Song #77 of 9999 - Tell Laura I Love Her by Ray Peterson

Song #77 of 9999

Title: Tell Laura I Love Her
Artist: Ray Peterson

Year: 1960
Album: N/A - single release

 

The late 1950s and early 1960s saw the emergence of a new kind of song: the teen tragedy song. These mini-operas usually involved some kind of drag race or other desperate situation which results in the death of one or both star-crossed lovers. It's a fascinating little genre that has continues to this day but not on the same scale and perhaps not with the same level of drama. After all, a song like Eminem's "Stan" comes with a video that pretty much spells out all of the action for you whereas these early songs required you to use your imagination. For that reason, I can see a lot of young people in 1960 envisioning themselves in these exact situations. Also, the fact that people would frequently marry right after high school make a song like "Tell Her I Love Her" a bit more realistic than it would perhaps be today.

In "Tell Laura I Lover Her," Tommy is in love with Laura and wants to marry her. But he doesn't have the cash to buy a wedding ring. Then he sees an advertisement for a stock car race with a top prize of $1000. He enters the race and...well, I won't spoil it for you but it doesn't end well for Tommy. See you tomorrow in 1970.

Song #76 of 9999 - Cathy's Clown by The Everly Brothers

Song #76 of 9999

Title: Cathy's Clown
Artist: The Everly Brothers

Year: 1960
Album: N/A - single release

With fifty years of retrospection, it's often tempting to think The Beatles just appeared out of nowhere, making amazing music like the world had never imagined. The truth is, The Beatles were heavily influenced by American artists whose models not only shaped The Beatles' sound but also their songwriting. The former is well-known and documented: The Beatles learned, performed and re-recorded so many Chuck Berry and Little Richard records from the 1950s and the influence of these artists is clearly heard in the sound of the early Beatles records. But it's the songwriting influence that is less often acknowledged and, although the source is still American, it came from the early 1960s.

There is a recording of John Lennon talking about writing "Please Please Me" where he admits to basically trying to write a song that sounds like Roy Orbison. In the interview, Lennon sings the chorus in the style of Orbison, slowing the tempo and mimicking Orbison's falsetto. It's a very interesting insight not obviously heard in the finished George Martin-produced smash. A more obvious influence on the song (and many more to come) is the close vocal harmony of The Everly Brothers. Think about the opening lines of "Please Please Me" with the high harmony droning over the descending main melody. Then listen to "Cathy's Clown," paying particular attention to the sustained word "love" in the first line. The songs are eerily similar in their approach.

Obviously, The Beatles would go on to master the genre and rightfully deserve the accolades that came with their incredible output. But it is really interesting to look at these American records of the early 1960s and see just how influential they were to John and Paul.

Song #75 of 9999 - Romantica by Dalida

Song #75 of 9999

Title: Romantica
Artist: Dalida

Year: 1960
Album: Les Annees Barclay

Almost all of my knowledge of popular music of the 1950s through the 1970s comes from my father. He had a large collection of music, mostly on mix tapes he culled from my uncle's even larger collection. Music was constantly playing in our house and I became pretty familiar with the rock and roll canon as a child and teenager. It wasn't until high school that I started tuning out his more mainstream choices for progressive and hard rock. But by that time it was the 1980s and I had already assumed a working knowledge of every song worth listening to (in my father's opinion) from the previous three decades.

Of course, he didn't have everything. Although music was becoming less regional by 1960, it wasn't quite global. An artist like Dalida, who was unfamiliar to me before this past weekend, was virtually unknown to those of us in the United States. A former Miss Egypt who emigrated to Paris, Dalida was a huge success almost everywhere in the world except here. It's easy to see why. Her powerful voice and ability to sing in a multitude of languages made her marketable all over Europe and the Middle East. Listening to this song, I can just imagine it turning up in some David Lynch film or something scored by Ennio Morricone. It avoids sounding dated by achieving a classic, timeless quality. A fun discovery on my journey through 1960!

Song #74 of 9999 - Only the Lonely by Roy Orbison

Song #74 of 9999

Title: Only the Lonely
Artist: Roy Orbison

Year: 1960
Album: Lonely and Blue

A lot of people considered the early 1960s to be a dark period in the evolution of rock and roll. Buddy Holly had just been killed in a plane crash, Elvis Presley was in the army serving in Korea and Chuck Berry was on his way to jail for violating the Mann Act by transporting a 14-year-old girl over state lines. Many had declared "rock and roll is dead" as the 50s came to a close. Of course, no-one could predict the British Invasion that was lurking just a few years ahead.

I find this period to be pretty intriguing especially as a songwriter who is dedicated to the craft of writing great pop songs. At this time, publishing companies still ran their own houses with songwriters churning out songs to be performed by the top artists of the day. Some songwriters worked in office cubicles like those in the famous Brill Building in New York City, which included the likes of Phil Spector, Carole King, Neil Diamond, Neil Sedaka, and Leiber and Stoller, just to name a few. Down south, Monument Records established a similar operation in Nashville, attracting the songwriting talent of Dolly Parton, Kris Kristofferson, Willie Nelson and Roy Orbison. After Elvis Presley passed on Orbison's "Only the Lonely," he recorded it himself, bringing national success to the independent label. The song is the perfect showcase for Orbison's velvety vocal and soaring falsetto. Great arrangement with majestic strings and cool backing vox. Enjoy this rare video of Roy Orbison without his trademark glasses.

Songs #72 & 73 of 9999 - It's TWOsday!

Song #72 of 9999                                                Song #73 of 9999

Title: Stay                                                            Title: The Load Out

Artist: Maurice Williams & The Zodiacs           Artist: Jackson Browne

Year: 1960                                                           Year: 1977

Album: N/A - single release only                        Album: Running on Empty

Maurice Williams & The Zodiacs aren't quite a one-hit wonder band--they had another million-selling record called "May I" in 1961--but they're pretty close. "Stay," their only significant pop record, has the distinction of being the shortest song ever to reach #1 on the Billboard Hot 100, clocking in at just 1:39. It has also been covered by many artists, including The Four Seasons and The Hollies. I like the original version especially for its clever backing vocals and inexplicable falsetto verse.

My favorite re-use of the song comes from Jackson Browne nearly two decades later. The former Eagle wrote "The Load Out" as a tribute to his roadies and his fans. Growing up in a blue-collar, pro-union household, I was pretty much fated to like this song. And seriously, when was the last time you heard a large touring act acknowledge the people who set up, tear down and carry their stuff, let alone keep it working show after show? Even as it shows its age, the song is significant for that reason. But what's really cool about it is the Browne steers the ballad right toward a singalong stadium rock version of "Stay." It's a very clever trick and must have been incredibly effective to those first crowds of fans who did not expect it. This excellent 1978 London concert version is not the original, although the album version was recorded live in concert at Maryland's Meriweather Post Pavilion.

Song #71 of 9999 - Shop Around by The Miracles

Song #71 of 9999

Title: Shop Around (Detroit Version)
Artist: The Miracles
Year: 1960
Album: Hi...We're the Miracles

When I was in Detroit two summers ago, I stopped by the original Motown Studios and was treated to a great tour of the historic house where Berry Gordy set about building his R'n'B empire. What I learned (or had forgotten) was just how much influence Smokey Robinson had on Berry and Motown's success. Robinson was actually the vice president of the company as well as a chief songwriter and producer for many of the recording artists at Motown. 

If he doesn't get enough credit for his contribution to Motown, it's probably his own fault for commanding so much attention as a singer for The Miracles. The guy has such an amazing voice, it seems fair to write him off as only a song stylist or interpreter. This regional version of the hit record that would put Motown on the national map by landing at #2 on the pop charts has a slightly slower tempo affording Robinson a little more room to exercise his talents for bluesy vocal inflections. It's a rawer recording that I had never heard before and, despite what I think is an awkward edit right before the sax solo, I think it's better than the hit we all know.


If you don't want to hear that guy talk, skip to 0:51. :)

Song #70 of 9999 - I'm Sorry by Brenda Lee

Song #70 of 9999

Title: I'm Sorry
Artist: Brenda Lee
Year: 1960
Album: N/A - single release

Happy New Year! Today, I begin a one-year walk through 52 years of pop music history. When you realize that's only 365 songs, it makes 9999 seem impossible! But at least it gets me through a year and allows me to listen to some music that I haven't listened to for a LONG time or have completely forgotten.

For no significant reason, other than I'm in the mood for this song, I decided to start with "I'm Sorry" by Brenda Lee. It's funny how we still seem to marvel at teenage pop sensations like Justin Bieber and LeAnn Rimes, but this has been going on since the concept of the teenager was born in the 1950s. Brenda Lee was just fifteen when this song was released and it instantly propelled her to stardom in the genres of pop and country, which weren't so segregated fifty years ago.

I love the chord progression in this song, which I may have to steal for a song of my own! With the exception of the dominant (V), the chords slither around the tonic (I), wandering only as far as a whole step away: 

Bb    A      Bb   Bm(b5)     Cm   F     Cm      F       Bb
I       VII     I      vii°/ii          ii      V      ii         V       I

Listening to the song critically, I feel like it needs a bridge or a key change or something but it's still pretty satisfying as is. The spoken word confession is typical of the time and I love the morose strings and backing vocals in the arrangement, especially the soprano solo that sounds almost like a theremin. Hope this song brought back good memories or, better yet, that you've never heard it before. Welcome to 1960!