Tag Archives: The Supremes

1001 Songs – 1966: Part Three

List Item:  Listen to the 1001 Songs You Must Hear Before You Die

Good Vibrations – The Beach Boys

This is it, the homestretch of 1966. We start off with one of those keystone tracks in the evolution of rock and pop music.

When you listen to this in the context of what else was around in 1966 (including ‘God Only Knows’) the complexity of the production becomes all the more spellbinding. There is just so much going on in this song. It’s only 3.5 minutes long and people have analysed it to the point where there are 6 identified unique sections.

‘Bohemian Rhapsody’ eat your heart out. Seriously. Eat it. ‘Good Vibrations’ is so much better.

Dead End Street – The Kinks

After the musical melange of ‘Good Vibrations’, this song feels so simple in comparison.

It’s a bit of a maudlin pop-rock song about how life can be a bit crap (see: 2016 and how things never really change). It’s a song I can see The Beatles having come up with back in 1964. Apart from the salloon style piano in the background, which gives this song it’s own character.

The Sun Ain’t Gonna Shine (Anymore) – The Walker Brothers

Oooh and the production values are back up again. There is a nice use of reverb and echo in this song that feels like a slightly pared down version of the Phil Spector “Wall of Sound”.

What really seems to be happening in 1966 is the rise of the studio and the producer as instruments in their own right. The production work of George Martin, Brian Wilson, Phil Spector and the two producers on this song became far more integral in the making of songs.

The Kinks from the previous song are on the other side where you may polish and arrange, but you don’t completely intrude on what the raw sound it. It’s a split we have to this day (even moreso thanks to Autotune), but it’s interesting to see that it is around 1966 where this split began to feel distinct.

Season of the Witch – Donovan

Most people my age probably know about Donovan from that episode of Futurama where Fry falls in love with a mermaid from the lost city of Atlanta.

In actuality, Donovan was one of the earliest proponents of psychedelic rock. It feels that he did this to get away from the earlier pre-conceptions that he was the British Bob Dylan.

He sounds a bit like Dylan, but that’s about it. Honestly, this song thoroughly bored me. It runs for 5 minutes and would have been so much better if it had been edited down closer to 3 minutes as there are 3 minutes worth of ideas. Meh.

Friday on My Mind – The Easybeats

Oh thank God we have a song with a bit of life in it. Our first garage rock song of this section of 1966 and one of the first Australian acts to feature on this list.

It feels like a weird garage rock mash up of ‘Help’ by The Beatles and The Rolling Stones’ ‘Paint It Black’. Not an insult at all, it’s a fun rock song about a longing and excitement for the weekend during the drudgery of the week.

I think this is a song we can all relate to.

I’m a Believer – The Monkees

The Monkees are a weird one. A band created for a TV comedy series that were later able to become a successful band in their own right. Like S Club 7, but without the accusations of racism.

It’s another happy song, but this time one that has been manufactured based on the zeitgeist. It feels like the ultimate stereotype of what a late-1960’s pop rock song would sound like.

I am a bit sad that ‘Daydream Believer’ isn’t on this list though.

Dirty Water – The Standells

Another bit of garage rock/proto-punk here… just nowhere near as much fun as ‘Friday On My Mind’ by the Easybeats.

The dirty water in question is the polluted Charles River in Boston, a city that is namechecked many times during this song. We also have references made the women’s curfew in Boston at the time.

Weirdly, this song was written by the manager and not the LA-based band. So basically they are sneering about a harbour that they’ve never been to. Rock n Roll!

I Feel Free – Cream

Cream are one of the first examples of a supergroup (a term that is probably banded about a bit too much). The most famous member of this psychadelic rock band made up of blues musicians is Eric Clapton.

There is something otherworldly about the harmonies in this song. Like how a group of mind-control aliens might try to run a band (see: the Daft Punk animated film for more on that).

I love the idea that Cream was formed by blues musicians who wanted to rock. With this band it really worked with having their more relaxed blues sensibilites being sped up by the adrenaline of rock. Possibly why the vocals sound just that bit off (in a good way).

You Keep Me Hangin’ On – The Supremes

The only non-white, non-rock, non-male song in this section. I missed all of those things. Thank you The Supremes and Holland–Dozier–Holland for giving me this bit of respite.

Okay it has that rock guitar in the background, but this is very much it’s own animal. Rock was getting bigger and bigger so you can see how this was being incorporated into the Motown sound.

Not that this was the first time The Supremes had ventured into this territory – two years previously they had released a cover album titled ‘A Bit of Liverpool’ where they did a surprisingly good cover of ‘A Hard Days Night’.

Happenings Ten Years Time Ago – The Yardbirds

Okay so this kept making me think of the catatafish song from the Lemmiwinks episode of South Park. Hope that is not just me.

It did not suprise me to see that ‘The Yardbirds’ would eventually feed into Led Zeppelin. The guitar in this song sounded so much like what I would hear in their stuff.

Whilst this is psychedelic rock it feels like that leap forward into harder rock that would start to properly form in the next few years. Still… it sounds like the catatafish.

Tomorrow Never Knows – The Beatles

Okay so this feels like nothing else we have heard so far. The more I do this songs list the more and more respect I am having for the Beatles.

When I listened to Revolver song time ago I hadn’t even picked up on this song with the weird bird noises, dirge-like sitar and whatever some of those other loops are.

I am not sure if I have heard many songs quite like this. I think the Athens, Georgia band Of Montreal have attempted similar things (their song ‘The Past is a Grotesque Animal’ comes to mind), but at least they had this song as a context.

How would a person living in 1966 react to this? It’s astonishing that the Beatles were as recognised in their own time when you consider how unique their songs could be.

‘Tomorrow Never Knows’ is remarkable. I wouldn’t rank it as a favourite song by any means, but I can really appreciate the scale of it.

Progress: 218/1021

Right, that’s it for 1966. It’s been an interesting year for music and, by the look of it, 1967 will be similarly varied with 3 more posts coming.

1001 Songs – 1965: Part Two

And now the thrilling conclusion to 1965. If you think this is a lot of songs just wait until 1966 – that’s going to end up being split in 3.

List Item:  Listen to the 1001 Songs You Must Hear Before You Die

Like a Rolling Stone – Bob Dylan

Our first track sung by Nobel Laureate Bob Dylan. This song would have had more effect on our listening if it hadn’t ended up being the first of the second half. This is so unbelievably different to whatever had come before (in terms of the 1001 songs list and music in general).

The big shock, at least for me, is just how successful this was. It isn’t like Bob Dylan was this artist that was appreciated by music-lovers only and not as much the mainstream. This song managed to get to the top reaches of the singles charts. That’s incredibly when you actually think about this cynical, biting poem set to music was able to reach the same notice as girl groups and the Beatles.

People Get Ready – The Impressions

I’m missing something with this one. I get that the imagery in this track is making reference to the Underground Railroad movement that helped to free slaves in the Southern states. I get that this was written at a time where the Civil Rights Movement was making tracks and that this was a good rallying cry that could be used in the churches. However, this is ranked so highly in so many best of lists… and I just hear a fairly generic gospel song from the 1960s.

Looks like this might just be me.

Who Do You Love – The Preachers

Well. That was different.

This is described as being a ‘high energy’ version of a Bo Diddley song. Not sure if that’s an adequate description. This is not on the list because it’s one of the best songs, but because of what it represents: proto-punk.

What we have here is a band trying to take the rock and roll sound and play it harder, faster, rawer and screamier (okay not a word). It’s not punk as we know it, but in the context of what was around at the time this is something very different.

Now to rescue my eardrums before moving on. Ouch.

The Carnival Is Over – The Seekers

This is more of what I expect from a 1960s song. A hugely successful pop-folk hybrid that sold over 1.4 million copies in the UK alone.

With this level of nostalgic melancholy it is unsurprising that this track originates from an old folk song – specifically a Russian folk song. It’s melody has been adapted by the brother of Dusty Springfield who also composed lyrics that were vastly different to the original Russian ones (which were about a peasant uprising… cheery).

This is just one of those nice inoffensive songs that just sounds good. Middle of the road, but good.

Psycho – The Sonics

This is another one of those songs where we are starting to see rock and roll morph into something harder and a bit punkier. It doesn’t hit the screamy heights of ‘Who Do You Love’, but this is most definitely part of the evolution.

The genre at this stage is garage rock (a bit of a Ronseal name there for a type of rock and roll kids would play in the garage) and we are not yet at the stage of punk.

It’s interesting to think that it would take 10-15 years before the definitive punk albums start to be made (Ramones, Never Mind the Bollocks etc) and yet we are starting that evolution in 1965. Makes you wonder what music is brewing right now only to explode in a decades time.

I’ve Been Loving You Too Long (to Stop Now) – Otis Redding

Otis Redding is another one of those talents from the 1960s where there is a great sense of a ‘what if’ about them. Dead at 26 in a plane crash.

This song is most definitely soul, but it just feels that tiny bit more nuanced. There’s something in the vocals here and the light arrangement that leave you wanting just that little bit more.

Stop! In The Name of Love – The Supremes

This is very much the other side of soul. More upbeat and intertwined with pop sensibilities.

As much as this song is incredibly famous you can not hear that chorus without seeing the simple (yet legendary) choreography of the girl group simultaneously raising their hand as they say ‘Stop’ with their hand squarely placed on their hips. Classic.

Subterranean Homesick Blues – Bob Dylan

Back again to the Nobel Laureate. Where you can’t think of ‘Stop! In The Name of Love’ without the dance move, you can’t hear ‘Subterranean Homesick Blues’ without the mental image of the music video where Dylan is dropping cards with the lyrics on them.

It’s annoying that this song is later on the list than ‘Like A Rolling Stone’ as this was the earlier song. You can tell this song is earlier as, for Dylan, this song feels just that bit more mainstream. It’s a protest song with a vein of blues rock running through.

Seriously, why wouldn’t you make this list completely chronological rather than chronological just by year. Honestly.

The Sound of Silence – Simon & Garfunkel

Damn it ‘Arrested Development’ I had to restart this song because I started laughing at the image of a depressed Will Arnett.

This is one of the great Simon & Garfunkel songs (although ‘The Boxer’ remains my favourite) and is one of those incredibly recognised pieces of folk rock. In part this is probably due to it’s use in ‘The Graduate’.

It’s a weird song as it is about isolation and yet it feels strangely uplifting. To think, Simon and Garfunkel had already disbanded before this had become successful!

My Generation – The Who

Easily one of the most famous rock songs from this era. Like the Rolling Stones from earlier in the year this is very much the pulling away of the harder rock from the rest of the genre.

It’s an interesting structure of the ‘call and response’ that we would have seen more in the RnB songs from earlier years. Also interesting to listen to is the implied swearing – which works remarkably well and helps to make this song radio friendly.

Between this, the Stones and the Kinks it is very clear that Britain was leading the way in this new sub-genre of music.

Unchained Melody – The Righteous Brothers

Now to end on something remarkably vanilla that simultaneously makes you think of Demi Moore having sex on a potter’s wheel.

Whenever you listen to this song, remember that this was a throwaway B-side. This was not the song that DJs were meant to be playing. This was not meant to be the hit. This timeless and powerful recording was just an afterthought.

I know I called this vanilla, but it is a spectacular song in its own right. Bobby Hatfield delivers the best vocals of any song in this batch and, aside from Nina Simone, possibly even this year.

Sure it is incredibly easy to dismiss this song as being easy listening… there’s nothing wrong with easy listening done this well.

Progress: 186/1021