Why were the 1957 songs be left off the Wikipedia list?
Here’s the back story about this post: I was listening to my favorite music podcast, Coverville, which was doing a cover story of Kylie Minogue, cover songs of and by the Aussie singer. At some point, the host says the song The Locomotion went to #1 (implicitly, on the US charts) three times. I know this is inaccurate, as I’ve heard the claim before. Little Eva #1, Grand Funk #1, Kylie only to #3, which is still impressive. Kylie’s version DID go to #1 in her native land.
So what songs HAVE gone to #1 more than once? Wikipedia and other sources note these:
1 “Go Away Little Girl” — Steve Lawrence (1963) and Donny Osmond (1971) 2 “The Loco-Motion” — Little Eva (1962) and Grand Funk (1974) 3 “Please Mr. Postman” — The Marvelettes (1961) and The Carpenters (1975) 4 “Venus” — Shocking Blue (1970) and Bananarama (1986) 5 “Lean on Me” — Bill Withers (1972) and Club Nouveau (1987) 6 “You Keep Me Hangin’ On” — The Supremes (1966) and Kim Wilde (1987) 7 “When a Man Loves a Woman” — Percy Sledge (1966) and Michael Bolton (1991) 8 “I’ll Be There” — The Jackson 5 (1970) and Mariah Carey (1992) 9 “Lady Marmalade” — Labelle (1975) and Christina Aguilera / Lil’ Kim / Mýa / Pink (2001)
BTW, I own both versions of 2-4, 8, and 9, but only the older versions of 5-7. (I didn’t even REMEMBER Bolton’s version.)
But the website cites footnote 28 which is Retro-Hits.com, which additionally lists:
“Butterfly” – Charlie Gracie (1957) and Andy Williams (also in 1957) “Young Love” – Sonny James (1957) and Tab Hunter (also in 1957)
Why were the 1957 songs be left off the Wikipedia list? (I own Williams and James.)
I asked THE guru of all things pop music history, Chaz Hill, a/k/a Dustbury: “Well, it does say specifically ‘Billboard Hot 100,’ a chart which wasn’t actually created until 1958. (Before that, there were four different charts: Best Sellers in Stores, Most Played by Jockeys, Most Played in Juke Boxes, and ‘Top 100,’ which isn’t quite the same.) I’m assuming that they’re using the stricter definition at Wikipedia, the looser one at Retro Hits. (Joel Whitburn, who compiles all those chart books, does his figuring on the looser definition.)”
Thanks, Mr. Hill. This reminds me of a lot of library reference questions. They may seem easy on the surface, but there are often nuances to make them a bit more complicated.
The Wikipedia describes “the hypnotic riff Brian Jones is playing during the verses pays a tribute to Bo Diddley’s song ‘Diddley Daddy'”
Mick Jagger at the White House
I started reading this Philip Norman book about Mick Jagger last month, and I’ve never understood the physical appeal of the man, but it is palpable from the very first chapter. He continues to be such an icon that there was a (relatively) recent song about him, Moves Like Jagger by Maroon 5. A lock of his hair fetched $6,000 at auction recently; it was for charity to be sure, but still.
Anyway in honor of Sir Michael’s 70th birthday, here are my 20 favorite Stones songs. The album references are to the UK releases; worse than with the Beatles, the US record company could be swipe one song and stick it on another album, or two.
20. Start Me Up -Tattoo You (1981) Not sure I liked this song as much as appreciating another’s enthusiasm for it. I went to my 10th high school reunion, and it was deadly boring. Afterward, a bunch of us went to our friend Cecily’s house and partied until about 6 a.m.
My good friend Karen was playing this brand new song by the Stones; she must have listened to it a half dozen times or more that night, quite loudly, if memory serves. This was well before I heard it too often in a certain commercial.
19. You Gotta Move – Sticky Fingers (1971) A gospel standard that still sounds like the band.
18. Play With Fire – B-side to “The Last Time” single (1965) Love the contrast between the pretty guitar and intense feelings in the lyric.
17. Dead Flowers – Sticky Fingers I rather liked the faux country feel of the song. And for some reason, always liked the line about the US mail.
16. Ruby Tuesday – single (1966) It wasn’t as strong as Nirvana would do later, but they had a few songs where the verse is lovely and quiet, and the chorus more robust.
15. Lady Jane – Aftermath (1966) Brian Jones’ dulcimer helps to make this a beautiful piece. Sounds vaguely Elizabethan, or something.
14. Love in Vain – Let It Bleed (1969) A Robert Johnson song, played with a bit more country feel than the original.
13. Please Go Home – Between the Buttons (1966) It’s the echoey effect of the chorus, the distorted guitar, plus a theremin, played by Brian Jones, which gives it an almost early psychedelic feel.
12. Happy – Exile on Main Street (1972) This is Keith Richards’ signature song with the band. And with the brass, it sounds so, well, happy.
11. Jumpin’ Jack Flash – single (1968) Great guitar line. “But it’s all right.”
10. Backstreet Girl – Between the Buttons Brian Jones on glockenspiel and Jack Nitzsche on the harpsichord, plus an accordion. Lovely waltz that was a social commentary on some UK sex scandal of the day.
9. Street Fightin’ Man – Beggars Banquet Its muscular guitar playing and off-the-beat drumming give the song urgency. What is its politics is a bit unclear.
8. I Got The Blues – Sticky Fingers Bluesy organ of Billy Preston, not to mention the horns made this for me.
7. 19th Nervous Breakdown – single (1966) Wikipedia describes “the hypnotic riff Brian Jones is playing during the verses pays a tribute to Bo Diddley’s song ‘Diddley Daddy’… The song is also well known for Bill Wyman’s so-called ‘dive-bombing’ bass line at the end of the song.” The tune was ripped off by other artists, it was so infectious.
6. Mother’s Little Helper – Aftermath In some ways, an anti-prescription drug song: “And if you take more of those you will get an overdose No more running for the shelter of a mother’s little helper They just helped you on your way through your busy dying day”
5. I Am Waiting – Aftermath Another soft/loud song. Always loved the intentional echo effect in the vocal in the last chorus. There’s a great cover of this by a group called Ollabelle.
4. Paint It, Black – Aftermath Brian Jones’ sitar. “I want to see the sun blotted out from the sky.” When the press made it the “good” Beatles v. the “evil” Stones in the day, this full-bodied tune was a good example of the latter.
3. You Can’t Always Get What You Want – Let It Bleed I went to see the movie The Big Chill when it first came out in 1983. The first scene is a funeral, and the organist is noodling about when I recognize this song and started laughing; I’m the only one in the theater to do so for a long 30 seconds until other people start getting the joke. From the French horn opening to the great choir response, a tremendous song.
2. (I Can’t Get No) Satisfaction – Out of Our Heads (1965) What’s to say? One of the most recognizable riffs in all of pop music, often stolen. This song is always on the list of greatest singles, and rightly so.
1. Gimme Shelter – Let It Bleed My favorite song is this apocalyptic tune, with the great Merry Clayton vocal.
I had to work REALLY hard NOT to change the lyrics to ‘with whomever’.
Roger and Leslie, Corning Glass Works
For her 12th birthday, my sister Leslie received her own guitar. With some assistance from my father, a largely self-taught player, she became quite competent with it in about a month. And that really became the birth of the Green Family Singers, when the three of us used to sing around Binghamton, NY together from 1966 to 1971. The program initially was a variation of what my father had been singing by himself. We would sing harmony on some choruses or responses, for instance, though there were a number of pieces that were three-part harmony throughout.
Leslie and I pretty much stole Hole in the Bucket from my father’s repertoire, though. It was much more dramatic with the two of us than him doing both voices. Leslie always sang the Beatles ‘ song Yesterday. And Leslie and I, in our only other nod to then-contemporary music, sang Go Where You Wanna Go. We first heard it on a Mamas and Papas album and listened to it a lot. Here’s their version, which was a 1996 album cut. This is the version by The 5th Dimension, their first hit single, getting up to #16 on the Billboard charts in 1967.
I had to work REALLY hard NOT to change the lyrics to ‘with whomever’.
Leslie was in Albany for my 50th birthday party, and at some point near the end of the evening, we sang “Go Where You Wanna Go.” In re: some conversation we had earlier this year, my advice to my dear sister is for her to go where she wants to go.
Merry Clayton sings on Lynyrd Skynyrd’s “Sweet Home Alabama”; juxtapose that with her cover of Neil Young’s “Southern Man.”
It pretty much starts off with Lou Reed’s “Walk on the Wild Side”: “And the colored girls go do doo doo, do doo …”. The movie 20 Feet From Stardom is an exceptional documentary about the generally ignored, unknown, but tremendous backup singers, often black women, who perform on some of the biggest hit songs and albums of all time.
Meet Darlene Love, Lisa Fischer, Merry Clayton, Tata Vega, Claudia Lennear, and Judith Hill, most of whom are or were figuring out whether they had the egos necessary to be solo artists, or whether the craft they engaged in, making the star performer look good, was good enough. Love, who was thwarted commercially by producer Phil Spector more than once, was cleaning houses when she heard one of her own songs on the radio and had to come back as a singer. Listening to Clayton’s voice on the Rolling Stones’ Gimme Shelter, bare without the instrumentation, is chilling.
There is some insight from folks such as Bruce Springsteen, Sting, Stevie Wonder, Mick Jagger, and music producer Lou Adler, among others. We also hear wisdom from former Raelette (background singer for Ray Charles) Mabel John, who has a second career. The film touches briefly on some of the folks who were background vocalists and became stars, such as Luther Vandross.
A couple highlights for me: the segment on Clayton’s role in Lynyrd Skynyrd’s “Sweet Home Alabama”, especially juxtaposed with her cover of Neil Young’s “Southern Man,” the latter of which is on the soundtrack album for the film. Also on there is Love’s cover of Bill Withers, appropriately with three of the background singers we had already seen in the movie.
How shall I put this? If you have enjoyed the popular music of the past six decades, see 20 Feet from Stardom, if you can. There were only a dozen people at the Spectrum in Albany when my wife and I saw it Thursday night. Certainly catch it on video, because it’s quite likely NOT playing at a theater near you.
Exasperated, I turned around, said nothing since that would have been likewise disruptive, but gave that universal palms-up symbol for, “Will you please shut up?”
The Wife and I saw Les Miserables at Proctors Theatre in Schenectady a couple of months ago, and it was as marvelous as the reviews in the Times Union and Metroland suggested. I had never seen any stage production of Les Miz before. Though I didn’t love the movie adaptation, we were both glad to have seen it so we would better understand the plot.
Here’s what I didn’t like: During that last, very stirring, song, six or eight people got up and left, which I found really distracting, especially since they were seated near the front and in the middle section. If they were so worried about getting home, they should have left at intermission to beat the crowds. I’d never seen that particular behavior before.
It wasn’t the only annoying activity during the performance. Someone, two or three seats from us kept turning on his mobile device. I don’t know if he was texting or just checking the time; no one of his generation seems to know what a watch is. I’ve seen similar behavior at the movie theaters, even the tony Spectrum Theatre in Albany. Even someone using their device on the opposite aisle and two rows up I will notice because the illumination distracts me from the film.
At the end of Billy Elliot at Proctors in June, the lead leaves the stage via an aisle on the theater. When he makes his return, he’s literally bumping into folks getting ready to leave. (I was so annoyed.)
Some folks at the Albany Symphony Orchestra at least wait for the final note before they rush off. Likewise, moviegoers depart when the credits come up, even when a bit of the movie is still going on, such as in Hope Springs and Bernie.
I was at a conference at the end of April, and two guys were talking through the introduction of the speaker, and even when the speaker began. Exasperated, I turned around, said nothing since that would have been likewise disruptive, but gave that universal palms-up symbol for, “Will you please shut up?”
The slow food movement>was designed so that people could ENJOY eating more, by eschewing fast food, processed products cooked in the microwave, and the like. Not only is it healthier, but it’s also more enjoyable to be part of the process.
In a similar mode, I’m suggesting a “slow audience response” movement. Please stop talking when the speaker/movie/concert starts, and wait for the event to actually end before fumbling with your keys. You may actually enjoy it better if you are “present” at the event, rather than treating it as one more thing to check off the to-do list. I KNOW your fellow audience members will appreciate it. *** The Muppets of Sesame Street tell you how to watch a movie…
Here’s the back story about this post: I was listening to my favorite music podcast, Coverville, which was doing a cover story of Kylie Minogue, cover songs of and by the Aussie singer. At some point, the host says the song The Locomotion went to #1 (implicitly, on the US charts) three times. I know this is inaccurate, as I’ve heard the claim before. Little Eva #1, Grand Funk #1, Kylie only to #3, which is still impressive. Kylie’s version DID go to #1 in her native land.
