Thursday, 4 December 2014

31.  You Really Got Me. The Kinks. Aug 1964.
The first deliberately moronic British pop record. The Kinks had already had two records fail to climb the charts (one of them a Beatle style version of Long Tall Sally) and manager Larry Page with producer Shel Talmy called a meeting to discuss where the band ought to go from here. One of the motions carried was that they needed to get session men in to address the lack of musical skill within the band. Some sources say that guitarist Dave Davies kicked a hole in an amp after being told that he was being replaced on record by a young Jimmy Page.  However, this has been found to be a myth and it is indeed Dave Davies playing guitar on the record, the grungey sound being the result of his cutting the amp's speaker with a razor blade. This resulted in the amp sounding like a fuzz box and The Kinks were inadvertently to create the first Brit Punk record with 'You Really Got Me'.
Jimmy Page plays a guitar solo of gonzoid proportions, making his later work seem wasteful and pompous, Ray Davies sings like a man who needed his teeth fixing and the whole makes for a glorious mess of a record. Manager Larry Page was dumped by The Kinks and went on to repeat the whole process a year or so later with his new protogés The Troggs.
30.  House Of The Rising Sun. The Animals. June 1964.
Another claim for the true origins of Folk Rock was The Animals version of 'House Of The Rising Sun'. First popularised by American folkie Josh White, then coverd by Bob Dylan on his debut album. It was the Dylan version that inspired The Animals to cover the song. Their previous record had been a cover of 'Baby Let Me Take You Home', also cribbed from Dylan's first album. The Animals manager, Mickie Most, had wanted them to record 'Can't You Hear My Heart Beat', later a hit for Goldie & The Gingerbreads, but the band wanted to record 'House Of The Rising Sun' instead. They were right to do so as 'House Of The Rising Sun' was a #1 on both sides of the Atlantic. 'House Of The Rising Sun' was the first hit single to break the 4 minute barrier, proving that the average record buyer had an attention span longer than the usual 2 and a half minutes that was the norm for a pop record.
Animals - House of the Rising Sun Music Video Nr. 7 at the top 2000 from 2008 Lyrics: There is a house in New Orleans They call the Rising Sun And it's been ...
YOUTUBE.COM

29.  Needles And Pins. The Searchers. Jan 1964.
For a time The Searchers were the equal of fellow Liverpool band The Beatles. In 1963 their first single 'Sweets For My Sweet' went straight to #1 in the UK charts. Their second single 'Sugar And Spice' made #2 later that year. At the start of 1964 The Searchers followed The Dave Clark Five to the top of the charts with 'Needles And Pins', a Jackie DeShannon composition.
Why The Searchers are worth a mention in the pop music annals of history is the sound they made on record, the sound of jangling six string and twelve string guitars. It was the sound that inspired Jim McGuinn to form The Byrds, Tom Petty to write 'American Girl', Bruce Springsteen 'The Ties That Bind' and inspired later bands such as R.E.M, Green On Red and The Smiths.
Six months before The Byrds recorded a shortened version of Dylan's 'Mr Tambourine Man' the Searchers had recorded a versin of Malvina Reynolds' anti nuclear song 'What Have They Done To The Rain', making The Searchers the first band to record in a style that was to become known as Folk Rock.

Tuesday, 2 December 2014

28.  Louie Louie. The Kingsmen. Nov 1963.
Recorded at a cost of $52, in two takes, the vocal shouted into a single overhead mic Louie Louie was the blueprint record for every garage band that followed. The lyric is indecipherable, prompting the FBI to question vocalist Jack Ely and song writer Richard Berry over allegations of 'un-American activities'. The lyrics are innocuous enough and best slurred rather than sang. The playing is rough and primitive, yet the record went on to sell 5 million copies and the song itself remains the most covered song on record after 'Yesterday'.
27.  She Loves You. The Beatles. August 1963.
She Loves You was everything The Beatles had promised the world...and more. Two minutes and 18 seconds of punchy, power-packed, undiluted Beatles music that carried with it a feeling of magical forces at work. It was an instant universal anthem which transformed the vision of four besuited moptops into that of four young gods at play on Earth, generously handing out to the outstretched palms of their worshippers their greatest gift to date, musical ambrosia.
Everything that The Beatles had learned about music on the road and in the sweaty clubs of Hamburg and Liverpool was melted down and fused into their finest song thus far. It was a turning point for The Beatles and the whole of pop music. No longer was rock n roll music a minority cult for British and American teenagers; now it was a universal message of joyful, unstoppable energy. (Vox)
26.  You Really Got A Hold On Me. The Miracles. Nov 1962.
You Really Got A Hold On Me is not Smokey Robinson's best song lyrically. Best he can come up with her is "I don't like you but I love you". However, what makes the song great is in who it inspired to cover it, The Beatles of course, Lennon singing the song in his best 'I wish I was black' voice. It can be argued that The Beatles did Berry Gordy and his Motown label a very big favour in bringing Motown music to the ears of a white audience. Besides YRGAHOM, The Beatles also recorded covers of The Marvelettes 'Please Mr Postman' and Barrett Strong's 'Money', besides championing Mary Wells by hyping her record 'My Guy' and adding Mary to their touring support roster. This paved the way for Motown acts to tour the UK and be featured on any music show running on TV at the time. In the early 60s the coolest of the cool could be found with an original Oriole label copy of 'You Really Got A Hold On Me' under their arm.
25.  Green Onions. Booker T & The MG's. Aug 1962.
Green Onions only came about because the Mar-keys horn section were taking a break, leaving the rhythm section, 15 year old Booker T Jones on Hammond, Steve Cropper guitar, Lewis Steinberg bass, Al Jackson Jr drums, filling the free time with an impromptu jam session. A walking bassline, fat-back drumming, a twelve bar Hammond organ riff, all punctuated by brittle Telecaster licks make Green Onions the simplest of tunes yet vitally important in defining the sound of soul music. The title Green Onions arose when someone said the track was funky so needed a funky title and bass player Steinberg replied 'funkiest thing I know of is green onions'.