the best songs ever

[Eric the Green]

We interrupt this argument again to bring you the song that was #2 all summer behind I Got You Babe. The original came in #2 behind the imitator, you might just say

Bob Dylan has said this is his best record. I don't know 'bout that, but it is worth mentioning as one of the best songs ever. And again, the expert band behind him counts (and the organist Al Kooper!), along with the lyrics. Verbal-minded folks in the anglosphere frequently don't understand that the sound is more profound a "message" than mere words. Some say, that his put-down songs in this period resulted from people knocking him for going folk-rock. Heck, he practically invented it. Give him credit!

"Rolling Stone magazine listed the song at number one in their "500 Greatest Songs of All Time" list"
Seems a fair bet that the magazine was named after the song.
https://en.wikipedia.org/wiki/Like_a_Rolling_Stone





This song made the cry, "How does it feel!" into part of the "language that we use"

"Like A Rolling Stone"

Once upon a time you dressed so fine
You threw the bums a dime in your prime, didn't you ?
People'd call, say, "Beware doll, you're bound to fall."
You thought they were all kiddin' you
You used to laugh about
Everybody that was hangin' out
Now you don't talk so loud
Now you don't seem so proud
About having to be scrounging for your next meal.

How does it feel?
How does it feel
To be without a home
Like a complete unknown
Like a rolling stone ?

You've gone to the finest school all right, Miss Lonely
But you know you only used to get juiced in it
And nobody's ever taught you how to live out on the street
And now you're gonna have to get used to it
You said you'd never compromise
With the mystery tramp, but now you realize
He's not selling any alibis
As you stare into the vacuum of his eyes
And say do you want to make a deal?

How does it feel?
How does it feel
To be on your own
With no direction home
A complete unknown
Like a rolling stone ?

You never turned around to see the frowns on the jugglers and the clowns
When they all did tricks for you
You never understood that it ain't no good
You shouldn't let other people get your kicks for you
You used to ride on the chrome horse with your diplomat
Who carried on his shoulder a Siamese cat
Ain't it hard when you discover that
He really wasn't where it's at
After he took from you everything he could steal.

How does it feel?
How does it feel
To be on your own
With no direction home
Like a complete unknown
Like a rolling stone ?

Princess on the steeple and all the pretty people
They're all drinkin', thinkin' that they got it made
Exchanging all precious gifts
But you'd better take your diamond ring, you'd better pawn it babe
You used to be so amused
At Napoleon in rags and the language that he used
Go to him now, he calls you, you can't refuse
When you ain't got nothing, you got nothing to lose
You're invisible now, you got no secrets to conceal.

How does it feel
How does it feel
To be on your own
With no direction home
Like a complete unknown
Like a rolling stone ?


Hey, maybe I should write a put down song for Tara? Maybe? nah...........

All in good time, my pretty! Allll in good tiiimme.........

The diplomat may be a reference to Dylan himself, who is pictured on his previous album cover holding what (it is said) is a Siamese cat.

[Eric the Green]

My favorite Beatles single from 1965; get your ticket to ride, continuing on our backwards tour through time. Late Spring or early Summer. Unless you have a ticket, don't listen!





The Beatles' biggest hit of the year followed shortly after this one, "Yesterday." I like it but not enough to post it. Like several songs from this period in late 1964-mid 1965, it has become a standard that many people know as one of the most-played and one of the best songs ever. It was largely Paul's song and showed off his talent as a writer and singer of more and greater romantic ballads to come, like "Michelle" and "Here There and Everywhere," and it was a mournful song. "Oh I believe in yesterday!" Sounds like what Taramarie accuses me of.

Another all-time big hit song from the same time as "Yesterday," was "I Can't Get No Satisfaction" by the Rolling Stones. It was another complaint, like Bob Dylan too. It was, after all, just before the new sun and the new age broke through. They were good times, but people (especially younger people) knew something was missing in our culture. So, it came the next year. Now, I believe in that yesterday, and that year, because people didn't follow through enough with the breakthrough, and develop it enough, and so culturally and politically we got the shaft again. We may now have to wait for the next Awakening for more inspiring and uplifting sounds and words to come through. But at least, in the 4T, the music is more "happy." And "pray"er-ful too.

[Eric the Green]

From the spring of 1965, I always enjoyed this Supremes hit, which followed rapidly after their previous one into the #1 slot on the national charts. This process also happened in 1964, and I found that it took longer for me to adopt the first hit as my favorite than the follow-up, both times. Both times too, the follow-up did less well on the charts in the SF Bay Area than the first. The Motown sound was great as usual; and as usual, at its best, along with the song-writing, for The Supremes and their great lead singer. This is about love regained, instead of love going wrong. This is one of those songs that builds to a strong climax. There were a few of those in 1965!





The Motown Sound was largely supplied by "The Funk Brothers" according to this wikipedia article. I also saw the documentary mentioned in it.
https://en.wikipedia.org/wiki/The_Funk_Brothers

https://en.wikipedia.org/wiki/Back_in_My_Arms_Again

This #1 hit was succeeded by writers' Holland-Dozier-Holland and The Funk Brothers musical team's follow up, " I Can't Help Myself (Sugar Pie Honey Bunch) " which is sometimes mentioned as being one of the biggest hits ever. I liked it, but not enough to post here as a best song ever. But it was as if The Four Tops had become the male Supremes; the song was so similar to Supremes' songs like "Baby Love." The Four Tops own follow-up hit " The Same Old Song " even admitted it, mentioning The Supremes in the lyrics as well as suggesting that they copied them in the title!

Trump vs. Hillary?
https://youtu.be/FDQva2j-xTQ

[MillsT_98]

(08-02-2016, 01:39 AM)Eric the Green Wrote: Monster hit from Summer 1965, by a young couple in love and in a rebellious mood; written by the guy. Sonny and Cher, I Got You Babe. Folk rock at its finest and most popular; Sonny & Cher affected fashions and helped pave the way for hippiedom. Just another example, too, of the classical-rock confluence; those two styles are not apples and oranges. Recorded back in the time when melody, singing and instrumental arrangement mattered, and made hits.





Sonny and Cher had quite a career, although not everyone liked them. "Laugh at me, and I'll cry for you," Sonny said on another of his hits that summer. Too bad, of course, that Sonny lost his way, and then died early. Silent gen cohort. Cher also had a hit recording of Bob Dylan's "All I Really Wanna Do" in 1965, as did The Byrds.

It's so weird how music like that actually paved the way for hippiedom. Well the first time I've actually heard this song was in Groundhog Day, but I know you actually remembered the song when it came out.

[Eric the Green]

Yes indeed. It took some time for it to make #1 on my own current fave list in 1965, and for Like a Rolling Stone to make it to my #2 underneath it. But meanwhile, I had already heard "Just You" in its early release, so I knew how talented and wonderful Sonny & Cher really were.

Meanwhile, this is the golden age of Motown we are moving backwards into now, so I'm going to mention a few more of their hits in coming posts. It took some time for "Stop! in the Name of Love" to make it to the top of my favorites list too, because of the way it starts; but once it gets going, it has a uniquely smooth and poignant feeling. It's often chosen these days as the best-loved and most famous Supremes song, but some years ago it was a different one that held that position; the one I like best from 1964, to be posted in a little while......





I saw this link on the video, to another person's choice of the best from the "golden decade 1965-1974," all in the mainstream pop realm. Some choices in common, naturally.
https://www.facebook.com/GoldenDecadeOfMusic19651974/

[Eric the Green]

The Winter and Spring of 1965 saw a rich crop of best songs ever. This one by the Temptations is often considered the best ever, or the most popular, in the history of Motown. It reached #1 on the US charts. Not on the San Francisco station though; too many others competed with it here. But more recently on an SF oldies station, for one year at least, it was voted all-time #1. Written by Smokey Robinson of the Miracles, "My Girl" was the second of his "best song ever" hits that pairs up with his earlier masterpiece "My Guy" by Mary Wells, which we'll get to in 1964.





https://en.wikipedia.org/wiki/My_Girl_(T...ions_song)

One great thing about 1965 was how many of my favorites were also big hits, even #1 hits.

This song is yet another outstanding example of how the hitmakers of the sixties used classical orchestration, played by expert studio musicians, in combination with rock/R&B sounds, and romantic melodies, to make a record truly delightful (actually the Detroit Symphony is among those performing on this track). That is something missing in much of later pop music. Besides the one in my signature line, "Pray" by Justin Bieber, how many others are there? If there are others that anyone knows that employs this feature, you can post them in the other threads. I know electronica can do some neat things to make a pop hit nifty in more-recent times, but in most cases and overall, the sixties music remains tops of the pops in my opinion in musicianship.

[Eric the Green]

A country/pop singer who had a rich catalog of nifty and funny tunes was Roger Miller. One stands out though for its mastery, grace and swagger, "King of the Road," from early 1965. It was his biggest hit.





Other cool Roger Miller songs:
Chugalug 1964
Do-Wacka-Do 1965
Dang Me 1964 (including interview with Dick Clark)
Kansas City Star 1965

[Eric the Green]

Hey, I can't really leave this one out, speaking of humor; especially if you are a liberal. It must have come out at the end of the year though. Of course, this is topical song humor at its finest ever. That Was the Year That Was. Some of these were broadcast on the 1965 TV program "That Was The Week That Was" with David Frost; sort of a John Oliver with music. And now, heeeeeeere's Tommy!





https://youtu.be/MKbMgPOvX48?list=PLVllg...6nd5JkOfLI

https://en.wikipedia.org/wiki/That_Was_t...r_That_Was

And then of course, The elements song
https://youtu.be/bfrv8Y9746g

[Eric the Green]

The single version of "Goldfinger," sung by "Dame" Shirley Bassey and written and arranged powerfully by John Barry, came out in Spring 1965 and quickly went to #1 in many places. I didn't like the movie version that much, but this version blew me and everyone else away. But now it's very difficult to find this version. I posted it on you tube and it's been blocked. I don't know if it still is, but I can post it here. It's another 1965 song with one of the best climaxes ever; and it's not heard on the album/soundtrack version. She really brings it, and she's still going strong as of 2016.

[Eric the Green]

This song was so beautiful, droll and spooky that I had to have it. It wasn't a big hit, so pretty soon the record stores in my neighborhood didn't have it, so I called around, and my friend and I rode all the way across town into the foothills to buy it. I guess that was part of my "sporting life." Later he had a big hit, but I didn't like it too much. It didn't, uh, eh eh eh turn me on. Ian Whitcomb and Bluesville: "This Sporting Life," early 1965.





https://en.wikipedia.org/wiki/Ian_Whitcomb

Comments on that "other" song, which Ian sang in falsetto all the way through:

Ahhhhh...I was 16 years-young in 1965 and remember this song so well and all the kids talking about it. The good ol' days. LOL!!

regina whitcomb 4 months ago
Ian thanks all of you for watching and commenting. You Turn Me On, of course, was just the beginning. Ian is still performing, writing, acting, and speaking. He's quite the renaissance man.

Susan Stewart 6 months ago
Omg! This goes way back. Love it!

Potawatomi13 4 months ago
This was SOOOOOO much fun to sing in the car!

William McAnally 1 year ago
I remember laughing whenever this song played on the radio. I was 10 years old then and thought it sounded kind of weird. It must have worried my parents.

stevewonderr 3 years ago
Ian the "Justin Beiber" of 1965?

[Eric the Green]

One more, I think, from 1965

(well, it turns out there's more below)

The son of Jerry Lewis is also very talented, and got together some of his musician friends and a great production team and made this great song, and it was #1 for me and a monster #1 hit on the charts early in the year. Really a jewel!

[Eric the Green]

Back into 1964, one of the great breakthrough years; the beginning of the 2T. Enormous youthful creative energy powered by the British invasion, plus Motown, surf sound, girl pop, still-strong older 1T pop, emerging folk-rock and folk, even a huge jazz/broadway hit, and more; a convergence year of pop cultures. Let's start with one from the end of the year that has become one of the most-played and loved standards in history; #1 for weeks and weeks and weeks in late 1964- early 1965; only a runner up on my list, but I can't ignore it. Phil Spector (with a little help from Sonny & Cher too) gets a lot of the credit, and he's not a very nice guy, but he helped make pop music beautiful in these years with his expert arrangements, musical and voice teams, and production. To a large extent, we've lost that, I think; just as "You've Lost That Lovin' Feeling"






https://en.wikipedia.org/wiki/You%27ve_L..._Feelin%27

[Eric the Green]

My second-favorite Motown and Supremes song, I loved it immediately because of their closely-preceeding monster hit that made me a fan. It broke through the Beatles' hit "I Feel Fine" to hit #1 on the national chart, though it never came close in San Francisco.

[Eric the Green]

I already posted the cover of Bringing It All Back Home, which is my favorite Bob Dylan album. Apparently it was released in early 1965, so, back to 1965! The siamese cat apparently mentioned in the lyrics of "Like a Rolling Stone," and pictured on the album cover of Bringing It All Back Home, was named "Rolling Stone."

My favorite song from the album is Mr. Tambourine Man; apparently the Byrds breakthrough single was released almost immediately afterward. The Byrds' version was another of the big hits in early 1965 and became a big favorite, launching the "folk-rock" genre I like so much along with Dylan's album. I didn't hear the original Mr. Tambourine Man until about late 1966 or early 1967 on that "Mustard Seed" radio program I mentioned earlier. Not long afterward I bought it on Dylan's Greatest Hits album.

The first version of the original was written in Feb 1964 though, apparently revised in the Summer, and finally recorded in mid-January 1965, according to this lengthy, interesting wikipedia article about the album and its background.

https://en.wikipedia.org/wiki/Bringing_It_All_Back_Home

The original Mr. Tambourine Man quickly became one of my all time favorite songs; it declined somewhat later on, but is still in the top 50 of my list, and is still my favorite Dylan song. Of course there's lots to say about a Dylan song like this. The article covers it well though.





Pete Seeger introduces Bob at the 1964 Newport Folk festival, Thursday, July 23, 1964 - Sunday, July 26, 1964
https://youtu.be/OeP4FFr88SQ
from the wiki album article:
Written sometime in February 1964, "Mr. Tambourine Man" was originally recorded for Another Side of Bob Dylan; a rough performance with several mistakes, the recording was rejected, but a polished version has often been attributed to Dylan's early use of LSD, although eyewitness accounts of both the song's composition and of Dylan's first use of LSD suggest that "Mr. Tambourine Man" was actually written weeks before. Instead, Dylan said the song was inspired by a large tambourine owned by Bruce Langhorne. "On one session, Tom Wilson had asked [Bruce] to play tambourine," Dylan recalled in 1985. "And he had this gigantic tambourine … It was as big as a wagonwheel. He was playing, and this vision of him playing this tambourine just stuck in my mind." Langhorne confirmed that he "used to play this giant Turkish tambourine. It was about [four inches] deep, and it was very light and it had a sheepskin head and it had jingle bells around the edge—just one layer of bells all the way around … I bought it 'cause I liked the sound … I used to play it all the time." In addition to inspiring the title, Langhorne also played the electric guitar countermelody in the song, the only musician to play on the song besides Dylan. A surrealist work heavily influenced by Arthur Rimbaud (most notably for the "magic swirlin' ship" evoked in the lyrics), Heylin hailed it as a leap "beyond the boundaries of folk song once and for all, with one of [Dylan's] most inventive and original melodies." Riley describes "Mr. Tambourine Man" as "Dylan's pied-piper anthem of creative living and open-mindedness … a lot of these lines are evocative without holding up to logic, even though they ring worldly." Salon.com critic Bill Wyman calls it "rock's most feeling paean to psychedelia, all the more compelling in that it's done acoustically." Almost simultaneously with Dylan's release, the newly formed Byrds recorded and released an electrified, abbreviated treatment of the song which would be the band's breakthrough hit, and would be a powerful force in launching the folk rock genre.

Note that the "countermelody" is one of the greatest things about the song, but you have to hear the recording to hear it, and it's not allowed on you tube.

"Mr. Tambourine Man"

Hey ! Mr Tambourine Man, play a song for me
I'm not sleepy and there is no place I'm going to
Hey ! Mr Tambourine Man, play a song for me
In the jingle jangle morning I'll come followin' you.
Though I know that evenin's empire has returned into sand
Vanished from my hand
Left me blindly here to stand but still not sleeping
My weariness amazes me, I'm branded on my feet
I have no one to meet
And the ancient empty street's too dead for dreaming.

Hey ! Mr Tambourine Man, play a song for me
I'm not sleepy and there is no place I'm going to
Hey ! Mr Tambourine Man, play a song for me
In the jingle jangle morning I'll come followin' you.

Take me on a trip upon your magic swirlin' ship
My senses have been stripped, my hands can't feel to grip
My toes too numb to step, wait only for my boot heels
To be wanderin'
I'm ready to go anywhere, I'm ready for to fade
Into my own parade, cast your dancing spell my way
I promise to go under it.

Hey ! Mr Tambourine Man, play a song for me
I'm not sleepy and there is no place I'm going to
Hey ! Mr Tambourine Man, play a song for me
In the jingle jangle morning I'll come followin' you.

Though you might hear laughin', spinnin' swingin' madly across the sun
It's not aimed at anyone, it's just escapin' on the run
And but for the sky there are no fences facin'
And if you hear vague traces of skippin' reels of rhyme
To your tambourine in time, it's just a ragged clown behind
I wouldn't pay it any mind, it's just a shadow you're
Seein' that he's chasing.

Hey ! Mr Tambourine Man, play a song for me
I'm not sleepy and there is no place I'm going to
Hey ! Mr Tambourine Man, play a song for me
In the jingle jangle morning I'll come followin' you.

Then take me disappearin' through the smoke rings of my mind
Down the foggy ruins of time, far past the frozen leaves
The haunted, frightened trees, out to the windy beach
Far from the twisted reach of crazy sorrow
Yes, to dance beneath the diamond sky with one hand waving free
Silhouetted by the sea, circled by the circus sands
With all memory and fate driven deep beneath the waves
Let me forget about today until tomorrow.

Hey ! Mr Tambourine Man, play a song for me
I'm not sleepy and there is no place I'm going to
Hey ! Mr Tambourine Man, play a song for me
In the jingle jangle morning I'll come followin' you.

[Eric the Green]

Bob Dylan himself cited this song as the high point of his inspiration.





From the article:

One of Dylan's most ambitious compositions, "It's Alright Ma (I'm Only Bleeding)" is arguably one of Dylan's finest songs. Clinton Heylin wrote that it "opened up a whole new genre of finger-pointing song, not just for Dylan but for the entire panoply of pop", and one critic said it is to capitalism what Darkness at Noon is to communism. A fair number of Dylan's most famous lyrics can be found in this song: "He not busy being born / Is busy dying"; "It's easy to see without looking too far / That not much is really sacred"; "Even the president of the United States / Sometimes must have to stand naked"; "Money doesn't talk, it swears"; "If my thought-dreams could be seen / They'd probably put my head in a guillotine." In the song Dylan is again giving his audience a road map to decode his confounding shift away from politics. Amidst a number of laments about the expectations of his audience ("I got nothing, Ma, to live up to") and the futility of politics ("There is no sense in trying"; "You feel to moan but unlike before / You discover that you'd just be one more / Person crying"), Dylan tells his audience how to take his new direction: "So don't fear if you hear / A foreign sound to your ear / It's alright, Ma, I'm only sighing."

"It's Alright, Ma (I'm Only Bleeding)"
(lyrics as heard in this version)

Darkness at the break of noon
Shadows even the silver spoon
The handmade blade, the child's balloon
Eclipses both the sun and moon
To understand you know too soon
There is no sense in trying.

Pointed threats, they bluff with scorn
Suicide remarks are torn
From the fools gold mouthpiece
The hollow horn plays wasted words
Proved to warn
That he not busy being born
Is busy dying.

Temptation's page flies out the door
You follow, find yourself at war
Watch waterfalls of pity roar
You feel to moan but unlike before
You discover
That you'd just be
One more person crying.

So don't fear if you hear
A foreign sound to you ear
It's alright, Ma, I'm only sighing.

As some warn victory, some downfall
Private reasons great or small
Can be seen in the eyes of those that call
To make all that should be killed to crawl
While others say don't hate nothing at all
Except hatred.

Disillusioned words like bullets bark
As human gods aim for their mark
Made everything from toy guns that spark
To flesh-colored Christs that glow in the dark
It's easy to see without looking too far
That not much
Is really sacred.

While preachers preach of evil fates
Teachers teach that knowledge waits
Can lead to hundred-dollar plates
Goodness hides behind its gates
But even the President of the United States
Sometimes must have
To stand naked.

An' though the rules of the road have been lodged
It's only people's games that you got to dodge
And it's alright, Ma, I can make it.

Advertising signs that con you
Into thinking you're the one
That can do what's never been done
That can win what's never been won
Meantime life outside goes on
All around you.

You lose yourself, you reappear
You suddenly find you got nothing to fear
Alone you stand without nobody near
When a trembling distant voice, unclear
Startles your sleeping ears to hear
That somebody thinks
They really found you.

A question in your eyes is lit
Yet you know there is no answer fit to satisfy
Insure you not to quit
To keep it in your mind and not forget
That it is not he or she or them or it
That you belong to.

Although the masters make the rules
For the wise men and the fools
I got nothing, Ma, to live up to.

For them that must bow down to authority
That they do not respect in any degree
Who despise their jobs, their destiny
Speak jealously of them that are free
Cultivate their flowers to be
Nothing more than something
They invest in.

While some on principles baptized
To strict party platforms ties
Social clubs in drag disguise
Outsiders they can freely criticize
Tell nothing except who to idolize
And then say God Bless him.

While one who sings with his tongue on fire
Gargles in the rat race choir
Bent out of shape from society's pliers
Cares not to come up any higher
But rather get you down in the hole
That he's in.

But I mean no harm nor put fault
On anyone living in a vault
But it's alright, Ma, if I can't please him.

Old lady judges, watch people in pairs
Limited in sex, they dare
To tell fake morals, insult and stare
While money doesn't talk, it swears
Obscenity, who really cares
Propaganda, all is phony.

While them that defend what they cannot see
With a killer's pride, security
It blows the minds most bitterly
For them that think death's honesty
Won't fall upon them naturally
Life sometimes
Must get lonely.

My eyes collide head-on with stuffed graveyards
False goals, I scuff
At pettiness which plays so rough
Walk upside-down inside handcuffs
Kick my legs to crash it off
Say all right, I've had enough
What else can you show me ?

And if my thought-dreams could been seen
They'd probably put my head in a guillotine
But it's alright, Ma, it's life, and life only.

[Eric the Green]

Bob Dylan's first hit single was a rock n roll song, track one of the album. The lyrics are a tour de force, but I didn't like the music. But my friend had the single, and I borrowed it and turned it over. And on the back is a glorious (and arguably his most poetic) song about a freewheeling, artistic lady who has no hangups at all; track 2 on the album. And I played it over and over because it was hauntingly and mystically beautiful. Post productions cover version:





Bob live:
https://youtu.be/5Ca7xMkWZuc

Maybe if you belong to spotify or google play you can find the recording, which you have to hear to get the full experience.

I could only wish that she belonged to me. Or was me. I don't know if she really belonged to Dylan; he was so disillusioned with other ladies in his songs! The title of his movie "Don't Look Back" comes from this song.

She's got everything she needs
She's an artist, she don't look back
She's got everything she needs
She's an artist, she don't look back
She can take the dark out of nighttime
And paint the daytime black.

You will start out standing
Proud to steal her anything she sees
You will start out standing
Proud to steal her anything she sees
But you will wind up peeking through her keyhole
Down upon your knees.

She never stumbles
She's got no place to fall
She never stumbles
She's got no place to fall
She's nobody's child
The Law can't touch her at all.

She wears an Egyptian ring
That sparkles before she speaks
She wears an Egyptian ring
That sparkles before she speaks
She's a hypnotist collector
You are a walking antique.

Bow down to her on Sunday
Salute her when her birthday comes
Bow down to her on Sunday
Salute her when her birthday comes
For Halloween buy her a trumpet
And for Christmas, give her a drum.

https://play.google.com/music/preview/Tx...=kp-lyrics

A similar song was created by The Doors in 1966-67:
Twentieth Century Fox

[Eric the Green]

The movie is from 1965, but the broadway song is from 1959. So which date do I attribute it to? Oh dear, can Julie answer that one for me? Rodgers and Hammerstein, Do Re Mi





https://en.wikipedia.org/wiki/Do-Re-Mi

[Eric the Green]

Bob Dylan and the Beatles met late in August 1964, and influenced each other. The Beatles went in the folk-rock direction in 1965, and late in 1964 the Something New album came out, which gave an indication of this direction. So did their eagerly-awaited first hit since their movie A Hard Day's Night, "I Feel Fine," which came out in December. On this version of Things We Said Today, from Something New, the guitar parts are not as sharp as on the original.

[Eric the Green]

The Beatles did a lot of R&B covers in their earlier years. I thought this one was very strong and sharp, although I understand why people like "Twist and Shout" more. But "Slow Down" and give this one a try. We thought it would be a hit single, but it wasn't. Taken from Something New, along with its lively flip side with Ringo singing, "Matchbox." "Slow Down" follows the traditional R&B chord progression of 1 1 4 1 5 4 1, as do a lot of old rock n roll songs; even Dylan's Rainy Day Women does. This version is by a tribute band. Original is "not allowed" on you tube. It's a good facsimile though. It's a pretty basic song; not too hard to duplicate.

[Eric the Green]

The best example of the Motown Sound, this song made me a fan of The Supremes and The Sound in Fall 1964. It took a few weeks for me to fully realize that I liked The Supremes. It didn't take the people long though, because the previous hit Where Did Our Love Go, their first #1 hit, had prepared the way that Summer, but I wasn't quite on board. Baby Love soared to the top of the charts immediately, and for a while remained the most beloved Supremes song. And not that long ago, it was voted all time #10 at our local SF oldies station, well above other Supremes songs, and behind only Smokey's gender-oriented pair of wonderful hits among the Motown sounds. Until it apparently disappeared, a video of "Baby Love" was the most viewed by far among Supremes songs, and again behind only My Girl and a couple of other classic sixties Motown songs.





lyric video
https://youtu.be/3t5ZhoF1WBE

https://en.wikipedia.org/wiki/Baby_Love

"Baby Love" was my all time #1 song from 1965 until 1967. I now rank it #15 on my all-time 400 list.

Recently, a lyric from this song was appropriated by Justin Bieber and his co-writer "The Dream" for his mega hit "Baby" in 2010.