Herman Hermits – I’m Into Something Good

They were not considered the coolest British invasion band but a very popular and successful one. The song peaked at #13 in the Billboard 100 and #1 in the Uk in 1964. They had a total of nineteen songs in the Billboard 100, 11 top ten songs, and two number one hits. Hard to believe that the Who opened up for them in 1967  when the Who came to America.

This was Herman’s Hermits’ only song to reach #1 in the UK, where it remains their best-known song. After it hit, the band went on tour in America with Dick Clark’s Caravan of Stars and made inroads in that country, where they were welcomed as part of the British Invasion. In 1965, they had two Billboard 100 #1 hits: “Mrs. Brown You’ve Got A Lovely Daughter” and “I’m Henry The VIII, I Am.”

This song is a very good pop song.

From Songfacts

The prolific songwriting team of Gerry Goffin and Carole King wrote this bubbly song, which is about meeting someone new and falling into puppy love. Goffin and King wrote popular songs for The Monkees, Aretha Franklin, The Crystals and many others.

This was originally recorded by Earl-Jean (real name Ethel McCrea), who had been the lead singer the R&B vocal group The Cookies. Her version, titled “I’m Into Somethin’ Good,” peaked at #38 in the US in August 1964.

The song became a British Invasion hit when producer Mickie Most heard Carole King’s demo and decided to cover it with a new British group, Herman’s Hermits. The band was fronted by 16-year-old John F. Kennedy lookalike Peter Noone, who had already appeared in the British TV soap Coronation Street. Released as the group’s first single, it went to #13 in America in December 1964, but proved wildly popular on their home turf, reaching #1 in the UK in September.

The youthful exuberance on this track is very real, as the band was very excited to be cutting a single. “On the record you can hear the enthusiasm of this band who believe that they were going to be heard on the radio,” lead singer Peter Noone said in his Songfacts interview. “When the record was on the radio, we thought we’d made it.”

Jimmy Page and John Paul Jones, both future members of Led Zeppelin, played on some Herman’s Hermits songs, but not this one. Someone outside the band played the piano on this track, but other than that it was the actual band.

Peter Noone recorded a new version of this song for the 1988 movie The Naked Gun. Herman’s Hermits recorded for Cameo/Parkway Records, which was bought by Allen Klein, who as a result owned the rights to the songs Herman’s Hermits recorded for the label as well as tracks by The Animals, Chubby Checker, Bobby Rydell and many others. Klein rarely allowed the songs he controlled to be used in movies.

Before Allen Klein’s death in 2009, Peter Noone explained to the Forgotten Hits newsletter how this song ended up in The Naked Gun: “They wanted to use the song in the movie. Klein declined because he knew he would have to account to somebody (e.g. Paramount). As he hates to account to anyone, because he can’t cheat and lie, he had to say no. The producers and writers contacted me with their story and I said, ‘I can make a copy exactly like the original and nobody will be able to tell the difference.’ When it was done, we decided you couldn’t tell the difference so we took off the guitar and replaced it with a whahhoo machine so Klein wouldn’t say it was the original. It’s a tragedy that Klein and his witless children stop all the product they control from being in movies so they can steal ALL the money. A question: Have any songs under the Klein families’ control ever been used in movies, commercials, TV shows? Doesn’t anyone ever wonder why? Surely there would be one Herman’s Hermits song, one Animals song. One song from a Cameo / Parkway artist, one Sam Cooke song, just one, that would work in a motion picture?”

The hand claps on this song were done into the same microphone where Peter Noone was recording his vocal. They aren’t always in time to the beat, but that’s part of the appeal of the recording, as it’s unrefined, but jubilant.

Donny Osmond recorded this when he was 13 for his second album To You With Love, Donny in 1971. Other artists to record it include Graham Parker and The Surfaris.

In late 2005, this was used in a commercial for Yogurt Blast Cheerios.

I’m Into Something Good

Woke up this mornin’ feelin’ fine
There’s somethin’ special on my mind
Last night I met a new girl in the neighbourhood, whoa yeah
Somethin’ tells me I’m into something good (Somethin’ tells me I’m into somethin’)

She’s the kind of girl who’s not too shy
And I can tell I’m her kind of guy
She danced close to me like I hoped she would (she danced with me like I hoped she would)
Somethin’ tells me I’m into something good (Somethin’ tells me I’m into somethin’)

We only danced for a minute or two
But then she stuck close to me the whole night through
Can I be fallin’ in love
She’s everthing I’ve been dreamin’ of
She’s everthing I’ve been dreamin’ of

I walked her home and she held my hand
I knew it couldn’t be just a one-night stand
So I asked to see her next week and she told me I could
(I asked to see her and she told me I could)
Somethin’ tells me I’m into something good (somethin’ tells me I’m into somethin’)
(Somethin’ tells me I’m into somethin’, ahhh)

I walked her home and she held my hand
I knew it couldn’t be just a one-night stand
So I asked to see her next week and she told me I could
(I asked to see her and she told me I could)
Somethin’ tells me I’m into something good (somethin’ tells me I’m into somethin’)
Somethin’ tells me I’m into something good (somethin’ tells me I’m into somethin’)
To something good, oh yeah, something good (somethin’ tells me I’m into somethin’)
To something good, something good, something good

Yahtzee History

Saturday night we had some guests over and we all played Yahtzee. It was the first time I’d played it since the 1980s at least. I had a good time and looked up the history of the game.

In 1954 a wealthy anonymous Canadian couple, who called it The Yacht Game invented the game to play aboard their yacht. They would invite friends and teach them. In 1956 they went to toy maker Edwin S. Lowe to make some games for their friends as Christmas gifts. Edwin liked the game so much that he wanted to buy the rights to it. The couple sold the rights for the amount of making them a 1000 games.

When Edwin released it on the market it did not do well in it’s first year. The game could not be explained easily in an ad.  It had many nuances and interesting things about it and they can only be understood if the game was actually played.

Finally, Edwin tried a different approach. He started to have Yahtzee parties hoping to spread the news about the game by word of mouth. That started to work and Yahtzee got extremely popular. During Lowe’s ownership alone, over forty million copies of the game were sold in the United States of America as well as around the globe

In 1973  Milton Bradley Company bought the E.S. Lowe Company and in 1984 Hasbro, Inc. acquires the Milton Bradley Company and the game.

The origins of the game came from the  Puerto Rican game Generala and the English games of Poker Dice and Cheerio. Another game, Yap, shows close similarities to Yahtzee.

 

http://www.twoop.com/yahtzee/

 

Betty Everett – The Shoop Shoop Song (It’s In His Kiss)

Betty really belts out this song. The song peaked at #6 in the Billboard 100 and #34 in the UK in 1964. I have heard this song most of my life but never knew who sang it.

This was written by Rudy Clark, whose credits include “Good Lovin'” and “Got My Mind Set On You.” Like “The Shoop Shoop Song,” the original artist didn’t fare very well on those, but cover versions were very successful “Good Lovin'” was first released by The Olympics in 1965, but it was The Young Rascals 1966 cover that went to #1. “Got My Mind Set On You” was originally by James Ray in 1962, but George Harrison’s 1987 cover was the hit, also going to #1.

Everett was reluctant to record this song at first and was urged by Calvin Carter, her producer to do so. She felt that the song would flop.

From Songfacts

How can you tell if a guy loves you? His eyes can deceive, and you certainly can’t trust what he says, so the only way to for sure is with his kiss, which acts as a kind of truth serum for love, according to this song.

Merry Clayton, a onetime Raelette who can be heard on the Rolling Stones song “Gimme Shelter,” was the first to release this song, issuing it in 1963. Ramona King from the doo-wop group The Fairlanes was the next to release it, but it wasn’t until Everett’s 1964 cover that the song finally hit.

The song has spanned decades with more successful cover versions. In 1975, Linda Lewis reached #107 US; James Taylor’s younger sister, Kate Taylor, hit #49 US in 1977; Cher took it to #33 US in 1991. Her version also hit #1 in the UK.

The song received its name on account of backup vocals that sing, “shoop shoop shoop…” These gibberish words are heard every time the line, “If you wanna know if he loves you so,” is sung.

Everett’s version stood out in large part because of the xylophone solo – something you don’t hear very often in a pop song.

This was Everett’s third single and her first Top 40 hit. Her first failed to chart and her second single (“You’re No Good,” later covered by Linda Ronstadt) climbed only to #51 on the Hot 100. Everett recorded for Vee Jay Records, a Motown competitor.

The backup vocals were provided by a local female group from Chicago called the Opals.

Cher recorded her version for the 1990 film Mermaids, which she starred in along with 
Winona Ryder and Christina Ricci. Both Cher’s version and Everett’s version are featured in the film, but Cher’s is the only version featured on the soundtrack. >>

Cher’s version was produced by Peter Asher, a longtime Beatles associate who produced most of James Taylor’s and Linda Ronstadt’s hits. In a Songfacts interview with Asher, he explained: “The song was already chosen. They were going to sing it in the movie anyway and they just wanted a proper record version for the end titles.

That one I cut without Cher’s input entirely. I just did it the way I thought she should do it. I had one conversation with Cher about the key, and that was it. And then she showed up and it was all done. She liked it, luckily.”

Salt-N-Pepa got their shoop on in 1993 for their song “Shoop.” In 1995, Whitney Houston appropriated the Shoop for her song “Exhale (Shoop Shoop),” which was a massive hit from the movie Waiting To Exhale.

Linda Rondstadt sometimes performed this song, and sang it on an episode of The Muppets, with Kermit the Frog the object of her affection.

Betty Everett – The Shoop Shoop Song (It’s In His Kiss)

Does he love me, I want to know
How can I tell if he loves me so

(is it in his eyes) Oh no, you’ll be deceived
(is it in his eyes) Oh no, he’ll make believe
If you want to know if he loves you so
It’s in his kiss (that’s where it is, oh yeah)

(or is it in his face) Oh no, it’s just his charm
(in his one embrace) Oh no, that’s just his arm
If you want to know if he loves you so
It’s in his kiss (that’s where it is)
Oh oh, it’s in his kiss (that’s where it is)

Oh oh oh, kiss him and squeeze him tight
And find out what you want to know
If it’s love, if it really is
It’s there in his kiss

(how ’bout the way he acts) Oh no, that’s not the way
And you’re not listenin’ to all I say
If you want to know if he loves you so
It’s in his kiss (that’s where it is)
Oh yeah, it’s in his kiss (that’s where it is)

Whoa oh oh, kiss him and squeeze him tight
And find out what you want to know
If it’s love, if it really is
It’s there in his kiss

(how ’bout the way he acts) Oh no, that’s not the way
And you’re not listenin’ to all I say
If you want to know if he loves you so
It’s in his kiss (that’s where it is)
Oh yeah, it’s in his kiss (that’s where it is)
Oh oh, it’s in his kiss (that’s where it is)

Zombies – Care of Cell 44

This is one of my favorite pop songs of the 1960s. The vocals are reminiscent of the Beach Boys. It’s a sunny and bright song musically about a guy writing to his girl…in prison. The song doesn’t express or explain why she is in prison just that he will be with her when her stay is over.

The song is arranged beautifully. with the vocal only arrangements, You can hear Brian Wilson and Paul McCartney’s influence on this recording. Chris White’s (Zombies bass player) bass playing is phenomenal in this song.

It is on the album Odessey and Oracle, one of the best albums of the sixties. The hit song on the album is Time of the Season but it is full of great songs. It charted a year after it was released at #95 in the Billboard 200 album charts in 1969. The song/album would be on my desert island list.

Rod Argent (Zombies keyboard player) talks about recording the album: We didn’t think, “Oh, we have to do something like Pet Sounds,” but I think it did inspire us. There wasn’t any attempt to copy the elements that were in there so much as the creativity of it and the feeling of pushing pop music forward into different spaces than it had been before. I think Pet Sounds was an indirect influence, as it was on Sgt. Pepper. Since then, Paul McCartney’s said the same thing; they felt they had to do something similar.

Rod Argent wrote the song.

From Songfacts

This uptempo pop symphony is about a guy writing to his girlfriend, who is in prison. The group’s main songwriter Rod Argent recalled in Mojo Magazine February 2008: “It just appealed to me. That twist on a common scenario, I just can’t wait for you to come home to me again.”

This was released as the first single from the Odessey And Oracle album in the UK, but it didn’t make the charts, which surprised vocalist, Colin Blunstone. He said in his Songfacts interview, “It’s a wonderfully crafted song. I think it’s got an incredible lyric, wonderful chord sequence and a great melody – it’s just got everything.”

Blunstone was shocked by the song’s lack of popular appeal, as he thought it was a very commercial track. Soon after it stiffed, the band split up and Blunstone took a job in the Burglary Department of a London insurance office. Bassist Chris White admitted: “We tried to promote ‘Care Of Cell 44,’ but there was no positive reaction. It was downhill from then on.” However the band did have a surprise hit in America a year after their breakup when “Time Of The Season” peaked at #3.

Care of Cell 44

Good morning to you, I hope your feeling better baby
Thinkin of me while you are far away
Counting the days until they set you free again
Writing this letter, hoping your okay
Sent to the room you used to stay in every Sunday
The one that is warmed by sunshine every day
And we’ll get to know each other for a second time
Then you can tell me about your prison stay

Feels so good your coming home soon

Its gonna be good to have you back again with me
Watching the laughter play around your eyes
Come up and getcha, saved up for the train fare money
Kiss and make-up and it will be so nice

Feels so good your coming home soon

Walking the way we used to walk
And it could be so nice
Talkin the way we used to talk
And it could be so nice

Its gonna be nice to have you back again with me
Watching the laughter play around your eyes
Come up and getcha, saved up for the train fare money
Kiss and make-up and it will be so nice

Feels so good your coming home soon

(Ahh ahh ahh ahh ahh ahh
Ahh ahh ahh ahh ahh ahh)

Feels so good your coming home soon

The Knickerbockers – Lies

I had forgotten about this song and band. The Knickerbockers were basically a Beatles knock-off band. This is not a great song by any means but at the time some people passed this off as a rare unheard Beatles track. For me and I’m sure many more, it is not too hard to tell this is not a Beatles track…but it’s a fun song.

The Knickerbockers were found Jerry Fuller in a bar in Albany, New York and he relocated them to Los Angeles and they soon became a popular club attraction.

This was their only top forty recording… it peaked at #20 in the Billboard 100 in 1966.

Lies

Lies, lies, you’re tellin’ me that you’ll be true
Lies, lies
That’s all I ever hear from you
Tears, tears

I shed a million tears for you
Tears, tears
And now you’re lovin’ someone new
Someday I’m gonna be happy

But I don’t know when just now
Lies, lie-ies
A-breakin’ my heart
You think that you’re such a smart girl

And I’ll believe what you say
But who do you think you are, girl
To lead me on this way hey
Lies, lies

I can’t believe a word you say
Lies, lies
Are gonna make you sad someday
Some day you’re gonna be lonely

But you won’t find me around
Lies, lie-ies
A-breakin’ my heart
Someday I’m gonna be happy

But I don’t know when just now
Lies, lie-ies
A-breakin’ my heart
You think that you’re such a smart girl

And I’ll believe what you say
But who do you think you are, girl
To lead me on this way hey
Lies (ah!), lies (yeah baby)

I can’t believe a word you say
Lies, lies
Are gonna make you sad someday
Some day you’re gonna be lonely

But you won’t find me around
Lies, lie-ies
A-breakin’ my heart
I said, baby, now (breakin’ my heart)

Oh, yeah, you’re still breakin’ my heart (breakin’ my heart)

Steppenwolf – Magic Carpet Ride

The dynamic of the intro really works in this song. The wall of distortion and feedback starts and then it snaps into the song. It is incredibly catchy and bouncy for being a harder song. This song was on Steppenwolf’s “Second” album and the song peaked at #3 in the Billboard 100 in 1968. I’ve always liked John Kays voice and he also has a great stage presence.

Steppenwolf had 13 songs in the Billboard 100 and 3 top ten hits. This was the second big hit for Steppenwolf. “Born To Be Wild” was released a few months earlier. They were on different albums, with “Born To Be Wild” on their first and this on their second, although this was released well before their second album came out.

From Songfacts

The group wrote this based on the bass line their bass player, Rushton Moreve, came up with. The only words he had written for it were, “I like my job, I like my baby.” Lead singer John Kay wrote the rest of the lyrics. He got inspired when he put the demo tape in a home stereo system he bought with the royalties from their first album. That’s where he came up with the line, “I like to dream, right between my sound machine.”

John Kay of Steppenwolf teamed up with Grandmaster Flash and the Furious Five to do a 1988 rap-rock remake of this song. It was similar to the Run-D.M.C./Aerosmith mash-up of “Walk This Way,” which was released in 1986.

This song first appeared in a 1968 movie called Candy by the French director Christian Marquand. It starred Ewa Aulin, Marlon Brando, Richard Burton, Ringo Starr and Charles Aznavour. It’s an extremely strange movie, definitely of it’s time and kind of gives context to the song, intended or not. The movie was based on a popular counterculture novel.

In 2004, this was used in the “America Revolution” series of Chevy car commercials.

Magic Carpet Ride

I like to dream, yes, yes
Right between the sound machine
On a cloud of sound I drift in the night
Any place it goes is right
Goes far, flies near
To the stars away from here

Well, you don’t know what
We can find
Why don’t you come with me little girl
On a magic carpet ride

Well, you don’t know what
We can see
Why don’t you tell your dreams to me
Fantasy will set you free

Close your eyes now
Look inside now
Let the sound
Take you away

Last night I hold Aladdin’s lamp
So I wished that I could stay
Before the thing could answer me
Well, someone came and took the lamp away

I looked
Around
A lousy candle’s all I found

Well, you don’t know what
We can find
Why don’t you come with me little girl
On a magic carpet ride

Well, you don’t know what
We can see
Why don’t you tell your dreams to me
Fantasy will set you free

Close your eyes now
Look inside now
Let the sound
Take you away

Gentrys – Keep on Dancing

This song was written by Allen A. Jones and Willie David Young. The Gentrys were from Memphis and best known for this 1965 hit which rose to the Top 10 and became a million seller. It’s not a great song but it’s a fun one.

The song is interesting for the fact that it is actually one short recording repeated, to stretch the record out to the length of the typical pop single of its day. The second half of the song, after the false fade, beginning with Wall’s drum fill, is the same as the first. Many modern recordings today more or less use the same trick on songs.

Keep on Dancing peaked at #4 in the Billboard 100 in 1965. The Gentrys did manage an appearance in the 1965 movie It’s a Bikini World and kept releasing singles up to 1971 but they had no other top 40 single and the Gentrys disbanded.

I owned a Gentrys single before…they did a cover of Neil Young’s Cinnamon Girl which I placed below the Keep On Dancing video. It’s odd that its the same group that did Keep On Dancing.

I’m not a wrestling fan at all but this band included Jimmy Hart who would make his name as a bad guy wrestling manager.

Keep On Dancing

I keep on dancin’ (keep on)
Keep on doin’ the jerk right now
Shake it, shake it, baby
Come on & show me how you work

Yellin’ in motion
Keep on doin’ the locomotion, yeah
Don’t worry, little babe
Shake it, shake it, shake it, shake it, yes!

[Chorus:]
Keep on dancin’ & a-prancin’ (ah)
Keep on dancin’ & a-prancin’ (ah)
Keep on dancin’ & a-prancin’ (ah)

[Organ Solo]

I keep on dancin’ (keep on)
Keep on doin’ the jerk
Shake it, shake it, baby
Come on & show me how you work

Yellin’ in motion
Keep on doin’ the locomotion, yeah
Don’t worry, little babe
Shake it, shake it, shake it, shake it, yes!

[Chorus:]
Keep on dancin’ & a-prancin’ (ah)
Keep on dancin’ & a-prancin’ (ah)
Keep on dancin’ & a-prancin’ (ah)

[Organ solo, temporarily fadin]

I keep on dancin’ (keep on)
Keep on doin’ the jerk right now
Shake it, shake it, baby
Come on & show me how you work

[Chorus:]
Keep on dancin’ & a-prancin’ (ah)
Keep on dancin’ & a-prancin’ (ah)
Keep on dancin’ & a-prancin’ (ah)

[Fade]

 

Beach Boys – God Only Knows

Simply a beautiful song written by Brian Wilson and Tony Asher. Carl Wilson sings lead on this song and it is an incredible vocal performance…one of the best in my opinion. The song peaked at #39 in the Billboard 100 and #2 in the UK in 1966. I still have a hard time believing it only made it to #39.

The Beatles’ “Here, There And Everywhere” was inspired by this song. John Lennon and Paul McCartney heard Pet Sounds at a party and went back to Lennon’s house to write it. Paul McCartney once called “God Only Knows” “The greatest song ever written.”

“God Only Knows” was voted 25th in Rolling Stone magazine’s 500 Greatest Songs of All Time,

From Songfacts

Brian Wilson wrote this song with Tony Asher, who was an advertising copyrighter and lyricist that Wilson worked with on songs for Pet Sounds. This song reflects Wilson’s interest in spirituality, and it was a big departure from previous Beach Boys songs that dealt with girls, cars and surfing. Wilson explained to Goldmine in 2011: “Tony Asher and I tried to write something very spiritually. It’s got a melody similar to the song (recites lyric to ‘The Sound Of Music’), ‘I hear the sound of music…’ (Sings lyrics to ‘God Only Knows’) ‘I may not always love you…’ It was similar to it. Tony came up with the title ‘God Only Knows.’ I was scared they’d ban playing it on the radio because of the title but they didn’t.”

This song is considered a Beach Boys classic, but it only managed to scrape the Top 40 in the United States. That’s because it was released as a B-side, partly because of fear that radio stations would refuse to play a song with “God” in the title. In the liner notes to the reissued Pet Sounds album, Tony Asher explained, “I really thought it was going to be everything it was, and yet we were taking some real chances with it. First of all, the lyric opens by saying, ‘I may not always love you,’ which is a very unusual way to start a love song.”

Carl Wilson handled lead vocals on this track. Not long after the song was released, he said, “At present our influences are of a religious nature. Not any specific religion but an idea based upon that of Universal Consciousness. The concept of spreading goodwill, good thoughts and happiness is nothing new. It is an idea which religious teachers and philosophers have been handing down for centuries, but it is also our hope. The spiritual concept of happiness and doing good to others is extremely important to the lyric of our songs, and the religious element of some of the better church music is also contained within some of our new work.”

The famous French horn on this song was played by Alan Robinson, who appeared on the scores for many films, including The Sound of Music and The Ten Commandments. He got the call for the session because he could play without music written out. Brian Wilson sang him the horn line he had in mind, and Robinson played it by ear using a glissando technique suggested by Wilson.

Brian Wilson would sometimes introduce this as “the first song in the world to have God in the title.” God is common in hymns and standards (“God Bless America,” “Nearer, My God, to Thee”), and was rare in pop songs, but not unprecedented; in 1961 Johnny Burnette made #18 US with “God, Country And My Baby.”

Brian Wilson planned to sing the lead vocal himself, but decided that his brother Carl was better suited for the track. “I was looking for a tenderness and a sweetness which I knew Carl had in himself as well as in his voice,” said Brian.

This was featured at the end of the 2003 romantic comedy Love Actually. It was also used in the films Boogie Nights (P.T. Anderson’s drama about the porn industry) and Saved (a 2004 drama about a Christian high school, where there are two versions, both covers). >>

This was the theme song for the first three seasons of the HBO television series Big Love, which ran 2006-2011.

Asked by The Guardian which Beach Boys song took the least effort to write, Brian Wilson replied: “I wrote ‘God Only Knows’ in 45 minutes. Me and Tony Asher.”

In Al Kooper’s tell-all autobiography Backstage Passes and Backstabbing Bastards, Kooper talks about his evening visiting Brian Wilson only a week before Pet Soundshit the streets: “Brian played a test-pressing of the record, jumping up and stopping cuts in the middle and starting them over to emphasize his points. He was very proud of his accomplishment, maybe even a little show-offish, but I wasn’t about to argue. Do you remember the first time you heard ‘God Only Knows’?”

A cover version of the song was broadcast simultaneously across BBC television and radio channels on October 7, 2014 to launch BBC Music. The new adaptation featured Brian Wilson himself as well as various guest stars including Pharrell Williams, Sir Elton John, Lorde, Chris Martin, Stevie Wonder, One Direction and Dave Grohl.

Brian Wilson first toyed with the idea of titling this “Fred Only Knows” before settling on “God Only Knows.”

John Legend and Cynthia Erivo played this to bookend the “In Memorium” segment at the Grammy Awards in 2017. There were an extraordinary number of musical passings that year, David Bowie, Prince and George Michael among them.

God Only Knows

I may not always love you
But long as there are stars above you
You never need to doubt it
I’ll make you so sure about it
God only knows what I’d be without you

If you should ever leave me
Though life would still go on, believe me
The world could show nothing to me
So what good would livin’ do me
God only knows what I’d be without you

God only knows what I’d be without you

If you should ever leave me
Though life would still go on, believe me
The world could show nothing to me
So what good would livin’ do me
God only knows what I’d be without you

God only knows what I’d be without you

The Foundations – Baby Now That I’ve Found You

I first heard this song on an oldies station in the 80s. This song peaked at #11 in the Billboard 100 and #1 in the UK  in 1968. The Foundations were a British Soul band that was active between 1967 to 1970.

When this was first released there appeared to be little enthusiasm for the single until BBC’s newly founded Radio 1 began to play it. The song got onto the station’s playlist mainly because they wanted to avoid any records being played by the pirate radio broadcasters, so they looked back at recent releases that the pirates had missed.

From Songfacts

 The song’s co-writer Tony Macaulay recalls in 1000 UK #1 Hits by Jon Kutner and Spencer Leigh: “I woke up that morning with a stinking headache and when I got to the studio and heard The Foundations, I thought they were pretty terrible. I decided my hangover was to blame, and so I gave them the benefit of the doubt. The only song I could think of was something John McLeod and I had had for some time, ‘Baby Now That I’ve Found You.’ I didn’t have a lot of faith in the song but they recorded it with a lot of energy and I learned a lot from making that record.” It went on to become an international hit.

Clem Curtis, the lead vocalist of The Foundations recalls in the same book “Tony Macaulay gave us 2 songs. One was ‘Let The Heartaches Begin’ and the other was ‘Baby Now That I’ve Found You’ and we chose ‘Baby Now That I’ve Found You.’ Long John Baldry recorded the other one and that knocked us off the top.”

This was used in the 2001 film Shallow Hal. 

This was the first song by a multiracial band to top the UK singles chart.

A cover version by Alison Krauss was featured in the 1997 Australian comedy, The Castle.

 

Baby Now That I’ve Found You

[Chorus]
Baby, now that I’ve found you
I can’t let you go
I’ll build my world around you

I need you so
Baby, even though you don’t need me
You don’t need me.

[Chorus]

Baby, baby, since first we met (doot-doot)
I knew in this heart of mine (I want to tell you, doot-doot)
The love we had could not be bad (doot-doot)
Play it right and bide my time

Spent a lifetime looking for somebody
To give me love like you
Now you’ve told me that you want to leave me
Darling, I just can’t let you.

[Chorus: x2]

Spent a lifetime looking for somebody
To give me love like you
Now you’ve told me that you want to leave me
Darling, I just can’t let you.

[Repeat Chorus]

Young Rascals – Good Lovin’

Great song by the Young Rascals and also covered by a number of artists. The song peaked at #1 in the Billboard 100 in 1966. This song was written by Rudy Clark and Arthur Resnick. It was originally recorded in 1965 by The Olympics, a novelty/doo-wop group who had hits with “Peanut Butter,” “Western Movies” and “Hully Gully.”

Felix Cavaliere of The Young Rascals was listening to a New York Soul station when he heard The Olympics version. The Rascals liked it and played a sped-up version at their live performances. They recorded the song for Atlantic Records, and although the group did not like the outcome, famed producer Tom Dowd loved the rawness of it and that version was released, becoming a huge hit.

From Songfacts

The Young Rascals added the famous half spoken/half sung “One! Two! Three!” count-in, which was by Cavaliere.

According to Rolling Stone magazine, The Young Rascals were surprised by the success of this track. Felix Cavaliere admitted, “We weren’t too pleased with our performance. It was a shock to us when it went to the top of the charts.”

This was The Young Rascals first hit. They went on to achieve seven US Top 30 hits before becoming The Rascals in 1968. They disbanded in 1972 after recording five more American Top 30 songs.

Good Lovin

1-2-3-
(Good lovin’ )
(Good lovin’ )
(Good lovin’ )

I was feelin’ so bad,
I asked my family doctor just what I had,
I said, “Doctor,
(Doctor )
Mr. M.D.,
(Doctor )
Now can you tell me, tell me, tell me,
What’s ailin’ me?”
(Doctor )

He said, “Yeah, yeah, yeah, yeah, yeah,
(Yeah, yeah, yeah, yeah, yeah)
Yes, indeed, all you really need
(Is good lovin’)
Gimme that good, good lovin
(Good lovin’)
All I need is lovin’
(Good lovin’)
Good lovin’, baby.

Baby please, squeeze me tight (Squeeze me tight)
Now don’t you want your baby to feel alright? (Feel alright)
I said Baby (Baby) now it’s for sure (it’s for sure)
I got the fever, Baby, Baby, but you’ve got the cure
(You’ve got the cure)

I said, “Yeah, yeah, yeah, yeah, yeah,
(Yeah, yeah, yeah, yeah, yeah)
Yes, indeed, all I really need
(Is good lovin’)
Gimme that good, good lovin
(Good lovin’)
All I need is lovin’
(Good lovin’)
Good lovin’, baby.

Beatles – The Night Before

This is a hidden gem that was never released as a single in America. I first heard this on the Rock and Roll Music compilation album. Paul wrote this song (John and Paul both confirmed this) and his voice and melody are strong. He wrote it in the family home of his current girlfriend Jane Asher where Paul was living.

The song was originally on the “Help!” soundtrack and the album showed the growth the band was making. It’s not among the masterpieces of the Beatles but a very good pop/rock song. John Lennon is playing the electric keyboard (Hohner Pianet) on this song. The Beatles performed this on the Salisbury Plain in their second film, Help!. The album was released in 1965.

Lennon said that Paul and George played the same solo together but in different octaves.

The Night Before

We said our goodbyes, ah, the night before.
Love was in your eyes, ah, the night before.
Now today I find you have changed your mind.
Treat me like you did the night before. 

Were you telling lies, ah, the night before?
Was I so unwise, ah, the night before?
When I held you near you were so sincere.
Treat me like you did the night before. 

Last night is a night I will remember you by.
When I think of things we did it makes me want to cry. 

We said our goodbye, ah, the night before.
Love was in your eyes, ah, the night before.
Now today I find you have changed your mind.
Treat me like you did the night before. 

When I held you near you were so sincere.
Treat me like you did the night before. 

Last night is a night I will remember you by.
When I think of things we did it makes me want to cry. 

Were you telling lies, ah, the night before?
Was I so unwise, ah, the night before?
When I held you near you were so sincere.
Treat me like you did the night before,
Like the night before.

 

 

Stone Poneys – Different Drum

My favorite Monkee wrote this song. Micheal Nesmith wrote this song before he was picked to be a Monkee. At the time, he was developing his skills as a folk singer…a long way from what the Monkees turned into. In 1965, he met John Herald, guitarist for a bluegrass/folk group called The Greenbriar Boys. They played songs for each other, and Herald loved “Different Drum.” He brought it to his group, slowed down the tempo, and released it on the group’s 1966 album Better Late Than Never! Linda Ronstadt heard this version and recorded it with her group The Stone Poneys (named after the Charlie Patton song “Stone Pony Blues), this version is the best-known version of Different Drum.

This version peaked at #13 in the Billboard 100 in 1968. This would be their only top twenty hit. They stayed together a little while after this and even toured with the Doors with Jim Morrison who Rondstadt didn’t like too well. The Stone Poneys broke up and Rondstadt went solo.

From Songfacts

Like “Me And Bobby McGee,” this is a song written and originally recorded by a guy that switched genders when a female recorded it. With a male narrator, the girl is tying him down, and he has to leave her to strike out on his own. With Ronstadt singing it, the girl become the one who is reigned in, and leaves her man so she can do her own thing. Notice that she ends up describing the guy as “pretty,” which makes a lot more sense when it was Nesmith singing about a girl.

In this song, Ronstadt is ready to bail on a relationship, claiming they are very different people and she doesn’t want to be tied down to one person anyway. It’s a variation of both the “I want to see other people” and the “It’s not you, it’s me” breakups. Mike Nesmith wrote it in character – he was newly married and his wife was pregnant.

The Monkees were given very little control of their musical output, which didn’t sit well with Mike Nesmith, who found out after he joined the ensemble that session musicians would be playing on their albums and hired guns would write their songs. Nesmith was a talented performer and songwriter, and he proved it with this tune, which he pitched for The Monkees. He explained in 1971: “Most of the songs I did write, they didn’t want, so on the last few albums I didn’t contribute much in the way of material. I took them ‘Different Drum’ and they said all it needed was a hook. They asked me to change it and told me it was a stiff.”

The Stone Poneys were a folk trio of Ronstadt, Kenny Edwards and Bobby Kimmel. They released their first album earlier in 1967, and it went nowhere. This song was included on their second album, Evergreen Volume 2, later that year and appeared to be headed toward a similar fate. In dire financial straits, the band was driving to a meeting with their record company when their car broke down on La Brea Avenue in Los Angeles. At the gas station where they ended up, they heard this song playing on the radio – it had been added to the playlist at KRLA-AM, a huge station in LA. Suddenly, they had a hit on their hands.

Their fortunes improved, but the song only took them so far. After one more charting single (“Up To My Neck In High Muddy Water” – #93) the band broke up. Ronstadt went solo and charted a few minor hits from 1970-1974, but landed a #1 in 1975 with “You’re No Good,” launching her to stardom.

Bobby Kimmel did most of the songwriting in The Stone Poneys, who generally shared vocals like Peter, Paul and Mary. These songs rarely suited Linda Ronstadt’s voice, but when she heard “Different Drum” by The Greenbriar Boys, she thought it was a perfect fit and a great opportunity to take a lead vocal.

Mike Nesmith played a short, intentionally awful version of this song on the “Too Many Girls” episode of The Monkees TV series. The episode aired December 19, 1966, which was shortly before Ronstadt released the song.

Fittingly, this song was far different than previous Stone Poneys material, and the male members of the group, Kenny Edwards and Bobby Kimmel, didn’t even play on it. Ronstadt envisioned the song as an acoustic piece, but their producer, Nick Venet, had different ideas. When the group showed up for the three-song session at Capitol Records’ Studio B in Los Angeles, there were a number of studio musicians there. Edwards and Kimmel played on two of the songs, but when it came time to record “Different Drum,” they watched from the control room as the seasoned studio pros worked up the song under Venet’s direction. Among the musicians:

Don Randi – harpsichord
Al Viola – guitar
Jimmy Bond – bass
Jim Gordon – drums

There was also a string section conducted by Sid Sharp. Gordon and Randi also played on many of the Monkees recordings in place of the actual group.

Ronstadt did one run-through of the song before recording her vocal, start to finish, in the next take. As she developed her vocal talents, she came to hate the way she sounded on the song. “Today I will break my finger trying to get that record off when it’s on,” she said in the 2016 book Anatomy of a Song. “Everyone hears something in that song – a breakup, the antiwar movement, women’s lib. I hear a fear and a lack of confidence on my part. It all happened so fast that day.”

The Monkees were in their second (and final) season when this song reached its chart peak in January 1968. Mike Nesmith heard it for the first time on a Philadelphia radio station when the group was riding together in a limousine.

Nesmith recorded this himself in 1972 on a solo album called And The Hits Just Keep On Comin’. Nesmith had a substantial solo output after The Monkees TV series was canceled.

A Different Drum

You and I travel to the beat of a different drum
Oh, can’t you tell by the way I run
Every time you make eyes at me. Wo oh
You cry and you moan and say it will work out
But honey child I’ve got my doubts
You can’t see the forest for the trees

Oh, don’t get me wrong. It’s not that I’m knockin’
It’s just that I’m not in the market
For a boy who wants to love only me
Yes, and I ain’t sayin’ you ain’t pretty
All I’m sayin’s I’m not ready for any person,
Place or thing to try and pull the reins in on me
So goodbye, I’ll be leavin’
I see no sense in the cryin’ and grievin’
We’ll both live a lot longer if you live without me

Oh, don’t get me wrong. It’s not that I’m knockin’
It’s just that I’m not in the market
For a boy who wants to love only me
Yes, and I ain’t sayin’ you ain’t pretty
All I’m sayin’s I’m not ready for any person,
Place or thing to try and pull the reins in on me
So goodbye, I’ll be leavin’
I see no sense in the cryin’ and grievin’
We’ll both live a lot longer if you live without me

The Buckinghams – Kind of a Drag

This song peaked at #1 in the Billboard 100 and #1 in Canada in 1967. This was an American band from Chicago that formed in 1966. They scored 3 top ten hits (#5 Mercy, Mercy, Mercy, #6 Don’t you Care and this song).

The Buckingham was a band from Chicago that formed in 1966. They were very successful in 1967 and 68 and broke up in 1970. They reformed in 1980 and are still together today.

From Songfacts

“Kind of a Drag” was written by Jim Holvay, who was a friend of the band’s from Chicago. It is The Buckingham’s only #1 hit, although they peeked into the Top 10 twice more and charted a couple more times after that. Holvay went on to write “Don’t You Care,” “Susan” and “Hey Baby They’re Playing Our Song” for The Buckinghams.

Is that a song from the late-’60s/ early-’70s with a horn section? Then odds are good it’s produced by James William Guercio. Guercio produced both early Chicago and The Buckinghams, and the latter influenced the formation of Blood Sweat & Tears. Try playing “Kind of a Drag” back-to-back with “Saturday In The Park” (Chicago) and “You’ve Made Me So Very Happy” (BS&T).

Meet The Buckinghams: Dennis Tufano (vocals), Carl Giammarese (guitar), Martin Grebb (keyboard), Nick Fortuna (bass), Jon Poulos (drums). The band had dissolved by 1970, but a reunion has since taken place starting in 1980, with the only two original members now being Carl and Nick. Jon Poulos died from a drug overdose in 1980.

The Buckinghams had five charting hits, and they all occurred in 1967, prompting Billboard magazine to declare them “the most-listened-to band of the year.” So why did they fall off the map? In our interview with Tommy James, he explained that 1968 marked the emergence of album-oriented bands, with singles acts dying off. Said James: “When we left in August (1968, for the Democratic National Convention), all the big acts were singles acts. It was the Association, it was Gary Puckett, it was the Buckinghams, the Rascals, us. But the point was that it was almost all singles. In 90 days, when we got back, it was all albums. It was Led Zeppelin, Crosby, Stills and Nash, Blood, Sweat and Tears, Joe Cocker, Neil Young. And there was this mass extinction of all of these other acts. It was just incredible. Most people don’t realize that that was sort of the dividing line where so many of these acts never had hit records again.”

The modern-day version of The Buckinghams have risen to such heights as playing at President Barack Obama’s 2009 inauguration ball, and being inducted into the 2009 class of the Hit Parade Hall of Fame.

 

Kind of a Drag

Kind of a drag
When your baby don’t love you
Kind of a drag
When you know she’s been untrue

Oh oh, listen to what I’ve gotta to say
Girl, I still love you
I’ll always love you
Anyway, anyway, anyway

Kind of a drag
When your baby says goodbye
Kind of a drag 
When you feel like you want to cry

Oh oh girl, even though you make me feel blue
I still love you
I’ll always love you
Anyway, anyway, anyway

Oh, listen to what I’ve gotta say
Girl, I still love you
I’ll always love you
Anyway, anyway, anyway

Eddie Floyd – Knock On Wood

This song never gets old. It has been recorded by many artists including David Bowie to a disco version by Amii Stewart. The song was written by Steve Cropper and Eddie Floyd. This song peaked at #28 in the Billboard 100 and #19 in the UK. It was released on Stax Records.

Stax Records boss Jim Stewart wasn’t a fan of this song, as he thought it was too similar to “In The Midnight Hour.” He didn’t release it until about six months after it was recorded. When he did, Cropper and Floyd did much of the promotion themselves, visiting radio stations to try to get airplay for the song.

Steve Cropper on the song: “We were trying to write a song about superstitions, and after we’d exhausted about every superstition known to man at that time, from cats to umbrellas, you name it, we said, what do people do for good luck? And Ed tapped on the chair and said, ‘knock on wood, there it is.’ So basically the whole theme of the song changed, and we started to sing about, I’d better knock on wood for good luck, that I can keep this girl that I got, because she’s the greatest – and that’s what it was about.”

 

From Songfacts

This was Eddie Floyd’s biggest hit. He wrote the song with Stax Records guitarist Steve Cropper in the Lorraine Motel, which is where Martin Luther King Jr. was assassinated in 1968. Working late at night, they came up with the famous line, “It’s like thunder, lightning, the way you love me is frightening” when Floyd told Cropper a story about how he and his brother would ride out the storms in Alabama.

“In Alabama, man, there’s like thunder and lightning,” he told Cropper. “We’d hide under the bed because we’d be frightened of the thunder and lightning.”

Cropper liked this phrase and came up with the famous line.

The saying “Knock On Wood” is used to express gratitude for good fortune while humbly acknowledging that it might not continue: “My back has been feeling better ever since I gave up spearfishing… knock on wood.” This is often accompanied by the speaker actually tapping on any nearby (and preferably wooden) surface.

In the song, Eddie Floyd is knocking on wood because he’s so lucky to have found the girl of his dreams.

This song has one of the most effective pauses in music history: After Floyd sings, “I better knock,” there’s some space before drummer Al Jackson comes in with his drumbeats and Floyd completes the line with “on wood.”

This section wasn’t planned – Jackson came up with the idea of putting the pause in and simulating the sound of knocking on a door to break up the line. This little flourish made the song very memorable.

A disco version by Amii Stewart was a #1 hit in 1979. It was the only hit for Stewart, who was also a dancer and actress – she starred in the Broadway musical Bubbling Brown Sugar. The innovative arrangement of her version inspired Jay Graydon’s production of The Manhattan Transfer’s “The Boy From New York City.”

Says Graydon: “There was a re-release of ‘Knock On Wood’ that was fantastic. And some guy played a triplet guitar part in it. I decided to borrow the idea because professionals borrow where amateurs steal. (laughs) So I was borrowing the concept… with different notes that I played, of course, And that was the secondary hook of the song.” (read more in our interview with Jay Graydon)

The intro, with horns and guitar, is similar to another hit for Stax Records: “In The Midnight Hour” by Wilson Pickett. The guitar lines in both songs are deceptively simple. Steve Cropper explained on his website: “It’s a little school-of-guitar thought that I called ‘follow the dots.’ Basically, you look down on the front markers of the guitar and just kind of follow them out and you can come up with the intro of either ‘In The Midnight Hour’ or the intro of ‘Knock On Wood’ depending on where you start. It was kind of funny that sometime after ‘In The Midnight Hour’ had been a hit, I was laughing that we had always put a lot of pride in our intros at Stax, and you could tell it meant a lot because the hits were pretty identifiable – the old game of name that song in one note, and usually you’d get it right off of the intro before the lyrics start. This is one of those cases. We just thought it was funny and I hit it. Eddie said, ‘man, that’s it!’ That’s how the intro to ‘Knock on Wood’ came about.”

After Eddie Floyd and Steve Cropper wrote this song at the Lorraine Motel, they called trumpet player Wayne Jackson, who was doing a gig 10 minutes away in West Memphis, and asked him to come by to work on the horn lines before their session the next morning. He came by around 2 a.m., and an hour later they had the horn lines written and ready to go. At the session, they didn’t have to spend time working up the song because it was already prepared.

This song confused British listeners a bit, as the phrase “knock on wood” in not in their vernacular. In England, the expression is “touch wood.”

According to Eddie Floyd, it was Isaac Hayes, a regular at Stax Records, who came up with the bridge, which ended up being played on a saxophone.

The soul singer Tyrone Davis released a slower version of this song in 1969 on his album Can I Change My Mind.

Otis Redding recorded the song as a duet with Carla Thomas (credited to “Otis & Carla”). Their version went to #30 in 1967.

The Stax house band – Booker T. & the MG’s – provided backing on this track. Isaac Hayes played the piano.

Knock on Wood

I don’t want to lose you, this good thing
That I got ’cause if I do
I will surely,
Surely lose a lot.
Cause your love is better
Than any love I know.
It’s like thunder and lightning,
The way you love me is frightening.
You better knock, knock on wood, baby.

I’m not superstitious about ya
But I can’t take no chance.
I got me spinnin’, baby,
You know I’m in a trance.
‘Cause your love is better
Than any love I know.
It’s like thunder and lightning,
The way you love me is frightening.
You better knock, knock on wood, baby.

It’s no secret,
That woman is my loving cup
‘Cause she sees to it
That I get enough.
Just one touch from here,
You know it means so much.
It’s like thunder and lightning,
The way you love me is frightening.
You better knock, knock on wood, baby.

You better knock, knock, knock on wood

Johnny Rivers – Poor Side of Town

This song has always stuck with me because of that odd guitar riff. The song was written by Johnny Rivers and Lou Adler. Johnny had 29 songs in the top 100, 9 top ten hits, and one number one song. This is the one chart-topper Rivers achieved. It hit #1 in the Billboard 100 in 1966.

The song was on his Changes album that peaked at #33 in 1967. With this album, he moved into a more soulful, contemporary direction with his music. Instead of basic guitar-bass-drums, he added orchestral sounds from horns and strings.

 

From Songfacts

This is Johnny Rivers’ only American chart topper. He co-wrote it with Lou Adler. Marty Paich, who arranged for Mel Torme and Ray Charles, did the string arrangement.

Johnny Rivers: “I had this tune I’d been working on, and I kept playing it for Lou. It took me about 6 months to finish. We cut it with Larry Knechtel, Joe Osborn and Hal Blaine. I did my vocal performances live with the band. I sat and played my guitar and sang. There weren’t any overdubs. So we said it could use some singers and maybe some strings. That’s the time we got together with (arranger) Marty Paich.”

This was a change of direction for Johnny Rivers, who had tired of the upbeat Go-Go sound that provided him with his early hits. However, he found his record company reluctant to tamper with a winning formula. He recalls, “Al Bennett and those guys were goin’ Man. don’t start comin’ out with ballads. You’re gonna kill your career. You got a good thing goin’ with this funky trio rock sound, stay with that.”

Poor Side of Town

How can you tell me how much you miss me
When the last time I saw you, you wouldn’t even kiss me
That rich guy you’ve been seein’
Must have put you down
So welcome back baby
To the poor side of town

To him you were nothin’ but a little plaything
Not much more than an overnight fling
To me you were the greatest thing this boy had ever found
And girl it’s hard to find nice things
On the poor side of town

I can’t blame you for tryin’
I’m tryin’ to make it too
I’ve got one little hang up baby
I just can’t make it without you

So tell me, are you gonna stay now
Will you stand by me girl all the way now
Oh with you by my side
They just can’t keep us down
Together we can make it girl
From the poor side of town

(So tell me how much you love me)
(Come be near to me and say you need me now)

Oh, with you by my side
This world can’t keep us down
Together we can make it baby
From the poor side of town