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Articles by "1962"

Gene Pitney - Only Love Can Break A Heart
Gene Pitney - Only Love Can Break A Heart


Gene Pitney - Only Love Can Break A Heart Lyrics and Youtube Music Videos

Album: Only Love Can Break A Heart
Released: 1962

Only Love Can Break A Heart Lyrics


Only Love Can Break A Heart
Only love can mend it again

Last night I hurt you but darlin' remember this
Only love can break a heart
Only love can mend it again, hmm, hmm
You know I'm sorry, I'll prove it with just one kiss
Only love can break a heart
Only love can mend it again

Give me a chance to make up for the harm I've done
Try to forgive me and let's keep the two of us one

Please let me hold you and love you for always and always
Only love can break a heart only love can mend it again
Only love can break a heart only love can mend it again

Writer/s: BURT BACHARACH, HAL DAVID
Publisher: Warner/Chappell Music, Inc., Universal Music Publishing Group, BMG RIGHTS MANAGEMENT US, LLC
Lyrics licensed and provided by LyricFind

Only Love Can Break A Heart
  • This was written by the songwriting team of Burt Bacharach and Hal David.
  • This was Pitney's biggest hit in the US. In an ironic twist, it was kept out of the #1 spot by a song that he had written himself: "He's A Rebel," which was a hit for The Crystals.
  • The whistling that occurs before the first verse and during the ending was done by Pitney himself.

  • The Orlons - The Wah-Watusi
    The Orlons - The Wah-Watusi


    The Orlons - The Wah-Watusi Lyrics and Youtube Music Videos

    Album: The Wah-Watusi
    Released: 1962

    The Wah-Watusi Lyrics


    Wah-wah-a-watusi
    See'mon and take a chance and get-a with this dance
    Wah-wah-a-watusi
    Oh baby, it's the dance made for romance (shoo-bop, shoo-bop, ahh)
    Baby, baby, when you do the twist
    Never, never do you get yourself kissed
    'Cause you're always dancing far apart
    Watusi girl is-a really smart
    Wah-a-wah, wah-a-watusi
    See'mon and take a chance and get-a with this dance (shoo-bop, shoo-bop, ahh)
    Baby, when you do the fly, your arms are wasting waving in the sky
    See'mon and hold me like a lover should
    The watusi makes you feel so good
    Wah-a-wah, wah-a-watusi
    Oh baby, it's the dance made for romance
    Yea! (Shoo-bop, shoo-bop, ahh)
    Baby, baby, that's the way it goes
    Nothing happens when you mash potatoes
    I just gotta fall in love with you
    Watusi is the dance to do
    Wah-a-wah, wah-a-watusi
    See'mon and take a chance and get-a with this dance
    Wah, wah-a Watusi
    Oh baby, it's the dance made for romance

    Writer/s: KAL MANN, DAVE APPELL
    Publisher: Peermusic Publishing, Warner/Chappell Music, Inc.
    Lyrics licensed and provided by LyricFind

    The Wah-Watusi
  • This song was one of the many dance-craze songs of the early '60s. It was the follow-up to Dee Dee Sharp's dance-craze hit "Mashed Potato Time."
  • This was the Orlons' first national hit. Their two previous singles failed to chart.
  • There were three songs about the Watusi dance. This was the second song and biggest hit about the dance. The first was "The Watusi" (by the Vibrations, US #25), and the third was "El Watusi" (by Ray Barretto, US #17).

  • The Beach Boys - Surfin' Safari
    The Beach Boys - Surfin' Safari


    The Beach Boys - Surfin' Safari Lyrics and Youtube Music Videos

    Album: Surfin' Safari
    Released: 1962

    Surfin' Safari Lyrics


    Let's go surfin' now
    Everybody's learning how
    Come on and safari with me
    (Come on and safari with)

    Early in the morning we'll be startin' out
    Some honeys will be coming along
    We're loading up our woody
    With our boards inside
    And headin' out singing our song

    Come on (surfin') baby wait and see (Surfin' Safari)
    Yes I'm gonna (surfin') take you surfin' (surfin' safari) with me
    Come along (surfin') baby wait and see (surfin' safari)
    Yes I'm gonna (surfin') take you surfin' (surfin' safari) with me

    Let's go surfin' now
    Everybody's learning how
    Come on and safari with me
    (Come on and safari with)

    At huntington and malibu
    They're shooting the pier
    At rincon they're walking the nose
    We're going on safari to the islands this year
    So if you're coming get ready to go

    Come on (surfin') baby wait and see (surfin' safari)
    Yes I'm gonna (surfin') take you surfin' (surfin' safari) with me
    Come along (surfin') baby wait and see (surfin' safari)
    Yes I'm gonna (surfin') take you surfin' (surfin' safari) with me

    Let's go surfin' now
    Everybody's learning how
    Come on and safari with me
    (Come on and safari with)

    They're anglin' in laguna in Cerro Azul
    They're kicking out in dohini too
    I tell you surfing's mighty wild
    It's getting bigger every day
    From Hawaii to the shores of Peru

    Come on (surfin') baby wait and see (surfin' safari)
    Yes I'm gonna (surfin') take you surfin' (surfin' safari) with me
    Come along (surfin') baby wait and see (surfin' safari)
    Yes I'm gonna (surfin') take you surfin' (surfin' safari) with me

    Let's go surfin' now
    Everybody's learning how
    Come on and safari with me
    (Come on and safari with)

    With me
    Surfin' safari
    With me
    Surfin' safari
    With me
    Surfin' safari
    With me
    Surfin' safari

    Writer/s: BRIAN DOUGLAS WILSON, MIKE LOVE
    Publisher: BMG RIGHTS MANAGEMENT US, LLC
    Lyrics licensed and provided by LyricFind

    Surfin' Safari
  • Released June 4th 1962, this was the Beach Boys' first major hit. In his 1990 autobiography Brian Wilson said it sold 900,000 copies, and more overseas: #1 in Sweden, #13 in New Zealand, and a hit too in Italy and France, where it attracted cover versions.
  • Written by Wilson and lead singer Mike Love , this was the first recording to display the distinctive counterpoint harmonies for which the group became famous. The recording was also self-produced, and taken to Capitol complete with its B-side "409" which was a minor hit. This precedent made the Beach Boys the first total, self-contained artists of the Rock Era, not to be matched for many years to come.
  • When the Chrysler corporation conducted a survey in 2004 on "What is the best song to cruise to?" - this won.
  • The Beach Boys had signed with Capitol Records, and when this song was climbing the charts, they were working on their first album.
  • On the DVD Brian Wilson Songwriter 1962 - 1969 , Mike Love credits Murry Wilson - father of Brian, Carl and Dennis of The Beach Boys - with the distinctive treblelly guitar sound on this track. When Brian Wilson would leave the control room to record his bass parts, Murry, who fancied himself a producer, would switch the sounds on the guitars to the treble he preferred. Love feels that guitar sound really cut through and helped "Surfin' Safari" sell.

  • Pete Seeger - Guantanamera
    Pete Seeger - Guantanamera


    Pete Seeger - Guantanamera Lyrics and Youtube Music Videos

    Album: The World Of Pete Seeger
    Released: 1962

    Guantanamera Lyrics


    The words mean, I am a truthful man
    From the land of the palm trees
    And before dying, I want to share the poems of my soul
    My poems are soft green,
    My poems are also flaming crimson
    My poems are like a wounded fawn
    Seeking refuge in the forest
    The last verse says "con los pobres de la tierra"
    With the poor people of this earth
    I want to share my fate
    The streams of the mountain
    Pleases me more than the sea

    Writer/s: JOSE MARTI, PETE SEEGER, JULIAN ORBON, J. FERNANDEZ DIAZ
    Publisher: THE BICYCLE MUSIC COMPANY, SOCIEDAD GENERAL DE AUTORES DE ESPANA S G A E
    Lyrics licensed and provided by LyricFind

    Guantanamera
  • "Guantanamera" is Spanish for "Guantanamo," a city on the southeast tip of Cuba where the notorious Guantánamo Bay military base/detention camp is located. The United States has leased the area under a treaty signed in 1903, but the song has nothing to do with it.

    The refrain "guajira Guantanamera" means "peasant girl from Guantanamo." A Cuban bandleader named Joseito Fernandez had a radio show in the 1930s called "La Guántanamera," and he regularly performed the song, changing the verse lyrics every time to be about whatever he felt like talking about - only the "guajira Guantanamera" part remained constant.

    Later, a Cuban musician named Julián Orbón (1925-1991) put lyrics to the song based on a poem written by the Cuban writer Jose Marti (1853-1895). The poem is about a girl from Guantanamo and was written from the point of view of a Cuban revolutionary.

    Orbón was a professor at the Manhattan School of Music, where Hector Angulo, a student from Santa Clara, Cuba, was attending on scholarship. Angulo learned the song from Orbón, and In July 1962, Angulo played it for Pete Seeger when both were attending the Folk Festival of the Catskills in upstate New York (the festival was part of a camp where Angulo was working as a counselor for the summer). Seger loved it and began performing the song. In October that year, the Cuban Missile Crisis riveted the nation as the Soviet Union threatened to deploy nuclear missiles in Cuba. With this backdrop, the song became a peace anthem of sorts, not because it had anything to do with peace, but because it was a Cuban song with a catchy chorus that some Americans actually knew.

    The song grew in popularity, and cover versions started to appear in America. It became a hit in 1966 when a Los Angeles folk trio called The Sandpipers recorded a version that hit #7 in the UK and #9 in the US.
  • The song is made of two parts which do not have any relation whatsoever:

    Part 1 - In the 19th century, an anonymous popular song circulates with the words "guarija guantanamera," which means peasant-woman from Guantanamo. It was collected and arranged in 1932 by Joseito Fernandez, who made it the hallmark of his orchestra and popularized it as a dance called "Guajira-son," which he used in place of "Bolero" in closing every ball. "La Guajira" is therefore the name of a dance too.

    Part 2 - It's not before 1958 that Julian Orbon combined this popular refrain with some quatrains taken at random from the immense poem Versos Sencillos (simple verses) by Jose Marti. It commences with, "Yo soy un ombre sincero," but you have to wait for hundreds of verses before finding: "Con los pobres de la tierra." At last words well in line with the acclaimed Seeger -Guthrie protest song style. Marti never mentioned any Guajira from Guantanamo in those verses. As in many popular songs, you can't find any logical link between the verses and the refrain.
  • Many versions of this song have sprung up over the years. Celia Cruz did a salsa rendition in 1966; José Feliciano covered it in 1969, and Joan Baez did her version in 1974.

    The only version to chart in America besides The Sandpipers' was by Wyclef Jean with the Refugee Allstars. This one made #62 in 1997. The song has also been recorded by Pitbull and Sage The Gemini.
  • In the '90s, but song became a popular chant among English soccer fans, often used in tribute to a star player with the lyrics suitably altered. It was most often sung in honor of Alan Shearer, sung as, "One Alan Shearer... There's only one Alan Shearer."
  • In Sweden, they're serious about recycling, and in 2003 the government launched the "Pantamera" campaign to encourage the practice, with a song set to the tune of "Guantanamera."

    "Panta Mera" means "recycle more" in Swedish; public service announcements often played on TV encouraging citizens to return used bottles and reduce waste. Many variations of the song have been used (here's one ), which has made the tune very popular in the country.

  • Bruce Channel - Hey! Baby
    Bruce Channel - Hey! Baby


    Bruce Channel - Hey! Baby Lyrics and Youtube Music Videos

    Album: Hey Baby
    Released: 1962

    Hey! Baby Lyrics


    Hey, hey hey baby!
    I want to know if you'll be my girl
    Hey, hey hey baby!
    I want to know if you'll be my girl

    When I saw you walking down the street
    I said that's a kind of girl I'd like to meet
    She's so pretty, Lord she's fine
    I'm gonna make her mine all mine

    Hey, hey hey baby!
    I want to know if you'll be my girl

    When you turned and walked away
    That's when I want to say
    C'mon baby, give me a whirl
    I want to know if you'll be my girl

    Hey, hey hey baby!
    I want to know if you'll be my girl

    When you turned and walked away
    That's when I want to say
    C'mon baby, give me a whirl
    I want to know if you'll be my girl

    Hey, hey hey baby!
    I want to know if you'll be my girl
    Hey, hey hey hey hey, baby
    C'mon, baby now

    Writer/s: CHANNEL, BRUCE / COBB, MARGARET
    Publisher: Sony/ATV Music Publishing LLC, Peermusic Publishing, Universal Music Publishing Group
    Lyrics licensed and provided by LyricFind

    Hey! Baby
  • Channel wrote this around 1959 with his friend Margaret Cobb. He had already been performing the tune for a couple of years before recording it amidst a series of demos for Fort Worth producer Major Bill Smith. First released locally on Smith's label, it was picked up for national distribution by Smash.
  • Delbert McClinton played the harmonica part. At one Channel's shows, he was supported by a then-unknown Liverpool group, the Beatles. John Lennon was so impressed with the harmonica intro that he asked McClinton how to play it. A year later a similar harmonica passage showed up on The Beatles "Love Me Do."
  • In 2001, 20-year-old Austrian producer/DJ Gerry Friedle, who performed under the name of DJ Otzi, recorded a Euro Dance version of this with added "ooh aahs." When he was a DJ he was always doing "ooh aahs" and he found the audience loved it. His version reached #1 in the UK, rising from #45 to replace Bob The Builder at the top, the highest ever leap to #1 in the UK. Otzi's initial goal in life was to be a farmer; a plan he was forced to abandon due to a fear of cows. He turned to music during chemotherapy for testicular cancer. He had 2 more UK top 10 hits, following up with his version of Manfred Mann's "Do Wah Diddy"(#9) and the following year a #10 hit with a remixed version of this to coincide with the 2002 soccer World Cup. By this time "Hey Baby" had become a song football supporters sang at matches. (thanks, Edward Pearce - Ashford, Kent, England)
  • This was the first Hot 100 #1 with an exclamation point in its title.

  • Travis Edmonson - 'Cross The Plains
    Travis Edmonson - 'Cross The Plains


    Travis Edmonson - 'Cross The Plains Lyrics and Youtube Music Videos

    Album: Travis On His Own
    Released: 1962

    'Cross The Plains Lyrics


    'Cross The Plains
  • Travis Edmonson was an American singer-songwriter from San Francisco, California, who recorded material both solo and as one half of the folk duo Bud & Travis. Edmonson befriended the young David Crosby and treated the aspiring hipster to his first taste of marijuana. He also recorded this Crosby-penned song for his Travis On His Own album.
  • This was the first song that David Crosby ever wrote. He told Mojo magazine (February 2014): "l've always been fascinated with wagon trains and the movement of people west. It wasn't a very good song."

    He added: "I think the first song I wrote that was any good was 'Everybody's Been Burned,' which I did when l was with The Byrds."

  • The Crystals - He Hit Me (And It Felt Like a Kiss
    The Crystals - He Hit Me (And It Felt Like a Kiss)


    The Crystals - He Hit Me (And It Felt Like a Kiss) Lyrics and Youtube Music Videos

    Album: He's a Rebel
    Released: 1962

    He Hit Me (And It Felt Like a Kiss) Lyrics


    He Hit Me (And It Felt Like a Kiss)
  • Carole King and Gerry Goffin wrote this song. They were inspired to write it after their babysitter Little Eva told them about her relationship with an abusive boyfriend who beat her almost on a regular basis. When they asked her why she tolerated the abuse, she answered that it symbolized how much he loved her.
  • The subject matter of the song made it a commercial failure. It was disliked by the public, and radio stations denied the song airplay. The Crystals hated the song as well. Why Phil Spector convinced them to record it and then tried to release it as a single remains a mystery today.

    La La Brooks of The Crystals recalled to Mojo magazine in a 2011 interview: "It is an overlooked song and misinterpreted. That was weird for us. We were thrown aback by the song. I'm a teenager at the time. Barbara (Alston, fellow Crystal) was a little uneasy doing it. And I was trying to figure out the song and why Phil would record something like this. Barbara was so turned off because she was singing the lyrics and can't feel anything. So in the studio Phil was telling her, 'Don't be so relaxed on it.'"
  • Barbara Alston sang lead on this one. (thanks, Jerro - New Alexandria, PA, for all above)
  • Alright, fun anecdote time. Bear in mind the title to this song while you peruse this story as told in chapter 6 of Rich Podolsky's book Don Kirshner: The Man with the Golden Ear , concerning the early romantic and professional relationship of songwriters Carole King and Gerry Goffin:

    Atlantic producer Jerry Wexler recalls that Carole's father was not just unhappy with his prospective son-in-law, but downright vengeful. He went so far as to sabotage his daughter's early career, sending out letters to song publishers warning them not to produce the work of King and Goffin. Goffin recalls, "Her father accused me of trying to use her."

    Things got so heated between the two men that, Goffin recalls, "I wound up getting in a fight with him and punched him in the mouth at his home in Rosewood [Queens]. He ran upstairs, then came down and shook my hand and said, 'If you're man enough to fight for my daughter, you're OK!'" The two men then made up, and the union of Carole king and Gerry Goffin had her father's blessings at last.

    Now, could this experience have cast a shadow onto the reasoning that went into the subject of this song?

  • The Contours - Do You Love M
    The Contours - Do You Love Me


    The Contours - Do You Love Me Youtube Music Videos and Lyrics

    Album: Do You Love Me
    Released: 1962

    Do You Love Me Lyrics


    You broke my heart 'cause I couldn't dance,
    You didn't even want me around.
    And now I'm back to let you know I can really shake 'em down.

    Do You Love Me?
    (I can really move, )
    Do you love me?
    (I'm in the groove.)
    Now do you love me?
    (Do you love me now that I can dance?)
    Watch me, now.
    (Work, work)
    Ah,work it out baby.
    (work, work)
    Well, you're drivin' me crazy.
    (work, work)
    With just a little bit of soul, now
    (work!)
    Now I can mash potatoes, I can do the twist,
    Tell me, baby, do you like it like this?
    Tell me,
    (Tell me,)
    Tell me.

    Do you love me?
    (I can really move, )
    Do you love me?
    (I'm in the groove.)
    Now do you love me?
    (Do you love me now that I can dance?)
    Watch me, now.
    (Work, work)
    Ah,work it out baby.
    (work, work)
    Well, you're drivin' me crazy.
    (work, work)
    With just a little bit of soul, now
    (work!)
    Now I can mash potatoes, I can do the twist,
    Tell me, baby, do you like it like this?
    Tell me,
    (Tell me,)

    Writer/s: GORDY JR, BERRY
    Publisher: Sony/ATV Music Publishing LLC
    Lyrics licensed and provided by LyricFind

    Do You Love Me
  • This was written by Motown president Berry Gordy Jr. He wrote it for The Temptations, but they failed to arrive for the recording session. At the same time but in a different Motown studio, The Contours arrived to record "It Must Be Love," but Gordy had other ideas. He asked them to cut "Do You Love Me" instead. The song became one of Motown's first hits, its sexy sound standing out among the much more tame offerings on the charts, which were dominated by artists like Neil Sedaka and The Four Seasons.

    As for The Temptations, it was another two years before they finally had their hit ("The Way You Do The Things You Do"), but when they did, they became the premier male act on the Motown roster.
  • Joe Billingslea of The Contours told Mojo magazine February 2009 the story of this song: "We had just left the record hop and we turned at the studio. The doors were always open in those days. Berry was down there at the piano and he said 'I want you to try this song I'm writing.' He told us how he wanted the backgrounds to go and we sang it. 'Try it again, I didn't quite like it,' he said. After about the third time he said, 'That's not right. I think I'll give it to The Temptations instead.' I told him not to. We did it again and he said, 'That's exactly how I want it. Come in tomorrow morning, we're going to record it.' So we did.
    I didn't like the song. It reminded me of 'Twist And Shout.' I said: 'This song ain't gonna do nothin', man.' That same week it was released and the following week it made the charts. I turned around and said: I love that song! Did I change my opinion? Of course! We realized later that The Temptations could never have sung that song because it wasn't suited to them but Berry had motivated us to sing it the way he wanted it."
  • After being featured in the 1988 movie Dirty Dancing, this was re-released 26 years after it was originally recorded. This time, it charted at #11. The song was a good fit for Dirty Dancing, which despite featuring some modern, original songs, was set in 1963. This was a great song of that era for a dance scene.
  • In 1963, London group Brian Poole And The Tremeloes recorded a version that topped the charts in 16 countries including the UK.
  • The Dave Clark Five recorded this in 1964 as the British Invasion was underway. Their rendition hit #11 in the US. On March 8, 1964, The DC5 played it on the first of their 12 appearances on The Ed Sullivan Show. (thanks, Bertrand - Paris, France)
  • In his autobiography To Be Loved, recalls a confrontation with Motown's primary bass player, James Jamerson, over this song. Jamerson, who is lauded as a creator of the Motown sound, was playing a Jazz beat during the session despite Berry's instructions. "You've got to stay on the f--kin' downbeat," Berry told him, hoping he wouldn't have to kick his star bassist out of the session. When they rolled for the next take, Jamerson did as instructed, playing the Pop groove Gordy requested... until Berry took his eyes off him. "In that split second, Jamerson hit four or five Jazz upbeats in rapid succession," Gordy recalled. "I turned to let him have it, but before I could say anything he had jumped back on the downbeat so brilliantly I could only smile."
  • This song featured in a 2016 Pepsi commercial starring Janelle Monáe. In the spot, which debuted during the Super Bowl, Monáe dances to the song before entering another room where she goes through a time warp and joins in the celebration to Madonna's "Express Yourself."

  • Chuck Jackson - Any Day Now (My Wild Beautiful Bird
    Chuck Jackson - Any Day Now (My Wild Beautiful Bird)


    Chuck Jackson - Any Day Now (My Wild Beautiful Bird) Youtube Music Videos and Lyrics

    Album: Any Day Now
    Released: 1962

    Any Day Now (My Wild Beautiful Bird) Lyrics


    Any day now I will hear you say "Goodbye, my love, way
    Begging you to stay
    Any day now when the clock strikes, Go"

    Writer/s: BOB HILLIARD, BURT F BACHARACH
    Publisher: BMG RIGHTS MANAGEMENT US, LLC, BOURNE CO.
    Lyrics licensed and provided by LyricFind

    Any Day Now (My Wild Beautiful Bird)
  • Burt Bacharach wrote this with Bob Hilliard. Bacharach cut the backing track a year before presenting it to Jackson, but the composer didn't want Wand Records boss Florence Greenberg to release a version by Tommy Hunt.
  • This was a #12 hit for Ronnie Milsap in 1982. It was also covered by Percy Sledge. (thanks, Brad Wind - Miami, FL, for above 2)
  • Burt Bacharach (from Record Collector magazine): "I wrote that song with Bob Hilliard, a wonderful lyric writer, not that we wrote that much together but it was in the Brill Building days. I thought it was a pretty good song, a good R&B song. We'd been doing that song in my show with John Pagano, up-tempo, it's pretty funky and it's good."

  • The Springfields - Silver Threads and Golden Needle
    The Springfields - Silver Threads and Golden Needles


    The Springfields - Silver Threads and Golden Needles Youtube Music Videos and Lyrics

    Album: Silver Threads and Golden Needles
    Released: 1962

    Silver Threads and Golden Needles Lyrics


    I don't want your lonely mansion
    With a tear in every room
    All I want's the love you've promised
    Beneath the halo moon

    But you think I should be happy
    With your money and your name
    And hide myself in sorrows
    While you play your cheatin' game

    Silver Threads and Golden Needles
    Cannot mend this heart of mine
    And I dare not drown my sorrows
    In the warm glow of your mind

    You can't buy my love with money
    'Cause I ain't never was that kind
    Silver threads and golden needles
    Cannot mend this heart of mine

    Silver threads and golden needles
    Cannot mend this heart of mine
    And I dare not drown my sorrows
    In the warm glow of your mind

    You can't buy my love with money
    'Cause I ain't never was that kind
    Silver threads and golden needles
    Cannot mend this heart of mine
    Writer/s: RHODES, JACK/REYNOLDS, DICK
    Publisher: Sony/ATV Music Publishing LLC, CARLIN AMERICA INC, BMG RIGHTS MANAGEMENT US, LLC
    Lyrics licensed and provided by LyricFind

    Silver Threads and Golden Needles
  • The Springfields were a Peter, Paul & Mary-style folk trio of Dusty Springfield (later a solo star), her brother Tom, and their friend Tim Field. The song was originally recorded by Wanda Jackson in 1956 - it was the first single for the rockabilly singer. The Springfields heard Jackson's version and recorded their own. Their version is an early example of folk-pop, complete with a jangly guitar solo.
  • This song was written by Dick Reynolds and Jack Rhodes. Rhodes wrote some popular rockabilly and country song, including "A Satisfied Mind."
  • Some of the many artists to cover this song include The Cowsills, The Everly Brothers, Johnny Cash, Linda Ronstadt and Johnny Rivers. Here are the versions that charted on the US Hot 100:

    Jody Miller (#54, 1965)
    The Cowsills (#74, 1969)
    Linda Ronstadt (#67, 1974)
  • The Springfields released the successful singles "Breakaway" and "Bambino" in the UK before issuing "Silver Threads and Golden Needles" there in April 1962. It was a flop there, but when it was released in America as their first single in July 1962, it became a Stateside hit. When the album was released in the US, it was named after this track, but in the UK it was called Kinda Folksy.

    The Springfields failed to make the US Top 40 with any more songs, but did have further UK success with the hits "Island Of Dreams" (#5), "Say I Won't Be There" (#5) and "Come On Home" (#31).

  • Mary Wells - Two Lover
    Mary Wells - Two Lovers


    Mary Wells - Two Lovers Youtube Music Videos and Lyrics

    Album: Two Lovers and Other Great Hits
    Released: 1962

    Two Lovers Lyrics


    Well, I've got Two Lovers, and I ain't ashamed,
    Two lovers and I love them both the same.
    Let me tell you 'bout my first lover.
    He's sweet and kind and he's mine all mine.
    He treats me good like a lover should and makes me love him,
    I really, really love him,
    Oh, I love him so,
    And I'll do ev'rything I can to let him know.

    Well, I've got two lovers, and I ain't ashamed,
    Two lovers and I love them both the same.
    Let me tell you 'bout my other lover.
    He treats me bad, makes me sad,
    Makes me cry but sill I can't deny that I love him,
    I really, really love him,
    Oh I love him so,
    And I'll do ev'rything I can to let him know.

    Darling, Well, Don'tcha know that I can tell whenever I look at you,
    That you think that I'm untrue,
    'Cause I said that I love two,
    But I really, really do.
    'Cause you're a split personality.
    And in reality, both of them are you.

    Well, I've got two lovers, and I ain't ashamed,
    Two lovers and I love them both the same.
    Well, I've got two lovers, and I ain't ashamed,
    Two lovers and I love them both the same.
    Well, I've got two lovers, and I ain't ashamed,


    Writer/s: GUTIEREZZ, ROBERT/RAMIREZ, ROBERT/CARTER, JAMES CALVIN
    Publisher: EMI Music Publishing, Warner/Chappell Music, Inc.
    Lyrics licensed and provided by LyricFind

    Two Lovers
  • "Two Lovers" was the third collaboration between Motown hit-makers Mary Wells and Smokey Robinson, following "The One Who Really Loves You" and "You Beat Me to the Punch."

    The 1962 hit plays on a risqué theme of a woman torn between two lovers, one who's sweet and kind and one who makes her cry - and she "ain't ashamed." But the surprise ending saved the song from the censors: "you're a split personality, and in reality, both of them are you."
  • Smokey Robinson said that this song was inspired by his then-wife, Claudette Rogers, who also performed with him in the Miracles.
  • The song was also inspired by an old movie that Smokey was watching on TV one night. He recalled to Mojo: "This woman had these two men that she loved. And see, people think that love is exclusive, 'How can you love somebody else if you love this person?' That's just the way love is. Love doesn't have no boundaries, no formulas, and no rules, love doesn't know that."

    "So I thought, OK she's got these two lovers, she loved them both, and in the movie I think one guy died or something, but I thought about it. What if she has two lovers but they're the same person? So I wrote the song."

  • Ray Charles - You Are My Sunshin
    Ray Charles - You Are My Sunshine


    Ray Charles - You Are My Sunshine Youtube Music Videos and Lyrics

    Album: Greatest Hits, Vol. 2
    Released: 1962

    You Are My Sunshine Lyrics


    The other night dear, as I lay sleeping
    I dreamed I held you in my arms
    When I awoke, dear, I was mistaken
    So I hung my head and I cried.

    [Chorus]
    You Are My Sunshine, my only sunshine
    You make me happy when skies are gray
    You'll never know dear, how much I miss you
    Please don't take my sunshine away

    I'll always love you and make you happy,
    If you will only say the same.
    But if you leave me to love another,
    You'll regret it all some day:

    [Chorus]

    You told me once, dear, you really loved me
    And no one else could come between.
    But not you've left me and love another;
    You have shattered all my dreams:

    [Chorus]

    Writer/s: DAVIS, JIMMIE
    Publisher: Peermusic Publishing, Universal Music Publishing Group
    Lyrics licensed and provided by LyricFind

    You Are My Sunshine
  • This was written by Jimmie Davis and his guitar player Charles Mitchell, who first recorded it in 1940, a year after both the Pine Ridge Boys and the The Rice Brothers Gang introduced it (some historians claim Paul Rice actually wrote the tune and sold it to Davis). Davis was a prolific songwriter who became Governor of Louisiana a few years after.
  • Bing Crosby was the first to have a hit with this song. His version went to #20 in the US in 1941.
  • This was sung on the "It Was a GOOD Life" episode of The Twilight Zone by a neighbor of a supernatural little boy -- before the boy changes the neighbor into a jack-in-the-box and buries him in a cornfield.
  • The B-side was Hank Williams' signature song, "Your Cheatin' Heart." (thanks, Brad Wind - Miami, FL, for above 3)
  • The acclaimed 2000 O Brother, Where Art Thou? soundtrack includes a version from bluegrass performer Norman Blake.

  • Neil Sedaka - Breaking Up Is Hard To D
    Neil Sedaka - Breaking Up Is Hard To Do


    Neil Sedaka - Breaking Up Is Hard To Do Youtube Music Videos and Lyrics

    Album: Neil Sedaka Sings His Greatest Hits
    Released: 1962

    Breaking Up Is Hard To Do Lyrics


    You tell me that you're leavin',
    I can't believe it's true!
    Girl, there's just no livin' without you.
    Don't take your love away from me.
    Don't you leave my heart in misery.
    'Cause if you go, then I'll be blue,
    Breakin' up is hard to do.

    Remember when you held me tight,
    And you kissed me all through the night.
    Think of all that we been through,
    And breakin' up is hard to do.

    They say that breakin' up is hard to do,
    Now I know, I know that it's true.
    Don't say that this is the end.
    Instead of breakin' up I wish that
    We were makin' up again.

    I beg of you don't say goodbye,
    Can't we give our love just one more try?
    Come on baby, let's start anew,
    Breakin' up is hard to do.

    Writer/s: Greenfield, Howard / Sedaka, Neil
    Publisher: Sony/ATV Music Publishing LLC, Universal Music Publishing Group
    Lyrics licensed and provided by LyricFind

    Breaking Up Is Hard To Do Song Chart
  • Although Sedaka had had eight Top-10 hits in the US to this point, this was his very first #1. Howie Greenfield penned the lyrics at Sedaka's urging, and then it was presented to Barry Mann (of Mann and Weil) for appraisal. Mann didn't think much of it, so Sedaka then added the opening "dooby-doo" part.
  • The 1975 re-release of this song at a slower tempo, on the album Hungry Years, was just an afterthought. But when it charted all over again at #8, that was his 18th Top 40 Billboard hit out of a career total of 21.
  • This song also charted for the Happenings (1968 #67 in US), Lenny Welch (1970 #34 in US) and the Partridge Family (1972 #28 in US and #3 in UK).
  • According to Sedaka, the song was inspired by the Showmen's song "It Will Stand."
  • One lucky shot that this song had was debuting on June 30th, 1962. This placed it in the perfect spot to start getting heavy airplay during the July 4th weekend, with vacationing teens at the parks and beaches requesting the song over and over again. Note to song promoters: Release your single right before a holiday weekend.
  • Shortly after this song came out, Sedaka married his longtime sweetheart Leba Strasberg. Now, the next part is unexpected enough that we have to cite Rich Podolsky's book Don Kirshner: The Man with the Golden Ear : When Neil proposed over the phone, Leba didn't believe him. So she asked him to put Howie Greenfield on the line. Howie came on and soberly advised her that Neil Sedaka was serious and that he really did want to marry her. They were married September 11, 1962. Around this time, Sedaka was second only to Elvis Presley in record sales.

  • The Four Seasons - Big Girls Don't Cr
    The Four Seasons - Big Girls Don't Cry


    The Four Seasons - Big Girls Don't Cry Youtube Music Videos and Lyrics

    Album: Big Girls Don't Cry and 12 Others
    Released: 1962

    Big Girls Don't Cry Lyrics


    Big Girls Don't Cry
    Big girls don't cry

    Big girls don't cry-yi-yi (they don't cry)
    Big girls don't cry (who said they don't cry?)
    My girl said goodbye-yi-yi (my oh my)
    My girl didn't cry (I wonder why)

    (Silly boy) told my girl we had to break up
    (Silly boy) hoped that she would call my bluff
    (Silly boy) then she said to my surprise
    "Big girls don't cry"

    Big girls don't cry-yi-yi (they don't cry)
    Big girls don't cry (who said they don't cry?)

    (Maybe) I was cru-you-uel (I was cruel)
    Baby I'm a fool (I'm such a fool)

    (Silly girl) "Shame on you" your mama said
    (Silly girl) "Shame on you, you're cryin' in bed"
    (Silly girl) "Shame on you, you told me lies"
    Big girls do cry

    Big girls don't cr-yi-yi (they don't cry)
    Big girls don't cry (that's just an alibi)
    Big girls don't cry
    Big girls don't cry
    Big girls don't cry
    Big girls don't cry
    Big girls don't cry

    Writer/s: FERGUSON/GAD
    Publisher: Sony/ATV Music Publishing LLC
    Lyrics licensed and provided by LyricFind

    Big Girls Don't Cry Song Chart
  • This song was written by Four Seasons member and chief songwriter Bob Gaudio along with their producer, Bob Crewe. It was inspired by a line in a B-movie featuring John Payne. Crewe was half-asleep when he heard this line from a blonde bombshell character who was just slapped by Payne. When she was asked what she thought about being slapped, she replied, "Big girls don't cry." Crewe jotted down the line, fell asleep, and wrote the song the next day.
  • This was designed to sound similar to The Four Seasons first hit, "Sherry," which topped the charts for five weeks a month before "Big Girls Don't Cry" hit the top spot. Motown soon applied the same approach to its acts: if someone had a hit - especially an unexpected one - follow it up with something very similar. Like "Sherry," this spent five weeks at #1 in the US.
  • Nick Massi sang the bass vocals on this track, repeating the phrase "silly boy." Massi's vocals were a big part of the group's early success, but he left the Four Seasons in 1965 as they moved away from the bass sound.
  • This song plays in the opening scene of the 1987 movie Dirty Dancing (which is set in 1963), and also appears in the films The Main Event (1979) and Mermaids (1990).
  • The female rapper MC Lyte interpolated this on a song of the same name she released in 1988.

  • Bobby Vinton - Mr. Lonel
    Bobby Vinton - Mr. Lonely


    Bobby Vinton - Mr. Lonely Youtube Music Videos and Lyrics

    Album: Roses Are Red
    Released: 1962

    Mr. Lonely Lyrics


    Lonely, I'm Mr. Lonely
    I have nobody for my own
    I am so lonely, I'm Mr. Lonely
    Wish I had someone to call on the phone

    Now I'm a soldier, a lonely soldier
    Away from home through no wish of my own
    That's why I'm lonely, I'm Mr. Lonely
    I wish that I could go back home

    Letters, never a letter
    I get no letters in the mail
    I've been forgotten, yes, forgotten
    Oh how I wonder, how is it I failed

    Now I'm a soldier, a lonely soldier
    Away from home through no wish of my own
    That's why I'm lonely, I'm Mr. Lonely
    I wish that I could go back home

    Writer/s: THIAM, ALIAUNE / ALLEN, GENE / VINTON, BOBBY
    Publisher: Sony/ATV Music Publishing LLC
    Lyrics licensed and provided by LyricFind

    Mr. Lonely Song Chart
  • The fourth and last of the #1 singles by Vinton, this is the only one that was not a cover. Vinton wrote the song with Gene Allan, a songwriter who worked for Don Kirshner's Aldon Music.
  • This was recorded in the make-or-break session in which Vinton recorded "Roses Are Red (My Love)," in 1962. His label, Epic Records, was going to drop him if he did not produce a hit. Said Vinton: "I wrote the song when I was in the Army, and when I did my first recording session - which was 'Roses Are Red' - the producers asked if I had any songs of my own. I played them 'Mr. Lonely' and they loved it."
  • After he recorded this song, Epic Records refused to release it, preferring to offer it to Buddy Greco, who was another artist in their stable. Greco's version stalled at #64 in the US in 1962, and that looked like the end of "Mr. Lonely." However, when Epic Records scheduled the release of a greatest hits LP for Vinton, the singer insisted upon the inclusion of his mothballed recording of this song. It became a hit quickly after the release of the LP, and as with "Blue Velvet," the single was released in response to popular demand.
  • This remains Vinton's favorite recording. It has endured through numerous cover versions. Frank Chacksfield, Franky B., The Lettermen, the Glenn Miller Orchestra, The Red Squares and The Village Stompers all recorded the song. Akon's 2005 hit Lonely is based on a sample of this song.

  • David Rose & His Orchestra - The Strippe
    David Rose & His Orchestra - The Stripper


    David Rose & His Orchestra - The Stripper Youtube Music Videos and Lyrics

    Album: Very Best of David Rose
    Released: 1962

    The Stripper Lyrics


    The Stripper Song Chart
  • This is an instrumental song that is usually associated with a strip tease.
  • This was used for the TV program Burlesque. It accompanied a scene featuring a woman stripping off screen while two men argued on screen. This gave it a reputation as a song to take your clothes off to.
  • Rose wrote this in the last 10 minutes of a recording session in 1958. He didn't have a name for it, and referred to it as "a funny piece of music with no title." Later that year, Rose was asked to re-record the song "Ebb Tide" to help promote the movie "Sweet Bird of Youth" (with Paul Newman and Geraldine Page), which he quickly did, but the movie studio needed a B-side for the single, so this song, which was an unnamed, unreleased cut, was pulled from the vaults, given a name ("The Stripper") and placed on the B-side of the "Ebb Tide" single.
  • Los Angeles DJ Robert Q. Lewis popularized this by playing it on the air for 45 minutes straight and playing it whenever a listener requested ANY song.
  • When Rose performed in the Royal Albert Hall years later, he had no intention of including this in his repertoire, but he played it anyway after someone in the audience yelled out a request for it. Rose apologized to Albert Hall management afterwards.
  • Rose did the score to over 1000 television programs, most notably the series The Red Skelton Show, Bonanza, Little House on the Prairie, and Highway to Heaven. He died in 1990 at the age of 80. (thanks, Brad Wind - Miami, FL, for above 5)

  • Robert Preston - Chicken Fa
    Robert Preston - Chicken Fat


    Robert Preston - Chicken Fat Youtube Music Videos and Lyrics

    Album: single release only
    Released: 1962

    Chicken Fat Lyrics


    Chicken Fat Song Chart
  • President John F. Kennedy commissioned Broadway composer Meredith Willson, who wrote music for The Music Man and The Unsinkable Molly Brown, to write an anthem that would inspire school children across the United States to whip themselves into shape as part of the President's Council on Physical Fitness. What followed was "Chicken Fat," also known as "The Youth Fitness Song," that would become a fixture in gym classes throughout the '60s and '70s. It was performed by actor Robert Preston, who originated the role of Harold Hill in the 1957 musical The Music Man and reprised the part for the 1962 film adaptation.
  • While the radio version of the song only clocked in at 2 minutes and 12 seconds, the school version was over 6 minutes and packaged with floor exercises designed to "give that chicken fat back to the chicken."
  • This song became a novelty hit and a nostalgic reminder of gym classes gone by for baby boomers.
  • This song was resurrected in 2014 as part of the new Apple iPhone 5s campaign to tout the smartphone's usefulness for physical fitness endeavors. The TV commercial shows runners, swimmers, and scale steppers gearing up to the words "touch down every morning ... not just now and then" and going full force with "Go you, chicken fat, go away!" while the handy gadget marks their progress - with a touch of good-old-fashioned fat shaming: "Nuts to the flabby guys!" At least it sounds jolly.
  • For whatever reason, Apple doesn't want us to know the singer of the 2014 version of the song. It's not Robert Preston, and it's not Bernie Knee, the jingle writer who supposedly sang it in 2000 - even though he died in 1994. New York Times advertising columnist Stuart Elliott implores "anyone who recognizes the voice, please stop exercising long enough to clue the rest of us in."
  • Robert Preston recorded the 1962 version with the Bernie Green Orchestra during the same sessions for The Music Man film soundtrack.

  • Booker T. & the MG's - Green Onion
    Booker T. & the MG's - Green Onions


    Booker T. & the MG's - Green Onions Youtube Music Videos and Lyrics

    Album: Green Onions
    Released: 1962

    Green Onions Lyrics


    Green Onions Song Chart
  • This is an instrumental with a simple but unusual 2/4 time signature. Booker T. & the MG's were the house band for the Memphis Soul music label Stax Records . They recorded with many of the Stax artists, including Wilson Pickett, Otis Redding, and Isaac Hayes, but they also recorded their own material between sessions.
  • The band developed this song while they were waiting for rockabilly singer Billy Lee Riley (a Sun artist) to show up for a session. In an interview with National Public Radio (NPR), Booker T. Jones said: "That happened as something of an accident. We used the time to record a Blues which we called 'Behave Yourself,' and I played it on a Hammond M3 organ. Jim Stewart, the owner, was the engineer and he really liked it and wanted to put it out as a record. We all agreed on that and Jim told us that we needed something to record as a B-side, since we couldn't have a one-sided record. One of the tunes I had been playing on piano we tried on the Hammond organ so that the record would have organ on both sides and that turned out to be 'Green Onions.'"
  • As the guys were calling it a night after recording this song, Jim Stewart asked them to listen to what he'd recorded on one particular take. They listened but weren't as impressed as Jim, who asked: "If we released this as a record, what would you want to call it?" "Green Onions," was Booker T. Jones' reply. "Why 'Green Onions'" Jim asked. Booker T: "Because that is the nastiest thing I can think of and it's something you throw away."
  • The group's guitarist Steve Cropper brought this song to the Memphis radio station WLOK the day after they recorded it. The morning DJ, Rueben Washington, was a friend of Cropper's, and put the song on his turntable to hear off-air. After listening to just part of the song, he cut off the record that was on air and started playing "Green Onions" for his listeners. Says Cropper: "He played it four or five times in a row. We were dancing around the control room and believe it or not, the phone lines lit up. I guess we had the whole town dancing that morning."

    The response to the song proved Cropper's point that it should be the A-side of the single instead of "Behave Yourself," and subsequent singles were pressed with the sides flipped.
  • The group was named after the British MG sports cars, but when the company expressed disapproval, they claimed the initials as "Memphis Group." Members of the band were Booker T. Jones, Steve Cropper, Al Jackson, and Lewie Steinberg (who was replaced in 1964 by Donald "Duck" Dunn). Jackson was killed in 1975, but the remaining members have gotten together often to play various events, including the "Bobfest" Bob Dylan tribute concert in 1992, and Neil Young's 1993 tour. The band was integrated, which was unusual at the time in Memphis: Three members were black, and one was white (Cropper). When Martin Luther King Jr. was shot in Memphis in 1968, igniting already high racial tensions, they had two white and two black members.
  • The sound is driven by the Hammond Organ played by Booker T. Jones, who was 17 when this was recorded. The Hammond organ was invented in 1934 by Laurens Hammond. Its mournful sound made it the instrument of choice for military chapels, but then in the 1960s the rockers got wind of it and the device became a standard keyboard instrument for jazz, blues, rock and gospel music.
  • In the UK, this was popular in dance clubs, but didn't become a chart hit until 1979, when it was used in the movie Quadrophenia. A character played by Sting danced to it in the movie. (thanks, Edward Pearce - Ashford, Kent, England)
  • In his book Seekers Guide To The Rhythm Of Yesteryear, Shiloh Noone writes about the UK impact of this song: "The 'Green Onions' groove has maintained an epic accountability filtering into a variety of styles, yet its roots have a double-edged sword. Let us chop up the onions and savor the stinging that shed its tears over the last forty years. Strangely the infectious hook never charted in the '60s and took 17 years to reach UK #10. Admittedly Atlantic had slipped up failing to recognize that the instrumental 'Memphis Sound' had conjured a bluesy dance fashion in the '60s. The 1967 'Green Onions' single was backed by the badly recorded 'Bootleg.' The riff took fashion during the mod revival in the '70s and found itself included on The Who's Quadrophenia soundtrack. For many it was the first introduction to Booker T. It was re-issued as a single in 1979 and cracked the UK #10 due to Steve Cropper and 'Duck' Dunn joining the Blues Brothers and featuring in the film of the same name. The stinging riff again re-surfaced in 1985 on 'Old Gold Records,' this time backed by 'Chinese Checkers.' Some of the more definitive versions of 'Green Onions' were featured by Georgie Fame (Fame at Last), the Ventures (Lonely Bull), King Curtis (Memphis Hits). The irresistible groove also hooked the high and mighty as in 'Stoned' by the Rolling Stones that was issued as B-side to 'I Wanna Be Your Man.' The rhythm would move from generation to generation starting with the Blues Brothers (Made in America - 1980), Johnny Thunders (eponymous album 1982) and the acid jazz Penthouse Suite (1990) by the James Taylor Quartet. Barring the original that kicks like a mule, their are four exhilarating interpretations: Live Adventures of Mike Bloomfield & Al Kooper, which has Mike improvising on the decisive Al Kooper Hammond drone. Bloomfield's articulate tone frolics and jostles with absolute ease amazing the crowds at Bill Graham's Fillmore. England's Downliners Sect released the most authentic version and probably the only played purely on guitar in 1964, probably also the first British version and to my knowledge the first cover to wax the globe. For the purists the frenzied guitar solos were reinforced by Muleskinner axeman Ian McLagan, future organist with the Small Faces. Guitar maestro Roy Buchanan recorded this one in 1967 for his Loading Zone. He shares the lead solos with none other than authors Steve Cropper and bassist Donald 'Duck' Dunn."
  • This song provides broadcasters with a wonderful instrumental bed which they can talk over or leave on its own without losing the audience. The NPR program Fresh Air uses it to great effect, and the song has also appeared in a number of films and TV shows, as well as in TV commercials for Mercedes. (thanks, Bertrand - Paris, France)
  • According to Q magazine, a few years after this was released, Georgie Fame met Booker T and told him that he thought the Hammond sound on this song was amazing and asked him what the levers on the organ were set to. Apparently Booker T had been unaware that the settings could be changed and he replied, "What, those things move?"

  • Little Eva - The Loco-Motio
    Little Eva - The Loco-Motion


    Little Eva - The Loco-Motion Lyrics and Youtube Music Videos

    Album: LLLLLoco-Motion
    Released: 1962

    The Loco-Motion Lyrics


    Everybody's doing a brand-new dance, now
    (Come on baby, do The Loco-Motion)
    I know you'll get to like it if you give it a chance now
    (Come on baby, do the Loco-motion)
    My little baby sister can do it with me
    It's easier than learning your A-B-C's
    So come on, come on, do the Loco-motion with me
    You gotta swing your hips, now

    Come on, baby
    Jump up
    Jump back
    Well, now, I think you've got the knack
    Wow, wow

    Now that you can do it, let's make a chain, now
    (Come on baby, do the Loco-motion)
    A chug-a chug-a motion like a railroad train, now
    (Come on baby, do the Loco-motion)
    Do it nice and easy, now, don't lose control
    A little bit of rhythm and a lot of soul

    Come on, come on
    Do the Loco-motion with me

    Ye-ye-ye-yeah
    Move around the floor in a Loco-motion
    (Come on baby, do the Loco-motion)
    Do it holding hands if you get the notion
    (Come on baby, do the Loco-motion)

    There's never been a dance that's so easy to do
    It even makes you happy when you're feeling blue
    So come on, come on, do the Loco-motion with me

    (Come on)
    You gotta swing your hips, now
    (Come on)
    That's right (do the Loco-motion)
    You're doing fine!
    (Come on, do the Loco-motion)
    Come on, babe
    (Come on, do the Loco-motion)
    Hm-hm-hm, jump up
    (Come one)
    Jump back (do the Loco-motion)
    You're looking good
    (Come on, do the Loco-motion)
    Hm-hm-hm, jump up
    (Come on)
    Jump back (do the Loco-motion), yeah yeah yeah

    Writer/s: GOFFIN, GERRY / KING, CAROLE
    Publisher: Sony/ATV Music Publishing LLC
    Lyrics licensed and provided by LyricFind

    The Loco-Motion Song Chart
  • The husband-and-wife songwriting team of Carole King and Gerry Goffin wrote this song. Little Eva was Eva Boyd, the babysitter - actually more of a nanny - being paid $35/week to watch their daughter Louise and clean the house. They were all young: Eva was 17, King 19 and Goffin 22. One day King came up with a melody that Goffin thought sounded like a locomotive, and when he saw Eva dancing with their daughter to the tune, he got the idea to make the song about a brand new dance - The Loco-Motion. He wrote the lyrics and they brought Eva to the studio and had her record the song as a demo - they were hoping Dee Dee Sharp would sing it. Their producer Don Kirshner thought Eva's vocal was just fine, so they named her Little Eva and had her record the song. The only downside for King and Goffin was losing their nanny: when the song became a million-seller, Eva was able to buy a place of her own.

    Gerry Goffin had actually had this song idea in the back of his mind for a couple of years, but had never found the right moment to bring it out. When he sat down to write it at last, he defended it to Carole: "This is going to sound stupid, but what the hell." Don't all the biggest fads start out that way?
  • That saxophone solo was performed by Artie Kaplan, who was also the contractor for the recording session. Kaplan was a song plugger in Aldon Music's publishing department and also Aldon's Music Contractor. Among many other things, he was the one who discovered Tony Orlando while eating lunch at the diner across the street from the Brill Building. As songwriter Barry Mann's roommate, he was there to see the beginning of Mann's relationship to songwriter Cynthia Weil.

    Describing the sessions for this song, Kaplan told us:
    I contracted the "Loco-Motion" recording session and cast the two other musicians who I thought would be right for the date, namely Buddy Saltzman on drums and Charlie Macey on guitar and bass. I played five saxophone overdubs on baritone sax and tenor sax plus the solo part on the session to fill out the feel of a larger orchestra. Carole King played piano on the date and also wrote the arrangement, while she and The Cookies (a female R&B group that recorded for Aldon) added their brilliant vocal backgrounds. And of course there was the wonderful vocal by Eva Boyd, all under the direction of Gerry Goffin and a most able sound engineer Ron Johnson at Dick Charles Recording studios in New York City.

    In those days demos were recorded in mono. Meaning that every time the musicians played a different orchestral part or the singers sang an added harmony, the engineer had to bounce the original track to a second machine while balancing the preceding part along with it. This process, known as overdubbing, was quite common in the early days among songwriters seeking inexpensive studios in which to record their songs to audition for music producers and music publishers.

    I only mention this bit of history because I hesitate to think of how this recording would have survived, but for the excellent work of the sound engineer Ron Johnson and the masterful job he did mixing a "smash hit" record, overdub by overdub, and he never received a thank you for his effort.

    So, I'll do it now, for everyone who simply forgot.

    Thank you Ron Johnson for mixing "The Loco-Motion" a piece of musical history. For without you, we would all be nothing.

    Much love to you, wherever you are,
    Artie Kaplan
  • When the demo of this song was completed, Artie Kaplan took it to Cameo-Parkway, but Cameo producer Bernie Lowe listened to the opening for all of sixty seconds before squeaking the needle off the record and saying "I didn't hear the hook," turning it down cold. Kaplan just shrugged and took it back to Aldon. Lowe's exact facial expression, upon hearing this song come out of the radio later as a #1 hit by July of '62, is forever lost to history but we're pretty sure it must have been memorable. And that's how this song became the first single put out by the newly-formed Dimension Records, spawned from Aldon Music.
  • "Loco" means "crazy" in Spanish, implying that the dance was a crazy motion.
  • In 1974, this became an unlikely #1 US hit for Grand Funk, who did a rock version of the song. It was just the second time a song hit #1 for two different artists - the first was "Go Away Little Girl" by Steve Lawrence in 1962 and Donny Osmond in 1971. That song was also written by King and Goffin.
  • A cover of this song was the first hit for Australian singer Kylie Minogue. Released in 1987, it was the biggest-selling single of the '80s in Australia, and her only hit (#3) in the US until 2002, when she struck with "Can't Get You Out Of My Head."
  • The genesis of this song might have been "Uptown" and "Spanish Harlem," two songs produced by Brill building alumnus Phil Spector. According to Rich Podolsky's book Don Kirshner: The Man with the Golden Ear , when these hits charted, Al Kirshner of Aldon Music didn't get what the popularity was with them, but told his songwriting staff, "Write some more of those songs that I don't understand." The other impetus was of course "Mashed Potato Time," by Dee Dee Sharp, part of the "mashed potato" song fad at the time as referenced in the entry for "Mashed Potatoes." Kirshner called his top writers into the office and announced that there was nobody hotter than Dee Dee Sharp in 1962, and that producer Cameo-Parkway was looking for a follow-up hit. So he charged his staff: "Let's give them a song they can't turn down."
  • The promotional photo for this single features five of the people involved posing around an actual locomotive train engine: Producers Don Kirshner and Al Nevins on the left, founders of Aldon Music, songwriters Gerry Goffin and Carole King on the right, the writers, and lead singer Little Eva, in the front with one foot up on the train like she's keeping it parked so it doesn't roll away. The photo graced the cover of Cashbox magazine.
  • The song was covered by Canadian Ska-Punk band, The Johnstones, with the title of "Locomotion" for their 2012 album SUCK. Their guitarist Jarek Hardy told us they decided to record their own version, as, "it's just a fun song." He added: " We always thought it would be funny to do a song that has a dance. We tried it on one of our previous albums. We made up a dance. But we've really thought it would be funny to bring back an older song. We were just di--ing around in the studio. It was more of just us in the studio screwing around and just being like, hey, what sounds awesome? And we kind of threw it on there last minute."

  • The Miracles Songs - You've Really Got A Hold On Me
    The Miracles - You've Really Got A Hold On Me


    The Miracles - You've Really Got A Hold On Me Lyrics and Youtube Music Videos
    Album: The Fabulous Miracles
    Released: 1962

    You've Really Got A Hold On Me Lyrics


    I don't like you, but I love you,
    Seems that I'm always thinking of you.
    Oh, oh, oh, you treat me badly,
    I love you madly, you really got a hold on me.
    You really got a hold on me, baby,
    I don't want you, but I need you,
    Don't want to kiss you, but I need you.
    Oh, oh, oh, you do me wrong now,
    My love is strong now you really got a hold on me.

    You really got a hold on me, baby,
    I love you and all I want you to do is just hold me,
    Hold me, hold me, hold me.

    I want to leave you, don't want to stay here
    Don't want to spend another day here.
    Oh, oh, oh, I want to split now, I can't Baby,
    I love you and all I want you to do is just hold me,
    Hold me, hold me, hold me.

    You really got a hold on me.
    You really got a hold on me.
    You really got a hold on me.

    You really got a hold on me.
    You really got a hold on me.

    Writer/s: ROBINSON JR., WILLIAM
    Publisher: Sony/ATV Music Publishing LLC
    Lyrics licensed and provided by LyricFind

    You've Really Got A Hold On Me Song Chart
  • Miracles leader Smokey Robinson wrote this song while thinking about Sam Cooke's "Bring It On Home To Me." Cooke would sometimes perform at Robinson's church with his group the Soul Stirrers, and Smokey was a big fan. Cooke's song finds the singer apologizing to his girl after casting her off, promising to treat her right if she comes back. "You've Really Got A Hold On Me" is the same sentiment but with the roles reversed: the girl mistreats the guy, but he loves her unconditionally.
  • Smokey Robinson wrote this song when he was in New York City negotiating a publishing deal, and not pleased with the way the talks were going. He says that he wrote the song in his hotel room with the intention of writing something controversial, which he accomplished with the first line: "I don't like you, but I love you." Such a conflicted and unhealthy sentiment was rarely heard in songs of this era.
  • When Motown was growing into a dominant label in 1962, they set up a tour where many of their acts performed together around the United States. For many people, this was their first look at Motown acts like The Supremes, Stevie Wonder and Marvin Gaye. This was the biggest Motown hit at the time, so The Miracles closed the shows with it.
  • The Beatles recorded this in 1963 and performed it in their last movie, Let It Be. The Beatles were the first big British band to come to America and admit they were influenced by black music. Robinson admired this admission, and felt they helped black artists by covering their songs.

    It wasn't the only Motown song The Beatles covered: they also recorded "Money (That's What I Want)" and "Please Mr. Postman" along with "You've Really Got A Hold On Me" on their U.K. release The Beatles' Second Album. Berry Gordy of Motown gave The Beatles a reduced rate for the rights to cover the songs, as it was a huge deal for him to have the most popular band in England recording songs from his roster.
  • Charting cover versions of this song in America were released by Gayle McCormick (#98, 1972) and Eddie Money (#72, 1979). Bob Seger included the song in his live shows when he was starting out in the early '60s.
  • Smokey Robinson sang this song on the children's show Sesame Street in a sketch where a giant puppet "U" grabbed on to Smokey as he sang the song and ultimately carried him away. (thanks, Alden - College Park, MD)
  • Steven Tyler belted out a verse of this song when he was on stage with Smokey Robinson to present the Grammy Award for Record Of The Year in 2014. "Thanks Steven," that was beautiful, Robinson replied.
  • Lyrics

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