The Lurch Ted Cassidy SACRED COW MUSIC JUKEBOX 2024-10-18 | Theodore Crawford Cassidy (July 31, 1932 – January 16, 1979) was an American actor. He tended to play unusual characters in offbeat or science-fiction works, such as Star Trek and I Dream of Jeannie, and he played Lurch on the live-action The Addams Family TV series of the mid-1960s. He also narrated the intro sequence for the 1977 live-action The Incredible Hulk TV series and provided the growls & roars for the Hulk for the series's first 2 seasons before his untimely passing, with actor Charles Napier providing the title character's vocals for the remainder of the series.In 1965, he released a seven-inch vinyl record on Capitol Records with two songs on it: "The Lurch", written by Gary S. Paxton, and "Wesley", written by Cliffie Stone and Scott Turner. He introduced the dance and performed the song "The Lurch" on September 11, 1965, on Shivaree! and performed it again on Halloween of the same year on Shindig!Cassidy's height gave him an advantage in auditioning for unusual character roles. His best-known role is Lurch on The Addams Family, in which he feigned playing the harpsichord (although he was in fact an accomplished organist). With a separate contract he also played the character named Thing, though associate producer Jack Voglin took on the role in scenes involving both characters. Though the character of Lurch was originally intended to be mute, Cassidy's ad-libbed "You rang?" in response to the butler call was an immediate hit. It became his signature line, and he was given more lines. Several episodes were written to feature Lurch.Cassidy reprised the role of Lurch in later appearances. In the Batman episode "The Penguin's Nest" (1966), he appears during the heroes' familiar climbing scene up the side of a building, as a tenant who is playing the Addams Family theme on a harpsichord prior to sticking his head out of the window and speaking to Batman and Robin. He voiced Lurch in an episode of The New Scooby-Doo Movies (1972), and in the 1973 animated series adaptation of The Addams Family. He again reprised Lurch in the TV film Halloween with the New Addams Family (1977).From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Until The End Of The World Julee Cruise SACRED COW MUSIC JUKEBOX 2024-10-18 | Julee Ann Cruise (December 1, 1956 – June 9, 2022) was an American singer and actress, known for her collaborations with composer Angelo Badalamenti and film director David Lynch in the late 1980s and early 1990s. She released four albums beginning with 1989's Floating into the Night.Cruise is best known for her 1989 single "Falling"; an instrumental version was used as the theme song for the television series Twin Peaks in which she appeared in a recurring role as a roadhouse singer. She reprised the role in the 1992 movie Twin Peaks: Fire Walk With Me (which also featured her music), and in the 2017 revival series Twin Peaks: The Return. She was also featured in Lynch and Badalamenti's avant-garde 1990 theater production Industrial Symphony No. 1, which was filmed and released on home media.In 1985, Badalamenti was composing the score for David Lynch's Blue Velvet, as well as serving as the vocal coach for the film's star, Isabella Rossellini. A key scene in Blue Velvet was intended to feature This Mortal Coil's version of "Song to the Siren" by Tim Buckley, with lead vocal by Elizabeth Fraser. When it proved prohibitively expensive to obtain rights to use the song, it was suggested that Badalamenti compose a pop song in the same style, with lyrics written by Lynch. Because the song required a vocalist with a haunting, ethereal voice, Badalamenti recommended Cruise, who had sung in a New York theater workshop Badalamenti had produced. The result of their initial collaboration was "Mysteries of Love", which figures prominently in Blue Velvet's closing scenes and gained a cult following.Badalamenti and Lynch went on to write and produce additional songs for Cruise, most of which were featured in her debut album, Floating into the Night (1989). The album was released on September 12, 1989, by Warner Bros. Records, and charted on Billboard the following year. It also provided musical material for Lynch's Industrial Symphony No. 1, in which Cruise performed while "floating" from a harness dozens of feet above a stage at the Brooklyn Academy of Music.The second, more significant project was the soundtrack to Lynch's Twin Peaks, for which Badalamenti composed the original score. The song "Falling", which became the orchestral theme for the television series, caused a minor sensation, winning a Grammy at the 33rd Annual Grammy Awards in 1991 for Best Pop Instrumental. The Twin Peaks soundtrack, featuring Cruise on the songs "Into the Night" and "The Nightingale" as well as on the vocal version of "Falling", eventually went gold (500,000+ copies) in the U.S., a rare feat for a television soundtrack. Cruise made a number of appearances on Twin Peaks as a singer at a local bar, and was prominently featured in both the show's landmark pilot episode and the episode where Laura Palmer's murderer is revealed, as well as in 1992's Twin Peaks: Fire Walk with Me. "Rockin' Back Inside My Heart", the second single from Floating into the Night, was released in 1990 and was also featured in an episode of Twin Peaks along with "The World Spins"; in the episode, several of the main female characters are shown lip-synching to "Rockin' Back Inside My Heart".The following year, Cruise recorded a Lynch- and Badalamenti-produced cover of the Elvis Presley song "Summer Kisses, Winter Tears" for the soundtrack of Wim Wenders's Until the End of the World. Afterward, Cruise maintained a relatively low profile until her second album, The Voice of Love, was released in 1993. An instrumental version of "She Would Die for Love" was used as the main theme for the movie Twin Peaks: Fire Walk with Me. In 2017 she appeared in Part 17 of the new Twin Peaks season performing "The World Spins". Cruise released the EP Three Demos in 2018, containing the original demo versions of "Floating", "Falling", and "The World Spins".Cruise's long-delayed third album, The Art of Being a Girl, was released in 2002. This was the first of her albums for which Badalamenti and Lynch did not produce or write any of the music. Instead, the music and lyrics for each of the songs were written by Cruise herself (with the exception of an updated version of the single "Falling"), and produced by Rick Strom and Mocean Worker.In 2011, Cruise released her fourth album My Secret Life. The album was a collaboration with DJ Dmitry (formerly of Deee-Lite) and contained a cover of Donovan's "Season of the Witch" and a cover (technically) of Hybrid's "Fatal Beating" called "A Fatal Beating".From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
The Blob The Five Blobs SACRED COW MUSIC JUKEBOX 2024-10-18 | The Five Blobs were an American group of studio musicians put together in 1958 by session leader Bernie Knee. While his birth name was Bernard Knee, most music industry magazines spelled his name Bernie Nee, and that is also how his name is spelled on all the recordings he made during the 1950s. The ensemble that became The Five Blobs was assembled in Los Angeles, California for the express purpose of recording "The Blob", the title song for the Steve McQueen film The Blob. Written by Burt Bacharach and Mack David (Hal David's brother), the tune featured a prominent saxophone part. The single was released on Columbia Records and became a hit, peaking at No. 33 on the Billboard Hot 100 in November 1958. The single's B side was a song entitled "Saturday Night in Tiajuana" [sic] credited to Bacharach. The song is featured on many Halloween-themed compilations. A version of "The Blob" by the Zanies was a regional hit in Los Angeles.Bernie Nee was not listed on any of the promotional materials for the film or the record. To protest this oversight, Nee released an advertisement in the music industry trade publications, showcasing his name, whereupon he was terminated from Columbia. Nee signed onto Joy Records, where The Five Blobs released two 45s in 1959: "From the Top of Your Guggle (to the Bottom of Your Zooch)" backed with "Rockin' Pow Wow," and "Juliet" b/w "Young and Wild." From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Frankenstein Twist The Crystals SACRED COW MUSIC JUKEBOX 2024-10-18 | Twist Uptown is the first album by The Crystals, issued to capitalize upon their success with the Cynthia Weil and Barry Mann composition "Uptown" which was a #13 US hit, and their first top forty hit "There's No Other (Like My Baby)" (#20 US). Twist Uptown notably features the first released version of "On Broadway," a composition written by Cynthia Weil and Barry Mann. The song was later modified by Jerry Leiber and Mike Stoller and became a hit for The Drifters in 1963.Barbara Alston was The Crystals' main lead singer at the time, and the only songs from this album not to feature her on lead are "Oh Yeah, Maybe Baby" on which Patricia "Patsy" Wright sang lead; and "Gee Whiz" and "Frankenstein Twist" which featured Dolores "LaLa" Brooks. During this period, The Crystals appeared as a quintet but this album features the vocals of six Crystals; it contains tracks with original member Myrna Giraud as well as Dolores "LaLa" Brooks who was Giraud's permanent replacement by its release. Recording sessions took place mainly at Aldon Music and Mirasound in late 1961 and early 1962.In 1963, the album was repackaged as He's a Rebel to benefit from their hit of the same name (although the song was really recorded by The Blossoms) and the two tracks that were omitted were "Please Hurt Me" and "Gee Whiz Look at his Eyes (Twist)." From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
The Thing Phil Harris SACRED COW MUSIC JUKEBOX 2024-10-16 | "The Thing" is a hit novelty song by Charles Randolph Grean which received much airplay in 1950. It is probably derived from the traditional Irish bawdy tavern song "The Chandler's Wife." The song was recorded by Phil Harris on October 13, 1950, and released by RCA Victor Records as catalog number 20-3968. Phil Harris (born Wonga Philip Harris; June 24, 1904 – August 11, 1995) was an American singer, songwriter, jazz musician, actor, and comedian. Though successful as an orchestra leader, Harris is remembered today for his recordings as a vocalist, his voice work in animation (probably most famous later in his career for his roles as bears, one being Baloo in Disney's The Jungle Book, and as Little John in Disney's Robin Hood). He also voiced Thomas O'Malley in Disney's The Aristocats. Harris was also a pioneer in radio situation comedy, first with Jack Benny, and then in a series in which he co-starred with his wife, singer-actress Alice Faye in eight years.The record first reached the Billboard charts on November 17, 1950. It lasted 14 weeks on the chart, peaking at No. 1. The words were set to the English folk tune "The Lincolnshire Poacher". Other versions were recorded by Arthur Godfrey, The Ames Brothers, Danny Kaye, Kidsongs, Ray Charles, Teresa Brewer, Adam West, and Australian orchestra leader Les Welch. The Arthur Godfrey recording was made in November 1950 and released by Columbia Records as catalog number 39068. The Danny Kaye recording was made on December 1, 1950, and released by Decca Records as catalog number 27350. The Ray Charles recording was made on July 13, 1963, and released by ABC-Paramount Records on the album Have a Smile with Me, as catalog number ABC 495 (mono) / ABCS 495 (stereo). The Teresa Brewer recording was made in October 1950, and released by London Records as catalog number 873. The Les Welch recording was made in January 1951 and released by Pacific Records, an Australian company, as catalog number 10-0051.*******************************************************************************While I was walkin' down the beach one bright and sunny dayI saw a great big wooden box a-floatin' in the bayI pulled it in and opened it up and much to my surpriseOh, I discovered a (Boom-ba-boom), right before my eyesOh, I discovered a (Boom-ba-boom), right before my eyesI picked it up and ran to town as happy as a kingI took it to a guy I knew who'd buy most anythingBut this is what he hollered at me as I walked in his shop"Oh, get out of here with that (Boom-ba-boom), before I call a cop""Oh, get out of here with that (Boom-ba-boom), before I call a cop"I turned around and got right out, a-runnin' for my lifeAnd then I took it home with me to give it to my wifeBut this is what she hollered at me as I walked in the door"Oh, get out of here with that (Boom-ba-boom), and don't come back no more""Oh, get out of here with that (Boom-ba-boom), and don't come back no more"I wandered all around the town until I chanced to meetA hobo who was lookin' for a handout on the streetHe said he'd take most any old thing, he was a desperate manBut when I showed him the (Boom-ba-boom), he turned around and ranOh, when I showed him the (Boom-ba-boom), he turned around and ranI wandered on for many years a victim of my fateUntil one day I came upon St. Peter at the gateAnd when I tried to take it inside he told me where to goGet out of here with that (Boom-ba-boom), and take it down belowOh, get out of here with that (Boom-ba-boom), and take it down belowThe moral of this story is: if you're out on the beachAnd you should see a great big box, and it's within your reachDon't ever stop and open it up, that's my advice to you'Cause you'll never get rid of the (Boom-ba-boom), no matter what you doOh you'll never get rid of the (Boom-ba-boom), no matter what you doWritten by: Charles GreanLyrics © Downtown Music PublishingLyrics Licensed & Provided by LyricFind**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
All Tomorrows Parties The Velvet Underground SACRED COW MUSIC JUKEBOX 2024-10-16 | "All Tomorrow's Parties" is a song by the Velvet Underground and Nico, written by Lou Reed and released as the band's debut single in 1966. The song is from their 1967 debut studio album, The Velvet Underground & Nico.Inspiration for the song came from Reed's observation of Andy Warhol's clique—according to Reed, the song is "a very apt description of certain people at the Factory at the time. ... I watched Andy. I watched Andy watching everybody. I would hear people say the most astonishing things, the craziest things, the funniest things, the saddest things." In a 2006 interview, Reed's VU bandmate John Cale stated: "The song was about a girl called Darryl, a beautiful petite blonde with three kids, two of whom were taken away from her." The song was Andy Warhol's favorite by The Velvet Underground.The song was recorded at Scepter Studios in Manhattan during April 1966. It features a piano motif played by Cale (initially written as an exercise) based largely on tone clusters. The repetitive keyboard part was inspired by the style of Cale's musician friend Terry Riley, with whom Cale had played in La Monte Young's mid-1960s group Theatre of Eternal Music. It was one of the first pop songs to make use of prepared piano (a chain of paper clips were intertwined with the piano strings to change their sounds). The song also features the ostrich guitar tuning by Reed, by which all of the guitar strings were tuned to D. Drummer Maureen Tucker plays tambourine and bass drum while guitarist Sterling Morrison plays bass, an instrument that he professed to hate, despite his proficiency as a bassist.Nico provides lead vocals. The song was originally recorded with only one track of her vocals; they were later double-tracked for the final album version. Most versions of the album use this version of the song, though the initial 1987 CD release uses the original mix without the double-tracking. The earliest known recorded version of "All Tomorrow's Parties" was recorded on reel to reel tape by Lou Reed, John Cale and Sterling Morrison in a New York apartment loft on Ludlow Street. With Reed on acoustic guitar, the song displays a strong influence from the American folk music revival—particularly in Cale and Morrison's harmony vocals—which critic David Fricke suggests demonstrates Reed's fondness for Bob Dylan. This version, released on the Peel Slowly and See box set, is composed of multiple takes, which add up to a time of 18:26. An edited version of the song was released in July 1966 as a single with "I'll Be Your Mirror" as a B-side. The song cuts out about half of the studio version at just under three minutes. It did not chart.This version later became available in 1995 on the Peel Slowly and See boxset and appeared on the "Deluxe Edition" of The Velvet Underground & Nico released in 2002. An anniversary reissue of the album included an "alternate single voice version" and an "alternate instrumental mix."From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
The Purple People Eater Sheb Wooley SACRED COW MUSIC JUKEBOX 2024-10-16 | "The Purple People Eater" is a novelty song written and performed by Sheb Wooley, which reached No. 1 in the Billboard pop charts in 1958 from June 9 to July 14, No. 1 in Canada, reached No. 12 overall in the UK Singles Chart, and topped the Australian chart. "The Purple People Eater" tells how a strange creature from outer space (described as a "one-eyed, one-horned, flying, purple people eater") descends to Earth because it wants to be in a rock 'n' roll band. The premise of the song came from a joke told by the child of a friend of Wooley's; Wooley finished composing it within an hour.Much of the song's humor derives from toying with the listener's expectations. The creature is initially described as having "one long horn", suggestive of an anatomical horn, yet the song ends with the creature playing music from the horn, implying that it is acoustic or instrumental.Likewise, challenging the listener's assumption that the creature is a purple-colored people-eater, the creature asserts that it eats purple people: I said Mr. Purple People Eater, what's your line? He said eating purple people, and it sure is fine, But that's not the reason that I came to land I wanna get a job in a rock 'n roll band.The creature also declines to eat the narrator "'cause [he's] so tough", a term which can be interpreted either as fierce or not easily chewed.Attempts to clarify the ambiguities in the song have persisted since its original release. The 1958 sheet music portrayed a purple creature playing the single horn on his head like a woodwind instrument, and MGM used the same image on record sleeves in foreign markets such as Australia and Japan. In response to requests from radio disc jockeys to portray the creature, listeners drew pictures that show a purple-colored people eater.The voice of the purple people eater is a sped-up recording, giving it a voice similar to, but not quite as high-pitched or as fast as, Mike Sammes's 1957 "Pinky and Perky", or Ross Bagdasarian's "Witch Doctor", another hit from earlier in 1958; and "The Chipmunk Song" which was released late in 1958. Alvin and the Chipmunks eventually covered "Purple People Eater" for their 1998 album The A-Files: Alien Songs. The sound of a toy saxophone was produced in a similar fashion, as the saxophone was originally recorded at a reduced speed. According to Wooley, MGM Records initially rejected the song, saying that it was not the type of music with which they wanted to be identified. An acetate of the song reached MGM Records' New York office. The acetate became popular with the office's young people. Up to 50 people would listen to the song at lunchtime. The front office noticed, reconsidered their decision, and decided to release the song.The Sheb Wooley version crossed to the Billboard R&B Best Sellers in Stores chart, peaking at No. 18.Wooley recorded another version of the song in 1967, titled "The Purple People Eater #2" and credited to his alter ego Ben Colder, on the MGM label.A cover version recorded by British comedian Barry Cryer reached No. 1 in the Finnish chart after contractual reasons prevented Wooley's version being released in Scandinavia.Wooley re-recorded the song in 1979 under the title "Purple People Eater", which Gusto Records released through its King Records subsidiary.From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Witch Doctor David Seville SACRED COW MUSIC JUKEBOX 2024-10-16 | "Witch Doctor" is a 1958 American novelty song written and performed by Ross Bagdasarian, under his stage name David Seville. It became a number one hit and rescued Liberty Records from near-bankruptcy.In the song, the singer asks a witch doctor for romantic advice; the witch doctor responds in a high-pitched squeaky voice with a nonsense incantation which creates an earworm. The technique developed in this song for the voice of the witch doctor was later used for the creation of the voices of the Alvin and the Chipmunks. David Seville wrote the song, inspired by a book titled Duel with the Witch Doctor on his bookshelf. In the song, the narrator asks a witch doctor for advice on what to do because he has fallen in love with a girl, and the witch doctor replies with a gibberish line: "Oo-ee, oo-ah-ah, ting-tang, walla-walla bing-bang, oo-ee, oo-ah-ah, ting-tang, walla-walla bang-bang".[2]Seville had spent 200 dollars, a significant sum at that time, on a tape recorder, and he borrowed an idea that Les Paul had introduced (to create impossibly high-pitched guitar parts): He recorded his voice at a different speed to create a dialogue between him and the witch doctor. He sang in his own voice as normal, and then overdubbed the song with the voice of the "witch doctor", which is in fact Seville's own voice sung slowly but recorded at half speed on the tape recorder, then played back at normal speed (the voice was therefore sped up to become a high pitched squeaky one). Seville recorded the music first, and then experimented with the process for creating the singing voice for two months before recording it in the studio. It was said that when Si Waronker from the financially-troubled Liberty label heard the resulting song, they released it to reach the shops within 24 hours.The same technique used for creating the voice of the witch doctor was used in Seville's next song "The Bird on My Head", and then more significantly the highly successful Chipmunks (also known as Alvin and the Chipmunks) beginning with "The Chipmunk Song (Christmas Don't Be Late)" released for the Christmas of 1958. Initially released under David Seville alone, "Witch Doctor" was also released under the name of David Seville and the Chipmunks, and re-recorded under the name Alvin and the Chipmunks. The technique was also imitated by other recording artist such as Sheb Wooley in "The Purple People Eater", and The Big Bopper, who parodied both songs on "The Purple People Eater Meets The Witch Doctor", which was originally released as a single, but it was its flip-side "Chantilly Lace" that became the hit.The song peaked at No. 1 on the Billboard Top 100, the predecessor to the Billboard Hot 100. The single was considered a major surprise hit on the chart, where it became Seville and Liberty Records' first No. 1 single, and stayed in the position for three weeks. The single also peaked at No. 1 on the Billboard R&B chart even though it is not a R&B song – this is due to the R&B chart being a trade category at the time, reflecting the popularity of the song with African-American radio stations and customers. The single had sold 1.4 million copies in the United States by December 1958. Billboard ranked it as the No. 4 song for 1958.From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Patches Dickey Lee SACRED COW MUSIC JUKEBOX 2024-10-16 | "Patches" is a song written by Barry Mann and Larry Kolber and performed by Dickey Lee. The song was produced by Bill Hall and Jack Clement. It was featured on his 1962 album The Tale of Patches. It reached No. 6 on the U.S. pop chart and No. 10 on the U.S. R&B chart in 1962. The song ranked No. 74 on Billboard magazine's Top 100 singles of 1962The song tells the story of teenage lovers of different social classes whose parents forbid their love. The girl drowns herself in the "dirty old river." The singer concludes: "It may not be right, but I'll join you tonight/ Patches I'm coming to you." Because of the teen suicide theme, it was banned by a number of radio stations. It sold more than one million copies and was awarded a gold disc. From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Swingin Tight Bill Deal & The Rhondels SACRED COW MUSIC JUKEBOX 2024-10-01 | "Swingin’ Tight" is an American pop/rock song, written by Mark Barkan and Robert "Bob" Barash.The song was first recorded by the British duo Keith & Billie in 1966, but it was not until Bill Deal and the Rhondels released the song as a single in 1969 that it found widespread acclaim, making the US Billboard Hot 100, Cashbox Magazine Top 100 charts, and Record World 100 Top Pops. In 1966, the song "Swingin' Tight" found its way into the hands of the London-based music producer John Schroeder, who was working for Pye Records and oversaw their Piccadilly label. Piccadilly had signed Keith Powell and Billie Davis to partner on a number of songs, including "Swingin' Tight".While the song was well-received, with one review lauding its "smoky, smouldering, almost Spectorish sort of production", it failed to make the UK charts and was never released in the United States. In 1969, Jerry Ross was producing the Vintage Rock (HTS 35,003) album for Bill Deal and the Rhondels in New York at Bell Studios under his label, Heritage Records.On March 10, 1969, the band recorded the song as a slower ballad that ran 2:56, and included it as the second track on the B side of the LP.On October 3, 1969, a new version of the song was produced by Ross, who hired studio musicians to record the instrumentation, to which Bill Deal and the Rhondels laid down the vocals. This version had a more upbeat tempo and ran for only 2:18. It was released as a 7" single under the Heritage label (HE818) in November 1969. The record had "Swingin’ Tight" on the A-side and "Tuck’s Theme" on the B side.This version made it to the US Billboard Hot 100, where it charted for five weeks, peaking at number 85 in December 1969. It also landed on the Cashbox Top 100 singles chart for six weeks, where it reached number 52, and spent six weeks on the Record World 100 Top Pops, where it peaked at number 51.It also charted for 6 weeks on the Canadian RPM 100 , peaking at #57 on December 13, 1969. The single received an achievement award from BMI as one of the most performed rhythm and blues songs in its repertoire for 1969–1970. From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Soul Limbo Booker T & The MGs SACRED COW MUSIC JUKEBOX 2024-10-01 | Soul Limbo is the seventh studio album by the American R&B band Booker T. & the M.G.'s, released in 1968 on Stax Records. The album was the first Stax LP issued after the label severed its ties with former distributor Atlantic Records in 1968.The title track is perhaps best known in the UK as the theme tune for BBC Television's cricket coverage and later for Test Match Special. It features a marimba solo by Terry Manning and cowbell by Isaac Hayes. The song was later covered by the English punk band Snuff. It references the Trinidadian dance and game The Limbo, which had a surge of popularity in the United States starting in the mid-1950s. The song makes use of a common chord progression that was featured in such 1950s and 1960s hits as "La Bamba", "Louie Louie", and "Wild Thing".The album also features the group's hit version of the title theme from the film Hang 'Em High. From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Make Me Your Baby Barbara Lewis SACRED COW MUSIC JUKEBOX 2024-10-01 | "Make Me Your Baby" is a song written by Helen Miller and Roger Atkins. The most successful recording was a hit for Barbara Lewis in 1965. "Make Me Your Baby" was released as a single in September 1965 and that November matched the No.11 peak of her preceding hit, "Baby I'm Yours", as well as reaching No.9 on the Top Rhythm & Blues Singles chartThe demo for "Make Me Your Baby" was cut by journeyman session singer Jean Thomas on 22 January 1965 at the behest of Atlantic Records president Jerry Wexler, who wanted to offer the song to Patti LaBelle and the Bluebelles, then a Cameo-Parkway act Wexler was hoping to woo over to Atlantic. Patti Labelle and the Bluebelles did eventually sign to Atlantic, but only after protracted negotiations (their debut label session being on October 7, 1965), which meant "Make Me Your Baby" was still unrecorded in the summer of 1965 when the success of "Baby I'm Yours" alerted Wexler to the suitability of "Make Me Your Baby" as a vehicle for the singer of "Baby I'm Yours," Barbara Lewis."Make Me Your Baby" was recorded by Lewis in a July 1, 1965, session at Atlantic Records Recording Studios (NYC) in which Lewis also recorded the B-side "Love to Be Loved" and a third track, "I'm So Afraid." Like "Baby I'm Yours," "Make Me Your Baby" was produced by Ollie McLaughlin and Bert Berns, being described as "An Ollie McLaughlin production directed by Bert Berns." The arranger and conductor for the session was Artie Butler, with featured personnel on the session being Patti Brown (piano), Vinnie Bell, Al Gorgoni, Trade Martin (guitar), Bob Bushnell (electric bass), Gary Chester (drums), Ted Sommer, Alvin Rogers (chimes, tambourine). Prior to the release of the Barbara Lewis version, the song had been recorded by the Pixies Three, whose version had successfully been pitched to Cameo Parkway. However, before the relevant contract had been finalized, the Barbara Lewis single had begun to break, causing Cameo Parkway to opt out. The Pixies Three consequently disbanded. Barbara Lewis' "Make Me Your Baby" had an unsuccessful September 1965 release in the UK, where a local cover was cut by producer Shel Talmy with vocalist Liz Shelley. Released 10 September 1965 on Brunswick, this version also failed to chart, but, despite the advance of Lewis' version on the US charts, Shelley's single was given an American release by Decca Records.Bobby Vinton remade the song as "I'll Make You My Baby". Billy Sherrill produced the track which, as the lead single for the Ev'ry Day of My Life, reached No.30 on the Easy Listening chart in Billboard in April 1971, just missing the Billboard Hot 100 by peaking at No.101 on the Bubbling Under chart."Make Me Your Baby" was covered in late 1975 in a disco style by Canadian singer Suzanne Stevens. Her version reached No.23 on Canada's RPM singles chart in December, 1975. Lewis' version had reached the top 10 in Canada in late 1965.Lewis's original version appeared on the soundtrack of Michael Apted's Stardust.From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Im Stone In Love With You The Stylistics SACRED COW MUSIC JUKEBOX 2024-09-30 | "I'm Stone in Love with You" is a 1972 single by the Philadelphia soul group The Stylistics. The song is noted for lead singer Russell Thompkins Jr.'s distinctive falsetto singing, which he employs through most of the record. The song was written by Thom Bell, Linda Creed, and Anthony Bell.It was the first track from the band's 1972 album Round 2 and was released as a single which reached number 10 on the US Billboard Hot 100. It also climbed to number 4 in the Billboard R&B chart and went to number 9 in the UK Singles Chart, in December 1972. The Stylistics' recording sold over one million copies globally, earning them a gold disc The award was presented by the RIAA on December 13, 1972. It was the band's third gold disc.From Wikipedia, the free encyclopedia*******************************************************************************I'm Stone In Love With YouThe StylisticsIf I could I'd like to beA great big movie starOvernight sensationDrive a big expensive carI would buy you everythingYour little heart desiresThese things I do'Cause I'm stone in love with you(Stone in love with you)If I were a business manI'd sit behind a deskI'd be so successfulI would scare Wall Street to deathI would hold a meeting forThe press to let them knowI did it all'Cause I'm stone in love with you(Stone in love with you)I'm just a man, an average manDoing everything the best I canBut if I could, I'd give the world to youI'd like to someday be the owner ofThe first house on the moonThere would be no neighborsAnd no population boomYou might say that all I doIs dream my life awayI guess it's true'Cause I'm stone in love with youI guess it's true'Cause I'm stone in love with youI guess it's true'Cause I'm stone in love with youWritten by: Thom Bell, Linda Creed, Anthony Salvatore BellAlbum: Round 2Released: 1972Lyrics provided by Musixmatch**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Sweet Cherry Wine Tommy James And The Shondells SACRED COW MUSIC JUKEBOX 2024-09-30 | "Sweet Cherry Wine" is a song performed by Tommy James and the Shondells from their 1969 album, Cellophane Symphony. The song was co-written by James and Richie Grasso, another singer-songwriter signed to Morris Levy's Roulette Records. It hit number seven on the Billboard Hot 100 and rose to number six on the Canadian charts. This psychedelic song was released at the height of psychedelia, right after one previous 'mind expanding' song by Tommy James and the Shondells, "Crimson and Clover", and before "Crystal Blue Persuasion". It begins with the use of an organ, adds brass instruments, and ends with a solo flute that fades out at the end. Adding to the feel of this form of music, this and other songs on the album included the then-new Moog synthesizer.James, in an interview on the Christian Broadcasting Network (CBN) in 2010 stated that the song "was about the blood of Jesus" and acknowledged that many fans and peers assumed it was drug related.The track was recorded at Broadway Sound Studios in Manhattan, New York, because at the time, James' regular studio was closed due to it being serviced and upgraded from 16 track to 24 track. He would resume working at Allegro Sound Studios after he recorded Sweet Cherry Wine.It is also a protest song about the Vietnam War. From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Sky Pilot Eric Burdon And The Animals SACRED COW MUSIC JUKEBOX 2024-09-30 | "Sky Pilot" is a 1968 song by Eric Burdon & the Animals, released on the album The Twain Shall Meet. When released as a single the song was split across both sides, due to its length (7:27). As "Sky Pilot (Parts 1 & 2)" it reached number 14 on the U.S. pop charts, number 15 on the Canadian RPM chart, and number 7 on Canada's CHUM Chart.The US single version on MGM was released in both Mono and Stereo versions. The latter was labeled with the phrase 'Saturation Sound'. Also present was echo effects on the line 'How high can you fly' and a trail off of bagpipes at the end of Part Two. The unique mix is unavailable on current editions of the Animals compilations. "Sky pilot" refers to a military chaplain, and the song is a balladic slice of life story about a chaplain who blesses a body of troops just before they set out on an overnight raid or patrol, and then retires to await their return."Sky Pilot" is organized into three movements: an introduction, a programmatic interlude, and a conclusion.The introduction begins with the verse quoted above, sung a cappella and solo by Eric Burdon. Thereafter the band joins in with instruments for the chorus. Several verse-chorus iterations follow, leaving the story with the "boys" gone to battle and the Sky Pilot retired to his bed. The verses are musically lean, dominated by the vocal and a pulsing bass guitar, with a strummed acoustic guitar and drum mixed in quietly.The interlude starts as a guitar solo, but the guitar is quickly submerged under a montage of battle sounds. First come the scary sounds of an airstrike with the "Jericho Trumpet" sirens of Junkers Ju 87 Stuka; then the airstrike and rock band fade into the sounds of shouting, gunfire, and bagpipes. Near the end of the interlude the battle sounds fade, briefly leaving the bagpipes playing alone before the third movement begins. The bagpipe music is a performance by the Royal Scots Dragoon Guards playing "All The Blue Bonnets Are Over the Border". According to an unverified story, the pipers were recorded covertly by Burdon, resulting in the government of the United Kingdom sending the band a letter of complaint.The conclusion begins with the return of the bass and strummed acoustic guitar, accompanied by strings. After a few measures the verses resume, but with a quieter, melancholy atmosphere: one verse is sung along with bass, guitar, and strings, and then without a choral break a final verse is sung to bass, guitar, and woodwinds. During those last verses, the "Soldiers of God" had done well defeating the enemies, for the aid of their country, however, the returning soldiers return, with tears in their eyes, having second thoughts about their mission. One of the returning soldiers feels more disturbed, with the smells of death, when he looks upon the Sky Pilot, remembering the commandment: "Thou shalt not kill". Finally a strong bass line announces the return of the chorus, now accompanied with strings, horns and piccolos, repeated several times as it fades, with the repeated section that the Sky Pilot can never reach the sky, no matter how high he flies. The instrumental section is that of a military funeral march. The musical effect is very upbeat, in stark contrast with the "downer" content of the movement's lyrics. Billboard described the single as an "unusual piece of lyric material set to a pulsating rock beat" that "has all the earmarks of another out and out smash." Cash Box called the song a "a building, bluesy effort" that was the group's "strongest outing in quite some time." It was the group's final Top 40 Billboard hit. From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
He Was A Friend Of Mine The Byrds SACRED COW MUSIC JUKEBOX 2024-09-30 | "He Was a Friend of Mine" is a traditional folk song in which the singer laments the death of a friend. The Byrds included a reworded version of "He Was a Friend of Mine" on their 1965 album Turn! Turn! Turn!. In the band's version, the song's melody is altered and the lyrics are changed to lament the assassination of John F. Kennedy. The Byrds' lead guitarist Jim McGuinn rewrote the song's lyrics in late 1963 to give it a more contemporary slant and transform it into a eulogy for President Kennedy. McGuinn explained the origins of the song in an interview: "I wrote the song the night John F. Kennedy was assassinated. I suppose you could say it's one of the earliest Byrds songs. The arrangement used was as I'd always sung it. I just thought it was a good idea to include it on the Turn! Turn! Turn! album." Due to the rewritten lyrics, the songwriting credit for the song is "Traditional/new words and arrangement McGuinn".Following its appearance on the band's second album, the song would go on to become a staple of the Byrds' live concert repertoire. The band performed the song during their appearance at the Monterey Pop Festival on June 17, 1967, where band member David Crosby made controversial remarks alleging that Kennedy had not been killed by Lee Harvey Oswald alone, but was shot from multiple directions. The Byrds' performance of "He Was a Friend of Mine" at Monterey was included in the 2002 The Complete Monterey Pop Festival DVD box set.From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Sunday Mornin Comin Down Kris Kristofferson SACRED COW MUSIC JUKEBOX 2024-09-30 | Kristoffer Kristofferson (June 22, 1936 – September 28, 2024) was an American country singer, songwriter and actor. Among his songwriting credits are "Me and Bobby McGee", "For the Good Times", "Sunday Mornin' Comin' Down", and "Help Me Make It Through the Night", all of which were hits for other artists.In 1985, Kristofferson joined fellow country artists Waylon Jennings, Willie Nelson and Johnny Cash in the country music supergroup the Highwaymen, which was a key creative force in the outlaw country music movement that eschewed the traditional Nashville country music machine in favor of independent songwriting and producing.As an actor, Kristofferson was known for his roles in Pat Garrett and Billy the Kid (1973), Blume in Love (1973), Alice Doesn't Live Here Anymore (1974), A Star Is Born (1976) (which earned him a Golden Globe Award for Best Actor), Convoy (1978), Heaven's Gate (1980), Stagecoach (1986), Lone Star (1996), and the Blade film trilogy (1998–2004). Kristofferson was inducted into the Country Music Hall of Fame in 2004. Kristofferson said that he would like the first three lines of Leonard Cohen's "Bird on the Wire" on his tombstone: Like a bird on the wire Like a drunk in a midnight choir I have tried in my way to be freeKristofferson died at his home in Maui, Hawaii, on September 28, 2024. He was 88.From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
She Is Still A Mystery To Me The Lovin Spoonful SACRED COW MUSIC JUKEBOX 2024-09-30 | The Lovin' Spoonful is an American folk-rock band formed in Greenwich Village, New York City, in 1964. The band were among the most popular groups in the United States for a short period in the mid-1960s and their music and image influenced many of the contemporary rock acts of their era. Beginning in July 1965 with their debut single "Do You Believe in Magic", the band had seven consecutive singles reach the Top Ten of the U.S. charts in the eighteen months that followed, including the number-two hits "Daydream" and "Did You Ever Have to Make Up Your Mind?" and the chart-topping "Summer in the City".Led by their primary songwriter John Sebastian, the Lovin' Spoonful took their earliest influences from jug band and blues music, reworking them into a popular music format. In 1965, the band helped pioneer the development of the musical genre of folk rock. By 1966, the group were "one of the most highly regarded American bands", and they were the year's third-best-selling singles act in the U.S., after the Beatles and the Rolling Stones. As psychedelia expanded in popularity in 1967, the Spoonful struggled to transition their approach and saw diminished sales before disbanding in 1968. Before they founded the Lovin' Spoonful, Sebastian (guitar, harmonica, autoharp, vocals) and Zal Yanovsky (guitar, vocals) were active in Greenwich Village's folk-music scene. Aiming to create an "electric jug band", they recruited the local rock musicians Steve Boone (bass guitar) and Joe Butler (drums, vocals). The four-piece lineup honed their sound at New York nightclubs before they began recording for Kama Sutra Records with the producer Erik Jacobsen. In May 1966, at the height of the band's success, Yanovsky and Boone were arrested for marijuana possession in San Francisco. The pair revealed their drug source to authorities to avoid Yanovsky being deported to his native Canada, an action which generated tensions within the group. Due to disagreements over their artistic direction, the band fired Yanovsky in May 1967, replacing him with Jerry Yester, and Yanovsky commenced a brief and commercially unsuccessful solo career. The original iteration of the Spoonful last publicly performed in June 1968, after which time Sebastian departed the group and pursued a briefly successful solo career. The band dissolved later that year. From Wikipedia, the free encyclopedia*****************************************************************************She Is Still a MysteryThe Lovin' SpoonfulRemember hallways, you're waiting alwaysTo see behind the doorYou never seen her, you're gonna meet herThe first time so unsureShe smiles your way through a windowYou smile right back, she runs awayYou wish little girls would sit stillJust a little bit longer, longerAnd she's still a mystery to meI thought I'd grow up gracefullyAnd understand my woman finallyBut the more I see (But the more I see)The more I see there is to see, there is to seeAnd she's still a mystery to me(She's still a mystery to me)She's still a mystery to meI used to wonder when in thunderUnderstandin's doneBut now I'm graspin' that understandin'Is only part of loveShe'll smile your way through a windowYou'll smile right back, she'll run awayYou wish little girls would sit stillJust a little bit longer, longerAnd she's still a mystery to meI thought I'd grow up gracefullyAnd understand her thoroughlyBut she's a mystery to meBut she's a mystery to me(She's a mystery to me)(She's a mystery to me)And she's still a mystery to me(She's a mystery to me)She's still a mystery to me(She's a mystery to me)She is still a mystery to me(She's a mystery to me)(She's a mystery to me)(She's a mystery to me)(She's a mystery to me)Written by: John Benson Sebastian, John SebastianAlbum: Platinum & Gold Collection: The Lovin' SpoonfulReleased: 2003Lyrics provided by Musixmatch**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
For My Lady The Moody Blues SACRED COW MUSIC JUKEBOX 2024-09-30 | "For My Lady" is a song written by Ray Thomas that was released on the Moody Blues 1972 album Seventh Sojourn. It was also released as the B-side to the single "I'm Just a Singer (In a Rock and Roll Band)". The lyrics to "For My Lady" are about the singer's desire for true love. The lyrics may have been inspired by Thomas' recent divorce at the time he wrote the song.Music journalist Geoffrey Freakes described "For My Lady" as an "uncomplicated, uncluttered and blissfully romantic song" that is "supremely elegant." Moody Blues biographer Marc Cushman felt that "the melody and heartfelt vocal performance convey a sadness despite the positive nature of the lyrics. Tampa Tribune critic Ralph Harold described the song as "an elegant love song, almost Elizabethan, although somewhat gimmicky with a cymbal sound of ocean waves and a nautical hamonica and organ background.At one point Justin Hayward plays a guitar note that had some listeners thinking that the guitar string broke. But according to Hayward that it was not a broken string but merely an emphasized pluck to accompany the lyrics "and slowly bow her head."Rolling Stone critic Steve Ditlea described "For My Lady" as a "charming chanty about the search for love on life's sea. Star-Phoenix critic Gary Tannyan called it "the song of the album", saying that "It is a whimsical, bouncy little number that you just can't help humming along to. Camarillo Star critic Dean Hoffman called it one of the album's "brightest moments", saying it is "a delightful love song done in the manner of a sea-chanty."Cushman felt that "For My Lady" may be Thomas' "most beautiful and enduring song" as well as "the most lovely song Thomas has written, and among his finest vocal deliveries." Classic Rock History critic Brian Kachejian rated "For My Lady" as the Moody Blues' 7th greatest song, saying that "The song’s bouncy flute opening had a very Irish ethnic storybook sound that took me someplace out to sea."Although not released as a single a-side, "For My Lady" received a lot of airplay on the Pennsylvania radio station WSAN. One of the reasons "For My Lady" was released as the b-side of "I'm Just a Singer (In a Rock 'n' Roll Band)" was because it was one of the most frequently played tracks on radio from Seventh Sojourn."For My Lady" was included on several Moody Blues compilation albums, including This Is The Moody Blues in 1974 and Time Traveller in 1994. The Moody Blues did not play "For My Lady" live for many years after the song was first released, likely due to the fact that Thomas sings the lead vocal and plays flute on the song, although the band could have replaced the flute with the synthesizer. They played the song live for the first time at their concert at Red Rocks Amphitheatre in Colorado in September 1992. In that show they had a complete orchestra and so the woodwinds in the orchestra could cover the flute part. The performance was released on A Night at Red Rocks with the Colorado Symphony Orchestra. After that, the band continued to perform the song live in shows that used an orchestra accompaniment until Thomas retired in 2002.From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Grim Reaper Of Love The Turtles SACRED COW MUSIC JUKEBOX 2024-09-23 | "Grim Reaper of Love" is a single by the American rock band the Turtles, released in May 1966. It was written by Turtles members Chuck Portz and Al Nichol, and includes sections in quintuple meter (3-2 on the opening verse). It is an early example of psychedelic raga rock, using an electric sitar.The Turtles are an American rock band formed in Los Angeles, California in 1965. The band achieved several Top 40 hits throughout the latter half of the 1960s, including "It Ain't Me Babe" (1965), "You Baby" (1966), "Happy Together" (1967), "She'd Rather Be with Me" (1967), "Elenore" (1968), and "You Showed Me" (1969). The original six members were Howard Kaylan, Mark Volman, Al Nichol, Jim Tucker, Chuck Portz, and Don Murray, with subsequent members being Chip Douglas, Joel Larson, Johnny Barbata, Jim Pons, and John Seiter. As with the Byrds, the Turtles achieved breakthrough success with a cover of a Bob Dylan song. "It Ain't Me Babe" reached the Billboard Top 10 in the late summer of 1965, and was the title track of the band's first album. "Let Me Be", their second single, reached the Top 30, and "You Baby" charted in the Top 20 in early 1966. "You Baby", with its intricate vocal harmonies and upbeat tempo, was influential in the band's sound as it departed from the political, Byrds-type folk rock; the band's new sound ranged from chamber pop to straightforward pop music.You Baby, the band's second album, failed to reach Billboard's Top LPs chart, and of several singles released in 1966, "Grim Reaper of Love" and "Can I Get to Know You Better" barely entered the Billboard Hot 100. One single, the tough "Outside Chance", written by Warren Zevon, did not chart. In 1966, the Turtles made an appearance in Universal's film Out of Sight, singing "She'll Come Back" on screen.In early 1966, drummer Don Murray and bassist Chuck Portz quit the group. Murray was replaced by Joel Larson for a few months, before John Barbata became the band's new drummer in late 1966. Portz was replaced by Chip Douglas on bass."Happy Together", the first of several key Turtles singles co-written by Garry Bonner and Alan Gordon, had been rejected by countless performers. "Happy Together", both their biggest hit and their signature song, signaled a turning point for both the Turtles and for Chip Douglas, who provided the arrangement.Other hits, all written by Gordon/Bonner, followed "Happy Together", making 1967 a lucrative year for the Turtles. A follow-up, the brassy "She'd Rather Be with Me", reached No. 3 on the US charts in late spring and actually out-charted "Happy Together" overseas, reaching No. 4 in the UK. Two successive Top 15 songs followed: "You Know What I Mean" and "She's My Girl". Both 45s showed a psychedelic side in the band's style. During that year, the band released two albums, Happy Together and Golden Hits, with former reaching the Top 30 and the latter reaching the Top 10. By the end of 1967 the band were reduced to a five-piece, when rhythm guitarist Jim Tucker departed, citing the pressure of touring and recording new material. "Sound Asleep" and "The Story of Rock and Roll", the first two singles in 1968, stalled somewhere in the middle of the Top 100. The band's fortunes changed when former member Chip Douglas returned to work with them as a producer. Late in 1968 the band released a concept album called The Turtles Present the Battle of the Bands, in which the group pretended to be 11 different bands (with fanciful names including the Bigg Brothers, Nature's Children, the US Teens featuring Raoul, and the Fabulous Dawgs), each with a song in a different genre. The album yielded two singles: "Elenore" and "You Showed Me", both peaking at No. 6.Towards the end of 1969, the group released its next album, Turtle Soup, a critically well-received LP produced by Ray Davies of the Kinks. Notable tracks include "Somewhere Friday Nite" and "Love in the City".Long disillusioned with their record label and its growing financial problems by this time, Kaylan and Volman resisted White Whale's efforts to turn the Turtles into something approaching an assembly-line pop act, like the early Monkees. Such pressure convinced the band to record a single called "Who Would Ever Think That I Would Marry Margaret?", which they disowned after its release.The Turtles wound down their career in 1970 with More Golden Hits, a second compilation album, and Wooden Head, a B-sides and rarities album. From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Different Drum Stone Poneys with Linda Ronstadt SACRED COW MUSIC JUKEBOX 2024-09-23 | "Different Drum" is a song written by American singer-songwriter Michael Nesmith in 1964. It was first recorded by the northern bluegrass band The Greenbriar Boys and included on their 1966 album Better Late than Never!. Nesmith offered it to his group the Monkees, but the producers of the TV show turned it down, though he did perform a short comic version of the song in one episode.The song became popular in 1967 when it was recorded by the Stone Poneys featuring Linda Ronstadt, who took their version of "Different Drum" to No. 12 on the Cash Box Top 100, No. 13 on the Billboard Hot 100 chart, and No. 16 in Record World magazine. "Different Drum" did best in New Zealand, where it reached No. 5. In 1972, Nesmith recorded his own version for his 1972 LP And the Hits Just Keep on Comin'. His version contains four verses, as opposed to the three in Ronstadt's version. "Different Drum" has since been covered by other artists. The song is best known for the 1967 version credited to the Stone Poneys, issued by Capitol Records. featuring a vocal performance by an up-and-coming 21-year-old singer named Linda Ronstadt. It was Ronstadt's first hit single, reaching No. 13 on the Billboard Hot 100 as well as No. 12 on the Cash Box magazine singles chart. (It went to No. 1 in the Los Angeles market and No. 6 in Detroit.)Ronstadt's version flips the gender references in Nesmith's original lyrics, replacing "girl" with "boy" when describing her lover, but still referring to him being "pretty". The Stone Poneys had intended to record an "acoustic ballad version" of the song, but producer Nick Venet opted for a more complex instrumental approach, using an arrangement by Jimmy Bond (who also played bass), guitarists Al Viola and future Eagles co-founder Bernie Leadon drummer Jim Gordon, strings led by Sid Sharp, and harpsichord played in baroque style (and largely improvised during the recording) by Don Randi. As a result, Ronstadt was the only member of the Stone Poneys who performed on the record. The version that was released was the second take, with no overdubbing.The album rendition offers a different stereo mix from the hit single, including a longer harpsichord bridge. Ronstadt later commented that she had been surprised and "completely confused" by the changed approach to the song, and that even years later she perceived "fear and a lack of confidence" in her performance. Nesmith, on the other hand, said that Ronstadt's performance "infused it with a new level of passion and sensuality". In later live performances of the song, Nesmith would often sing the closing verse in the same singing style as the Ronstadt version.From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Whenever A Teenager Cries Reparata & The Delrons SACRED COW MUSIC JUKEBOX 2024-09-23 | Reparata and the Delrons were an American girl group. They are best known for their 1965 recordings "Whenever a Teenager Cries" and "Tommy", for the 1968 European hit "Captain of Your Ship" and for Reparata's 1975 solo hit "Shoes". The group started out as a five-piece high-school harmony group called the Delrons, formed in 1962 at St. Brendan's Catholic School in Brooklyn, New York by lead singer Mary Aiese. The other original members included Nanette Licari, Regina Gallagher, and Ann Fitzgerald, but they were soon replaced by Sheila Reilly, Carol Drobnicki, and Kathy Romeo. Romeo was replaced by Marge McGuire, who herself then left the group. All eight girls graduated from St. Brendan's in the class of 1964.As a trio, Aiese, O'Reilly, and Drobnicki were spotted by record producers Bill and Steve Jerome. They asked Mary Aiese to choose a stage name to make the group name more interesting and marketable. She chose Reparata, her confirmation name, which she had taken from one of her favorite teachers at Good Shepherd Catholic grammar school.The Jeromes recorded them in 1964 first for Laurie Records, then on the Pittsburgh-based World Artists label with Ernie Maresca's song "Whenever a Teenager Cries". The song became a regional hit and reached #60 on the Billboard Hot 100, and even reached the Top 5 in Canada (where it was distributed by Arc). The follow-up, "Tommy", co-written by Chip Taylor, reached #92. Writing about "Tommy" in her memoir A Misfit's Manifesto: The Spiritual Journey of a Rock-and-Roll Heart (2003), journalist and sociologist Donna Gaines comments: What better focus for saintly feminine devotion than the sullen "Tommy", who once treated our girl with consideration, respect, and tenderness? But then Tommy starts acting like a dick. Still, she won't give up on him. Her response to his callous indifference is to love him even more. I ached to love a boy like that, only in dreams." ''He's not so sweet and he's far from polite, Hardly ever calls me And comes to pick me up late every night.''The album Whenever a Teenager Cries (1965) showcased the singles, and included covers of popular hits by "British invasion" groups including The Beatles' "If I Fell" and Manfred Mann's "Doo Wah Diddy Diddy".The group opened for The Rolling Stones at the Philadelphia Convention Hall and Civic Center on their Spring 1965 North American tour.The group became more widely known when they were invited to tour nationally with Dick Clark's Caravan of Stars on two occasions during 1965. However, Sheila Reilly and Carol Drobnicki left the group just before the second tour began, and Reparata performed solo on the tour, with backing vocals from the wings. The next two singles were credited only to Reparata: "A Summer Thought" and "I Found My Place". When Reparata and the Delrons signed with RCA in 1965, new members were needed. Original member Nanette Licari was brought back. "I Can Tell", the first single for RCA needed a third vocalist, and although it has been reported that Lesley Gore sang on the track,[6] it was actually session singer Lesley Miller, while Gore recorded her own version of the song. 18-year-old Lorraine Mazzola was soon recruited to join the group.This line-up of Aiese, Licari, and Mazzola became the group's best-known and most prolific, although ironically they never released an album and none of their dozen singles ever made the US national charts. Their 1967 release "It's Waiting There For You" became a minor hit in Colorado Springs, Colorado, with airplay on KYSN, 1460-AM. After several unsuccessful releases in a style similar to the Shangri-Las, including Jeff Barry's "I'm Nobody's Baby Now," and "I Can Hear the Rain" which featured the then-unknown Melba Moore, the group moved again to Mala Records.In 1968, they released the up-tempo "Captain of Your Ship", co-written by Kenny Young. Although the song missed the U.S. national charts, it became their biggest ever hit when it made #13 in the UK Singles Chart, and the group toured there. The trio's backing group on this tour was Clouds. "Saturday Night Didn't Happen" and "Weather Forecast" were also issued as singles, but did not repeat the success of "Captain of Your Ship". The group's 18th and final single was released in September 1969. A cover of The Ronettes' Walking in the Rain, its potential to be a hit was challenged when Jay and the Americans released their own version the following month, which reached number 19 in the Billboard charts.From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
I Sold My Heart To The Junkman Patti LaBelle & The Bluebells SACRED COW MUSIC JUKEBOX 2024-09-23 | In 1962, the Chicago-based girl group the Starlets were riding high with their top forty single, "Better Tell Him No". That year, while on tour, they were convinced by Newtown Records president Harold Robinson to appear in a recording schedule where they recorded two songs. One of these songs was "I Sold My Heart to the Junkman". After recording the songs, Robinson released the song on his label but instead of crediting the Starlets, credited a Philadelphia-based girl group named The Ordettes, who had changed their name to The Blue Belles - after a threat from another record label owner, the name was altered to Patti LaBelle and Her Blue Belles.After the Blue-Belles made their first television appearance on American Bandstand in April 1962, the popularity of the song increased and became a Top 20 hit on the Billboard Hot 100 and R&B charts.Despite the controversy with The Starlets, the song became a 'million-selling' record as a result of the promotion done by Newtown Records and performances by The Blue-Belles.It is unknown as to whether Robinson erased the original lead vocal from the song and added in Patti LaBelle's lead vocal, or whether the Starlets themselves were replaced by session singers. Nevertheless, the Starlets' manager sued Robinson for ownership of the recording, with the girls each winning $5,000 from the suit. Despite this, however, it is still not clear as to how the record was released.Ironically when the Blue Belles recorded their own version shortly before promoting it, both the Starlets and Blue Belles' versions were strikingly similar. The Starlets did not fully recover from the "Junkman" scandal and after a half-year of new recordings, disbanded in 1963. Meanwhile, the newly christened Patti LaBelle and the Blue Belles went on to national fame that year with their hit, "Down the Aisle (The Wedding Song)"From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Long Live Our Love The Shangri las SACRED COW MUSIC JUKEBOX 2024-09-23 | The Shangri-Las were an American girl group of the 1960s, consisting of Mary Weiss, her sister Elizabeth "Betty" Weiss and twin sisters Marguerite "Marge" Ganser, and Mary Ann Ganser. Between 1964 and 1966 several hit pop songs of theirs documented teen tragedies and melodramas. They continue to be known for their hits "Remember (Walking in the Sand)", "Give Him a Great Big Kiss", and in particular, "Leader of the Pack" which went to #1 in the United States in late 1964. Following the death of Mary Weiss in 2024, her sister Betty is the only living member of the group.In April 1964, while the girls were minors, their parents signed the quartet with Red Bird Records; Mary was 15, Betty was 17, and the Ganser twins were 16. Having been hired by record producer George "Shadow" Morton, they had their first success with the summer hit "Remember (Walking in the Sand)" (US #5, UK #14). Billy Joel, a then-unknown working as a session musician, played on the demo of "Remember (Walkin' in the Sand)". The demo was nearly seven minutes long, too long for Top 40 radio. Morton had hired the group to perform on the demo, but Red Bird released a re-recorded version. Morton faded the new version out around 2:16.The song epitomized the "death disc"; songs with lyrics focusing on suicide, murders and fatal crashes, which were popular from the late 1950s until the mid-1960s.The Shangri-Las' "tough girl" persona set them apart from other girl groups. From a blue collar area of Queens, they were less demure than their contemporaries. Rumors about supposed escapades have since become legend; for example, the story that Mary Weiss attracted the attention of the FBI for transporting a firearm across state lines. In her defense, she said someone tried to break into her hotel room one night and for protection she bought a pistol. The Shangri-Las continued to chart with fairly successful U.S. hit records, specializing in adolescent themes such as alienation, loneliness, abandonment, and premature death. Singles included "Give Him a Great Big Kiss", "Out in the Streets", "Give Us Your Blessings", the top ten hit "I Can Never Go Home Anymore", "Long Live Our Love" (a rare example of a song dedicated to the men at the time fighting overseas in Vietnam), "He Cried" and the spoken-word "Past, Present, and Future", featuring a musical backdrop inspired by Beethoven's "Moonlight Sonata". Noteworthy B-sides included "Heaven Only Knows", "The Train from Kansas City", "Dressed in Black" and "Paradise" (written by Harry Nilsson).Popular songs include "I Can Never Go Home Anymore", the story of a girl who leaves home for a boy; her pride keeps her from returning to her mother who "grew so lonely in the end/the angels picked her for their friend". Lines from "Give Him a Great Big Kiss" include "When I say I'm in love, you best believe I'm in love, L-U-V", and "Well I hear he's bad." "Hmm, he's good-bad, but he's not evil." "Past, Present, and Future" has been said to be about rape, something Weiss disagrees with. She has said it is about "teenage angst," heartbreak, and "being hurt and angsty and not wanting anyone near you."*****************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Back In The U S A Chuck Berry SACRED COW MUSIC JUKEBOX 2024-09-23 | "Back in the U.S.A." is a song written by Chuck Berry that was released in 1959 and was a top 40 hit. A cover version in 1978 by Linda Ronstadt was also a hit. Chuck Berry first issued the song on Chess Records in 1959 as a single which reached number 37 in the Billboard Hot 100. It also reached number 16 on the R&B chart. The song was later included on Berry's 1962 album More Chuck Berry. The song's lyrics were supposedly written based upon Berry returning to the United States following a trip to Australia and witnessing the living standards of Australian Aborigines. Berry's biography on the Rock and Roll Hall of Fame website states Berry "saluted such everyday pleasures as the drive-ins and corner cafes 'where hamburgers sizzle on an open grill night and day/Yeah, and a jukebox jumping with records like in the U.S.A.'"The song was recorded in Chicago, Illinois, on February 17, 1959. Chuck Berry, vocals and guitar Johnnie Johnson on piano Willie Dixon on bass Fred Below on drums Etta James and The Marquees, backup vocalsThe background vocals on Berry's recording are by Etta James and The Marquees, aka Harvey & the New Moonglows, featuring the young Marvin Gaye. The session was produced by Leonard and Phil Chess, and the song was released as Chess single 1729.From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Bang Bang My Baby Shot Me Down Cher SACRED COW MUSIC JUKEBOX 2024-09-23 | "Bang Bang (My Baby Shot Me Down)" is the second single by American singer-actress Cher from her second album, The Sonny Side of Chér (1966). It was written by her husband Sonny Bono and released in 1966. It reached No. 3 in the UK Singles Chart and No. 2 on the Billboard Hot 100 for a week (behind "(You're My) Soul and Inspiration" by The Righteous Brothers), eventually becoming one of Cher's biggest-selling singles of the 1960s.The single proved successful, charting high in several countries. It became Cher's first million-selling single and her first top 3 hit in the UK (and her last until "The Shoop Shoop Song (It's in His Kiss)" reached No. 1 in 1991). Critic Tim Sendra, in his album review of The Sonny Side of Cher, gave the song a mixed review: "The only track that has any real zest is the Bono-written novelty 'Bang Bang (My Baby Shot Me Down)', the kind of dramatic song Cher could knock out in her sleep but also a song with no real heart." The reviewer for Cashbox said the song was "inventive" and predicted it would become a "blockbuster" hit. The reviewer praised its "plaintive, blues-soaked" style, as well as the "interesting Gypsy-ish backing".In 1987, Cher recorded a rock version of the song for her 1987 Platinum-certified comeback album Cher. Produced by Jon Bon Jovi, Richie Sambora and Desmond Child, the song featured backing vocals by Jon Bon Jovi and Michael Bolton, among others and was released as a promotional single in 1988. Cher performed this version on her Heart of Stone Tour and on Living Proof: The Farewell Tour and it was played instrumentally on the Dressed to Kill Tour in 2014, Classic Cher in 2017–2020 and the Here We Go Again Tour in 2018–2020. From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Tell It To The Rain The Four Seasons SACRED COW MUSIC JUKEBOX 2024-09-22 | "Tell It to the Rain" is a song composed by Mike Petrillo and Chubby Cifelli and popularized by The Four Seasons in 1966 and early 1967. The single reached the #10 position on the Billboard Hot 100 singles chart.The song's arrangement includes a prominent 12-string electric guitar part, as well as sound effects and a crescendo of vocals toward the end.Cash Box said the single is "loaded with the group’s usual effective sound and infectious arrangement."The Four Seasons is an American vocal quartet formed in 1960 in Newark, New Jersey. Since 1970, they have also been known at times as Frankie Valli and the Four Seasons. The Four Seasons are one of the best-selling musical groups of all time, having sold an estimated 100 million records worldwide.The band evolved out of a previous band called The Four Lovers, with Frankie Valli as the lead singer, Bob Gaudio on keyboards and tenor vocals, Tommy DeVito on lead guitar and baritone vocals, and Nick Massi on bass guitar and bass vocals. On nearly all of their 1960s hits, they were credited as The 4 Seasons.The Four Seasons signed as artists to Crewe's production company, and they released their first Crewe-produced single under their new name in 1961 ("Bermuda"/"Spanish Lace" on Gone Records). The single did not chart. The band continued working with producer Bob Crewe as background vocalists and sometimes leads under different names, for productions on Crewe's own Topix label. As a follow-up, Bob Gaudio wrote a song that, after some discussion between Crewe and Gaudio, was titled "Sherry". In 1962, the band released their first album, featuring the single "Sherry", which drew the attention of WPOP in Hartford, Connecticut, known for launching new hit songs; WPOP disc jockey Joey Reynolds heavily promoted the record. "Sherry" gave the Four Seasons their first number-one song. Under the guidance of Bob Crewe, the Four Seasons followed up "Sherry" with several million-selling singles, generally composed by Crewe and Gaudio, including "Big Girls Don't Cry" (their second #1 hit), "Walk Like a Man" (their third #1), "Candy Girl" (written by Larry Santos), "Ain't That a Shame", and several others. Also, they released a Christmas album in December 1962 and charted with a unique rendition of "Santa Claus Is Coming to Town".From 1962 to early 1964, the Beach Boys were the only band to match the Four Seasons in record sales in the United States, and their first three Vee-Jay non-holiday single releases (i.e., ignoring their version of "Santa Claus Is Coming to Town") marked the first time that a rock band hit #1 on the Billboard singles charts with three consecutive entries.In 1962, they were invited to perform their hit "Big Girls Don't Cry" on the show American Bandstand. Nick Massi left the Four Seasons in September 1965. The band's arranger, Charles Calello (a former member of The Four Lovers), stepped in as a temporary replacement. A few months later, Joe Long was permanently hired and became a mainstay of the band on bass and backing vocals until 1975, with Calello returning to arranging. Massi's departure coincided with the addition of new songwriters such as Sandy Linzer and Denny Randell, who eased the burden on Gaudio, while Randell absorbed some of Massi's arranging duties. In the meantime, the Four Seasons released recordings under a variety of names, including the Valli Boys, the Wonder Who?, and Frankie Valli. More top 20 singles followed in 1965, 1966, and 1967, including "Let's Hang On!", "Don't Think Twice, It's All Right" (as the Wonder Who?), "Working My Way Back to You", "Opus 17 (Don't You Worry 'bout Me)", "I've Got You Under My Skin", "Can't Take My Eyes Off You" (released under Valli's name as a "solo" single), "Beggin'" (later covered by Norwegian duo Madcon and Italian band Måneskin), "Tell It to the Rain", "C'mon Marianne", and "I Make a Fool of Myself" (Frankie Valli "solo"). ...1968's "Will You Love Me Tomorrow" was the band's last top 40 hit for seven years (reaching #24), just after Valli's last "solo" hit of the 1960s, the #29 charted "To Give (The Reason I Live)". Jersey Boys, a musical play based on the lives of the Four Seasons and directed by Des McAnuff (The Who's Tommy, 700 Sundays), premiered at his La Jolla Playhouse and opened on November 6, 2005, to generally positive reviews. It subsequently won multiple Tony Awards after its move to Broadway. From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
It Aint Me Babe The Turtles SACRED COW MUSIC JUKEBOX 2024-09-22 | "It Ain't Me Babe" is a song by Bob Dylan that originally appeared on his fourth album Another Side of Bob Dylan, which was released in 1964 by Columbia Records. In 1965, the Turtles also had a breakthrough hit single of the song, which reached #8 in the U.S. and was then featured on their debut album of the same name.The Turtles are an American rock band formed in Los Angeles, California in 1965. The band achieved several Top 40 hits throughout the latter half of the 1960s, including "It Ain't Me Babe" (1965), "You Baby" (1966), "Happy Together" (1967), "She'd Rather Be with Me" (1967), "Elenore" (1968), and "You Showed Me" (1969).As with the Byrds, the Turtles achieved breakthrough success with a cover of a Bob Dylan song. "It Ain't Me Babe" reached the Billboard Top 10 in the late summer of 1965, and was the title track of the band's first album. "Let Me Be", their second single, reached the Top 30, and "You Baby" charted in the Top 20 in early 1966. "You Baby", with its intricate vocal harmonies and upbeat tempo, was influential in the band's sound as it departed from the political, Byrds-type folk rock; the band's new sound ranged from chamber pop to straightforward pop music.The original six members were Howard Kaylan, Mark Volman, Al Nichol, Jim Tucker, Chuck Portz, and Don Murray, with subsequent members being Chip Douglas, Joel Larson, Johnny Barbata, Jim Pons, and John Seiter. As the Turtles' commercial success waned by the end of the 1960s, they became plagued with management issues, lawsuits and conflicts with their label, White Whale Records, leading the group to break up in 1970. Kaylan and Volman then joined Frank Zappa and the Mothers of Invention, where, for contractual reasons, they performed under the name Flo & Eddie (Volman as Flo, Kaylan as Eddie). After leaving Zappa at the end of 1971, Kaylan and Volman continued to perform under the Flo & Eddie name, becoming popular as a comedy rock act, and also went onto long-lasting success as session musicians. In 1983, Kaylan and Volman began touring as The Turtles featuring Flo & Eddie. Kaylan ceased touring in 2018, while Volman continues to tour with the Turtles. From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
All I Really Want To Do The Byrds SACRED COW MUSIC JUKEBOX 2024-09-22 | "All I Really Want to Do" was the second single by the American folk rock band the Byrds, and was released on June 14, 1965, by Columbia Records. The song was also included on the band's debut album, Mr. Tambourine Man, which was released on June 21, 1965. The version of the song released as a single is a different vocal take to the version found on the Mr. Tambourine Man album, as evidenced by the slight lyrical variations in the song's first verse and the different running times the two versions have; the single is 2:02 minutes in length while the album version is slightly longer at 2:04. The single reached #40 on the Billboard Hot 100 and #4 on the Record Retailer chart.The single was rush-released by the band's record label, Columbia Records, when it transpired that Cher was about to issue a rival cover version of the song on the Imperial label. However, the Byrds and their management were largely unconcerned about Cher's imminent release, feeling that there was sufficient room in the charts for both versions. In fact, the Byrds were reluctant to release another Dylan-penned single at all, feeling that it was somewhat formulaic. However, Columbia was insistent, believing that in the wake of the Byrds' debut single, "Mr. Tambourine Man", another Dylan cover equaled an instant hit. A chart battle ensued, largely instigated by the music press and Columbia (who were determined to bury Cher's release), but ultimately the single stalled at #40 on the U.S. charts, while Cher's cover reached #15. The reverse was true in the UK, however, where the Byrds' version became the fastest selling single in CBS Records' history, finally reaching #4 while Cher's recording peaked at #90s The Byrds' version of the song is noticeably different in structure to Dylan's. It begins with Jim McGuinn's jangling guitar introduction (played on a 12-string Rickenbacker guitar) and features a substantially changed, ascending melody progression in the chorus, made more attractive by the band's angelic harmonies. In addition, the band completely changed the melody to one of the song's verses, in order to turn it into a Beatlesque, minor-key bridge. Although McGuinn sang lead on most of the song, rhythm guitarist David Crosby sang lead on the middle eight.Reaction to the single in the press was generally positive, with Billboard magazine commenting "another hot pop, folk-flavoured Bob Dylan tune is offered by the dynamic group." Cash Box said that "the rousing, rhythmic Bob Dylan-penned romancer is given a funky soulful sendoff" and that it should become a hit similar to "Mr. Tambourine Man." Record World felt it was a "fitting and proper sequel to 'Mr. Tambourine Man.'" In the UK, Penny Valentine, writing in Disc, opined "I think this is a marvelous song, but, Byrds fan though I have always been, I prefer the Sonny & Cher [sic] recording." In the NME, Derek Johnson also praised the single, predicting it would be a UK number one, and commenting "The pattern is much the same as before, with those familiar high-register harmonies – clearly influenced by the West Coast surf sound...coupled with strident twangs throughout, rattling tambourines, and crashing cymbals."In addition to appearing on the Byrds' debut album, the song is included on several Byrds' compilation albums, including The Byrds' Greatest Hits; The Original Singles: 1965–1967, Volume 1; The Byrds; The Essential Byrds; The Byrds Play Dylan; and There Is a Season.From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
She Knows Me Too Well The Beach Boys SACRED COW MUSIC JUKEBOX 2024-09-08 | "She Knows Me Too Well" is a song written by Brian Wilson and Mike Love for the American rock band The Beach Boys, about a man who is engrossed and obsessed in his own jealousy and insecurity. It was released on the 1965 album The Beach Boys Today!, initially serving as the B-side of their "When I Grow Up (To Be a Man)" single in 1964. It was one of the first songs that Brian wrote while under the influence of marijuana.Brian considered the song a tribute to Burt Bacharach. According to Allmusic, "This song can essentially be called 'son of "Don't Worry Baby".' It's built around the same kinds of Spector-inspired chord changes and also has a similar sense of vulnerability." According to PopMatters, "The harmonically complex song perfectly expresses the tension and confusion of the lyrics, but always manages to be accessible and tuneful in a way that only Brian Wilson can pull off. That the track was first recorded so early in the album process (before the process even began, in fact) and manages to be one of the most forward-thinking tracks the Beach Boys had put out up to this point, is quite astonishing."Interpreting its lyrics, the narrator explores his own relational shortcomings but continues to delude himself into thinking that everything is alright. The first verse expresses his guilt, admitting “I treat her so mean, I don’t deserve what I have / And I think that she’ll forget just by making her laugh”. The second verse, half of which is repeated after the bridge, discusses his jealousy and insecurity, hinting at his emotional abuse of her. He sings, “I get so jealous of the other guy / And then I’m not happy till I make her break down and cry”. But he also recognizes his hypocrisy: “When I look at other girls, it must kill her inside”. But all these issues, in his mind at least, are taken care of by the fact that “she can tell I really love her”. The choruses express the sentiment that because she knows him so well, none of these things matter. They do, of course, but his delusion makes for a more interesting song.The song was recorded over two sessions at United Western Recorders in early August, both engineered by Chuck Britz and produced by Brian Wilson: the first session for the instrumental track took place on August 5 in tandem with "When I Grow Up (To Be a Man)"; three days later, the vocals were recorded.[8] They are doubletracked, just as they are on most Beach Boys songs.[3] The instrumental track features Carl Wilson on both lead and rhythm electric guitars, Alan Jardine on electric bass guitar, Brian Wilson on acoustic upright piano, and Dennis Wilson on drums. The song features Brian Wilson on lead vocal and Brian, Carl & Dennis Wilson, Mike Love, and Al Jardine on backing vocals.On the Unsurpassed Masters Vol. 7 (1964): The Alternate "Beach Boys Today" Album Vol. 1 bootleg, various recording sessions were released in high quality. Four takes of the instrumental track (plus rehearsals) were released on this bootleg, as well as two backing vocal overdubs and Brian's lead vocal overdub.In August 1964, "She Knows Me Too Well" was released in the United States as the B-side of the "When I Grow Up (To Be a Man)" single. The single, the band's tenth in the United States, peaked at number nine position on the Billboard charts, with "She Knows Me Too Well" in its own right placing at number 101 in Billboard and number 93 in Cash Box. The song was treated as the A-side at Vancouver's popular CFUN station and reached number seven locally.The song was also released in the United Kingdom, again as the B-side of the "When I Grow Up (To Be a Man)" single, which was the band's sixth there. The single didn't fare as well, but still peaked at number 27 on the charts.Cash Box described it as "a captivating cha cha beat romancer that's...sure to please the kids."From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
The Free Electric Band Albert Hammond SACRED COW MUSIC JUKEBOX 2024-09-08 | "The Free Electric Band" is a song written by Albert Hammond and Mike Hazlewood and performed by Hammond. The song reached #19 on the UK Singles Chart, #11 in South Africa and #48 on the U.S. Billboard Hot 100 in 1973. The song appeared on his 1973 album, The Free Electric Band and was produced by Hammond and arranged by Michael Omartian.Albert Louis Hammond OBE (born 18 May 1944) is a British-Gibraltarian singer, songwriter and record producer. A prolific songwriter, he also collaborated with other songwriters such as Mike Hazlewood, John Bettis, Hal David, Diane Warren, Holly Knight and Carole Bayer Sager. Hammond's son Albert Hammond Jr. is a guitarist in American rock band the Strokes.Hammond wrote commercially successful singles for artists including Celine Dion, Joe Dolan, Aretha Franklin, Whitney Houston, Diana Ross, Leo Sayer, Tina Turner, Glen Campbell, Julio Iglesias, Willie Nelson, Lynn Anderson and Bonnie Tyler, and bands Ace of Base, Air Supply, Blue Mink, Chicago, Heart, Living in a Box, the Carpenters, the Hollies, the Pipkins, Starship, and Westlife. Notable songs co-written by Hammond include "Make Me an Island" and "You're Such a Good Looking Woman" by Joe Dolan, "Nothing's Gonna Stop Us Now" by Starship, "One Moment in Time" sung by Whitney Houston, "The Air That I Breathe", a hit for the Hollies, "To All the Girls I've Loved Before", a Julio Iglesias/Willie Nelson duet, and "When I Need You" by Leo Sayer. In 2015, he received the British Academy's Ivor Novello Award for Outstanding Song Collection. He is also a solo singer in his own right. His biggest (and only top 20) U.S. Billboard hit was "It Never Rains in Southern California", No. 5 in 1972. Other songs of his include "Down by the River", "The Free Electric Band", "I'm a Train", and "When I'm Gone". For a time, he was part of the Family Dogg, a vocal band with whom he had the hit "A Way of Life". He has also produced for a number of other artists. From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Younger Generation The Lovin Spoonful SACRED COW MUSIC JUKEBOX 2024-09-08 | The Lovin' Spoonful is an American folk-rock band formed in Greenwich Village, New York City, in 1964. The band were among the most popular groups in the United States for a short period in the mid-1960s and their music and image influenced many of the contemporary rock acts of their era. Beginning in July 1965 with their debut single "Do You Believe in Magic", the band had seven consecutive singles reach the Top Ten of the U.S. charts in the eighteen months that followed, including the number-two hits "Daydream" and "Did You Ever Have to Make Up Your Mind?" and the chart-topping "Summer in the City".Led by their primary songwriter John Sebastian, the Lovin' Spoonful took their earliest influences from jug band and blues music, reworking them into a popular music format. In 1965, the band helped pioneer the development of the musical genre of folk rock. By 1966, the group were "one of the most highly regarded American bands", and they were the year's third-best-selling singles act in the U.S., after the Beatles and the Rolling Stones. As psychedelia expanded in popularity in 1967, the Spoonful struggled to transition their approach and saw diminished sales before disbanding in 1968.Before they founded the Lovin' Spoonful, Sebastian (guitar, harmonica, autoharp, vocals) and Zal Yanovsky (guitar, vocals) were active in Greenwich Village's folk-music scene. Aiming to create an "electric jug band", they recruited the local rock musicians Steve Boone (bass guitar) and Joe Butler (drums, vocals). The four-piece lineup honed their sound at New York nightclubs before they began recording for Kama Sutra Records with the producer Erik Jacobsen. In May 1966, at the height of the band's success, Yanovsky and Boone were arrested for marijuana possession in San Francisco. The pair revealed their drug source to authorities to avoid Yanovsky being deported to his native Canada, an action which generated tensions within the group. Due to disagreements over their artistic direction, the band fired Yanovsky in May 1967, replacing him with Jerry Yester, and Yanovsky commenced a brief and commercially unsuccessful solo career. The original iteration of the Spoonful last publicly performed in June 1968, after which time Sebastian departed the group and pursued a briefly successful solo career. The band dissolved later that year.In 2000, the Lovin' Spoonful were inducted into the Rock and Roll Hall of Fame, an occasion that saw Sebastian, Yanovsky, Boone and Butler perform together for the last time. Yanovsky died of a heart attack two years later. Sebastian has remained active as a solo act, and Boone, Butler and Yester began touring under the name the Lovin' Spoonful in 1991. From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
The Last Farewell Roger Whittaker SACRED COW MUSIC JUKEBOX 2024-09-08 | "The Last Farewell" is a song by the British folk singer Roger Whittaker (music and vocals on the original recording) and Ron A. Webster (poem and lyrics). Whittaker hosted a radio programme in the United Kingdom, backed by an orchestra with arrangements by Zack Lawrence. Roger Whittaker said, "One of the ideas I had was to invite listeners to send their poems or lyrics to me and I would make songs out of them. We got a million replies, and I did one each week for 26 weeks."Ron Arthur Webster (1944-1994), a silversmith from Solihull Birmingham, England, sent Roger Whittaker his poem entitled "The Last Farewell", and this song became one of the selections to appear on the radio program. Webster was working for a company called "Lancaster Engraving" in Hockley. He was travelling home on the upper deck of a Midland bus on a cold and rainy night and wished he were somewhere warm instead. That's when the inspiration fo the song came to him. Webster told the Coventry Evening Telegraph, according to an article published on the 10th September 1975, that he had been writing songs in his spare time for about 15 years. He had written The Last Farewell with Roger Whittaker in mind. But this was already before the singer had invited listeners to his radio programme to submit poems.It was recorded, and featured on Whittaker's 1971 album New World in the Morning (A Special Kind of Man in the US and Canada). It is one of the fifty all-time singles to have sold 10 million (or more) physical copies worldwide. According to Whittaker, the wife of a program director for a radio station in Atlanta, Georgia, was travelling in Canada, in 1975, and heard Whittaker's four-year-old recording on the radio. After she returned to the United States, she asked her husband to play it on the station. After he played the song a few times, listeners called the station to discover more about the song and singer, and soon "The Last Farewell" was in the charts. The single reached the Top 20 on the Billboard Hot 100 chart, peaking at number 19 in June 1975, the only single of Whittaker's career to appear on the Hot 100. It also went to number 1 on the Billboard adult contemporary chart. The song first hit the Canadian charts in November 1974 and peaked at number 64 in December. It then re-entered the charts in April 1975.The response in America led to the single's success in other parts of the world, including the United Kingdom, peaking at number 2 on the UK singles chart. It was kept from number 1 in the UK by Rod Stewart's "Sailing", resulting in an oddity that the top 2 songs in the UK singles chart at the time had a nautical theme. "The Last Farewell" also went to number 1 in 11 other countries, selling an estimated 11 million copies worldwide, making it Whittaker's best-known song.Whittaker says much of the appeal of "The Last Farewell" comes from the classical-sounding nature of the opening French horn solo. This arrangement was done by Zack Lawrence for the song's initial airing on Whittaker's radio programme.From the mid-1970s until about 1981, television station WGN-TV, "Chicago's Very Own Channel Nine" used the introductory fanfare in its station identification.From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Ill Never Find Another You The Seekers SACRED COW MUSIC JUKEBOX 2024-09-08 | "I'll Never Find Another You" is a 1964 single by The Seekers, which reached No. 1 in the United Kingdom in February 1965. It was The Seekers' first UK-released single, and it was the second-best-selling of 1965 in the UK. The song was also popular in the United States, reaching peaks of No. 4 pop and No. 2 easy listening on the Billboard Hot 100 charts.The track was written and produced by Tom Springfield, who was also responsible for most of The Seekers' subsequent hits.The Seekers were an Australian folk-influenced pop group originally formed in Melbourne in 1962. They were the first Australian pop music group to achieve major chart and sales success in the United Kingdom and the United States. They were especially popular during the 1960s, with their best-known configuration of Judith Durham on vocals, piano and tambourine; Athol Guy on double bass and vocals; Keith Potger on twelve-string guitar, banjo and vocals; and Bruce Woodley on guitar, mandolin, banjo and vocals.The group had Top 10 hits in the 1960s with "I'll Never Find Another You", "A World of Our Own", "Morningtown Ride", "Someday, One Day", "Georgy Girl" and "The Carnival Is Over". Australian music historian Ian McFarlane described their style as "concentrated on a bright, uptempo sound, although they were too pop to be considered strictly folk and too folk to be rock".[1] In 1967,[2] they were named as joint "Australians of the Year" – the only group thus honoured. In July 1968, Durham left to pursue a solo career and the group disbanded. Keith Potger formed a new group in the UK, the New Seekers, which had a hit single in 1971 with "I'd Like to Teach the World to Sing".In 1995, the Seekers were inducted into the ARIA Hall of Fame. "I'll Never Find Another You" was added to the National Film and Sound Archive of Australia's Sounds of Australia registry in 2011. Woodley's and Dobe Newton's song "I Am Australian", which was recorded by the Seekers as well as Durham with Russell Hitchcock and Mandawuy Yunupingu, has become an unofficial Australian anthem. With "I'll Never Find Another You" and "Georgy Girl", the group also achieved success in the United States, but not nearly at the same level as in the rest of the world. The Seekers have sold over 50 million records worldwide and were individually honoured as Officers of the Order of Australia in the Queen's Birthday Honours of June 2014.From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************There's a new world somewhereThey call the Promised LandAnd I'll be there somedayIf you will hold my handI still need you there beside meNo matter what I doFor I know I'll never find another youThere is always someoneFor each of us, they sayAnd you'll be my someoneForever and a dayI could search the whole world overUntil my life is throughBut I know I'll never find another youIt's a long, long journeySo stay by my sideWhen I walk through the stormYou'll be my guide, be my guideIf they gave me a fortuneMy virtue would be smallI could lose it all tomorrowAnd never mind at allBut if I should lose your love, dearI don't know what I'd doFor I know I'll never find another youBut if I should lose your love, dearI don't know what I'd doFor I know I'll never find another youAnother youAnother youWritten by: Tom SpringfieldAlbum: The Best of the SeekersReleased: 1967Lyrics provided by Musixmatch******************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Five OClock World The Vogues SACRED COW MUSIC JUKEBOX 2024-09-08 | "Five O'Clock World" (also known as "5 O'Clock World") is a song written by Allen Reynolds and recorded by American vocal group The Vogues. It reached number 1 on WLS on 17 December 1965 and 7 January 1966, number 1 in Canada on the RPM singles chart on 10 January 1966 (their first of two chart-toppers there that year, followed by "Magic Town" in April), and number 4 in the U.S. on the Hot 100 on 15–22 January 1966 and is one of the Vogues' best-known hits, along with "You're the One". The Vogues recording begins with a repeating modal figure on 12-string acoustic guitar (the sound reminiscent of medieval chanson, or contemporaries the Byrds), and swings into stride with a low bass drone, and work-song shouts drenched in reverb. The baritone lead vocal by Bill Burkette is punctuated by counter-melodies and harmonies from the group and rises to a lilting yodel after the chorus, with crescendoing string instruments throughout, in anticipation of the after-work freedom promised in the lyric. The sound of a piano is heard, descending the scale, during the yodel. The sound of the other members of the Vogues can be heard repeating the word "up!" The instrumental track was a demo brought in by producer Tony Moon, cut at RCA Studio B in Nashville. The vocal was then overdubbed in Pittsburgh at Co & Ce studios, with label co-head Nick Cenci. Cenci and the group were unhappy with the drum track, which was then re-recorded using local Grains of Sand drummer, Rich Engler. Later, when the group was signed to Reprise, strings were added by arranger Ernie Freeman, overdubbed onto the original Co & Ce master. From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Come And Stay With Me Cher SACRED COW MUSIC JUKEBOX 2024-09-08 | "Come and Stay with Me" is a pop song, written by Jackie DeShannon in 1965 for the British singer Marianne Faithfull. Cher recorded a cover version of the song for her 1965 debut solo album All I Really Want to Do.All I Really Want to Do is the debut solo studio album by American singer-actress Cher and was released on August 16, 1965, by Imperial Records. The album was produced for Cher by her then husband and singing partner, Sonny Bono, with contributions from arranger Harold Battiste. The album is by-and-large a collection of cover versions but does contain three songs written by Bono.On the album, Cher covered three songs written and performed by Bob Dylan, "All I Really Want to Do", "Blowin' in the Wind", and "Don't Think Twice, It's All Right". The album contains the Bono-penned "Needles and Pins", which was a hit for the British band, The Searchers, in 1963. The album also included Ray Davies' "I Go to Sleep", which was later a hit in the UK for The Pretenders, and Cher's version of the traditional song, "See See Rider", arranged by Sonny Bono, Charles Greene, and Robert Stone. Other covers on the album are "She Thinks I Still Care", "The Bells of Rhymney", and "Come and Stay With Me". During the album recording sessions, Cher recorded a song written by Bono, titled "I'm Gonna Love You", which did not appear on the album but was issued as the B-side of the "All I Really Want to Do" single. The song was later included on the 1967 Sonny & Cher soundtrack album, Good Times. From Wikipedia, the free encyclopedia*****************************************************************************Come And Stay With MeCherI'll send away all my false prideAnd I'll forsake all of my lifeYes I'll be as true as true can beIf you'll come and stay with meAll lovers of the past, I'll leave behindThey'll never be another on my mindI'll do all I can so you'll feel freeIf you'll come and stay with meThe promise I made most faithfullyI'll keep still if you decide to leaveI'll try and see that you have all you needIf you'll come and stay with meYes I'll be as true as true can beIf you'll come and stay with meLive a life no others have ever knownBut I know you think that I'm hardly grownOh thank God at last and finallyI can see you're gonna stay with meI can see you're gonna stay with meWritten by: Jackie De ShannonAlbum: All I Really Want To DoReleased: 1965Lyrics provided by Musixmatch**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Beggars Parade The Falling Leaves SACRED COW MUSIC JUKEBOX 2024-09-08 | Rod Stephens (vocals), Will Patrick (lead guitar), Malcolm West (bass), Neil Stanley (organ), Larry Nedel [aka Larry Redd, aka Larry Rebb] (drums)Tell me who's good and who's badTell me who's happy and who's sadThen go line 'em up to march in the paradeWho needs the truth? Feed 'em lies.They're all hungry for alibis.Oh They're all the same,Bowery bum, banker's sonBeat the drum, here they comeBanker's son, bowery bumYour skin is thin, mine is tooWhat's so special about you?Make excuses 'cause you just can't make the gradeLook in the mirror, yeah, it's truePitiful soul that's youOh, they're all the sameBowery bum, banker's sonBeat the drum, here they comeBanker's son, bowery bumHungry for bread, plant a seedSatisfy your evil greedNo, you'd rather collect that unemployment checkWhy should you work, like the rest,When it's easier to protest?Oh, you're all the same,Bowery bum, banker's sonBeat the drum, here they comeBanker's son, bowery bum(Beggar's Parade) Talkin' 'bout a(Beggar's Parade) Oh, Everybody's in a(Beggar's Parade) No, you can't get out of(Beggar's Parade) Keep marchin' in a(Beggar's Parade) Ooh-ooh-ooh-ooh **************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
A Hazy Shade Of Winter Simon & Garfunkel SACRED COW MUSIC JUKEBOX 2024-09-08 | "A Hazy Shade of Winter" is a song by American music duo Simon & Garfunkel, released on October 22, 1966, initially as a stand-alone single, but subsequently included on the duo's album Bookends (1968). It peaked at number 13 on the Billboard Hot 100.The duo recorded "A Hazy Shade of Winter" during the sessions for Parsley, Sage, Rosemary and Thyme (1966), but the song was not included on an album until 1968's Bookends."A Hazy Shade of Winter" follows a rock-tinged sound, with a fairly straightforward verse-refrain structure. The song dates back to Simon's days in England in 1965; it follows a hopeless poet, with "manuscripts of unpublished rhyme", unsure of his achievements in life.The lyrics recall the transition from fall to winter, as suggested by the repetition of the final chorus of the song: I look around, leaves are brown And the sky is a hazy shade of winter Look around, leaves are brown There's a patch of snow on the ground.Author and disc jockey Pete Fornatale considered the lyrics evocative of, and standing in contrast with, those of John Phillips' "California Dreamin'". Billboard described the song as a "winning number" and a "change of tempo for the duo [which] could make this their biggest to date." Cash Box wrote that it is a "strong session bound for biggiesburg." Record World wrote that it "put[s] poetry in rock motion." Decades later, Allmusic critic Richie Unterberger described the song as "one of [Simon and Garfunkel's] best songs, and certainly one of the toughest and more rock-oriented." From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
5D Fifth Dimension The Byrds SACRED COW MUSIC JUKEBOX 2024-09-08 | "5D (Fifth Dimension)" is a song by the American rock band the Byrds, written by band member Jim McGuinn. It was released as a single in June 1966, and also included as the title track on the Byrds' third album, Fifth Dimension.McGuinn has described the song's lyrics as an attempt to explain Albert Einstein's theory of relativity, and as having been directly inspired by the book 1-2-3-4, More, More, More, More by Don Landis. In a 1966 interview with Hit Parader magazine, McGuinn stated, "It's sort of weird but...what I'm talking about is the whole universe, the fifth dimension, which is height, width, depth, time and something else. But there definitely are more dimensions than five. It's infinite. The fifth dimension is the threshold of scientific knowledge." Talking to Michael Ross of Creem magazine in 1970, McGuinn further explained the song's meaning: "'5D' was an ethereal trip into metaphysics, into an almost Moslem submission to an Allah, an almighty spirit, free-floating, the fifth dimension being the 'mesh' which Einstein theorized about. He proved theoretically - but I choose to believe it."According to the Byrds' biographer Johnny Rogan, the song's abstract lyrics were largely interpreted by the band's audience as being about an LSD trip, much to McGuinn's dismay. The notion that the song was about psychedelic drugs was given further credence when it was singled out, within a month of its release, by Variety magazine as one of a recent spate of pop songs containing references to illegal drug use. As a result of these allegations, the song was banned by some radio stations in the U.S. Billboard magazine described the single as an "off-beat lyric rocker with chart-topping potential". Cash Box described the song as a "rhythmic, medium-paced, blues-soaked tale of rejection about a somewhat disoriented young man." Critic Bruce Eder, writing for the AllMusic website, called the song, "the most improbable single ever issued by the Byrds", and "the most daring opening track ever on any Byrds album." He went on to note that it followed the release of the band's influential "Eight Miles High" single, although, in his opinion, "5D (Fifth Dimension)" was more challenging and arguably took the Byrds' psychedelic experimentation to further extremes." "5D (Fifth Dimension)" was a favorite of the Byrds' bass player, Chris Hillman, who described it as "one of the greatest songs McGuinn has ever written." From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
She Lets Her Hair Down The Tokens SACRED COW MUSIC JUKEBOX 2024-09-01 | The Tokens were an American doo-wop band and record production company group from Brooklyn, New York City. The group has had four top 40 hits on the Billboard Hot 100, all in the 1960s, their biggest being the chart-topping 1961 hit single "The Lion Sleeps Tonight". "The Lion Sleeps Tonight" borrowed heavily from the 1939 song "Mbube" by South African singer Solomon Linda. They are also known for having Neil Sedaka as an original member, before he pursued a solo career. From 1962 to 1970, the group released nine more songs that made the Hot 100. In the middle of the British Invasion and the height of Beatlemania, they were one of the few American groups still finding success on popular radio. Jay Siegel was the lead vocalist on all the Tokens' hits including "I Hear Trumpets Blow" (1966) and "Portrait of My Love" (1967). Beginning in 1963, the Tokens also began serving as record producers for other artists, such as the Chiffons, Randy & the Rainbows and the Happenings. Their production company was called "Bright Tunes" and they also created their own record company, B.T. (Bright Tunes) Puppy Records. In 1968, The Tokens released the experimental "Animal", intended to serve as lead single for a self-produced album entitled Intercourse. However, the single flopped and Warner Bros. Records rejected the album due to its uncommercial nature and sexual overtones, and so in 1971 the band privately pressed 200 copies of Intercourse themselves through B.T. Puppy. In 1972, Jay Siegel did background vocals for a re-recording of "The Lion Sleeps Tonight" with Robert John as the lead vocalist. This version hit No. 3 on the chart and was awarded a Gold disc.1969"She Lets Her Hair Down (Early in the Morning)"b/w "Oh to Get Away" (Non-album track)From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Shes A Lady The Bells SACRED COW MUSIC JUKEBOX 2024-09-01 | The Bells, a.k.a. The Five Bells, were a Canadian soft rock band from Montreal, Quebec, active from 1964 to 1974. They released five albums and several singles, two of which were major hits in the early 70s, "Fly Little White Dove Fly" and especially "Stay Awhile".The band formed in 1964 in Montreal as The Five Bells. Members were South African-born sisters Anne and Jackie Ralph as well as Cliff Edwards, Doug Gravelle and Gordon McLeod. Cliff Edwards and Anne Ralph married in 1967. The Five Bells' first big song was "Moody Manitoba Morning" (written by Rick Neufeld) which peaked on the RPM 100 chart at #78 in the spring of 1969.In 1970, after their first child was born, Anne retired and the family settled on a hobby farm in Warkworth, Ontario. The band shortened their name to The Bells, and recorded a hit single "Fly Little White Dove Fly", which made Top 10 in Canada. Piano player Frank Mills joined The Bells for a short period, from 1970 to 1971, after which he left to pursue a solo career, the highlight of which was the #3 1979 U.S. hit single "Music Box Dancer". Mills was replaced by piano player Dennis Will. Charlie Clark and Mike Waye also joined the band in 1970 as guitarist, bassist and vocalists."White Dove" was followed up in 1971 by "Stay Awhile", a duet featuring Jackie Ralph and Cliff Edwards. Written by Saint John native Ken Tobias, the song became a major hit worldwide, selling four million copies and going to #1 in Canada on the RPM 100 national Top Singles chart on April 10, 1971, and remaining there for two weeks. It also became their only Top 40 hit in the U.S., reaching #7 on the Billboard Hot 100. This single sold over one million copies before the major U.S. radio stations played it, and received a gold disc awarded by the R.I.A.A. on 27 May 1971. The success led to invitations to perform on The Tonight Show in June 1971[6] and The Merv Griffin Show. They also played a New Year's Eve show from the Waldorf Astoria Hotel with Guy Lombardo. In Australia, "Stay Awhile" reached #9. Also that year, the single "Lady Dawn" appeared on the charts, peaking at #11 on the Canadian charts in July .During late 1972, the band had another hit in their native Canada, a cover of The Beatles' "Maxwell's Silver Hammer". It reached #83 on the RPM 100 and #2 on the Adult Contemporary chart.The band broke up when Cliff Edwards departed for a solo career in 1973.[8] The Bells had three Canadian Top Ten singles from their final album, Pisces Rising (Polydor, 1973): "The Singer", "Hey My Love", and "He Was Me, He Was You". Jackie Ralph recruited new members, featuring a new rhythm section with Skip Layton on drums and Will (Wayne) Cardinal on bass; the band took on an edgier, country rock style. Layton and Cardinal were also members of the bands Faro and Ocean in 1976; Layton would go on to become the drummer of Ambush.In 2007, Guy Maddin used The Bells' song "Moody Manitoba Morning" in his film My Winnipeg. In 2014, a daughter of Cliff Edwards and Anne Ralph, Jessica Edwards, released a documentary film about The Bells' career and the personal relationships of the group members. Titled Stay Awhile, it premiered at the Whistler Film Festival on December 6, 2014.From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Rings Of Gold Gene & Debbe SACRED COW MUSIC JUKEBOX 2024-09-01 | Gene & Debbe, also known as Gene Thomas and Debbe Neville (some sources spell it Nevills), were a country-pop duo who enjoyed a short string of successes during 1967 and 1968. Thomas (born December 28, 1938), from Palestine, TX, had enjoyed some modest success on his own with a 1961 hit single called "Sometime," on the Venus and United Artists labels, then disappeared from the charts until two years later when he scored a minor hit with the Bobby Goldsboro/Roy Orbison song "Baby's Gone." By the end of 1963, he'd given up singing, however, and had gone to work as a songwriter for Acuff-Rose publishers, where he spent the next couple of years. In 1965, he crossed paths with Debbe Neville (or Nevills), a big-voiced aspirant who was trying to launch a singing career in Nashville, and he began writing songs that were suited to the two of them. Together, singing softly, they harmonized a bit like the Everly Brothers and each was appealing separately as well. Their combined voices were ideally suited to romantic, country-flavored ballads similar to what Glen Campbell was burning up the charts with in 1967-1968. They were impressive enough to Thomas' bosses at Acuff-Rose to get the pair signed to an imprint of the company's Hickory Records label, TRX Records, which also recorded such acts as the Newbeats. With Don Gant producing and Thomas turning in a string of originals, Gene & Debbe delivered songs such as "Rings of Gold," which recalled Jackie DeShannon's work, and the folk-rockish "Go With Me," which contained a chord sequence and a guitar part reminiscent of "Love Is Strange." The latter single became a minor pop chart entry and their first success, late in 1967. A few months later, in early 1968, the duo scored their biggest hit of with "Playboy," which made number 17 on the pop charts. They later scored a minor chart entry with "Lovin' Season," which marked the end of their successes, in mid-1968. They continued recording together into the following year and released an LP entitled Hear and Now before calling it quits in the second half of 1969. Thomas returned to the life of a staff songwriter while Neville proceeded to try and establish herself as a solo act. ~ Bruce Eder**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
I Got A Name Jim Croce SACRED COW MUSIC JUKEBOX 2024-09-01 | "I Got a Name" is a 1973 single recorded by Jim Croce with lyrics by Norman Gimbel and music by Charles Fox. It was the first single from his album of the same title and also Croce's first posthumous single, released the day after his death in a plane crash on September 20, 1973. The song reached a peak of #10 on the Billboard Hot 100, spending 17 weeks on the chart. It also hit #3 on the Cash Box Top 100.While the single was released in September 1973, it was first heard as the theme song for the movie The Last American Hero, released in July 1973. It was later featured in the movies The Ice Storm, Invincible, Django Unchained, Logan and The Lego Ninjago Movie.Croce composed most of his own material; however, he did not write "I Got A Name." In an interview with Billboard writer Norman Gimbel, it was revealed that Croce chose to record the song "because his father had a dream for him but had died before his son's first success."The song features a narrator who is proud of who he is and where he is going in life, undeterred by the naysaying of others. He begins by declaring that like any plant or animal, he has a name of which he can be proud. The narrator acknowledges, however, that not all people take pride in who they are in such a way: for instance, he carries his name with him "like my daddy did," but the narrator, choosing to handle life differently, is "living the dream that he kept hid." The narrator, unlike his father, is able to have a proud connection with his name, and live out the dreams that his father was unable to accomplish in life.In the second verse, the narrator goes on to note that like the wind, birds, or even crying babies, he has a song to sing. Much like he does with his name, he holds his song up as a proud part of his identity, and resolves to sing it no matter what. Even if singing "gets me nowhere," by declaring his identity and worth to the world, the narrator can go to "nowhere" proudly.In the final verse, the narrator declares that he will go forward in life "free," acknowledging that he will forever thus be a "fool." However, he happily chooses this path of foolish freedom, because moving through life this way can only help him achieve his "dream." This dream is clearly as much a part of the narrator's identity as his name or the song he sings, and he holds it up just as proudly to others. He then notes that while others may "change their minds" about him and his dream, their naysaying can never change his identity. Even so, the narrator is willing to "share" his dream with others, and announces that if anyone else is "going my way"—i.e. they believe in his dream as well—then he will go forward in life along with them.However, the culmination of the narrator's beliefs and pride in his identity is really in the chorus, as he declares that no matter what, he is joyfully "moving" and "rolling" himself "down the highway" of life. All in all, as he moves forward in life, carrying his name, his song, and his dream as part of him, his biggest goal is to simply not focus on the past, but look to the present and future instead. The narrator ends by sharing his hope that he can live each day to the fullest, "moving ahead so life won't pass me by."ReceptionIn 1973, Billboard wrote, "The song is bigger and more grandiose in lyric and melody content than Croce's usual funky material which makes interesting contrast." They also listed the song as a top single pick. Cash Box said that Croce "performs a la 'Operator'-but with a bit more funk during the bridges." Record World said that the "song fits Croce's style to a tee and is a fine tribute to his talent." Irvine Herald reviewer Willie Freckleton called it "a very fine epitaph to a big, big talent who died without having the recognition he richly deserved."Jim Croce performed the song live on an episode of The Midnight Special in 1973. There is at least one other known live video recorded performance of "I Got A Name," at Royce Hall, UCLA Campus, Los Angeles, California in August 1973. Croce performed the song live on the July 19, 1973, episode of NBC's The Helen Reddy Show. From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
In The Year 2525 (Exordium & Terminus) Zager & Evans SACRED COW MUSIC JUKEBOX 2024-09-01 | "In the Year 2525 (Exordium & Terminus)" is a 1969 hit song by the American pop-rock duo of Zager and Evans. It reached No. 1 on the Billboard Hot 100 for six weeks commencing July 12, 1969. It peaked at No. 1 in the UK Singles Chart for three weeks in August and September that year. The song was written and composed by Rick Evans in 1964 and released on Truth Records in 1968. It was picked up by RCA Records. Zager and Evans disbanded in 1971.Their follow-up single on RCA Victor, "Mr. Turnkey", reached No. 48 in the Canadian pop charts and number 41 in the Canadian AC chart. Another single, "Listen to the People", charted at No. 100 and No. 96 in Canada."In the Year 2525" is a song about the journey of mankind over an 10,000-year span. It predicts that man's thoughts, relationships and body will be negatively impacted by technological advances and ends with man's extinction.Famously, the song made Zager and Evans the ultimate one-hit wonders; for many years, the Nebraska duo were the only artist to hit the top of the charts on both sides of the Atlantic -- and never had another hit on Billboard's chart nor in Britain. (The Canadian group Magic! went to number one in both the US and the UK with "Rude" in 2013, but have not had a hit record outside of Canada since.)The song has been covered at least 60 times in seven languages, including a Jewish parody recorded by Country Yossi, and an Italian version recorded by Zager and Evans called "Nell'Anno 2033".Zager and Evans themselves referred to "2525" in one of their later songs, "Yeah 3²" (1970): "I'm gonna call it "In The Year 2525", or something like that/And if it sells, then I'll do well, gonna pay this woman back".It was included in a Clear Channel memorandum, distributed by Clear Channel Communications to every radio station owned by the company, which contained 165 songs considered to be "lyrically questionable" following the September 11, 2001, attacks.Two lines of the song are sung by the inmate Murphy in the 1992 film Alien 3 immediately prior to his death.Brief snippets are played in "The Time Is Now", the second-season finale of the TV show Millennium, which depicts an apocalyptic event.The song was rewritten and used as the introductory theme for the 2000 TV series Cleopatra 2525.In 2010, it was parodied as "In the Year 252525" in the seventh episode of Futurama's sixth season, "The Late Philip J. Fry", as Fry, Professor Farnsworth and Bender travel forwards through time to find a period in which the backwards time machine has been invented.The song acts as an aesthetic theme to the film Gentlemen Broncos.The BBC Radio series 2525, a sketch show set in that year, featured a cover of the song with its first lyric as its introductory theme.The first few verses of the song are used as the opening theme while the credits roll in the 2006 film Tunnel Rats.Zager once said that a Time Magazine cover from 1969 featured him and Evans with the caption "Even The Beatles would be jealous". However, no cover of the duo is included in Time's magazine history for 1969.From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Chimes Of Freedom The Byrds SACRED COW MUSIC JUKEBOX 2024-09-01 | "Chimes of Freedom" is a song written and performed by Bob Dylan and featured on his Tom Wilson produced 1964 album Another Side of Bob Dylan. The song depicts the thoughts and feelings of the singer and his companion as they shelter from a lightning storm under a doorway after sunset. The singer expresses his solidarity with the downtrodden and oppressed, believing that the thunder is tolling in sympathy for them.The Byrds released a version of "Chimes of Freedom" on their 1965 debut album, Mr. Tambourine Man. The song was the last track to be recorded for the album, but the recording session was marred by conflict. After the band had completed the song's instrumental backing track, guitarist and harmony vocalist David Crosby announced that he was not going to sing on the recording and was quitting the studio for the day. The reason for Crosby's refusal to sing the song has never been fully explained, but the fight between the guitarist and the band's manager, record producer Jim Dickson, ended with Dickson sitting on Crosby's chest, telling him, "The only way you're going to get through that door is over my dead body...You're going to stay in this room until you do the vocal." According to a number of people in the studio that day, Crosby burst into tears, but finally completed the song's harmony part with sterling results. Dickson himself noted in later years that his altercation with Crosby was a cathartic moment in which the singer "got it all out and sang like an angel."The song went on to become a staple of the Byrds' live concert repertoire, until their breakup in 1973. The band also performed the song on the television programs Hullabaloo and Shindig!, and included it in their performance at the Monterey Pop Festival in 1967. The Byrds' performance of "Chimes of Freedom" at Monterey can be seen in the 2002 The Complete Monterey Pop Festival DVD box set.The song was also performed by a reformed line-up of the Byrds featuring Roger McGuinn, David Crosby, and Chris Hillman in January 1989. In addition to its appearance on Mr. Tambourine Man, "Chimes of Freedom" has appeared on several Byrds' compilation albums, including The Byrds' Greatest Hits, The Byrds Play Dylan, The Very Best of The Byrds, and The Essential Byrds.Initially, critics described the song as showing the influence of the symbolist poetry of Arthur Rimbaud, but more recent biographers of Dylan have linked the origins of the song to verses the songwriter had written as a response to the assassination of President Kennedy in 1963. Some commentators and Dylan biographers have assessed the song as one of Dylan's most significant compositions, and critic Paul Williams has described it as Dylan's Sermon on the Mount. From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Cant Find The Time Orpheus SACRED COW MUSIC JUKEBOX 2024-09-01 | "Can't Find the Time" is a song originally recorded by Orpheus in 1968. It was the first release from their eponymous debut LP. The writer and lead singer is Bruce Arnold. Session drummer Bernard Purdie, who would later befriend Arnold and collaborate further, is among the musicians on the recording.Originally released in early 1968, the song charted very minorly in the U.S., but reaching #15 on WMCA in New York City. The single was re-released in late 1969, with somewhat better success. It reached #80 on the U.S. Billboard Hot 100 and #72 Cash Box. It was more popular in Canada, where it reached #63.From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Blowin In The Wind Peter, Paul & Mary SACRED COW MUSIC JUKEBOX 2024-09-01 | "Blowin' in the Wind" is a song written by Bob Dylan in 1962. It was released as a single and included on his album The Freewheelin' Bob Dylan in 1963. It has been described as a protest song and poses a series of rhetorical questions about peace, war, and freedom. The refrain "The answer, my friend, is blowin' in the wind" has been described as "impenetrably ambiguous: either the answer is so obvious it is right in your face, or the answer is as intangible as the wind".The most commercially successful version is by folk music trio Peter, Paul and Mary, who released the song in June 1963, three weeks after The Freewheelin' Bob Dylan was issued. Albert Grossman, then managing both Dylan and Peter, Paul and Mary, brought the trio the song which they promptly recorded (on a single take) and released. The trio's version, which was the title track of their third album, peaked at number 2 on the Billboard charts behind "Fingertips" by Stevie Wonder. The group's version also went to number one on the Middle-Road charts for five weeks. Cash Box described it as "a medium-paced sailor’s lament sung with feeling and authority by the folk trio."In 1964 at the 6th Annual Grammy Awards, Peter, Paul & Mary won 2 Grammy's for "Blowin' in the Wind". Best Folk Recording & Best Performance By A Vocal Group. In 2003, Peter, Paul & Mary's version of "Blowin' in the Wind" was inducted into the Grammy Hall of Fame.From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Baby The Rain Must Fall Glenn Yarbrough SACRED COW MUSIC JUKEBOX 2024-09-01 | "Baby the Rain Must Fall" is a song written by Elmer Bernstein and Ernie Sheldon and performed by Glenn Yarbrough after he left the Limeliters for a solo career. In early 1965, the track reached No.2 on the adult contemporary chart and No.12 on the Billboard chart. It also reached No.3 in South Africa.It is the title song of the movie, Baby the Rain Must Fall and is heard during the opening credits.Yarbrough put it up front on his 1965 album, Baby the Rain Must Fall, which was recorded at RCA Victor's Music Center of the World in Hollywood, California.The arrangement was by Bread lead singer David Gates. Earl Palmer played drums. From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
A World Of Our Own The Seekers SACRED COW MUSIC JUKEBOX 2024-09-01 | "A World of Our Own" is a 1965 single written by Tom Springfield and was an international hit for the Seekers. The single peaked at number 19 on the Hot 100 and number 2 on the Easy Listening charts. It reached number 3 in the U.K. and number 2 in Australia.Three years later, "A World of Our Own" was recorded by Sonny James. It was his sixth number one in a row, and 26th hit on the U.S. country music chart. The single spent three weeks at number one and a total of 15 weeks on the chart.In 1994 the single was re-released in the UK. The four track CD contained the original recording, a new recording of the song, and two B-sides - When the Stars begin to fall (originally the B-side of Morningtown Ride and the newly-recorded Keep a dream in your pocket.From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
Time Is Tight Booker T & The MGs SACRED COW MUSIC JUKEBOX 2024-08-23 | "Time Is Tight" is an instrumental recorded by Booker T. & the M.G.'s for their soundtrack to the 1968 film UpTight. The group recorded two versions of the song – the shorter (3:14), slower version was released as a single in 1969, and became one of the biggest hits of the group's career, peaking in the US charts at #7 R&B and #6 Pop and reaching number 1 in South Africa. The longer (4:55) version (which was included on the official soundtrack album) is played at a faster tempo than the single version, and features an extended introduction and an instrumental 'breakdown' section, neither of which was included in the single version. Booker T. & the M.G.'s were an American instrumental R&B/funk band that was influential in shaping the sound of Southern soul and Memphis soul. The original members of the group were Booker T. Jones (organ, piano), Steve Cropper (guitar), Lewie Steinberg (bass), and Al Jackson Jr. (drums). In the 1960s, as members of the Mar-Keys, the rotating slate of musicians that served as the house band of Stax Records, they played on hundreds of recordings by artists including Wilson Pickett, Otis Redding, Bill Withers, Sam & Dave, Carla Thomas, Rufus Thomas, Johnnie Taylor and Albert King. They also released instrumental records under their own name, including the 1962 hit single "Green Onions". As originators of the unique Stax sound, the group was one of the most prolific, respected, and imitated of its era.In 1965, Steinberg was replaced by Donald "Duck" Dunn, who played with the group until his death in 2012. Al Jackson Jr. was murdered in 1975, after which Dunn, Cropper and Jones reunited on numerous occasions using various drummers, including Willie Hall, Anton Fig, Steve Jordan and Steve Potts.The band was inducted into the Rock and Roll Hall of Fame in 1992, the Musicians Hall of Fame and Museum in Nashville, Tennessee in 2008, the Memphis Music Hall of Fame in 2012, and the Blues Hall of Fame in 2019.Having two white members (initially Cropper and Steinberg, later Cropper and Dunn) and two black members (Jones and Jackson Jr.), Booker T. & the M.G.'s was one of the first racially integrated rock groups, at a time when soul music and the Memphis music scene, in particular, were generally considered the preserve of black culture.For many years, Stax publicity releases stated that the initials in the band's name stood for "Memphis Group", not the MG sports car. However, this has proved not to be the case.Musician and record producer Chips Moman, who worked at Stax Records when the band was formed, claimed that the band was named after his sports car, and only after he left the label did Stax's publicity department declare that "M.G." stood for "Memphis Group". Moman had played with Jones and Steinberg in an earlier Stax backing group called the Triumphs, which was also named after his car.Jones, in a 2007 interview on National Public Radio's Fresh Air with Terry Gross, confirmed Moman's account of the origin of the group's name. Jones has re-confirmed this story on several occasions since, most recently as a guest on the Late Show with David Letterman on May 9, 2012.Stax historian Rob Bowman has averred that the reason the label obscured the story of the meaning of the name M.G.'s (and concocted the "Memphis Group" explanation) was to avoid claims of trademark infringement from the manufacturers of the car. In a 2019 interview with The Guardian, Steve Cropper confirmed the motor car origin and "Memphis Group" explanation, but added 'we were being interviewed and someone asked: "What does MG actually stand for?" Duck Dunn said: "Musical geniuses!"'From Wikipedia, the free encyclopedia**************************************************************************************************************************************************************************Sacred Cow Music Jukebox seriesSacred Cow Music presents popular music heard world-wide spanning the past 100 years. All genres are represented. Our goal is to introduce musical hits that made the charts, as well as those forgotten memories. www.sacredcowmusic.com
