Showing posts with label 1965. Show all posts
Showing posts with label 1965. Show all posts

The Mamas & The Papas - California Dreamin' on All The Leaves Are Brown (1965)

The Mamas & The Papas - California Dreamin' (1965) WLCY Radio Hits
"California Dreamin'" is a song written by John Phillips and Michelle Phillips and was first recorded by Barry McGuire. However, the best known version is by The Mamas & the Papas, who sang backup on the original version and released as a single in 1965. The song is #89 in Rolling Stone's list of the 500 Greatest Songs of All Time. The lyrics of the song express the narrator's longing for the warmth of Los Angeles during a cold winter in New York City.



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Fontella Bass - Rescue Me from the album The Best Of (1965)

Fontella Bass - Rescue Me from the album The Best Of (1965)




"Rescue Me" is a rhythm and blues song first recorded and released as a single by Fontella Bass (July 3, 1940 – December 26, 2012) in 1965. The original versions of the record, and BMI, give the songwriting credit to Raynard Miner and Carl William Smith, although many other sources also credit Bass herself as a co-writer. It would prove the biggest hit of Bass's career, reaching #1 on the R&B charts for four weeks and placing at #4 on the Billboard Hot 100. "Rescue Me" also peaked at number eleven on the UK Singles Chart.

The Righteous Brothers - Unchained Melody (1965)

The Righteous Brothers - Unchained Melody (1965) on WLCY Radio
'60s #1 Hits on WLCY Radio, All Original Artist! Original Hits




"Unchained Melody" is a 1955 song with music by Alex North and lyrics by Hy Zaret. North used the music as a theme for the little-known prison film Unchained, hence the name. Todd Duncan sang the vocals for the film soundtrack. It has since become one of the most recorded songs of the 20th century, by some estimates having spawned over 500 versions in hundreds of different languages.

The best-known version of "Unchained Melody" was recorded by the duo The Righteous Brothers for Philles Records in 1965 as the 'B' side of the single "Hung On You". Although the version was credited to The Righteous Brothers, lead vocals were performed solo by Righteous Brother Bobby Hatfield, who later recorded other versions credited solely to him. This recording climbed to number 4 on the Billboard Hot 100 chart in 1965 and reached number 14 in the UK in 1965.

The producer of this recording is uncertain. Original copies of the single did not credit a producer for "Unchained Melody" (as shown in the inset), although Phil Spector was credited as producer of "Hung On You"; later copies of the single (after it became a hit) credit Spector as producer of "Unchained Melody" as well; but Bill Medley, the other Righteous Brother, consistently stated that he produced this recording. Medley, who had produced the duo before they signed with Spector and Philles, said that "Phil came to me and asked me to produce the Righteous Brothers albums because he would have taken too long and it would have cost too much money." According to Medley, "Unchained Melody" was intended solely as an album cut, and so he produced it and played piano on it; Spector only claimed production credit after it supplanted "Hung On You" as the hit. Medley also noted that "if I knew that it was gonna be a hit I certainly would have brought in a better piano player."

"Unchained Melody" reappeared on the Billboard charts in 1990 after The Righteous Brothers' recording was used in the box office blockbuster film Ghost. Two versions charted in the US that year. The 1965 original Righteous Brothers recording was reissued by oldies-reissue label Eric Records, which licensed the original recording from Polydor Records (which had acquired the rights years earlier). This version received a lot of airplay, but sales were minimal since it was only available as a 45 RPM single; it peaked at number 13. Polydor had previously licensed the CD rights for this recording to Rhino Records for a premium-priced 1989 compilation of Righteous Brothers hits from various labels; later in 1990, it issued its own regular-priced Righteous Brothers greatest hits CD that included the recording. However, partially due to the lack of a reasonably-priced CD version at the time the movie was released, The Righteous Brothers re-recorded the song for Curb Records, which released it as a cassette single, a vinyl single, and as part of a budget-priced CD compilation. The re-recorded version received minimal airplay but recorded excellent sales, peaking at number 19. For eight weeks, both versions were on the Billboard Hot 100 simultaneously.

The Supremes - Stop! In the Name of Love - Special of the day

The Supremes - Stop! In the Name of Love on WLCY Radio


"Stop! In the Name of Love" was the fourth #1 hit for the Supremes in a row when it came out in early 1965. The choruses tended to be the main hooks of the songs Brian Holland, Lamont Dozier, and Eddie Holland wrote for the Supremes, and that might be even more true of "Stop! In the Name of Love" than it is of most of their other hits. 

"Stop! In the Name of Love" was a little different from the first triumvirate of Supremes chart-toppers ("Where Did Our Love Go," "Baby Love," and "Come See About Me") in that it was a little more dramatic and assertive. That was particular true of that oft-repeated chorus, which hit a minor key in which the Supremes declared the title phrase in semi-operatic tones. The message was softened a little by the second part of the chorus, in which the melody got gentler and the group cautioned, "think it over." The verses are less dramatic and strident than the famous chorus, but have a nice fetching strong melody, and a more conciliatory, vulnerable attitude toward romance than the message delivered by the song's title. It's also neat the way the verse and chorus both end with the mini-hook of the Supremes singing-warning "think it over." 

Listen, too, for the very beginning of the song, where a super-brief upwards organ slide pulls the track into gear like a crane lifting a car out of a swamp. While the first quintet of #1 Supremes hits in 1964-65 did tend to sound similar to each other, "Stop! In the Name of Love" is one of the stronger of the five, and made a further imprint on the public with the famous dance (with the Supremes making stop signs with their hands) the group devised when performing it on stage and TV.