31
Speaker
Cool. Cool. Nice.
00:54:37
Speaker
To know, know, know him Is to love, love, love him Just to see him smile Makes my life worthwhile To know, know, know him Is to love, love, love you And I do, and I do, and I do
00:55:19
Speaker
come day when I'll alongside of know, know her. her. And and and do, and I and do, and do, I and do, I do, and do, and and I do, and and do, and do, and do, and and do, do, do, do, and do, and do, and and and do, and and do, and do, and do, and and and and and do, do, and and and do, do, and do, and do, and and do, and I do, and do, and do, I do, and I do, do, and do, and do, and do, and do, I and do, and do, do, and do, and and and do, do, and I do, do, and do, and do, and do, and I do, and and do
00:56:53
Speaker
Is to love, love, love Him Just to see Him smile Makes my life worthwhile To know, know, know Him Is to love, love, love Him And I do
00:57:59
Speaker
makes my life worthwhile to know know her is to love love love her and i do and i do and i do and i do and i do and i do and i do and i do and i do and i do and i do and do and i do and i do and i do and i do
00:58:31
Speaker
We finish out this week with Wooly Bully by Sam the Sham and the Pharaohs, which we covered over on the U.S. side. So we will be back soon with June on the Billboard charts.
00:58:48
Speaker
Talk to you then. See you then. Take care, everybody.
00:59:09
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 and it's coinciding with their current advertising slogan, Toppermost of the Poppermost.
00:59:27
Speaker
I 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.
00:59:38
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.
00:59:53
Speaker
Topper most of the popper most.