Category Archives: 1960s

“Ray Charles – I Got A Woman” 

“Ray Charles – I Got A Woman” 

I Got a Woman” (originally titled “I’ve Got a Woman“) is a song co-written and recorded by American R&B and soul musician Ray CharlesAtlantic Records released the song as a single in December 1954, with “Come Back Baby” as the B-side. Both songs later appeared on the 1957 album Ray Charles(subsequently reissued as Hallelujah I Love Her So).

The song was recorded in late 1954 in the Atlanta studios of Georgia Tech radio station WGST. It was a hit—Charles’ first—climbing quickly to #1 R&B in January 1955.[3] Charles told the Pop Chronicles that he performed this song for about a year before he recorded it on November 18, 1954.[4]The song would lead to more hits for Charles during this period when he was with Atlantic. It was later ranked No. 239 on Rolling Stones list of the 500 Greatest Songs of All Time, one of Charles’ five songs on the list.[5] A re-recorded version by Ray Charles, entitled “I Gotta Woman” (ABC-Paramount10649) reached No. 79 on the Billboardpop chart in 1965.[6]


Posted by on August 14, 2017 in 1950s, 1960s, blues, classic music, music


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“Burn – Vintage ‘1960s Girl Group Ellie Goulding Cover with Flame-O-Phone”


Robyn Adele Anderson (born February 19, 1989) is a multilingual vocalist based in New York City. She is a cast member and featured artist for Postmodern Jukebox with over 145 million YouTube views of her music videos. She is credited with the band’s breakthrough cover of “Thrift Shop” and “We Can’t Stop” in 2013.[1][2][3][4]Anderson also performed lead vocals for performances on Good Morning America (ABC) in 2013,[5] and TEDx in 2014.[6]

Robyn Adele Anderson
Robyn Adele Anderson on stage w Postmodern Jukebox.jpg

Anderson with Postmodern Jukebox in 2014 


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“My Baby Loves Me” Martha & the Vandellas 

My Baby Loves Me” is a 1966 soulstandard by Martha Reeves but released under Martha and The Vandellas. None of the Vandellas are featured in this song. Instead, the background is sung by Motown’s session group, The Andantes, and another legendary Motown group, The Four Tops. Co-written (with Sylvia Moy) and co-produced by William “Mickey” StevensonIvy Jo Hunter, the song rose to #22 on Billboard Hot 100 singles chart and #3 on Billboard’s Hot R&B singles chart.[1][2]

The song has the narrator sing of her lover and how much he loves and needs her. Reeves often refers to it as her favorite of all of her recordings. While it didn’t appear on her group’s regular studio albums, it would be put on their Greatest Hits album.[3]

Cover versions

Fellow Chicago-based, ’60s-era girl group The Lovelites covered the song in the late 1960s. In 1973, Barry Manilowrecorded a version on Barry Manilow II. Los Angeles-based singer Leda Grace did a sound-alike version, produced by Randy Jackson. San Francisco-based gospel group The Stovall Sisters did a gospel version, and Aretha Franklin has performed it in concert.



“Dobie Gray-I’m With the In Crowd” 

“Dobie Gray-I’m With the In Crowd” 

Dobie Gray (born Lawrence Darrow Brown; July 26, 1940 – December 6, 2011) was an American singer and songwriter, whose musical career spanned soulcountrypop, and musical theater. His hit records included “The ‘In’ Crowd” in 1965 and “Drift Away“, which was one of the biggest hits of 1973, sold over one million copies, and remains a staple of radio airplay.[1]

In the early 1960s he moved to Los Angeles, intending to pursue an acting career while also singing to make money. He recorded for several local labels under the names Leonard AinsworthLarry Curtis, and Larry Dennis, before Sonny Bono directed him toward the small independent Stripe Records. They suggested that he record under the name “Dobie Gray”, an allusion to the then-popular sitcom The Many Loves of Dobie Gillis.[3]

His first taste of success came in 1963 when his seventh single “Look At Me”, on the Cor-Dak label and recorded with bassist Carol Kaye,[5] reached #91 on the Billboard Hot 100.[4][6]

However, his first album, Look!, failed to sell.[5] Greater success came in early 1965 when his original recording of “The ‘In’ Crowd” (recorded later that year as an instrumental by Ramsey Lewis, and also covered in 1965 by Petula Clark) reached #13. Written by Billy Page and arranged by his brother, Gene[7] and produced by Fred Darian,[4][8] Gray’s record reached #11 on the US R&B chart, and #25 in the UK. The follow-up, “See You at the Go-Go”, recorded with such top session musicians as Kaye, Hal Blaine, and Larry Knechtel, also reached the Hot 100, and he issued an album, Dobie Gray Sings For ‘In’ Crowders That Go ‘Go Go,’ which featured some self-penned songs.[5]

Gray continued to record, though with little success, for small labels such as Charger and White Whale, as well as contributing to movie soundtracks.[6] He also spent several years working as an actor, including 2½ years in the Los Angeles production of Hair.[1][3]

In 1970, while working there, he joined a band, Pollution, as singer and percussionist. They were managed by actor Max Baer Jr. (best known as “Jethro” in The Beverly Hillbillies) and released two albums of soul-inspired psychedelic rock, Pollution I and Pollution II.[5][9] The band included singer Tata Vega and guitarist/singer James Quill Smith. He also worked at A&M Records on demo recordings with songwriter Paul Williams.[3]


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“Good Vibrations” is a song composed and produced by Brian Wilson with words by Mike Love for the Beach Boys. Released as a single in October 1966, it was an immediate critical and commercial hit, topping record charts in several countries including the US and UK. Characterized by its complex soundscapes, episodic structure, and subversions of pop music formula, it was the most costly single ever recorded at the time of its release. “Good Vibrations” later became widely acclaimed as one of the greatest masterpieces of rock music.[10][11]

Initiated during the sessions for the album Pet Sounds (1966), it was not taken from or issued as a lead single for an album, but rather as a stand-alone single, with the Pet Sounds instrumental “Let’s Go Away for Awhile” as a B-side. It was considered for the Smile project, but instead appeared on the album Smiley Smile (1967). Most of the song was developed as it was recorded. Its title derived from Wilson’s fascination with cosmic vibrations, after his mother once told him as a child that dogs sometimes bark at people in response to their “bad vibrations”. He used the concept to suggest extrasensory perception, while Love’s lyrics were inspired by the Flower Power movement that was then burgeoning in Southern California.

The making of “Good Vibrations” was unprecedented for any kind of recording, with a total production cost estimated between $50,000 and $75,000 (equivalent to $360,000 and $550,000 in 2015). Building upon the multi-layered approach he had formulated with Pet Sounds, Wilson recorded the song in different sections at four Hollywood studios over an eight-month period, resulting in a cut-up mosaic of several musical episodes marked by disjunctive key and modal shifts. Band publicist Derek Taylor dubbed the unusual work a “pocket symphony”. It contained previously untried mixes of instruments, including jaw harp and Electro-Theremin, and was the first pop hit to have a cello playing juddering rhythms.

For “Good Vibrations”, Wilson is credited with further developing the use of the recording studio as an instrument. The single revolutionized rock music from live concert performances to studio productions which could only exist on record, heralding a wave of pop experimentation and the onset of psychedelic and progressive rock. It is also frequently cited for its use of theremin, which led to the instrument’s revival and to an increased interest in analog synthesizers. Its success earned the Beach Boys a Grammy nomination for Best Vocal Group performance in 1966; the song was eventually inducted into the Grammy Hall of Fame in 1994.[12] It has featured highly in many charts, being voted number one in the Mojo “Top 100 Records of All Time” chart in 1997[12] and number six on Rolling Stone’s list of the “500 Greatest Songs of All Time”.[13] The Rock and Roll Hall of Fame included “Good Vibrations” in its list of the “500 Songs that Shaped Rock and Roll”.[14]


The Beach Boys’ leader Brian Wilson was responsible for the musical composition and virtually all of the arrangement for “Good Vibrations”. His cousin and bandmate Mike Love contributed the song’s lyrics and its bass vocalization in the chorus.[15][16] During the recording sessions for Pet Sounds (1966), Wilson began changing his writing process. Rather than going to the studio with a completed song, he would record a track containing a series of chord changes he liked, take an acetate disc home, and then write the song’s melody and lyrics.[17] For “Good Vibrations”, Wilson said, “I had a lot of unfinished ideas, fragments of music I called ‘feels.’ Each feel represented a mood or an emotion I’d felt, and I planned to fit them together like a mosaic.”[17] Most of the song’s structure and arrangement was written as it was recorded.[18][nb 1] Engineer Chuck Britz is quoted saying that Wilson considered the song to be “his whole life performance in one track”.[6] Wilson stated: “I was an energetic 23-year-old. … I said: ‘This is going to be better than [the Phil Spector production] ‘You’ve Lost That Lovin’ Feelin”.'”[22]


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Wipe Out (The Surfaris); drum cover by Sina

Wipe Out (The Surfaris); drum cover by Sina

The Surfaris was a well-known American surf rock band formed in Glendora, California in 1962. They are best known for two songs that hit the charts in the Los Angeles area, and nationally by May 1963: “Surfer Joe” and “Wipe Out“, which were the A-side and B-side of the same 45 rpm single.

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Posted by on June 30, 2017 in 1960s, music, rock


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“Shake Me, Wake Me” The Four Tops

“Shake Me, Wake Me” The Four Tops

Shake Me, Wake Me (When It’s Over)” is a 1966 song written and produced by Holland–Dozier–Holland and released as a single by the Four Tops on the Motown label. The song peaked at number eighteen on the US Pop Singles chart. It peaked at number five on the R&B singles chart.

Barbra Streisand recorded her version in her 1975’s album Lazy Afternoon, it was the second single of the album and peaked #14 on Dance Music/Club Play Singles and #10 on Disco Singles charts.


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