Showing posts with label Righteous Brothers. Show all posts
Showing posts with label Righteous Brothers. Show all posts

Tuesday, July 22, 2008

July 22, 2008 Earworm


Part three of the blue boy trail of tears is Jerry Ganey's "Just A Fool", one side of the Bill Medley written and produced 45 of mass destruction from 1966, where a chance encounter provides the chance to set the record straight. A totally righteous affair with a stomping chorus that dares you to not fall into step, Jerry sounds mortally wounded by his recollection of just how well he'd been played.

Although I believe that he believes that enough is enough, words like "I walk away though I leave my heart, but my pride just won't let it start" suggest that he's foolish enough to turn back for another round of abuse. Fortunately for him, he would never be able to get through a backing choir that sounds determined to march him up a mountain and into the Paramount Pictures logo.

Great stuff...

"Just A Fool" and it's flip, the destined to be an earworm "Who Am I" can be found on Ace's "Phil's Spectre: A Third Wall of Soundalikes"

Tuesday, March 18, 2008

March 18, 2008 Earworm



“You’ve Lost That Lovin’ Feeling” Spends 2,184th week at #1 on Hells Hot 100!

Recognized in 1999 by BMI publishing as the most played record of the century, with over eight million spins, “You’ve Lost That Lovin’ Feeling” is not only an undisputed classic, but a pioneer as well.

“You’ve Lost That Lovin’ Feeling” celebrates another milestone as it spends its 2,184th week - a full forty-two years - at number one on Hells Hot 100. In celebration of this achievement, I sat down with Hells number one dj, Satan, to discuss the durability of this classic recording.

Me: Satan, forty-two years at number one; that’s quite an achievement. To what do you attribute the durability of “You’ve Lost That Lovin’ Feeling” in Hell?

Satan: You know, I’ve given that a lot of thought over the years and I gotta tell ya, it’s all about the raw honesty of that lyric. It’s quite selfish in its observations, much like a paranoiac in the way that it doesn’t take the time to ask why.

Me: The ultimate victim?

Satan: Yea, but it’s something that everyone has felt, or will feel. Even if you find true love, it’s pretty much a given that you’re gonna have your heart broken a few times before, if not after. You know, everyone has noted the way Bill Medley’s opening line, “you never close your eyes, anymore when I kiss your lips” – brilliant, by the way - sounds like a finger is holding the record back from its normal speed but, if you think about it… It’s really more like an aural version of the way your stomach feels when you’ve discovered some horrible truth. ‘Like the realization didn’t come from your head but from deep down in your gut.

Me: But what about the music? It’s a pretty revolutionary pop song. Nothing preceding it ever sounded quite like it.

Satan: It certainly was new. The way it works in those little jazz rhythms, its symphonic structure. And it’s actually a little frightening in places – the percussion at times kinda sounds like it’s gonna hit you back… the bongos on the bridge in particular. But it’s hard to pin down - there are so many hooks within that record that, even now, you can find something new to experience. It’s almost overloaded.

Me: Is there a particular hook or piece that you favor?

Satan: Well, the descending bass thing is as sneaky as.. well, hell. It insinuates something menacing is following the vocalist and kinda underscores that realization thing that I mentioned. You know, first the thought, and then reconciling the thought to a new reality. That’s a nifty little trick. But I really love the open throated “ahhhh” thing that occurs during the bridge – very frightened… pained, a little higher in pitch. I’ll tell you a little known fact about that…

Me: What’s that?

Satan: Well, Phil sure wouldn’t admit it – it’s one of his dirty like secrets - like the fact that he didn’t actually produce “Unchained Melody”…

Me: There’s been rumor…

Satan: He wasn’t even there; it was all Bill Medley. But anyway, the choir on “…Lovin’ Feeling”… that wasn’t just the Blossoms you know…

Me: Well, it’s been documented that Phil had just about everyone he knew in there; Sonny and Cher…

Satan: Yeah, yeah… but that choir was sweetened by not only yours truly, but a little vocal group we have down here.

Me: Wait. You’re telling me that you are on “You’ve Lost That Lovin’ Feeling”?

Satan: Yep. I was standing right between Cher and Darlene Love.

Me: No way!

Satan: Way! I got Cher’s autograph that day. I knew she was gonna be huge one day… Anyway, I’m a little bit more prominent in the stereo mix but that’s a mess so… But I’m not the only representative from down here. I brought in the Zealot Evangelical Choir for some extra support.

Me: Zealot Evangelical Choir?

Satan: Who better to back up persecution than the evangelicals?

Me: You’ve got a point. I’m just surprised to hear that they’re down there. How did that happen?

Satan: What? You thought they were gonna go to heaven?! Besides, it gives the rest of us a chance to make fun of bad outfits.

Me: Of course. So, I have to mention that I’ve done a little number crunching and it appears that “You’ve Lost That Lovin’ Feeling” either took a while to hit number one, or hasn’t been number one every week since it was released…

Satan: Philly gave me an acetate and I started spinning it out of the box – it went in at number one. Thank God!

Me: What do you mean?

Satan: The song it replaced was “Dominique” by The Singing Nun. Fifty some odd weeks of that…

Me: Ouch! That, to me, just may be the definition of hell.

Satan: Not on my watch. But anyway, in ’65, I think it was February, The Shangri-Las’ “Give Him A Great Big Kiss” popped up to number one for two weeks.

Me: Really?

Satan: Yea. That whole “he’s good bad, but he’s not evil” still makes me chuckle.

Me: That still leaves about four weeks…

Satan: Well, I don’t like to admit it ‘cause I take pride in the fact that I never manipulate the charts, no matter how much Goldner tried…

Me: Yes…

Satan: Around 1996 I put Debbie Boone’s “You Light Up My Life” at number one for four weeks…

Me: For the love of… um, Satan, why would you do such a cruel thing?

Satan: A bunch of anti-smoking nuts started making noise so… I mean, it’s HELL people! How ya wanna designate no smoking in Hell? Well, I thought it was a good way to shut them up and I thought it was funny as Hell. “You Light Up My Life”, get it?!

Me: That is pretty funny, actually. Do you regret it?

Satan: Yes, actually I do.

Me: Cruel and unusual punishment, and all that?

Satan: Nope. I regret it because it kinda tarnished my reputation. You know, the devil has all the best tunes and all that.

Monday, March 10, 2008

March 10, 2008 Earworm



From 1961 through 1963**, Phil Spector's productions were tales of hearts aflutter romance and lustful angst. Midway through 1964, a melancholy mood began to descend, casting shadows on the wall of sound. The year was kicked off with The Ronettes' "(The Best Part Of) Breakin' Up" but ended with The Righteous Brothers' "You've Lost That Lovin' Feeling". Right in the middle you could find The Crystals announcing that they were "All Grown Up", and could do and go where they wanted to go and away they went from the Philles stable, leaving The Ronettes as the last chance of teeny bop romance but instead, we got the beautifully depressed yearning of "Walking In The Rain".

By the time that "Is This What I Get For Loving You?" was released in March of 1965, Ronnie no longer sounded like a girl waiting on the stoop for her dream boy, replaced by the voice of a woman who realizes that sometimes the best part of breaking up is actually breaking up. Where she once promised "I'll make you happy baby, just wait and see...", in less than two years she's now begging, "Don't leave me baby, don't tell me it's over, after I trusted you, and did my best to make you happy...", her longing vibrato clipped and her vocal bathed in so much echo that she sounds as though she's descended into a pit. A pit filled with angry bongos, to boot.

It's a hauntingly beautiful record yet it's disheartening to think that any women just barely twenty years old could sound as weary as this, particularly at the moment when, as the record fades to silence, you can just barely hear her sing "You know I love you baby" as the needle hits the run-out groove...


**
1961:
100 There's No Other Like My Baby - The Crystals
1962:
102 Uptown - The Crystals
105 He Hit Me (And It Felt Like A Kiss) - The Crystals
106 He's A Rebel - The Crystals
107 Zip-A-Dee-Doo Dah - Bob B. Soxx and The Blue Jeans
108 Puddin N' Tain - The Alley Cats
109 He's Sure The Boy I Love - The Crystals
1963:
110 Why Do Lovers Break Each Other's Heart - Bob B. Soxx and The Blue Jeans
111 (Today I Met) The Boy I'm Gonna Marry - Darlene Love
112 Da Doo Ron Ron - The Crystals
113 Not Too Young To Get Married - Bob B. Soxx and The Blue Jeans
114 Wait 'Til My Bobby Gets Home - Darlene Love
115 Then He Kissed Me - The Crystals
116 Be My Baby - The Ronettes
117 A Fine Fine Boy - Darlene Love
118 Baby, I Love You - The Ronettes
119 Little Boy - The Crystals
1964:
120 (The Best Part Of) Breakin' Up - The Ronettes
121 Do I Love You - The Ronettes
122 All Grown Up - The Crystals
123 Walking In The Rain - The Ronettes
124 You've Lost That Lovin' Feelin' - The Righteous Brothers
125 Christmas (Baby Please Come Home) - Darlene Love
1965:
126 Born To Be Together - The Ronettes
127 Just Once In My Life - The Righteous Brothers
128 Is This What I Get For Loving You - The Ronettes
129 Unchained Melody / Hung On You - The Righteous Brothers
130 Ebb Tide - The Righteous Brothers
1966:
131 River Deep-Mountain High - Ike and Tina Turner
132 White Cliffs of Dover - The Righteous Brothers
133 I Can Hear Music - The Ronettes (produced by Bob Crewe)
134 Two To Tango - Ike and Tina Turner (produced by Bob Crewe)
135 I'll Never Need More Than This - Ike and Tina Turner
136 A Love Like Yours - Ike and Tina Turner