I grew up with a Lovin’ Spoonful Greatest Hits album. Like The Rascals (or Young Rascals) they were primarily a singles band more known for their hits than their albums.
This song was written by John Sebastian. He said he was influenced by a pair of sisters he met at a summer camp where he was a counselor. Neither sister was interested in Sebastian, even though he taught himself the autoharp in an attempt to impress them.
The song did very well peaking at #2 on the Billboard 100, #6 in Canada, and #5 in New Zealand in 1966. A good song by the Lovin’ Spoonful who had a string of hits in the sixties. They had a short window…1966-1969 but they had 14 songs in the Billboard 100. 1 number one and 7 top ten hits.
Their songs are grounded in folk, jug music, and blues. I don’t know if it is possible to be in a bad mood while listening to them. They are now staples on oldies radio stations.
Zal Yanovsky left in 1967 after being dissatisfied with John’s more personal songwriting and a pot conviction. John Sebastion left the group on 1968 and with him gone the hits dried up.
A fun band to listen to. You won’t hear rock operas or rocking solos but you will hear a band that sounds like they are having a good time.
They reunited once in 1979 and for their Rock and Roll Hall of Fame induction in 2000.
As the ’60s drew to a close, The Lovin’ Spoonful disbanded and Sebastian started working on a variety of projects. He wrote music for the Care Bear series, published children’s books, made harmonica instruction videos, and, wrote the theme song to the TV show Welcome Back, Kotter, which was a #1 hit.
Did You Ever Have to Make Up Your Mind?
Did you ever have to make up your mind?
And pick up on one and leave the other behind?
It’s not often easy and not often kind
Did you ever have to make up your mind?
Did you ever have to finally decide?
And say yes, to one and let the other one ride?
There’s so many changes and tears you must hide
Did you ever have to finally decide?
Sometimes there’s one with big blue eyes, cute as a bunny
With hair down to here, and plenty of money
And just when you think she’s that one in the world
Your heart gets stolen by some mousy little girl
And then you know you’d better make up your mind
And pick up on one and leave the other behind
It’s not often easy and not often kind
Did you ever have to make up your mind?
Sometimes you really dig a girl the moment you kiss her
And then you get distracted by her older sister
When in walks her father and takes you in line
And says, “Better go on home, son, and make up your mind”
Then you bet you’d better finally decide
And say yes to one and let the other one ride
There’s so many changes and tears you must hide
Did you ever have to finally decide?
This is the first song America heard on February 9, 1964, on the Ed Sullivan Show.
I love this song for one big reason. John Lennon plays a hell of a rhythm in the background. He makes it sound so deceptively easy but it’s not. I need to start focusing on some of their earlier music instead of just their late sixties tracks. I have some readers that just like their early stuff and others who like just the mid or later. I love both because it’s the same band… early, middle, or late… both have great melodies but just different tones of instruments.
What is great about the early part is their harmonies. When I played in a band we didn’t do many Beatles songs although they were being requested. If we did we did a later song like Get Back without those harmonies. It takes a band with 2 or better yet 3 singers who can do those harmonies. Not easy to do when you are teen playing instruments at the same time. We stuck with Rolling Stones and CCR songs without the complicated harmonies. Now we couldn’t do I Am The Walrus either because of the craziness of the instruments.
This song was on the first Beatles album I listened to…the American version of With The Beatles named Meet The Beatles with their faces in shadow. We had a clubhouse and my older cousin bought the album and I was hooked…for life. It’s hard not to get hooked by the songs.
On February 9th, 1964, an estimated 73 million viewers watched this much-hyped young Liverpool band perform five songs ‘live’ from CBS-TV Studio 50 in New York City. Capital Records kept rejecting Beatles songs until I Want To Hold Your Hand. A few radio stations started to play the song and soon Capitol realized that they could not reject them anymore. They didn’t like British records and only would release novelty British songs in America. When they started to get behind Meet The Beatles the dam burst.
They chose All My Loving to start the set and made an immediate good first impression and kept that huge television audience tuned in for the whole show. What separated the Beatles from other bands? The thousands of hours they already had under their belt from rocking in Hamburg, The Cavern, and all around Europe. At one point they very well could have had more hours on stage than any other rock band. Another thing was the quantity and more important the quality of the songwriting of the band that would continue to their end.
It’s a Lennon-McCartney song but mostly McCartney. The song peaked at #1 in Canada and New Zealand. It surprisingly only peaked at #45 on the Billboard 100 in 1964.
Paul McCartney: “I don’t know that I was thinking specifically of Jane Asher when I wrote this, though we were courting. It’s probably more of a reflection on what our lives were like then – leaving behind family and friends to go on tour and experience all these new adventures.”
All My Loving
Close your eyes and I’ll kiss you
Tomorrow I’ll miss you
Remember I’ll always be true
And then while I’m away
I’ll write home every day
And I’ll send all my lovin’ to you
I’ll pretend that I’m kissing
The lips I am missing
And hope that my dreams will come true
And then while I’m away
I’ll write home every day
And I’ll send all my lovin’ to you
All my lovin’, I will send to you
All my lovin’, darlin’, I’ll be true
Close your eyes and I’ll kiss you
Tomorrow I’ll miss you
Remember I’ll always be true
And then while I’m away
I’ll write home every day
And I’ll send all my loving to you
All my lovin’, I will send to you
All my lovin’, darlin’, I’ll be true
All my lovin’, all my lovin’
Ooh ooh, all my lovin’, I will send to you
We all need a laugh sometimes. This is one of the most bizarre songs + videos I’ve ever seen.
Do I have any readers that are Star Trek fans of the original series? The reason I ask is that within a couple of weeks, I’ll be going over every episode like I did with the Twilight Zone. I hope you will enjoy it. There are not many shows you can do that with on a blog but I think Star Trek will work as well as the Twilight Zone.
I just couldn’t resist posting this. One youtube commenter said: I attended a Trek convention with a friend in the 80s. He had a copy of Nimoy’s LP and wanted it autographed. He presented it to Nimoy during the signing event. Nimoy shook his head and said, “God, I thought we burned all of these”, then grudgingly signed it. He lightened up on that stance as the years went by and would sing parts of it at conventions.
It is amusing to see him smile in the video as that rarely happened in Star Trek. I have a question for my readers if you made it this far. At first in the video, it looks like he is wearing the Spock ears but in the middle… it doesn’t look like he is…is he? It’s not the clearest video but worth watching.
The song was written by Charles Randolph Grean. He was best known as the arranger for the Nat King Cole recording of The Christmas Song. In 1950, he wrote “The Thing,” a popular novelty song that reached number one on the charts in a version sung by Phil Harris.
Nimoy has quite the discography. He released 5 albums between 1967 and 1970 plus a compilation in 1993 named Highly Illogical. This song was on the 1968 album Two Sides of Leonard Nimoy.
The song got noticed more after the movie series than it had been during its initial release. It was also on a 1996 15-minute documentary titled Funk Me Up Scotty. The film had been made for BBC’s Star Trek Night. The song gets circulated now pretty regularly.
When asked where the master tapes were in 2003…Leonard Nimoy:“I’m not looking for a wave of Leonard Nimoy Hobbit songs all over the world. I don’t think it’s gonna happen”
Here is Funk Me Up Scotty
(Everyone sing along)
The Ballad of Bilbo Baggins
In the middle of the earth in the land of the Shire
Lives a brave little hobbit whom we all admire.
With his long wooden pipe,
Fuzzy, woolly toes,
He lives in a hobbit-hole and everybody knows him
Bilbo! Bilbo! Bilbo Baggins
He’s only three feet tall
Bilbo! Bilbo! Bilbo Baggins
The bravest little hobbit of them all
Now hobbits are a peace-lovin’ folks you know
They don’t like to hurry and they take things slow
They don’t like to travel away from home
They just want to eat and be left alone
But one day Bilbo was asked to go
On a big adventure to the caves below,
To help some dwarves get back their gold
That was stolen by a dragon in the days of old.
Bilbo! Bilbo! Bilbo Baggins
He’s only three feet tall
Bilbo! Bilbo! Bilbo Baggins
The bravest little hobbit of them all
Well he fought with the goblins!
He battled a troll!!
He riddled with Gollum!!!
A magic ring he stole!!!!
He was chased by wolves!!
Lost in the forest!!!
Escaped in a barrel from the elf-king’s halls!!!
Bilbo! Bilbo! Bilbo Baggins
The bravest little hobbit of them all
Now he’s back in his hole in the land of the Shire,
That brave little hobbit whom we all admire,
Just a-sittin’ on a treasure of silver and gold
A-puffin’ on his pipe in his hobbit-hole.
Bilbo! Bilbo! Bilbo Baggins
He’s only three feet tall
Bilbo! Bilbo! Bilbo Baggins
The bravest little hobbit of them all
This song has one of the most recognizable guitar licks in rock history.
A bar band needing another song to get through the night? This is the one that the guitar player would noodle around and get it and the band could kick in without rehearsing. I saw the clock turn to 3am playing this song many times… if you could see the clock through the smoke. The guitar riff on the original version was created by the then-15-year-old James Burton.
The song took Dale Hawkins and his band three months to perfect the song on the stages throughout the south. He was the original singer of the song and it came out in 1957. The song was credited to Dale Hawkins, Robert Chaisson, Stan Lewis, and Eleanor Broadwater. The song peaked at #24 on the Billboard 100 and #7 on the R&B Charts.
This song is the only top 40 song for CCR not written by John Fogerty. This song started it all for Creedence. After this, they were one of the most successful bands in the world. The song peaked at #11 on the Billboard 100 and #10 in Canada. Fogerty wanted to make their identity with this song.
CCR’s version became popular on the West Coast before it was available on vinyl. The band brought a cassette tape of the song to a San Francisco DJ, who played it in appreciation for the group’s earlier support of a DJ strike. Fantasy records then had to get the single out. The song was on their debut album called Creedence Clearwater Revival released in 1968. It peaked at #52 on the Billboard Album Charts.
The Rolling Stones also covered it on their 1964 12 x 5 album.
John Fogerty:“I knew I needed to work on arranging the song so that the band would sound like Creedence Clearwater Revival, would sound professional, mysterious and also have their own definition. The song I chose was ‘Susie Q.’ I decided not to write the song myself. I decided to pick something that existed because it’d just be easier. I’d be less self-conscious about doing things.”
John Fogerty on hearing it for the first time: “I went crazy and immediately began banging on the dashboard.”
When asked what the rhymes are in the latter part of the song, bass player Stu Cook said, “They were just simple rhymes. John hated it when songwriters used simple rhymes just to make things rhyme, so this was a statement against that. It was sort of anti-Dylan.”
Suzie Q
Oh Susie Q, oh Susie Q
Oh Susie Q baby I love you, Susie Q
I like the way you walk
I like the way you talk
I like the way you walk
I like the way you talk
Susie Q
Well, say that you’ll be true
Well, say that you’ll be true
Well, say that you’ll be true and never leave me blue, Susie Q
Well, say that you’ll be mine
Well, say that you’ll be mine
Well, say that you’ll be mine, baby all the time, Susie Q
Uh uh
Uh uh
Uh uh
Uh uh
Oh Susie Q, oh Susie Q
Oh Susie Q, baby I love you, Susie Q
I like the way you walk
I like the way you talk
I like the way you walk I like the way you talk, Susie Q
Oh Susie Q, oh Susie Q
Oh Susie Q, baby I love you, Susie Q
For anyone who has talked to me in person or through the blog…the number one choice is NOT going to be a surprise. The rest of the bunch might be a little but not number 1. It’s also an almost impossible task for me to do this. The Stones albums were easier for me to rank because of the wide selection.
I’ve seen Hanspostcard to this before but I’ve never tried it. Since it would be convoluted to include the American versions…I’m sticking with the UK versions only…except with Magical Mystery Tour. Magical Mystery Tour was released as two eps in the UK but an album in the US…now the album is considered the standard.
I was struck again by how far they came. Please Please Me and four years later I Am The Walrus. Who makes that big of a jump?
As with my Stones list a while back… I will do this on personal preference. When people mention the best Beatle album…many say Revolver or Sgt Pepper. Artistically I always thought Revolver is at the top but not personally.
The only easy selection for me was the bottom two but that doesn’t mean I don’t love them both. Many bands would make a career out of the bottom two. The hardest part was comparing the early albums with the others. That is not all…how do you compare Strawberry Fields with I Want To Hold Your Hand to Something off of Abbey Road?
I have some readers who are pro-early Beatles and some who are pro-middle to late. I’ll take them all. They were innovative to start off with…not just middle to late. I know that many will disagree and I hope you do… that’s the fun of these lists! If I made this tomorrow…only the top pick and the last two would be the same. I have over 40 revisions of this post…yea it was hard.
13. Yellow Submarine (Soundtrack) – This was the dumping ground of the not wanted songs for a while. The Beatles would keep sending songs to this album but just because it was last doesn’t mean it wasn’t any good. The album also had songs from other albums on this one.
12. Beatles For Sale – The cover tells the story. Beatlemania had worn them down physically and emotionally. Six out of the fourteen songs on the album are cover versions. They were good cover versions but were running low on gas at this point.
11. Let It Be – My love for this album has grown but I’ve always liked it. Lately, it has drawn new fans into the Beatles because of the Get Back film. Why oh why did Phil Spector leave off Don’t Let Me Down? This is another album that I hated to rank as low as I did.
10. Please Please Me – I love this debut album. They recorded most of it in one day… on February 11, 1963. Recording this in one day shows you how well they knew their material. It takes people days just to start on an album…much less get it done. It really hurts to rank this as low as it is.
9. Magical Mystery Tour – I remember buying this album as a kid I liked it better than Sgt Pepper at the time. Many of the songs had already appeared on singles like Strawberry Fields Forever, Penny Lane, Hello Goodbye, I Am The Walrus.
8. With The Beatles – This album was close to its American counterpart (Meet The Beatles) without I Want To Hold Your Hand. It had many more covers. I think Meet The Beatles could be a little better because it was totally made up of Lennon-McCartney songs with Harrison’s first original song…Don’t Bother Me.
Favorite Song – It Won’t Be Long (one of my favorite Beatles songs of all time)
7. Help! – For me this album gets underrated and this is where you can start hearing the change between Beatlemania and more mature Beatle music. It opens the door for Rubber Soul and then Revolver.
6. AbbeyRoad – This album has been said to sound more modern than the other Beatles albums. The reason is they recorded on a 16-track recorder just installed at the time in Abbey Road. It was the last album they all worked on together.
5. Sgt Pepper’s Lonely Hearts Club Band – The most famous album of the Beatles and quite possibly of all time. As John Lennon said it wasn’t really a concept album after the first two tracks and the refrain…it worked because they said it worked. If The Beatles would have included Strawberry Fields and Penny Lane…this could be my number 1.
4. Rubber Soul – This was known as their pivotal album. I think Help! was the album that you started to know the change between the early Beatles and mid-Beatles but this one was full-blown. It shows their folk and drug influence with their great melodies.
3. A Hard Day’s Night (Soundtrack) – I think this is the best album they released during the Beatlemania days and on some days it could be listed even higher. Songs such as the title track, Tell Me Why, I Should Have Known Better, If I Fell, Anytime At All, and many more.
2. Revolver – I think Revolver is the Beatle’s best album artistically. It’s not the most popular with the masses but it’s a masterpiece of an album. I’m biased but this one or Pet Sounds? I would take Revolver any day of the week…and I love Pet Sounds! It’s as close to a perfect album as you can get.
The Beatles (White Album) – This not only is my favorite Beatles album…but my favorite album of all time. It gives such a wide palette of music… there is something that everyone would like on here somewhere. Unlike Abbey Road or Sgt Pepper…it’s not slick…it’s them playing in a room. I like the well-known songs and I love the album tracks even more. Actually, all are album tracks technically because there were no singles (except for an overseas single) from this album. Songs included Back in the USSR, Helter Skelter, Dear Prudence, Sexy Sadie, Cry Baby Cry, Revolution 1, and so many more.
A soulful song by Billy Preston that was produced by his friend George Harrison. It was released in 1969 on Apple Records. This song had an ALL-STAR band backing it. George told Preston he would “invite some of his friends” over. Billy had no idea those friends were Eric Clapton on guitar, Keith Richards on bass, and Ginger Baker on drums. That alone makes the song worth listening to. Also, the backup vocals were done by Doris Troy and Madeline Bell.
This song peaked at #62 on the Billboard 100 Charts, #61 in Canada, and #11 in the UK in 1969.
Preston was good friends with the Beatles…playing on the Let It Be album and the Get Back film. They signed him to Apple Records after getting him out of his contract with Capitol Records. He ended up with 5 top 5 hits including 2 number 1’s. He also toured with the Rolling Stones throughout the seventies.
The album was called That’s the Way God Planned It and it peaked also at #62 in the Billboard Album Charts. Critic David Fricke said: “Preston would have bigger hits in the Seventies but never make a better one than this album’s rapturous title track … The rest of the album is solid church-infused soul, with Preston covering both Bob Dylan and W.C. Handy.”
In 1979, after a few years without a hit, he would hit the charts again with Syreeta Wright on the ballad “With You I’m Born Again.” Preston suffered from kidney disease in his later years and would pass away on June 6, 2006.
Billy Preston:“I first met [them] in Hamburg in 1962, I was backing Little Richard and they were just one of 14 other groups. They used to dedicate ‘Taste Of Honey’ and ‘Love Me Do’ to me and they were the only group I bothered to watch.”
That’s The Way God Planned It
Why can’t we be humble Like the good Lord said He promised to exalt us For love is the way
How men be so greedy When there’s so much left All things are God given And they all have been blessed
That’s the way God planned it That’s the way God wants it to be, didn’t He Well, that’s the way God planned it That’s the way God wants it to be, for you and me Yeah, yeah, yeah, yeah, yeah
Let not your heart be troubled Let mourning sobbing cease Learn to help one another And live in perfect peace
If we just be humble Like the good Lord said He promised to exalt us For love is the way
That’s the way God planned it That’s the way God wants it to be, doesn’t He You better believe me That’s the way God planned it That’s the way God wants it to be, for you and me Yeah, yeah, yeah, yeah, yeah
That’s the way, alright Come on, come on, come on
I hope you get this message And where you won’t others will You don’t understand me But I’ll love you still
That’s the way God planned it That’s the way God wants it to be You better believe me That’s the way God planned it That’s the way God wants, He wants it to be
That’s the way God planned it That’s the way God wants it to be Yeah, yeah, yeah, yeah, yeah That’s the way God planned it That’s the way God wants it to be Oh, yeah
I first heard about this band after watching the movie Jackie Brown. I heard of a few of their songs through the years but found out more about them after I saw the movie. They are as smooth as it gets in the 60s and 70s soul.
The song was written by Thom Bell and lead singer William Hart.
This song was the first hit for The Delfonics and was produced by Thom Bell, who helped craft the Philadelphia Soul sound. Bell, and The Delfonics, worked for Cameo-Parkway Records in Philadelphia, which was looking to compete with Motown. The Delfonics are credited with significantly contributing to the development of the Philadelphia sound.
Thom Bell also produced for The Stylistics, Chubby Checker, and Elton John. But his main focus was the Philly sound, which is soul music characterized by funk influences and lush instrumental arrangements.
The Delfonics were known as The Five Guys and played their own instruments. Bell cut them down to a trio and made them a vocal group, with Bell playing most of the instruments himself. He recorded three albums with the group and had one more big hit with them: Didn’t I (Blow Your Mind This Time) in 1970. Bell then joined Philadelphia International Records, run by Kenny Gamble and Leon Huff, where he worked with The Stylistics.
This song peaked at #4 on the Billboard 100, #2 on the R&B Charts, #11 in Canada, and #19 in the UK in 1968. They only had one more top-ten hit…Didn’t I (Blow Your Mind This Time).
La-La Means I Love You
Many guys have come to you With a line that wasn’t true And you passed them by (Passed them by) Though you’re in the center ring And their lines don’t mean a thing Why don’t you let me try? (Let me try)
Now, I don’t wear a diamond ring I don’t even have a song to sing All I know is
La la la la la la la la la means I love you Oh, baby, please now La la la la la la la la la means I love you
If I ever saw a girl That I needed in this world You are the one for me (One for me) Let me hold you in my arms Girl, and thrill you with my charms I’m sure you will see (You will see)
The things I am sayin’ are true And the way I explain them to you Listen to me
La la la la la la la la la means I love you Ooh, baby La la la la la la la la la means I love you
The things I am sayin’ are true And the way I explain them to you, Yes to you Listen to me
La la la la la la la la la means I love you Oh, you’ll have to understand now La la la la la la la la la means I love you Come on and take my hand
Happy New Year to all my readers. This is my first post of the year other than the New Years’ post this morning at 12:01 AM CST. My next post in one hour will be just for all of my readers…
My friend CB (Cincinnati Baby Head) reminded me of this song not too long ago…so thank you CB. Man…wasn’t The Band a truly great band? Not many bands could get away with a name like that…but it is no question they lived up to it. They made pure music for the people…
Standin’ by your window in pain A pistol in your hand And I beg you, dear Molly, girl, Try and understand your man the best you can.
Not a good way to start your day.
Canada has given us Neil Young, The Guess Who, BTO, and many more but…to me, this band was their best export.
The Band had 3 great singers and a good one in Robbie. Robertson wrote most of the songs and wrote for the other three voices. He was smart enough to step aside and let his bandmates sing his songs. Not many singer/songwriters would do that but it worked well.
This song was on their second album called The Band released in 1969. The album is one of the best albums ever. It contained these songs, Up On Crippled Creek, The Night They Drove Old Dixie Down, Whispering Pines, Rag Mama Rag, and more.
They recorded this album not in a recording studio but at Sammy Davis’s house in California. They remodeled the adjacent pool house into a recording studio. The Band fashioned a makeshift workshop environment similar to the one at their former home, Big Pink.
The album peaked at #2 in Canada, #9 on the Billboard 100, and #25 in the UK. This song was not released as a single.
Levon Helm:“Sometimes we would grow the songs from scratch, right there in the pool-house, sometimes we would just pull them out of thin air. We had story songs, we had picture songs and we had songs that emulated things we had heard. One thing that helped is that we had two different styles of rhythm section, with Richard and me swapping drum duties. That was done mainly to accommodate Garth’s ability to trade instruments around. Of course, Garth could play percussion, woodwind, bass—just about anything.”
Across The Great Divide
Standin’ by your window in pain A pistol in your hand And I beg you, dear Molly, girl, Try and understand your man the best you can.
Across the Great Divide Just grab your hat, and take that ride Get yourself a bride And bring your children down to the river side
I had a goal in my younger days I nearly wrote my will But I changed my mind for the better I’m at the still, had my fill and I’m fit to kill
Across the Great Divide Just grab your hat, and take that ride Get yourself a bride And bring your children down to the river side
Pinball machine and a queen I nearly took the bus Tried to keep my hands to myself They say it’s a must, but who can ya trust? Harvest moon shinin’ down from the sky A weary sign for all I’m gonna leave this one horse town Had to stall ’til the fall, now I’m gonna crawl Across the Great Divide
Now Molly dear, don’t ya shed a tear Your time will surely come You’ll feed your man chicken ev’ry Sunday Now tell me, hon, what ya done with the gun?
Across the Great Divide Just grab your hat, and take that ride Get yourself a bride And bring your children down to the river side
This is usually my first post in the New Year. I love tradition so here we are again!
Next to Auld Lang Syne this is my favorite New Years’ Song. A favorite of mine from one of my favorite bands. Everyone… I wish you a Happy New Year in 2023.
You didn’t have to read my blog but you did and I really appreciate it…I want to thank all of you for reading and commenting in 2022.
This song sounds like it should have been a hit but it was never pushed as a single at the time. It was the B side to Butcher’s Tale (Western Front 1914) which is an experimental song and was a big surprise to the band that it was picked as the first single. Both are from the great album Odessey and Oracle in 1968. There are several songs on this album that could have been in the charts but Time of the Season was the only one that made it and it was a year after the album was released.
Bruce Eder of AllMusic gave the album five stars out of five, calling it “one of the flukiest (and best) albums of the 1960s, and one of the most enduring long-players to come out of the entire British psychedelic boom”.
On recording Odessey and Oracle…Rod Argent:
“We had the chance of going in and putting things down in the way we wanted people to hear them and we had a new studio, we walked in just after The Beatles had walked out [after recording Sgt. Pepper]. We were the next band in. They’d left some of their instruments behind … I used John Lennon’s Mellotron, that’s why it’s all over Odessey and Oracle. We used some of their technological advances … we were using seven tracks, and that meant we could overdub for the first time. And it meant that when I played the piano part I could then overdub a Mellotron part, and it meant we could have a fuller sound on some of the songs and it means that at the moment the tour we’re doing with Odessey and Oracle it means we’re actually reproducing every note on the original record by having extra player with us as well.”
This Will Be A Year
The warmth of your love Is like the warmth of the sun And this will be our year Took a long time to come
Don’t let go of my hand Now darkness has gone And this will be our year Took a long time to come
And I won’t forget The way you held me up when I was down And I won’t forget the way you said, “Darling I love you” You gave me faith to go on
Now we’re there and we’ve only just begun This will be our year Took a long time to come
The warmth of your smile Smile for me, little one And this will be our year Took a long time to come
You don’t have to worry All your worried days are gone This will be our year Took a long time to come
And I won’t forget The way you held me up when I was down And I won’t forget the way you said, “Darling I love you” You gave me faith to go on
Now we’re there and we’ve only just begun And this will be our year Took a long time to come
Yeah we only just begun Yeah this will be our year Took a long time to come
This song was on the album called The Who Sell Out. I’ve said before that titles sometimes grab my attention and this one certainly did. This one has had many covers from other bands and artists.
The Who Sell Out is A Pop Art album that was fashioned after Pirate radio. The Who created spoof promo slots for Radio London, Premier Drums and Rotosound Strings, recorded in the brash ad-speak of 60s pirate radio. John Entwistle wrote two commercial jingles for Heinz Beans and Medac spot pimple cream.
Pete Townshend:“I’d already written two songs for [co-manager] Kit Lambert for the American Cancer Society – Little Billy and Kids! Do You Want Kids? – and I had Odorono, about a girl who loses a record contract. It wasn’t meant to be a commercial, it was just a song about body odor.”
I always thought it was a brilliant idea and remains a great satirical take on 60s consumerism.
The song would be the B side in America to I Can See For Miles.
The album was released on December 16, 1967. It peaked at #13 in the UK and #48 in the Billboard Album Charts. Their album Tommy would be released 2 years after this one and it would be their breakthrough all over the world.
Critic Dave Marsh called it “the greatest rock and roll album of its era” and “the Who’s consummate masterpiece, the work that holds together most tightly as concept and realization”.
Pete Townshend on the album: I’d demoed ‘Tattoo’ in my hotel room in Las Vegas during our three-day vacation, and a song called ‘Odorono’, named after a deodorant stick. ‘Odorono’ led us to the most perfect pop idea of all time: we would make our next record a vehicle for advertising. When we called Kit to explain, he was as excited as we were. I suggested we link the gaps between songs with jingles like those on commercial pirate radio.
John and Keith leapt on the idea, and, inspired by ‘Odorono’, began making up advertising jingles for all kinds of things, like Medac spot cream, Premier Drums and Heinz Baked Beans. But when the album was ready to be put together we were still short of tracks. John’s track didn’t feel right either, so he quickly produced a demo for another song called ‘Silas Stingy’, which, to be honest, was equally eccentric. But this was obviously going to be a very eccentric record.
Who – Mary Anne With The Shaky Hand
I danced with Linda
I danced with Jean
I danced with Cindy
Then I suddenly see
Mary-Anne with the shaky hands
What they’ve done to her man
Those shaky hands
Mary is so pretty
The prettiest in the land
Guys come from every city
Just to shake her shaky hands
Linda can cook
Jean reads books
Cindy can sew
But I’d rather know
Mary-Anne with the shaky hands
What they’ve done to her man
Those shaky hands
Mary-Anne with the shaky hands
What they’ve done to her man
Those shaky hands
Mary-Anne with the shaky hands
What they’ve done to her man
Those shaky hands
This is one of the first Beach Boy songs I heard and could connect to them. This is a song that the Beach Boys did in tribute to Chuck Berry except they forgot one small thing…they didn’t tell Chuck. He was in jail at the time of this song. When Berry threatened to sue, The Beach Boys agreed to give him a huge sum of the royalties and list him as the song’s composer along with Brian Wilson. Mike Love has claimed he wrote some of it also but never got credited.
The song also helped build Berry’s legend while he served his time. Surfin’ USA was based on Sweet Little Sixteen. Carl Wilson came up with the guitar intro, which is reminiscent of Duane Eddy’s “Moving and Grooving.”
One of the many Beach Boy songs about surfing. The only member of the band who actually surfed was drummer Dennis Wilson. The surfing culture gave them an opportunity to write songs about adventure and fun while exploring vocal harmonies and new production techniques. And while the majority of Americans didn’t surf, the songs represented California at the time.
This was the follow-up to their first hit “Surfin’ Safari.” Brian Wilson was gaining confidence as a producer, and this song marks the emergence of what would become the Beach Boys’ signature sound over the next few years.
The song peaked at #14 on the Billboard 100 in 1962. The B-side 409 peaked at #76 the same year.
Carl Wilson: “On ‘Surfin’ U.S.A.,’ Brian wanted an opening lick and I just did this Duane Eddy riff. I was worried that it had been on another record, but what the hell. That was the first time we were aware we could make a really powerful record. For the first time, we thought the group sounded good enough to be played with anything on the radio.”
Guitarist David Marks played guitar on the Beach Boys first five albums: “The energy on the Surfin’ USA session was very upbeat and happy. That’s where that chemistry thing kicks in again… there was a certain energy on that track that was a one-of-a-kind happening. It wasn’t perfect in a technical sense, but the vibe was something special that had a lasting effect.”
Surin’ USA
If everybody had an ocean
Across the U.S.A.
Then everybody’d be surfin’
Like California
You’d seem ’em wearing their baggies
Huarachi sandals too
A bushy bushy blond hairdo
Surfin’ U.S.A.
You’d catch ’em surfin’ at Del Mar
Ventura County line
Santa Cruz and Trestle
Australia’s Narabine
All over Manhattan
And down Doheny Way
Everybody’s gone surfin’
Surfin’ U.S.A.
We’ll all be planning that route
We’re gonna take real soon
We’re waxing down our surfboards
We can’t wait for June
We’ll all be gone for the summer
We’re on surfari to stay
Tell the teacher we’re surfin’
Surfin’ U.S.A.
Haggerties and Swamies
Pacific Palisades
San Anofree and Sunset
Redondo Beach L.A.
All over La Jolla
At Waimia Bay
It’s that time of year…and this is one-holiday song that is on my list and not worn out. I first heard this in 1994 when I bought the Beatles Anthology album. I never knew of this song before. this song was never officially released until it appeared as the B-side to “Free As A Bird” in 1994. I’ve posted it every year since I’ve blogged and will continue to do so…it’s repetitive butI like it…it drives home the point.
My friend Dave posted this song last year and he has more info than I do so check it out.
The song is credited to Lennon-McCartney-Harrison-Starkey. The original version was distributed to The Beatles fan club in 1967. It’s the only song ever written specifically for the Beatles Fan Club members. Along with the Beatles…actor Victor Spinetti and roadie Mal Evans were on the recording.
Between December 1963 to December 1969, sent out 7 flexi discs that had spoken and musical messages to their official fan clubs in the UK and the US at Christmas time.
The Beatles recorded this in 1967 and wasn’t released until 1994 paired with “Free As A Bird”. It is a fun Christmas song that will stick in your head. The Beatles did not release a Christmas song commercially… only to their fan club when they were active.
Many performers of this era like The Beach Boys and The Four Seasons released Christmas songs, but The Beatles never had an official Christmas release.
Christmas time is here again
Christmas time is here again Christmas time is here again Christmas time is here again Christmas time is here again
Ain’t been round since you know when Christmas time is here again O-U-T spells “out”
Christmas time is here again Christmas time is here again Christmas time is here again Christmas time is here again
Ain’t been round since you know when Christmas time is here again O-U-T spells “out”
Christmas time is here again Christmas time is here again Christmas time is here again Christmas time is here again
Ain’t been round since you know when Christmas time…[music continues and fades to background]
[spoken]
This is Paul McCartney here, I’d just like to wish you everything you wish yourself for Christmas.
This is John Lennon saying on behalf of the Beatles, have a very Happy Christmas and a good New Year.
George Harrison speaking. I’d like to take this opportunity to wish you a very Merry Christmas, listeners everywhere.
This is Ringo Starr and I’d just like to say Merry Christmas and a really Happy New Year to all listeners
[a John Lennon pastiche at this point, very hard to understand]
Good morning everyone! I woke up to snow this morning…and it’s a toasty -4 near Nashville where I live. …It’s hard to resist this song. It automatically makes me happy when I hear it. I see the Peanuts gang doing their thing.
This song I can hear anytime of the year and be happy. It’s associated with Christmas also…whichever… I never get tired of it.
Here is another post of the song in Hanspostcard’s song draft a few years ago when run-sew-read’s pick was this song.
Ironically, just about everyone would call this “the Charlie Brown song” even though it’s actually titled after Linus and Lucy Van Pelt, brother and sister in Charles Schulz’s Peanuts comic strip universe.
The song is most famous for its use in the yearly favorite A Charlie Brown Christmas, which first aired in 1965, but it was written two years earlier for a documentary about Schulz and the Peanuts gang called A Boy Named Charlie Brown, which never aired.
Producer Lee Mendelson was in charge of the documentary and asked Vince Guaraldi to compose music for it
Guaraldi was huge in the jazz world and won the 1962 Grammy for Best Original Jazz Composition for “Cast Your Fate To The Wind” for his group, the Vince Guaraldi Trio. Mendelson was searching for what kind of music to play for the documentary when he took a taxi cab and “Cast Your Fate To The Wind” was playing as he crossed the Golden Gate bridge. He loved it and his decision was made.
Guaraldi wrote a series of songs for the project, including “Linus and Lucy,” which he recorded with his group, the Vince Guaraldi Trio. Even though A Boy Named Charlie Brown was shelved, the soundtrack was released in 1964, which is where “Linus and Lucy” first appeared.
In 1965, Mendelson put together the first Peanuts TV special, A Charlie Brown Christmas, using many of the same people who worked on the documentary. “Linus and Lucy” formed the score, and a song he wrote with Guaraldi called “Christmas Time Is Here” was included in a key scene.
When A Charlie Brown Christmas debuted in 1965, it quickly turned the Peanuts franchise into a television institution. That first special also shot Guaraldi to greater fame, and he became connected to all subsequent Peanuts shows.
Guaraldi would continue to work on Peanuts films until his death in 1976.
You’re a mean one…Mr. Grinch. I first posted this in 2018…It’s not Christmas without the Grinch…
The cartoon was released in 1966 and has been shown every year since. This one along with Rudolph, Charlie Brown, and a few more were a part of Christmas. These specials would prime you for the big day.
One cool thing about the cartoon was that Boris Karloff was the narrator. Thurl Ravenscroft (voice of Tony the Tiger) sang the great song “You’re a Mean One Mr. Grinch. ”
The citizens of Whoville looked and acted like the others of Dr. Suess’s universe. They were all getting ready for Christmas while a certain someone…or thing looked down from Mt. Crumpit. The Grinch has hated Christmas for years and sees the Whovillians getting ready for Christmas and is determined once and for all to put an end to it.
He dresses up as Santa Clause and makes his poor dog Max act as a reindeer to swoop down and steal Christmas. The Grinch sleds down the hill almost killing Max and they soon reach Whoville. He is busted by one kid…Cindy Lou Who, who asks him questions as the Grinch took her family tree. He lies to her and sends her to bed.
In the morning after he has everything including “The Roast Beast,” he listens for the sorrow to begin.
You need to watch the rest or rewatch…
A live-action remake came out in 2000 but I still like this one the best. You cannot replicate Boris Karloff.
The Budget – Coming in at over $300,000, or $2.2 million in today’s dollars, the special’s budget was unheard of at the time for a 26-minute cartoon adaptation. For comparison’s sake, A Charlie Brown Christmas’s budget was reported as $96,000, or roughly $722,000 today (and this was after production had gone $20,000 over the original budget).
You’re a mean one Mr. Grinch The famous voice actor and singer, best known for providing the voice of Kellogg’s Tony the Tiger, wasn’t recognized for his work in How the Grinch Stole Christmas. Because of this, most viewers wrongly assumed that the narrator of the special, Boris Karloff, also sang the piece in question. Upset by this oversight, Geisel personally apologized to Ravenscroft and vowed to make amends. Geisel went on to pen a letter, urging all the major columnists that he knew to help him rectify the mistake by issuing a notice of correction in their publications.
Mr Grinch
You’re a mean one, Mr. Grinch You really are a heel You’re as cuddly as a cactus You’re as charming as an eel Mr. Grinch You’re a bad banana with a greasy black peel You’re a monster, Mr. Grinch Your heart’s an empty hole Your brain is full of spiders You’ve got garlic in your soul, Mr Grinch I wouldn’t touch you with a Thirty-nine and a half foot pole
You’re a vile one, Mr. Grinch You have termites in your smile You have all the tender sweetness of a seasick crocodile Mr Grinch Given the choice between the two of you I’d take the seasick crocodile
You’re a foul one, Mr. Grinch You’re a nasty wasty skunk Your heart is full of unwashed socks Your soul is full of gunk Mr Grinch
The three best words that best describe you Are as follows, and I quote” Stink Stank Stunk
You’re a rotter Mr Grinch You’re the king of sinful sots Your heart’s a dead tomato splotched with moldy purple spots Mr Grinch
Your soul is an appalling dump heap Overflowing with the most disgraceful Assortment of deplorable rubbish imaginable Mangled up in tangled up knots
You nauseate me, Mr Grinch With a nauseous super nos You’re a crooked jerky jockey and You drive a crooked horse Mr Grinch
You’re a three-decker sauerkraut And toadstool sandwich With arsenic sauce
I apologize for so many posts today…this one I scheduled wrong…
Most of us had favorite Christmas specials we would watch as kids. Mine was Rudolph, A Charlie Brown Christmas, The Grinch, and this one…Frosty The Snowman. These four would get me primed and ready for Christmas…like I needed anything else.
“Frosty the Snowman,” debuted in 1969. It was by Rankin/Bass Productions, the same company that produced many holiday specials.
Narrated by the legend Jimmy Durante, the special involves a magic hat that transforms a snowman, Frosty, into a living being. The magician who owned the hat wants it back now that he knows it contained actual magic, so the kids had to get together and find a way to bring Frosty to the North Pole to keep him from melting. However, once there, Frosty sacrifices himself to warm up the little girl, Karen, who took him to the North Pole. He melts, but Santa Claus explains that Frosty is made out of special Christmas snow and thus can never truly melt. Frosty then comes back to life and everyone has a Merry Christmas.
The song was written in 1950 by Walter “Jack” Rollins and Steve Nelson. They wrote it for Gene Autry, especially, after Autry had such a huge hit with “Rudolph the Red-Nosed Reindeer” the previous year. It was later recorded by Jimmy Durante as we hear in this wonderful cartoon.
This wasn’t the only animation of Frosty…
In 1954, United Productions of America (UPA) brought Frosty to life in a short cartoon that is little more than an animated music video for a jazzy version of the song. It introduced the characters mentioned in the lyrics visually, from Frosty himself to the traffic cop. The three-minute, black-and-white piece quickly became a holiday tradition in various markets, particularly in Chicago, where it’s been broadcast annually on WGN since 1955.
PowerPop... An Eclectic Collection of Pop Culture 