Going to a Go-Go-The Miracles-1966-#11
M&L--William Robinson,Warren Moore,Robert Rogers and Marv tarplin
This was one of the years biggest soul dance hits
CLASSIC ROCK
Time Won't Let Me--The Outsiders-1966-#5
M&L----Tom King and Chet Kelly
Uptight(Everything's Alright)-Stevie Wonder-1966-#3
M&L--Sylvia Moy
The most significant devlopment at Motown was Stevie Wonder's maturation,reflected in Uptight (Everything's Alright), his first major hit since Fingertips--part 2 made it to No.1 in 1963.The 15-year old phenomenon displayed a stronger,more masuline voice on Uptight and got his first song-writing credit.Wonder,who toured with the Rolling Stones in 1964,snatched Uptight's driving tempo from Satisfaction.
M&L----Tom King and Chet Kelly
Uptight(Everything's Alright)-Stevie Wonder-1966-#3
M&L--Sylvia Moy
The most significant devlopment at Motown was Stevie Wonder's maturation,reflected in Uptight (Everything's Alright), his first major hit since Fingertips--part 2 made it to No.1 in 1963.The 15-year old phenomenon displayed a stronger,more masuline voice on Uptight and got his first song-writing credit.Wonder,who toured with the Rolling Stones in 1964,snatched Uptight's driving tempo from Satisfaction.
Along Comes Mary-The Associations-1966-#7
M&L--Tandyn Almer
The clean cut Association took heat for their first hit "Along Came Mary,widely viewed as an ode to marijuana.Group member Ted Bluechel later explained that the song "can be about anything you want it to be"noting that many parochial schools named St.Mary's used it at pep rallies.
M&L--Tandyn Almer
The clean cut Association took heat for their first hit "Along Came Mary,widely viewed as an ode to marijuana.Group member Ted Bluechel later explained that the song "can be about anything you want it to be"noting that many parochial schools named St.Mary's used it at pep rallies.
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BigMcCauley55
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- Joined: Sat Oct 01, 2005 5:14 pm
Three types of music dominated the mid-60s American pop charts,and the first two were inseparable.Soul was on the rise,and with it a number of British acts who offered their own exuberant interpretation of the continuum that ran from blues through early rock-n-roll and on into Motown and Southern soul.But in the wake of Bob Dylan's emergence as a pop star,folk-rock was all over the radio too.
Sunny Afternoon-The Kinks-1966-#14
M&L--Ray Davies
The Kinks showed almost no black influence.They had begun as a power-chord band,but by 1966 leader Ray Davies was more interested in satire and upper-class British anomie.Most of his songs had something of a music hall flavor to them.Sunny Afternoon was the last in a two-year run of eight Kinks hits that did not resume until 1970 when an American musician's union blacklisting of the group was lifted.
M&L--Ray Davies
The Kinks showed almost no black influence.They had begun as a power-chord band,but by 1966 leader Ray Davies was more interested in satire and upper-class British anomie.Most of his songs had something of a music hall flavor to them.Sunny Afternoon was the last in a two-year run of eight Kinks hits that did not resume until 1970 when an American musician's union blacklisting of the group was lifted.
A Groovy Kind of Love--The Mindbenders-1966#2
M&L---Toni Wine and Carole Bayer
The Mindbenders a U.K. band dipped into black America music.The Mindbenders cut "A groovy Kind of Love,written by Bayer and Wine for Patti LaBelle and the Blue Belles,as their first release after cofounder and leader Wayne Fontana quit to pursue a solo career on the nostalgia circuit.When the song became the groups American breakthrough,the band promptly wrote Fontana off as "our former tambourine player,"
M&L---Toni Wine and Carole Bayer
The Mindbenders a U.K. band dipped into black America music.The Mindbenders cut "A groovy Kind of Love,written by Bayer and Wine for Patti LaBelle and the Blue Belles,as their first release after cofounder and leader Wayne Fontana quit to pursue a solo career on the nostalgia circuit.When the song became the groups American breakthrough,the band promptly wrote Fontana off as "our former tambourine player,"
Sunny-Bobby Hebb-1966-#2
M&L--Bobby Hebb
One of seven kids born to blind parents in Nashvill,Bobby Hebb was invited at the age of 12 by Roy Acuff to appear on the Grand Ole Opry,which was not in the habit of spotlighting black singers.Hebb had studied guitar under country vituoso Chet Adkins and played spoons for rock-n- roll Bo Diddley before he wrote Sunny in memory of his brother Hal,a member of the Marogolds who died in a 1963 mugging.Herb also claimed he was thinking of President Kenedy,who was assassinated just a few days before he finished the song.
M&L--Bobby Hebb
One of seven kids born to blind parents in Nashvill,Bobby Hebb was invited at the age of 12 by Roy Acuff to appear on the Grand Ole Opry,which was not in the habit of spotlighting black singers.Hebb had studied guitar under country vituoso Chet Adkins and played spoons for rock-n- roll Bo Diddley before he wrote Sunny in memory of his brother Hal,a member of the Marogolds who died in a 1963 mugging.Herb also claimed he was thinking of President Kenedy,who was assassinated just a few days before he finished the song.
Baby,Scratch My back-Slim Harpo-1966-#16
M&L--James Moore
Slim Harpo --a sly,laconic swamp bluesman who had played harmonica with the legendary Lighting'Slim before going solo and getting his King Bee covered by the Rolling Stones-embraced rock-n- roll when most blues singers were disdaining it." Baby Scratch My Back written one afternoon in the back room of a southern Louisianna record store,was one of his pop hits.
M&L--James Moore
Slim Harpo --a sly,laconic swamp bluesman who had played harmonica with the legendary Lighting'Slim before going solo and getting his King Bee covered by the Rolling Stones-embraced rock-n- roll when most blues singers were disdaining it." Baby Scratch My Back written one afternoon in the back room of a southern Louisianna record store,was one of his pop hits.
Warm and Tender Love-Percy Sledge-1966-#17
M&L---Irral Ida Berga and Bobby Robinson
Percy Sledge's Warm and Tender Love suffered from the fact that it was the former hospital orderly's follow-up to "When a Man Loves a Woman,"which had been inprovised on the spot months earlier and had become the standard against which all othe soul ballads were judged.
M&L---Irral Ida Berga and Bobby Robinson
Percy Sledge's Warm and Tender Love suffered from the fact that it was the former hospital orderly's follow-up to "When a Man Loves a Woman,"which had been inprovised on the spot months earlier and had become the standard against which all othe soul ballads were judged.
Summetime-Billy Stewart-1966-#10
M&L---George Gershwin,Ira Gershwin and Du Bose Heyward
The 300-puond Billy Stewart,who hailed from Washington D.C.,was known as both "Fat Boy"and "Motormouth" He got his latter nickname for the histrionic vocal style he applied to records such as his version of "Summertime",which took the Porgy and Bess standard places Gershwin had never dreamed of. Stewart's career had been launched nearly a decade earlier when he sang "Summertime in a D.C. talent contest.
M&L---George Gershwin,Ira Gershwin and Du Bose Heyward
The 300-puond Billy Stewart,who hailed from Washington D.C.,was known as both "Fat Boy"and "Motormouth" He got his latter nickname for the histrionic vocal style he applied to records such as his version of "Summertime",which took the Porgy and Bess standard places Gershwin had never dreamed of. Stewart's career had been launched nearly a decade earlier when he sang "Summertime in a D.C. talent contest.
The Cheater-Bob Kuban and the In- Men-1966-#12
M&L--John Mike Krenski
Rhapsody in the Rain-Lou Christie-1966-#16
M&L-Lou Christie and Twyla Herbert
In 1964 Christie joined the U.S.Army Reserves,which involved a six-month hitch at Fort Knox.Upon his release,he signed a management deal with Bob Marcucci,the man behind Fabian and Frankie Avolon.Christie's Lightin' Strikes went to No.1 in 1966 and his follow-up Rhapsody,might well have done the same,except that it was banned by many radio stations.The song's lyrics were deemed too suggestive,as were the rhythmic windshield-wiper sound effects.
M&L--John Mike Krenski
Rhapsody in the Rain-Lou Christie-1966-#16
M&L-Lou Christie and Twyla Herbert
In 1964 Christie joined the U.S.Army Reserves,which involved a six-month hitch at Fort Knox.Upon his release,he signed a management deal with Bob Marcucci,the man behind Fabian and Frankie Avolon.Christie's Lightin' Strikes went to No.1 in 1966 and his follow-up Rhapsody,might well have done the same,except that it was banned by many radio stations.The song's lyrics were deemed too suggestive,as were the rhythmic windshield-wiper sound effects.
Turn-Down Day-The Cyrkle-1966-#16
M&L---Jerry Keller and David Blume
In America,the Byrds ruled with folk-rock.One outcome was the Cyrkle,from Easton,Pennsylvania,managed by the Beatles manager,Brian Epstein.The group even toured with the Fab Four before disappearing shorty after " Turn-Down Day left the charts
M&L---Jerry Keller and David Blume
In America,the Byrds ruled with folk-rock.One outcome was the Cyrkle,from Easton,Pennsylvania,managed by the Beatles manager,Brian Epstein.The group even toured with the Fab Four before disappearing shorty after " Turn-Down Day left the charts