Time to Retire These? My Response

I mentioned yesterday that an MSN article listed some 1960’s Pop Songs that they felt needed to be retired. I didn’t say much about how I felt, as I wanted to see what my musical friends had to say. So here is a look again at the songs and why they felt they should be retired, followed by my two cents.

Let’s first talk about the word “retire.” I am guessing from the tone of the article that retire means to “go away for ever.” Isn’t that a bit harsh? I think so. Each of these songs (like it or not) may be someone’s favorite song.

While working in oldies radio, we used to have features that would pull out a song you don’t hear all the time and play it. Sometimes, we’d call it a “Forgotten Favorite” or a “song from the Music Museum.” The idea is to play a song that makes the listener go, “Wow, I remember this one,” “I haven’t heard this in forever,” or simply “Oh, wow!” One consultant I worked with used to call them “Oh Wow Songs.”

When radio “tested” songs, the audience is sat in an auditorium. They are played anywhere from 500-800 song clips. Each clip is usually 15 seconds long. They call those “hooks.” Ideally, it is the most recognizable part of the song. After they hear it, they are asked if they 1) liked the song, 2) disliked the song, 3) heard it too much, 4) didn’t hear it enough, or 5) don’t care either way.

The answers from that music test is then calculated and decisions are made about where it should be on the play list. If a song that is in a hot rotation is said to be played too much, the station would probably back off on the number of times it is played. If it was something they wanted to hear more of, they might spin it a few more times.

With all of that in mind, Let’s look at the songs again:

Sugar Sugar – The Archies

MSN: “Sugar, Sugar” by The Archies is a quintessential bubblegum pop tune that dominated the airwaves in the late ’60s. With its catchy chorus and playful melody, it quickly became a favorite among young audiences. Despite its charm, the song’s simplistic lyrics and repetitive tune can feel overly sweet, much like its title.

As a product of its time, the song was emblematic of the manufactured pop sound that appealed to a broad audience. Yet today, its perpetual presence in commercials and retro playlists has led to listener fatigue.

Keith: I’d like to know how they know that the listener is “fatigued” by this song. Was the song “tested?” Did they gather a bunch of people in an auditorium and actually let the listeners voice an opinion? I highly doubt it. It is a pretty bold statement to say people are tired of a song.

Bubblegum or not, the song is still being used in movies, commercials, and is a familiar favorite to radio listeners. Familiar is often what gets better ratings.

Green Tambourine – Lemon Pipers

MSN: The Lemon Pipers’ “Green Tambourine” captures the essence of the psychedelic era with its vivid imagery and whimsical sound. The song invites listeners into a world of colorful imagination, driven by its distinctive tambourine rhythm.

Despite its initial success, the song’s psychedelic charm feels dated, often overshadowed by more timeless tracks from the era. Its vivid imagery, once enchanting, now appears somewhat kitschy.

“Green Tambourine” was one of the first bubblegum pop songs to hit number one, symbolizing the fleeting nature of the genre’s appeal.

Keith: FYI – Kitschy means considered to be in poor taste because of excessive garishness or sentimentality, but sometimes appreciated in an ironic or knowing way. Thanks for using big words here MSN.

Does it sounded dated? Maybe, but no more dated that Magic Carpet Ride or any other “Psychedelic” song from that time. Does the “sound” of a song dictate whether or not it should be played? Let’s face it, if that was the case, we’d never hear disco or 80’s music. Talk about dated!

Personally, I don’t care for the song. That doesn’t mean that it should be retired.

In the Year 2525 – Zager and Evans

MSN: Zager and Evans’ “In the Year 2525” paints a dystopian future, capturing the anxieties of the late 1960s. The song’s lyrics take listeners on a speculative journey through time, each verse exploring the consequences of technological advancement.

While impactful during its time, its heavy-handed delivery and bleak outlook haven’t aged well. The song’s prophecy-driven narrative feels out of place in today’s music landscape, where optimism often takes center stage.

Keith: It seems to me that “today’s music landscape” is centered in drugs, sex, and profanity, so I’m not even sure that is a worthy comparison. Does “Give Peace a Chance” by John Lennon need to go away, too? “Gimme Shelter” by the Stones? Seems to me that there are plenty of songs that paint a grim future…

Cherish – The Association

MSN: “Cherish” by The Association is a ballad that epitomizes the romantic spirit of the 1960s. Its gentle melody and heartfelt lyrics made it a favorite for couples and weddings.

However, the song’s overtly sentimental tone can feel cloying to modern ears. While it speaks to eternal love, its earnestness may seem exaggerated today, overshadowing its lyrical beauty.

Keith: “Cloying” means excessively sweet, rich, or sentimental, especially to a disgusting or sickening degree. Apparently, wanting to express your love to someone in song is annoying to “modern ears.”

Maybe that is what’s wrong with the world today. Maybe people feel that this kind of feeling is impossible to experience? Perhaps there is more lust in the world than love? I go back to another “cloying” song – What the world needs now – is love!

Little Children – Billy J Kramer

MSN: “Little Children” by Billy J. Kramer & The Dakotas tells a playful yet subtly unsettling story through its lyrics. The song’s narrative involves coaxing children to keep secrets, wrapped in a catchy melody that belies its unusual theme.

While musically engaging, the lyrics raise eyebrows today, as the playful intent can be misinterpreted. Its charm lies in its ability to create vivid imagery, though its content doesn’t resonate well with contemporary audiences.

Keith: In the past, I have been guilty of buying something and telling the kids, “Don’t tell mom.” I know that the article is trying to take this to an entirely new (and all to common today) level. I’m sure that was not the intention. It was like the “Baby It’s Cold Outside” fiasco a few years ago. “Let’s make the song say something that it wasn’t intended to say!”

I don’t hear the song enough for it to be a big deal. Honestly, in today’s music, there are far more disgusting and immoral things being sung about.

MacArthur Park – Richard Harris

MSN: Richard Harris’s “MacArthur Park” is an epic ballad known for its abstract lyrics and grand orchestration. The song’s vivid, though puzzling, imagery of a cake left in the rain has intrigued listeners for decades.

Despite its ambitious nature, the song’s dramatic delivery and length can feel overwhelming, often sparking debate among music enthusiasts. Its metaphorical complexity leaves some listeners puzzled rather than enchanted.

Keith: I never cared for this song. To me, it was a long song that I could play when I needed to use the restroom. Incidentally, I’d like to flush this song down a toilet. But, that is MY subjective opinion.

Ob-La-Di, Ob-La-Da – The Beatles

MSN: The Beatles’ “Ob-La-Di, Ob-La-Da” is a track that divides fans and critics alike. Its upbeat rhythm and catchy lyrics tell the simple story of Desmond and Molly Jones, painting a picture of everyday life.

Despite its playful nature, even within The Beatles, the song has drawn mixed reactions. Some band members themselves were not fond of it, and its repetitive chorus can feel tiresome.

Keith: Proof that music is subjective. Some of the Beatles themselves didn’t care for it. Does that mean retire it? Oh, and as far as the “repetitive chorus,” do they even know what a chorus is? It is literally defined: a part of a song that is repeated after each verse, typically by more than one singer.

I can think of countless songs where the chorus is repeated over and over. Many times, the chorus of the song is all the listeners know!

You’ve Lost That Lovin’ Feelin’ – Righteous Brothers

MSN: The Righteous Brothers’ “You’ve Lost That Lovin’ Feelin’” is a soulful anthem of love and longing. Its powerful vocals and lush orchestration have made it a staple in romantic playlists.

However, the song has been covered so extensively that its impact can feel diluted. While its emotional depth remains intact, listener fatigue is inevitable due to its pervasive presence across media.

Keith: I divert to Turntable Talker, Randy here. I don’t know how many covers there have been, but they aren’t all being played on the radio. Certainly not enough to cause “listener fatigue.”

The song is a classic.

Eve of Destruction – Barry McGuire

MSN: Barry McGuire’s “Eve of Destruction” is a protest song that captures the tumultuous spirit of the 1960s. Its urgent lyrics and raw delivery reflect the era’s social and political unrest.

While it resonated with audiences during its release, the song’s heavy-handed approach can feel outdated today. Its message, though powerful, lacks the nuance appreciated in contemporary protest music.

Keith: What exactly is the “nuance” that is appreciated in contemporary protest music? To me, this is a BS line to diss on the song.

Personally, it is one of the songs I hated to play. I never liked it, but I understood the message and how important it was for the time that is was released.

Build Me Up Buttercup – The Foundations

MSN: The Foundations’ “Build Me Up Buttercup” is a buoyant track that has become synonymous with feel-good nostalgia. Its upbeat tempo and catchy chorus have made it a perennial favorite at parties and karaoke nights.

While undeniably infectious, the song’s constant rotation can lead to listener fatigue. Its simplistic lyrics, once endearing, may now seem repetitive.

Keith: Thanks to the movie, There’s Something About Mary, this song gained more popularity in 1998. I believe that there was an earlier movie that also featured the song in the early 90’s that did as well, but I cannot think of what it was. Anyway, I can tell you that I played the snot out of this at parties and people danced!

It is not my favorite song, and yes it is repetitive. I wouldn’t mind hearing it every so often, not every day though.

Brown Eyed Girl – Van Morrison

MSN: Van Morrison’s “Brown Eyed Girl” is a timeless classic that captures the essence of youthful romance. Its infectious melody and lively beat have made it a favorite across generations.

However, its overplay has led some listeners to seek fresh alternatives, despite its enduring charm. The song’s universal appeal is both a blessing and a curse, contributing to its overexposure.

Keith: Again, if music testing was done, and it truly was played too much, there is a way to fix it. Play it less. A lighter rotation on the radio will make it sound even better when you DO hear it. Imagine not hearing it for a month and then finally hearing it – it will have that “Oh Wow” factor.

I don’t feel that this should ever go away forever.

The Ballad of the Green Berets – Sgt. Barry Sadler

MSN: Staff Sgt. Barry Sadler’s “The Ballad of the Green Berets” is a patriotic anthem that reflects the valor and sacrifice of soldiers. Its martial beat and stirring lyrics resonated deeply during the Vietnam War era.

Yet, in today’s context, the song’s straightforward patriotism may not strike the same chord. While honoring bravery, its style feels dated to modern sensibilities.

Keith: My dad is a veteran. I have many veteran friends. I constantly walk up to people with Veteran hats and thank them for their service. I love veterans and all that they have done for our country. They are heroes. I say all of that, because I don’t want you to take this the wrong way. I never liked this song. I’m not sure why.

I think that it could be appropriate to play around Veteran’s Day or Memorial Day, but that is it. It is just not a song that I feel should be in a regular rotation. There are plenty of other patriotic songs, most of which only come out for those special days mentioned above. Those songs may or may not feel out of place when heard on a normal day.

I’m trying not to let my personal feelings for the song sway me and my thoughts. I hope that it came across that way.

Yummy Yummy Yummy – Ohio Express

MSN: Ohio Express’s “Yummy Yummy Yummy” epitomizes the bubblegum pop genre with its sugary-sweet lyrics and catchy melody. The song’s playful repetition of “I got love in my tummy” made it an instant hit among teens.

However, its simplistic nature can feel overly kitsch, thus losing its novelty over time. The song’s enduring presence in retro playlists might not appeal to those seeking depth.

Keith: To me, this is a novelty song. Novelty songs are rarely on a regular playlist. I don’t think I ever played this when it wasn’t part of a themed weekend or a countdown show. I also don’t think I have ever seen it on a “retro playlist.” I also highly doubt that anyone “seeking depth” is going to grab an Ohio Express album.

Conclusion

Much of MSN’s “reasoning” for retiring these songs is flimsy. Honestly, the piece sounded like it was written by a guy who just hates these songs. Despite trying hard to make the reasons sound grounded in facts, they are not.

Music, like many other things, is subjective. What I like may not be what you like. How many times a song is played is based on your perception. I could play a song you love and a song you hate the same amount of times in a day. The song you love you are not hearing enough, while the song you hate you are hearing too much.

I realize that all of these types of lists are subjective, and I will take it that way. I appreciate your thoughts!

Time to Retire These?

I post this for all of my readers, but for my musical readers especially. Let me have your honest opinion.

While surfing MSN the other day, I came across an article entitled “1960’s Pop Songs That Should Be Permanently Retired.” I agree with some of these, and I’m sure you can guess which ones. On the other hand there are a couple I actually like.

So here is the list. No commentary. What are your thoughts? I will post my own comments in an upcoming blog.

1960’s Pop Songs That Should Be Permanently Retired (From MSN.com)

Sugar, Sugar – The Archies

Green Tambourine – Lemon Pipers

In The Year 2525 – Zager and Evans

Cherish – The Association

Little Children – Billy J. Kramer

MacArthur Park – Richard Harris

Ob-La-Di, Ob-La Da – The Beatles

You’ve Lost That Lovin’ Feelin’ – Righteous Brothers

Eve of Destruction – Barry McGuire

Build Me Up Buttercup – The Foundations

Brown Eyed Girl – Van Morrison

The Ballad of the Green Berets – Sgt. Barry Sadler

Yummy, Yummy, Yummy – Ohio Express

There were a couple others on the list that were more late 1950’s, so I opted to not share those.

So, what do you think? Do you agree? Are there songs that should be on this list that aren’t? I’d love to hear your comments.

The Music of My Life – 1986

Welcome back to The Music of My Life, where I feature ten songs from each year of my life. In most cases, the ten songs I choose will be ones I like personally (unless I explain otherwise). The songs will be selected from Billboard’s Year-end Hot 100 Chart, Acclaimed Music, and will all be released in the featured year.

I turned sweet sixteen in 1986. MTV was 5 years old and music videos were becoming more and more iconic. To make that point, we kick off my list with a video that is often listed as one of the best of the 1980’s.

Robert Palmer released Addicted to Love in January of 1986. It was accompanied by a video where he is singing in front of a “band” of beautiful women who look exactly alike. They wear lots of makeup and identical outfits as they pretend to play the instruments.

According to songfacts: the funny thing about the video is that the models posing as a band were selected precisely because they did NOT know how to play the instruments. As a result, each girl is keeping her own time and moving to a different beat. The video is constantly parodied, including in a Pepsi commercial with Britney Spears.

You might say the song came to Palmer in a dream. It all started with a guitar riff that came to him in a dream one night. He told Q magazine in 1988, “That noisy riff woke me up. I went downstairs, got out the tape recorder, then went back to bed. Next morning, I thought, Phew, caught one there!”

From the “What Might Have Been” file: Palmer wanted this song to be a duet with Chaka Khan, and he almost got his wish. He recorded it with her, but Chaka’s label, Warner Brothers Records, would not allow her voice to be used on the record, so Palmer had to erase her part and re-record her high notes before releasing it.

If you’re going to be addicted to something, love is a good thing, wouldn’t you say?

Addicted to Love

Next, we have a song whose video was like nothing that had been done before. Depending on the source, some say it was the 4th most played video on MTV. The video is so fun to watch, you may actually forget that the song is full of sexual innuendos.

Sledgehammer was a BIG number one song for Peter Gabriel. It was his first solo number one. It actually bumped his old band, Genesis, out of the number one spot.

The song was influenced by the ’60s soul music Gabriel listened to as a teenager, in particular Otis Redding, who Peter saw perform at the Ram Jam club in London in 1967. The horn section was typical of this sound. As a matter of fact, the horn section that he used was the legendary Memphis Horns, who played on several hits from Stax Records.

The wildly innovative video was directed by Stephen R. Johnson and featured stop-motion claymation techniques. It swept the MTV video music awards in 1987, and is considered a major breakthrough. It was a bit hard for Gabriel, though. He once remembered how he spent 16 hours lying beneath a heavy sheet of glass for the video, while each frame was shot, one after the other.

I’ve always felt that this song had at least some influence in the blues. It just sounds like a great blues song to me.

Sledgehammer

Songfacts says that this song has a lot of haters and has appeared on various “worst of” lists over the years. An example: it was listed #1 on VH1’s 40 Most Awesomely Bad Metal Songs. As a Michigan guy, I can tell you that they used this song as the Detroit Pistons theme song for years. Heck, they use this song at all kinds of sporting events.

Europe’s The Final Countdown is like an anthem. The iconic keyboard riff was composed by lead singer Joey Tempest five years before the song was recorded. The band’s keyboard player Mic Michaeli had lent him the instrument.

Despite writing the song, Tempest still cannot believe the success. He said, “It was quite a surprise that the song ‘The Final Countdown’ became such a big hit because it was written for the band, it was written for our concert, it was written to be the opening song in our concert. It was almost six-minutes long, it was never intended to be a short pop hit or anything, it was very much a surprise and its been used for all kinds of events, anything from Formula 1 to boxing. It’s been used a lot.”

I liked this song before Arrested Development aired on Fox, but came to love it even more because of the way they used it on the show. Will Arnett is a magician on the show and they often used the song as background music as he performed his “illusions.” The song only made a very funny scene, even funnier for me.

The Final Countdown

The next pick is not quite a duet, but it brought back a legendary voice and put her back in the spotlight. It almost didn’t happen, but Eddie Money stepped in and made it happen.

My favorite track on Eddie Money’s Can’t Hold Back album is Take Me Home Tonight. The song is based on The Ronettes’ 1963 hit “Be My Baby,” and features their lead singer, Ronnie Spector, on the chorus performing her famous line, “Be my little baby.”

At first, the song was going to be a duet with Martha Davis, lead singer of The Motels. Eddie, however, wanted “the real thing” (Ronnie) on the song, so he called her to ask, telling her, “This is a tribute to you. The song is all about you.” According to Spector, she got on board as soon as she heard the lyric, “Listen honey, just like Ronnie sang… be my little baby.”

“When they said that, I was sold,” she told Entertainment Weekly. Spector says Money was very excited when she showed up to record it. “He was a crazy person – freaking out in the studio, going, ‘I’ve got the real Ronnie Spector singing ‘Be My Baby’ on my record!,'” she said.

This cracks me up because I can see Eddie going crazy. He was a bundle of energy. Every time I interviewed him on the radio, it was hard to get a word in because he would just chat away with that “Eddie Money” energy!

Take Me Home Tonight

It must have been the summer of 1987 when our band took a trip to Cedar Point. I am not a ride person, so I hung out with guys who also didn’t ride them. As we walked the streets of the Point, we saw a “You Be The Star” booth. I suppose you would call it an early form of Karaoke.

There was a book that listed a bunch of songs that they had a music track from. They ushered you into this little recording booth with a microphone and headphones. I don’t remember if you got to rehearse the song first, but I thought that was the case. At the end of the session, they played your song on the speakers for all to hear and you got a cassette of the tune to take home. It cost a pretty penny to do and the music tracks were very cheap sounding.

I had some money and made a tape of Mack the Knife for my grandma (which was awful). I sounded so bad on it. Then, me and my three friends chose Hip To Be Square. I had heard the song before, but didn’t know it well enough to sing the lead. My buddy, Steve knew it and sang it like he had a record deal! Chris and I were satisfied enough to be the “Here, there and everywhere” guys.

The music video was directed by the team of Kevin Godley and Lol Creme, who made some of the most innovative videos of the ’80s. They got a distinctive look by using a medical camera – the kind doctors use to see inside the human body. They had the band perform the song a few times a few feet away from the camera, and did the heavy lifting in post production – the band loved it because it was so easy for them. The resulting video contained angles previously unseen on MTV, including one from the point of view of the drumsticks. It was nominated for Best Experimental Video at the 1987 Video Music Awards.

Hip To Be Square

The next pick is one that didn’t mean much to me in 1986, but two years later it sure did. I remember early in my senior year receiving a ballot in which I was to vote on our class song. Honestly, I don’t remember what songs we were picking from, but I do recall some of them being not very “class song-like.”

Our class chose Time to Remember by Billy Joel. It was the third single from his The Bridge album. The chorus is about looking back on the good times with appreciation and gratitude, making it a perfect song for proms, graduations, and just about any occasion where memories are shared:

This is the time to remember
‘Cause it will not last forever
These are the days to hold on to
‘Cause we won’t, although we’ll want to

Our teachers told us that the high school years would fly by. We never really felt that, especially during some boring lecture. Of course, the senior years goes by the quickest. Those lyrics should have been posted somewhere for every one to see, because by the time I heard them, and the meaning sunk in, it was graduation day.

I’m reminded of a quote from Ed Helms’ character Andy on the final episode of NBC’s The Office:

“I wish there was a way to know you’re in the good old days before you’ve actually left them.”

I don’t have to tell you, especially if you are a regular reader, that those days are definitely a time I remember, and remember them fondly!

Time To Remember

The group Cameo was formed in 1974, however, it wasn’t until 12 years later that they had their first Top 40 Hit. Word Up was the title track from their 13th album! The song was written by band members Larry Blackmon and Tomi Jenkins.

“Word Up” is a saying that was popular in New York and other urban areas in the US that acted as an affirmation of what was said, kind of a hipper “you bet.” Blackmon said this about the song:

“It just sounded good, and it was before its time. You can play “Word Up” anyplace anywhere, and someone is going to be grooving and bobbing their head. Our sound was unique, as well. I haven’t heard another one like it, and we probably won’t hear another one like it in the future. It was that significant for us.“

This was one of those songs that everyone at school seemed to be singing as they walked down the hall to class. We all seemed to know the words.

It got a lot of radio airplay and MTV played the video a lot. I’ve seen the video many times before, but I had forgotten about a neat cameo. (LOL – a cameo in a Cameo video!) Watch for Star Trek: The Next Generation’s LeVar Burton as a policeman.

Word Up

I am almost 100% against remaking movies. I feel the same way about television shows. Music on the other hand is a bit different. When an artist covers a song, they bring to it their own interpretation of the song. Think of all the different versions of an old standard like “Georgia on My Mind.” Off the top of my head I can throw out 5-8 versions that I absolutely love.

I remember the first time I heard the Art of Noise doing Peter Gunn. I was in the car and I thought, “What in the world is this?” The more I listened the more intrigued I was. I was impressed with how close the guitar sounded like Duane Eddy. Of course, I was even more surprised to hear that it WAS Eddy!

It didn’t do much on the charts, but the sound was so different and unique that I had to go pick up the tune. The video was a private eye parody with comedian Rik Mayall as the detective. The song was a Grammy winner, as it took home the award for Best Rock Instrumental Performance.

Peter Gunn

I mentioned that Sledgehammer had a bit of a blues sound to it earlier, and so does this one. Take a little blues and mix in some rock and you get some good stuff from The Fabulous Thunderbirds.

The title track from their Tuff Enuff album was a top 10 record for the group in 1986. They are often considered to be a one hit wonder band, but their song Wrap It Up was a minor hit. Kim Wilson wrote it and sings lead on the song.

The song is about a guy who will do pretty much anything for his gal, including wrestling with a lion or a grizzly bear, swimming the sea, put out a fire, and fight Ali. He’d even walk ten miles on his hands and knees, which really isn’t walking I suppose, but walk sounds better than crawl.

There is so much I love about this song, the syncopated guitar lick, the lyrics and the attitude. It made for a perfect sing along driving song.

Tuff Enuff

My last pick is another cover song, and this one I think tops the original and most of the other versions. That is saying a lot, because I am not the biggest Beach Boys fan.

California Dreamin’ was a hit for the Mamas and the Papas. It was written by John and Michelle Phillips. Barry McGuire (who had a hit with Eve of Destruction in 1965) actually recorded it first with the Mamas and Papas singing backup. They, of course, recorded their own version of the song soon after.

The Beach Boys recorded it for their Greatest Hits album, Made in U.S.A. The song was produced by the great Terry Melcher and had Roger McGuinn of the Byrds playing the 12-string guitar on it. Naturally, there was a video which featured McGuinn along with every living member of The Beach Boys and the “California Dreamin'” songwriters, John and Michelle Phillips. This primed the group for a big comeback two years later with their #1 hit “Kokomo.”

There are so many things about this song that I just love. That opening 12-string is fantastic. With the opening line, you get it and an echo of it which I thought sounded cool. Even cooler, after the line “and the sky is grey” there is that rumble of thunder that makes you feel the chill of the wind and the anticipation of a storm. Then there is that fantastic harmony! It is perfect for this song. Finally, their version opts for a jamming sax solo and loses the wimpy flute solo used in the Mamas and Papas version. That sax aids in conveying a “haunted sounding ending” as the song begins to fade away.

The song never hit the Top 40 on the Hot 100 chart, but on the Adult Contemporary charts it went to number 8.

California Dreamin‘

Next week, we’ll take a look at 1987. I’ll feature two fantastic duets, we’ll shake, rock, and roll, and hear about 6 beautiful ladies … er, 5.

What was your favorite from 1986? Tell Me about it in the comments. See you next time….