SHG: Bob Dylan: "Like a Rolling Stone"

Bob Dylan: “Like a Rolling Stone”
Entered the chart on: 8/14/65
Peaked on: 9/4/65
Weeks at #2: 2
Song at #1: “Help!” by the Beatles

Well, it took two years, but we finally get an appearance by Bob Dylan on Second Hand Goods on his own, not having one of his songs interpreted by someone else. I’d be lying if I said I didn’t think that the British Invasion, specifically the popularity of the Rolling Stones, didn’t have a bit of a hand in this song’s chart success. Incidentally, the Rolling Stones covered “Like a Rolling Stone” themselves in 1995 and their version is...not very good!

But never mind about that, how about the composer’s original version?



I can’t believe it. These were the days when shorter was better, remember this was the next #2 hit after the 2 minute, 59 second “Save Your Heart for Me.” And here’s Bob Dylan with this rambling six-minute number. Apparently, Columbia were really reticent to release this as a single, on account of its length. In addition to that, Dylan had a reputation as a folk singer, and they were sort of antsy releasing a song by him with electric instruments on it.

That said, this is a fascinating song. Much has been written of Dylan deciding to strap on an electric guitar for this one, and of session man Al Kooper (another Gary Lewis link!) playing the unforgettable Hammond organ part on this song. And then there’s the matter of the lyrics. They seem a bit on the harsh side, especially since he seems to be prodding the female subject on her way down a cataclysmic fall from success. Kicking her when she’s down, so to speak. That said, and this has been pointed out by other reviewers, she doesn’t strike me as the nicest person in the world. Not saying that she deserves this much scorn, but still. There’s a lot we don’t know. As with Carly Simon’s later hit “You’re So Vain,” it’s become popular to ponder if some real-life person was the inspiration for the song, especially if said person might have been somebody famous.

Really, Dylan needs to be canonized for his lyric writing (Oh, what’s that? He was?). Because he really is a master with words. The “Once upon a dime you dressed so fine/Threw the bums a dime in your prime,” couplet is overflowing with internal rhyme, they roll off the tongue in an appealing way, and we’re only at the start of the song! It’s not the only time that happens, the entire song is like that.

Obviously, we have to address Dylan’s voice, which I know a lot of people don’t like. Ragged and untrained, it’s definitely not pretty. But there is a raw honesty to it, and he sells the subject matter with clearly audible fire in his belly. Would Peter, Paul & Mary have been able to channel the rage and bitterness Dylan brings forth with such ease and effectiveness here? I don’t think so! And his voice is echoed by his amateurish yet oddly appealing harmonica breaks leading from the refrain back into the verse. It’s like the punctuation mark of the song.

Listening to this is kind of like listening to that scruffy street musician on the corner. Only you realize that he’s no ordinary talentless bum jabbing at a guitar for pocket change. He actually has something interesting and profound to say.

I get why this was such a big hit. How could anything be the same after this?

Rating: 5

SHG: Millie Small: "My Boy Lollipop"

Millie Small: “My Boy Lollipop”
Entered the chart on: 6/6/64
Peaked on: 7/4/64
Weeks at #2: 1
Song at #1: “I Get Around” by the Beach Boys

We’re going into what appears to be a lull in the Beatles’ popularity. It must have been a relief to the Beatles’ hate squad to see an old-school musical song by someone from the old guard (namely jazz legend Louie Armstrong* with the title song from Hello Dolly) topping the charts after that first rush of Beatlemania.

It turned out not to be the case. What really happened was that Capitol grabbed the reins of control over the Beatles catalogue, and began metering out their releases at a more moderate pace. So Beatles songs continued to top the charts for the rest of the year, and the decade, proving this was no mere fad like the Twist had been.

That said, let’s examine the case of the first artist on Second Hand Goods from a third-world country. Namely, an eighteen-year-old girl from Jamaica named Millie Small (née Millicent Smith). It wouldn’t be the first time Antillean music would make it to the U.S. pop charts. Cuban bandleaders like Perez Prado had topped the charts multiple times in the 50s, and then there was the calypso craze (spearheaded by Harry Belafonte and his “Banana Boat Song”) that came and went. This is the first time “ska” ever appeared on the charts, and unlike the “Banana Boat Song,” it wasn’t the beginning of a trend. In fact, poor Millie never scored a second hit**.



Well, I have a hard time believing she’s eighteen. Based on this, if you’d told me she was eight years old, I’d have a hard time refuting that claim. She has this voice that sounds like her ovaries never dropped. An “acquired taste,” I guess.

For sure the arrangement is what sells this song even if you don’t like Millie’s “little girl” voice. Those horn blasts are impossible to resist. There’s also an extremely raunchy harmonica part, which blasts into a solo in the middle eight that is by far my favorite feature of this song. I heard somewhere that it’s actually a young Rod Stewart blowing the mouth harp on this tune. I have no idea if that’s true or not, but it’s a funny bit of trivia if so.

So...enjoyable, but based on this I can’t imagine her having a lasting career.

Rating: 3

*I have been known, on occasion, to offer up my own impression of Louie Armstrong singing the Schaeffer Beer jingle. It’s probably not something I should be doing, but there you are. **technically she did, as the follow-up single “Sweet William” was a top 40 hit. But peaking at #40 is not an unqualified success by any standard. Maybe when I finish this feature I’ll do songs that peaked at #40.

SHG: Patti Page: "Allegheny Moon"

Patti Page: “Allegheny Moon”
Entered the chart on: 6/16/1956
Peaked on: 8/25/1956
Weeks at #2: 2 weeks
Songs at #1: “My Prayer” by the Platters

Except for Freda Lipschitz, Joni James and [shudder] Margie, 1955 had been pretty much a sausagefest. And here we are in 1956, with three female soloists in a row. How do these things happen?

I’ve mentioned the former Clara Ann Fowler already in passing, as the most popular female soloist before rock & roll was on everyone’s mind, alongside the #1 male soloist, Perry Como. Why these two, you might ask? Simple, they both had prominent musical variety TV shows at the time.

If you know Ms. Page at all today, it’s probably for her 1950 smash hit “Tennessee Waltz.” Either that, or the noxious novelty hit “Doggie in the Window.” Hopefully for the former and not the latter. So, let’s check this one out.



OK, thus far we’ve had three female-sung tunes in a row, and they’ve all been quite excellent. Patti was from Oklahoma, so it makes sense that her songs would have a country tinge. It’s definitely country-flavored, nobody would mistake this for Patsy Cline, for example. But her voice is rich! You could practically drown in it!

The “shine, shine, shine” hook grabs you and draws you into the loping waltz-time rhythm, but I think Vic Schoen, who orchestrated this, deserves a lot of credit. Patti gets some solid support from her male chorus, and there’s a haunting harmonica solo in the middle eight.

Like “Ivory Tower,” I liked this a lot more than I expected to! This one’s long on atmosphere, which I didn’t expect. I was all ready to dismiss Patti as a dated relic, but after listening to this, I kind of want to go back in time and kick my past self for being so dismissive.

I’m sighing with delight now. Very pretty song!

Rating: 4