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!

Turntable Talk #8 – Best Year In Music?

Once again, Dave from A Sound Day has asked some of us music lovers to participate in another round of Turntable Talk. This time around was a bit of a challenge for me. Dave’s e-mail stated:

“Put your thinking caps on and go through your stacks of records (or scroll thru that I-pod) and … come up with what you think the best year for music was. A tough call of course, thankfully there have been more than a few good ones! I’m interested in what you pick and don’t worry if yours duplicates someone else’s , you still have your reasons which might be different.” He goes on to say, “I think I have a guess on a couple of years that might come up more than once, but we’ll wait and see.”

This particular blog will be one of the last ones to be featured and I do not know if my year will be or has been featured. I plan on writing this KNOWING that the year I have chosen very well may be one that comes up in another post. Before I tell you the year I picked, let me tell you that I had a very difficult time narrowing it down.

My first thought was to go with 1956/1957 because those years were always so unique. You had the birth of rock and roll mixing with pop standards. When I worked at Honey Radio, I loved doing the Top 12 at 12 show when those years popped up because there was such a big variety in what was played. You could go from Elvis or Jerry Lee Lewis to Pat Boone or Nelson Riddle. When I looked at the list of songs, however, were they really the BEST? No.

The same thing can be said for some of the years in the 70’s decades. I looked through many lists and while there were many great songs, there were also a lot of really crappy songs! I just couldn’t really come up with the conviction to pick a year in that decade as the BEST.

One year kept coming up every time I started thinking about it – 1964.

I want you to know before I continue that I was dead set AGAINST 1964 when I read Dave’s e-mail. Why? Well, I felt that it would just be too Beatle heavy and loaded with British Invasion stuff. And it is. On the Top 100 Chart, The Fab Four nabbed 9 spots. 18 spots were held by other British Invasion acts. In total 27% of the Top 100 were British acts. When I really looked at the chart, the more and more I felt like this WAS the year.

1964 really was the year of the Beatles, so let’s discuss them first. They were present almost right from the start as their “Introducing The Beatles” album was released in America on January 10th of that year.

This album preceded Capitol Records “Meet the Beatles” by 10 days and there was a lawsuit surrounding that whole issue. Capitol Records won an injunction and Vee-jay Records was not allowed to put out any more Beatles recordings.

In February of 1964, the Beatles arrived in the US and appeared on Ed Sullivan’s show three times (2/9, 2/16, and 2/23). In March of 64, Billboard magazine stated that the Beatles were responsible for 60% of all single record sales! In a feat that has yet to be matched, on April 4, 1964, the Beatles held the Top 5 spots on the Billboard chart!

A week later, the boys held 14 spots on the Hot 100 Chart! That broke the previous record of 9 spots held by Elvis Presley in 1956.

In May, The Beatles Second Album was released and in July, they would release A Hard Day’s Night in theaters. “I Want to Hold Your Hand” wound up being the #1 song for the whole year of 64 (“She Loves You” was #2) To say that they played a small part in the music of 1964 would be a huge understatement.

Among the other artists that came over from “across the pond” in 64 were Manfred Mann (Do Wah Diddy Diddy), Billy J. Kramer and the Dakotas (Little Children and Bad to Me), The Dave Clark Five (Glad All Over, Because, Do You Love Me), Peter and Gordon (A World Without Love), The Animals (House of the Rising Son), The Honeycombs (Have I The Right), Dusty Springfield (Wishin’ and Hopin’), Gerry & The Pacemakers (Don’t Let the Sun Catch You Crying and How Do You Do It), Chad and Jeremy (A Summer Song), The Kinks (You Really Got Me), and the Searchers (Don’t Throw Your Love Away and Needles and Pins). It is interesting to note that the Rolling Stones debut album was released this year, but no songs appear in the Top 100 for the year.

Once you move away from the British artists, the chart has a nice variety of pop, rock, folk, country, soul, and even a few novelty songs. I think that is what made me ultimately choose this particular year.

It was nice to look over the Top 100 and see Motown represented with some classics. The Supremes hold two of the six Motown songs (Where Did Our Love Go and Baby Love), Motown was female heavy as Mary Wells (My Guy) and Martha and the Vandellas (Dancin’ In The Street) grabbed the next two spots, and the male gender was represented by The Four Tops (Baby I Need Your Loving) and The Temptations (The Way You Do The Things You Do).

While they were not “oldies” at the time, there were some classic songs that are still in hot rotation today on the oldies stations across the country. Roy Orbison had a smash with Pretty Woman in 64, and also had a hit with It’s Over. Frankie Valli and the Four Seasons grabbed three of the Top 100 with Rag Doll, Dawn and Ronnie. The Beach Boys only entry in the Top 100 was I Get Around.

1964 brought us classics like The Drifters Under The Boardwalk, Chapel of Love by the Dixie Cups, Suspicion by Terry Stafford, It Hurts to Be In Love from gene Pitney and Come A Little Bit Closer by Jay and the Americans. Johnny Rivers had a hit with Chuck Berry’s Memphis, Bobby Freeman invited us to C’mon and Swim, Detroit’s Reflections offered up Just Like Romeo and Juliet and the Shangri-Las told us the story of the Leader of the Pack.

Car songs were well represented in 64! Ronny and the Daytonas had GTO, while the Rip Chords sang Hey Little Cobra, and the Hondells had Little Honda. Jan and Dean told us the stories of The Little Old Lady from Pasadena and Dead Man’s Curve, while J. Frank Wilson and the Cavaliers told us the tragic story of a Last Kiss.

Soul music is represented by The Impressions (I’m So Proud and Keep on Pushing), Joe Hinton (Funny How Time Slips Away), The Tams (What Kind of Fool Do You Think I Am), Jimmy Hughes (Steal Away) and Nancy Wilson (How Glad Am I). If you throw Blues into the “Soul” mix, the great Tommy Tucker song “Hi Heel Sneakers” was out in 1964.

Instrumentally, Al Hirt had a monster hit with Java, The Ventures had Walk Don’t Run 1964, The Marketts had The Outer Limits, and Robert Maxwell had the incredibly cheesy lounge version of Shangri-la. While novelty songs included Jumpin’ Gene Simmons (Haunted House), The Trashmen (Surfin’ Bird) and Roger Miller (Chug-a-Lug).

While Rock was dominant in 1964, there were still some pop (and even folk) songs that made the Top 100 – one of them, doing the “impossible.” Two of the biggest pop hits of the year couldn’t be more different from each other. The third biggest hit of the year belonged to Louis “Satchmo” Armstrong and his Dixieland hit “Hello, Dolly!” Barbra Streisand (who won Album of the year at the 1964 Grammy Awards) had the 11th biggest hit of the year with “People.”

Pop/Folk was also represented by Gale Garnett (We’ll Sing in the Sunshine), The Ray Charles Singers (Love Me With All Your Heart), Dionne Warwick (Walk On By), Al Martino (I Love You More and More Every Day), and Andy Williams (A Fool Never Learns). But the biggest surprise came from an artist who hadn’t had a top 40 record since 1958!

Dean Martin didn’t care for Rock and Roll. With the British Invasion in full swing, there was very little chance of him ever having another hit. His kids loved the new artists. His son, Dean Paul, loved the Beatles. Dean told his boy, “I’m gonna knock your pallies off the charts!” On August 15, 1964 – he did just that with a song that became his NEW theme song, “Everybody Loves Somebody.” (It replaced That’s Amore as his theme song)

The song knocked the beloved Beatles A Hard Day’s Night out of the number 1 spot! It went on to stay at #1 on the Pop Standards Singles Chart for 8 weeks. It also became the theme to his weekly television show in 1965.

I picked 1964 for a few reasons. Despite my initial worry about it being British act heavy, it was the year that introduced us to the Beatles (who changed the music scene forever!). It is also the year that one act held the top 5 spots on the charts (a record that remains in place). It is also the year that my favorite singer of all time bumped the biggest group in music out of the top spot.

It is also a year that encompasses such a vast variety of music. While there may be better songs that appeared before and after 1964, it truly represents a unique time in history. America was still recovering from the loss of a beloved president, there were still Civil Rights issues, and a war in Vietnam. The music of 1964 was a welcome escape from so many things.

Was it all good? No, and that is true of every year. However, as I look at the 100 biggest songs of the year, there are a lot of great songs that have gone on to become classics. There are so many songs that are still looked at as pivotal in the music scene. The fact that many of these songs are still getting airplay today is a statement to just how good they are.

Thanks again to Dave at a Sound Day for allowing me to be a part of this feature. I can only hope that my contribution is worthy of an invite to participate in the next round.