Tag: 1960s

The Kinks | The Village Green Preservation Society

“A very reflective and nostalgic song written by lead singer Ray Davies, this is about the innocent times in small English towns, where the village green was the community center,” (Songfacts). “The entire album The Kinks Are the Village Green Preservation Society (1968) was based on this theme.”

From Pitchfork‘s review of the album: “The problem facing The Kinks when they released (the album) wasn’t merely the competition– Jimi Hendrix’s Electric Ladyland, Led Zeppelin’s debut, and the Rolling Stones’ Beggars’ Banquet offered plenty– but that this subtle, funny, surreal, and at times almost tender record could have been recorded on another planet. During the summer of 1968, stateside fans were hooked on a high-intensity diet that had them jonesing for aggressive, overstated fare like “Street Fighting Man” and “You Shook Me” and “Communication Breakdown.” The disconnect between The Kinks and the rock world’s rapidly narrowing palette could hardly have been more pronounced. Compare the Stones’ bombastic, urban “Sympathy for the Devil” with understated work like “Village Green”, bouncing along like a horse and buggy as Ray Davies paints the landscape: “Out in the country, far from all the soot and noise of the city … Though widely disregarded at the time of its release, The Kinks’ 1968 apex, The Village Green Preservation Society, has had a profound impact on the present state of indie rock.”

A whole-step modulation hits at 1:12.

Eddie Holman | This Can’t Be True

“Eddie Holman (born in Norfolk, Virginia in 1946), is an American singer who performs in several genres such as R&B, soul, pop and gospel, and best known for the now-oldies music classic hit ballad ‘Hey There Lonely Girl’ in 1970,” (MentalItch.com). He began his music career as a child, “performing at prestigious venues such as the Apollo Theater and even Carnegie Hall. Holman graduated with a degree in music at Cheyney State University (now Cheyney University of Pennsylvania) in Philadelphia. Part of the vibrant Philly soul scene, Holman eventually developed his signature vocal style.

In 1965, he released his first hit with ‘This Can’t Be True’ which peaked at #17 on the US R&B chart … ‘Hey There Lonely Girl’ (1969) was his biggest hit, reaching #2 on the Billboard Hot 100 in early 1970. (The release was) actually a remake of the Ruby and the Romantics’ 1963 hit ‘Hey There Lonely Boy.’”

After a first half that’s a funhouse mirror of compound chords, the tune modulates at 1:51. But throughout, the main course is certainly Holman’s stratospheric yet seemingly effortless falsetto, kicking in each time he sings the title line. Contributor JB adds that the track “sits right in the liminal area between 1950s Doo-Wop and 1960s Soul.”

Jean-Baptiste “Toots” Thielemans | Undecided

Jean-Baptiste “Toots” Thielemans, “the Belgian-American musician who cut a singular path as a jazz harmonica player … began his professional career as a guitar player (and added the ability to whistle a line above it), but inspired by the mid-20th century innovations of Charlie Parker and Dizzy Gillespie, he returned to the chromatic harmonica and developed a bebop-influenced technique on it,” (NPR). “He performed and recorded widely with his bebop heroes and many other stars of postwar jazz, and his tune ‘Bluesette’ quickly became a jazz standard. His work also graces many film and television scores.”

Later in his career, “Thielemans became a first-call studio musician for top arrangers like Quincy Jones. His harmonica graced the theme song for Sesame Street and the score for the movie Midnight Cowboy. And that’s his whistling in the commercial jingle for Old Spice toiletries. Jazz remained his first love; even toward the end of his career, he would begin every morning with practice on the complex changes to John Coltrane’s ‘Giant Steps.’ … He was named a National Endowment for the Arts Jazz Master in the U.S., and a baron by the king of Belgium. He only retired from performing at the age of 92.” He passed away in 2016 at the age of 94.

His performance on “Undecided,” a 1939 standard by Charles Shavers, would have been remarkable for any other harmonica player — but it was utterly routine for Thielemans. His technique on the instrument broke through to entirely new levels of speed and agility. The groove drops out for a break just before the half-step modulation at 1:18. As if that weren’t enough, the second half of the video showcases Toots’ famous guitar-and-whistling skills!

Lesley Gore | Sunshine, Lollipops, and Rainbows

Lesley Gore is best known for the adolescent assertion of independence “It’s My Party” (Billboard #1 in 1963), produced by Quincy Jones, and recorded when she was 16. That song appeared on the album I’ll Cry If I Want To. She recorded her second album in 1963, Lesley Gore Sings of Mixed-Up Hearts, which contained another, more grown-up hit, “You Don’t Own Me,” previously featured on MotD.

That same album featured “Sunshine, Lollipops, and Rainbows”, written by Marvin Hamlisch, who had yet to achieve the fame that awaited him. It wasn’t until 1965 that the song was released as a single, to accompany its appearance in the movie Ski Party, a trashy beach movie set on the ski slopes — but which still included a beach, somehow. Besides Lesley Gore, there were musical contributions from James Brown and surf band The Hondells. The stars were noted thespians Frankie Avalon, Dwayne Hickman, and Deborah Walley.

“Sunshine …” was a favorite of radio DJs at the time of its release, because its running time of just over 90 seconds made it perfect to fill short programming gaps. But there’s no debating its merits — it’s a short, fun blast! There’s a half-step modulation at 0:46.

Ella Fitzgerald | Old MacDonald Had a Farm

“Dubbed ‘The First Lady of Song,’ Ella Fitzgerald was the most popular female jazz singer in the United States for more than half a century,” according to Fitzgerald’s website. “In her lifetime, she won 13 Grammy awards and sold over 40 million albums.

Her voice was flexible, wide-ranging, accurate and ageless. She could sing sultry ballads, sweet jazz and imitate every instrument in an orchestra. She worked with all the jazz greats, from Duke Ellington, Count Basie and Nat King Cole, to Frank Sinatra, Dizzy Gillespie and Benny Goodman. (Or rather, some might say all the jazz greats had the pleasure of working with Ella.) She performed at top venues all over the world, and packed them to the hilt. Her audiences were as diverse as her vocal range. They were rich and poor, made up of all races, all religions and all nationalities. In fact, many of them had just one binding factor in common – they all loved her.”

Her relentlessly energetic rendition of the children’s song “Old MacDonald,” performed on the Ed Sullivan Show in 1964, begins in Eb major. Starting at 0:18, she skips effortlessly upward through a series of half-step modulations, ending in Ab major.

The Four Seasons | Opus 17 (Don’t You Worry ‘Bout Me)


Frankie Valli and The Four Seasons were a hit-making machine in the 1960s. Beginning with their #1 single “Sherry” in 1962 through 1968, with their version of “Will You Love Me Tomorrow,” they were never far from the charts. In the 1970s, they had something of a comeback, with the disco-flavored “Who Loves You” in 1975, and another #1, “December 1963 (Oh, What a Night),” that same year. For more history, go see the musical Jersey Boys, playing in summer stock somewhere near you.

“Opus 17 (Don’t You Worry ‘Bout Me)” was their 17th single (titled perhaps to confuse fans of Antonio Vivaldi), released in 1966. It was written by Sandy Linzer and Denny Randell, who wrote the other Four Seasons hits “Let’s Hang On!” and “Working My Way Back to You,” as well as the 1977 disco hit “Native New Yorker” by Odyssey.

The first two verses are in F♯. The third verse modulates up to G at 0:45. An instrumental verse, featuring a raunchy-for-1966 sax solo, remains in G. The fourth verse modulates another half-step to A♭ at 1:21; the fifth verse stays in that key. At 1:52, verse six moves up to A. Whew, we’re not done: verse seven modulates to B♭ at 2:08. Finally, verse eight goes up to B at 2:24 as the song fades out.

As this song demonstrates, it’s a mod, mod, mod, mod, mod world!

Nancy Sinatra | Love Eyes

“Nancy Sinatra, the force who brought ‘These Boots Are Made For Walkin” to life, was never meant to sing the song at all,” (NPR). “The late Lee Hazlewood, a songwriter and producer for the likes of Duane Eddy, had written the single and intended to sing it himself. But once Sinatra heard it, she immediately had a better idea … The song soared to the top of the Billboard pop charts, scored Sinatra two Grammy nominations, and has been covered dozens of times … The 1966 hit became an anthem for women who refused to be walked all over, and who threatened to do the very same if crossed.”

Throughout the balance of the late 1960s, Sinatra’s releases climbed the Billboard Hot 100 no fewer than 14 times — just the beginning of a multi-decade recording and performance career. She also appeared in many films, followed by an extensive string of features on television variety shows (one of which, Movin’ with Nancy, she also hosted).

1967’s “Love Eyes” wasn’t a single, but her decoration of an unapologetically extroverted delivery with sultry flourishes is trademark Nancy Sinatra. 1:59 brings a upward key change of an minor third. Many thanks to our contributor Jamie A. for this submission!

Louise Cordet | Laisse Le Soleil Sécher Tes Larmes

English singer Louise Cordet had one big UK-charting hit, “I’m Just a Baby,” in 1962. Her parents were both French-born, and she attended a French lycée in London. So she was not only a singer, but also a *chanteuse* — she had Decca releases in both the UK and France.

The song “Don’t Let the Sun Catch You Crying” was written for Cordet by Gerry Marsden, and her version was the first released, in February 1964. Nonetheless, the Pacemakers’ version, released in April, became an international hit.

Using the same backing track, she also recorded the version here, with French lyrics. Translated literally, the title means “Let the sun dry your tears”.

The song starts in B, and modulates to C at 1:20.

Timi Yuro | And That Reminds Me

Husky-voiced Timi Yuro scored a big hit in 1959 with “Hurt” (Billboard #4), a tear-jerker ballad replete with a true-to-form spoken recitative. She had another hit in 1962 with “What’s a Matter Baby” (Billboard #12), with a mid-tempo rock arrangement. She continued to record and perform throughout the 1960s, with only modest success. In 1969, she decided to leave the music business. In the early 1980s, she managed a comeback in the Netherlands, with new recordings reaching the top of the Dutch charts.

“And That Reminds Me” qualifies as a standard; it’s been covered many times. Based on an Italian instrumental “Concerto d’autunno,” by Camillo Bargoni, English lyrics were added by Al Stillman and Paul Siegel. The recording here appeared on Timi’s 1961 album Hurt!.

The first verse begins in B♭, continuing in that key through the beginning of an instrumental verse. At 1:27, there’s a modulation up to B. By the second verse, we’ve made it up to C♯, staying put in that key through the end. Regardless of key, Timi’s voice drips with emotion throughout!

Del Shannon | Runaway

“Runaway” by Del Shannon is an “eerie, aching, chart-topping 1961 single” according to the AV Club. “Few songs in popular music are so enduring yet ethereal. ‘Runaway’ is a moody song for a brooding scenario, one that seems to instantly sublimate into a glum, haunting fog. Written by Shannon and his keyboardist, Max Crook, it outlines in tear-streaked detail a guy who’s lost his girl. Guys losing girls is a primary preoccupation of pop songwriters, then and now, but ‘Runaway’ nudges that theme to a preternatural level. ‘As I walk along I wonder / what went wrong,’ he begins the song, not bothering to mention where he’s walking or why.

The not-so-secret weapon of ‘Runaway,’ though, is its keyboard. Crook joined Shannon’s band in 1959, and soon after he began toying with a riff on his Musitron, a self-built version of the clavioline that served as a precursor to the analog synthesizer. Modifying the instrument with spare parts from television sets and household appliances, Crook used his invention to turn his riff into the spooky, unsettling hook of ‘Runaway.'” The single went to #1 in the US and was a true international smash hit as well, hitting Top 5 in Australia, Canada, Chile, Belgium, Ireland, the Netherlands, New Zealand, Norway, the UK, among others.

The intro, verses, and iconic keyboard feature sections are in Bb minor; the choruses (first heard at 0:31) shift to Bb major.