Golden Nuggets #10: Diana Ross & The Supremes- Someday We'll Be Together

Welcome to the tenth edition of the Golden Nuggets series, where I take a look at the number one song on the Billboard charts from 50 years ago and reflect on the music of the past. Today we'll be taking a look at the song 'Someday We'll Be Together' as performed by Diana Ross & The Supremes. If you've never heard the song, or could use a reintroduction, you can take a listen to the song here.

'Someday We'll Be Together' was originally recorded by the group Johnny & Jackey in 1961, and was written by Johnny Bristol, Jackey Beavers and Harvey Fuqua. When the Tri Phi record label for which the song was recorded was purchased by Mo-Town later into the 1960s, the songwriting team also moved to the Detroit powerhouse, with Beavers subsequently leaving for Chess records. 

We fast forward to 1969, where Johnny Bristol had created a new arrangement and instrumental backing track of the song, originally intended to be given to Jr. Walker & The All-Stars. However, when Berry Gordy heard the new arrangement, he thought it would be perfect for the solo debut of his superstar and love interest, Diana Ross. Unfortunately, Diana proved to be pretty uncomfortable performing the song in the studio, and required encouragement from Bristol, whose ad libs and words were captured on Ross' vocal take. In the end, this was eventually marketed as the final Supremes single, even though no other member of the group made any vocal contribution.

It's very easy to see that this is during the end of the Supremes life cycle, as Berry Gordy is focusing exclusively on Diana Ross, not even giving the other members backing vocals. It also has a bit of a bittersweet finality to it, both in lyrical content and in sound, contributing more to the feeling that the group's demise had come. As a song, it's okay I guess. A little too mid paced and sentimental for my taste, as I generally like my Mo-Town hits on the upbeat and bouncy side. That may be why Gordy made this the final Supremes single and not Ross' debut; that would be a pretty unexciting first song and not exactly starting a solo career on the best foot.

It also feels fitting that this song with its sense of closure would be the final number one single of 1969, and though the song had been released in October, it took until New Year's Eve time to reach that spot.

So, that's it for Golden Nuggets for a minute. I'll be back soon with the first number one of 1970, 'Raindrops Keep Fallin' On My Head' by B.J. Thomas, but until then, I'll be trying to pump out some 2019 year end lists. I've decided against a decade list since that'd be a lot of me rehashing my old year end lists. Until next time.

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Golden Nuggets #9: Peter, Paul & Mary- Leaving on a Jet Plane

Welcome back to the ninth installment of the Golden Nuggets series, where I take a look at the number one song fom the Billboard charts of 50 years ago and reflect on the listening taste of a past America. This time, I'll be taking alisten to 'Leaving on a Jet Plane' by the group Peter, Paul & Mary. If you've never heard the song, or need a refresher, you can take a listen here.

This song was originally written by John Denver, but its most popularly known rendition is the one by Peter, Paul & Mary. The group mixes pretty traditional folk music with a little bit of pop, but I can't say I'm too much of a fan outisde of their take on 'Puff the Magic Dragon'. They try to mix Pete Seeger with stuff like the Mamas and the Papas, but to me it sounds a little bit too much like the New Christy Minstrels for my taste. It's just a little too clean for me, and older folk revival stuff like Joan Baez and the like suffer from this too. I'm super into Neil Young, Bob Dylan and even Joni Mitchell, but this stuff is just too squeaky clean.

It doesn't hurt that this song is incredibly underwritten. I listened to the John Denver version as well, to see whether or not the group was butchering it, but his is even more boring to me. Apart from the unintended irony of John Denver singing about leaving on a plane, which is just morbid and cringey, I don't get a whole lot out of it. It's just a silly little love song that's far too wholesome for its own good. At least Peter, Paul & Mary tried to add some harmonies and depth to the arrangement, not that it did much good in my eyes.

I guess this is one of the more negative reflections I've done in this series, and I really don't mean to be so harsh, but I feel like there was so much better music and folk music in particular coming out in 1969 (Crosby, Stills & Nash's debut immediately comes to mind) that I can't just give this middle of the road song a pass. I guess this goes to show that music always looks better in hindsight. What our parents said was the best generation for music had good stuff, yes, but that's not always what the American public made the most popular. Some things never change.

Stay tuned for the next installment of the Golden Nuggets series, 'Someday We'll be Together' by Diana Ross & The Supremes, along with a series of 2019 year end lists.

"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Golden Nuggets #8: Steam- Na Na Hey Hey, Kiss Him Goodbye

Welcome back to my perpetually behind next installment of the Golden Nuggets series, where I take a look at the number one songs on the Billboard charts from this week (I try to) from 50 years ago, and reflect on the listening habits of America from days gone by. This spotlight is on the band Steam, with their hit song,' Na Na Hey Hey, Kiss Him Goodbye'. If you unaware of the song, or just want to refresh your memory, you can listen to it here.

To be honest, I wasn't even sure if I knew this song when I saw the list for the next #1 song. From the title, I had a guess, and I guessed right. This song is very popular at sporting events and the like, though I had only ever heard the chorus until listening to the song for this reflection, and in reality I wasn't missing much. I had also never heard of the band Steam, which was apparently a studio creation formed to credit the song to, though it was actually written and performed by Paul Leka, Gary DeCarlo and Dale Frashuer. Allegedly, this song was also a joke relegated to the b-side of another song meant to be the main single, but nobody realized the mostly worldess chorus was in jest, and the song became a hit regardless.

This studio entity managed to record one album under the Steam name before disbanding shortly after, but their one hit has stood the test of time. It's kind of amazing that I had heard this song so many times at sporting events, on commercials and elsewhere but knew virtually nothing about the musicians who created it. I feel like back in the '60s and '70s one could fluke their way onto the charts with a hit while simultaneously being completely unknown and fading just as quickly, which seems just so impossible now, for better or worse. 

As for the song, the chorus is an earworm, but the verses are filler at best. I can totally see how this was allegedly the b side for another song, as I don't really gravitate to this song in the slightest. I feel it has only stood the test of time by its singsong chorus taking on a bit of a mocking tone, which I'm sure has led to this being a staple of many drunken post breakup karaoke sessions the world round.

Check back in very soon, as I'll be trying to catch up on this series (the next entry will be 'Leaving on a Jet Plane' by Peter Paul and Mary), as well as put out some year end lists that hopefully are released not too long into the new year if I can help it. Cheers, and happt holidays.

"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Golden Nuggets #7: The Beatles- Come Together

Welcome back to the Golden Nuggets series, where I take a look at the top song on the Billboard charts from 50 years ago, share my opinion, and reflect on the listening take of the American public of generations gone by. As is becoming an unfortunate tradition, I'm a little behind on the schedule, but I'm trying to close the gap. This edition is dedicated to the one and only Beatles, with their song 'Come Together', which was the number one song during the end of November/beginning of December, 1969. If you've never heard the song (which, honestly, seems impossible), you can take a listen to the song here. With that out of the way, let's proceed.

To me, this has always been one of the more strange Beatles singles. Obviously, the lyrics are purposefully obtuse, a little comical in places (of course he has feet below his knee, unless they were amputated), and nonsensical, but I also find the sound of the song itself a little out there. The little chorus riff and the outro sound normal enough, but the sonic backdrop to the verses and that weird whooshing sound (is that a synth or just a vocal?) doesn't really sound like something that would be topping the charts. However, the Beatles make it work.

There have been countless covers of this song over the years, probably the most notable being Aerosmith's cover for the Sgt Pepper's Lonely Hearts Club Band movie, the Joe Cocker cover in Across the Universe or the Gary Clark Jr. version for the terrible Justice League. I'd say either the Beatles version or the Joe Cocker version is my favorite; the former for being tightly arranged but stil sounding a little out there and appearing a little loose at first listen, and the latter for having such a soulful yet eccentric vocal delivery (plus the accompanying visuals of Cocker dancing/ doing air guitar is always extra points).

To be honest, I know a lot of the listening public in 1969 just drove this to the top because it was the Beatles. It seems pretty tame now, but after taking a look at a lot of music that topped the charts during this time, this was a lot more adventurous than the typical pop song of the day. I honestly don't have a lot more tosay about this song, since I feel like the amount that has been said about the Beatles could probably fill a library on its own, so I'll leave it here.

Stop back in soon for my next installment of the Golden Nuggets series,
'Na Na Hey Hey Kiss Him Goodbye' by Steam.


"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Golden Nuggets #6: The 5th Dimension- Wedding Bell Blues

Welcome back to the Golden Nuggets series, where I take a look at the number 1 song on the Billboard charts from 50 years ago, share my thoughts, and maybe put it into context or share the taste of the listening public from back in the day. Sorry, this one is a little late. Holiday season and all. With that out of the way, the song we're looking at today is 'Wedding Bell Blues' by the 5th Dimension. If you're unfamiliar, you can take a look at the track here.

The 5th Dimension were a pretty popular R&B/pop group in the late 60s and early 70s, and are actually one of my favorite vocal groups in this vein. You may also know them for their incredibly famous cover of 'Aquarius/ Let the Sunshine In' from the Hair soundtrack. The song we're listening to today is also a cover, this time from the likes of Laura Nyro. The song is a showcase for member Marilyn McCoo, who longs to be married to her boyfriend named Bill. Strangely enough, she was engaged to member Billy Davis Jr. at the time, though the name was actually retained from the Nyro original. The song choice was almost too perfect.

I really enjoy the song, and I think it's a pretty great display of the power of the group. I would very much like to hear the suite version of the song that Laura Nyro initially proposed before being vetoed by producers. I think it could have been something pretty special. I feel like a lot of people my age probably first heard this song through its incorporation on an episode of Gilmore Girls, which is some indication that this song still retains some interest even into the 21st century, long outlasting the typical and expected shelf life of your traditional boilerplate pop tunes.

 Next time, I'll be taking a look at a song and a band that probably need no introduction: 'Come Together' by the Beatles.



"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Golden Nuggets #5: Elvis Presley- Suspicious Minds

Welcome to Golden Nuggets, where I take a look at the American listening habits of yesteryear by taking a listen to the number #1 song on the Billboard charts that week or weeks from 50 years ago. In this fifth installment, we'll be taking a listen to 'Suspicious Minds', as performed by Elvis Presley. Now, normally, I would give a brief summary of the artist in question, but I don't really think anyone needs an introduction to Elvis, so let's just cut to the analysis. Take a listen to the song here.

To get a picture of my opinion, I believe it was a Quentin Tarantino film that said you're either an Elvis or Beatles fan. Though I feel like a more accurate comparison is Beatles or Stones, for the sake of argument, let's use the original two. I fall squarely into the Beatles camp. I can see his role in the popularization of rock and roll to more mainstream (aka whiter) audiences, and a lot of 60s and 70s rock acts that I enjoy speak highly of Elvis, but his music is not really for me. I think it comes down to his exaggerated vocal delivery. With that being said, this song is pretty good. Catchy melody, solid topic, and much better production and arrangement than the Mark James original. His vocal delivery does kind of get in the way for me, but I can see why this song was partially responsible for his comeback into the charts in the late 60s. For my money though, the best version is the Dee Dee Warwick version. The horn section is a little overpowering at points, but her soulful delivery and the lively arrangement brings the song to a whole new level. 

This song was only number one for the week of November 1st, 1969 (sorry, I know I got this post in a little late), and really rejuvenated Elvis' career, and this song has led to many other successful cover versions. Maybe it would be fun to kill an afternoon scouring the internet looking for the wildest rendition of 'Suspicious Minds'. As for me, I'm off to do some more research on our next Golden Nugget, 'Wedding Bell Blues', by the 5th Dimension.

"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Golden Nuggets #4: The Temptations- I Can't Get Next to You

Welcome to the fourth installment of the Golden Nuggets series. For those new to the series, I look back on the #1 song on the Billboard charts from 50 years ago, in a way to discover what was the most popular song to the American consciousness at that time and see how radically things have changed. For this edition, we're taking a look at 'I Can't Get Next To You' by the Temptations, which reigned as #1 during the weeks of October the 18th and 25th, 1969. Before we proceed, let's get acquainted with the song.

Now, the name the Temptations is not foreign to me, but a lot of their music is. Them being from the Motown crop of artists makes this fact even more surprising, Motown really was an unstoppable hit machine in the sixties, and the Temptations helped contribute to that success, though they were also quite different. In my research, I learned that this group (along with Sly and the Family Stone in my opinion) pioneered the idea of psychedelic soul music, which in time would give way to funk. It's very easy to see how funk could come from a group that produced 'I Can't Get Next to You', with its very rhythmic guitar playing and insistent groove. It sounds like something you'd hear a little later on a Parliament or Stevie Wonder record.

I also find it interesting that this was put out on Motown. Motown was hardly known for innovating, as it was more focused on songwriting by committee and pumping out hits. It must have been a struggle for the group and its producer/writer team Barrett/Strong to wrest so much creative control from the label to put out some more experimental material. The album this single was cut from, Puzzle People, as well as its follow up, Psychedelic Shack, sound nothing like the sound Motown had become so famous for, the latter record most of all. On the record, there was some decidedly political songs, namely 'War', made most famous by the Edwin Starr cover, which Berry Gordy would have disliked because its message would have cut into sales by alienating more conservative buyers. The fight to get Marvin Gaye's What's Going On is pretty much legend at this point, and I assume it must have been difficult for them as well, though not being related through marriage probably helped, since Marvin Gaye being Gordy's brother in law may have strained that relationship.

It's a little hard for me to get a lot out of 'I Can't Get Next To You'. I can respect it for the groundwork it laid towards the advent of funk and more experimental R&B and soul music, but it's hard for my ears, that have absorbed so much Parliament/Funkadelic, Stevie Wonder, Rick James etc., to appreciate the genre at its most primordial, which is something I find difficult with many genres (though I don't really experience this problem with Sly and the Family Stone). When you've heard something like Biggie or Wu-Tang, something like Sugarhill Gang can seem a little, well, basic and rudimentary. It doesn't make that group bad, but the sound has progressed so far since that initial inception point, and it's a little harder to get into without some added context. Maybe a hot take, but just my opinion. I respect it a lot more than I enjoy it, but to the 1969 music listening public, it was cutting edge.

So, that's pretty much the extent of my opinion on 'I Can't Get Next to You' by the Temptations. Next time, I'll be taking a look at Elvis Presley's one week return to #1 with 'Suspicious Minds'.



"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."