Skip to main content

Year Of Decision: “Did You Ever Have To Make Up Your Mind?” by The Lovin’ Spoonful




In America this is practically the Lovin’ Spoonful’s signature song, but in Britain it is little-known; it appeared on their 1965 album Do You Believe In Magic? and as the lead song on a four-track E.P. but was never a single. Nevertheless it is a charming little ditty adding to the gradual spaced-out-ness of the imminent summer of its year with careful electric piano, Zal Yanovsky’s scratchy guitar solo and an almost vaudevillian gait to both music and lyrics as John Sebastian muses over having to decide the better of two options, or pathways, to pursue. Since there was never any subtext to the Spoonful’s songs any metaphorical notion of politics or war is not really supported, and this is just about love and girls (we even get the same mock-stentorian adult commentary that we find in "Summertime Blues"); but the record is worthy and studiously goofy enough not to sound out of place on Beck’s Odelay. Or on any of the first four albums by the Monkees, who are about to happen and whom this record in part anticipates (Peter Tork having come out of the same Greenwich Village folk scene as Sebastian & Co.).

Date Record Made Number Two: 11 June 1966
Number Of Weeks At Number Two: 2
Record At Number One: “Paint It, Black” by The Rolling Stones
UK Chart Position: Not released as a single in the UK

Comments

Popular posts from this blog

“I Would Have Thought In The Middle Of The Atlantic In The Middle Of The Night That Rockets Must Mean Trouble”: “I’m Not In Love” by 10cc

"watching for night, with absinthe eye cocked on the lone, late, passer-by." (Sylvia Plath, "Prospect," 1956) This story begins in 1954, before most people had really recognised anything called rock, and a pop record which is half-perfect. That record, which stayed at number one in our charts for ten weeks, was “Cara Mia” by David Whitfield with Mantovani and his Orchestra and Chorus. Now, Whitfield was never the most subtle of singers and his in-your-face bellowing is somewhat distracting – it is significant that he was the first British reality media star (not from television, because at that time Opportunity Knocks was only broadcast on Radio Luxembourg) since his climactic high C at the end of “Cara Mia” is like a display of gymnastics, or an athletic field event; can he do that triple loop or throw that javelin beyond the stadium? It proves that technical prowess can often render itself unlistenable. But the magic here lies in the extraordinary ...

A Disaffection, Or Fight Against Same: “Baker Street” by Gerry Rafferty

Even as a young teenager growing up in Lanarkshire, I was always listening out for music that sounded out of kilter, whether it was George Crumb’s Makrokosmos III (the closing section of which I heard on a Saturday afternoon on Radio 3) or anything which “irrupted” the top forty. From the first time that I heard “Baker Street” on the radio – I think it was Dougie Donnelly on Radio Clyde – I was immediately hooked, mentally noting that this song seemed to go as much against the grain of a standard pop record as anything coming out of punk or New Wave, and was probably just as angry, if not angrier. For forty years I harboured the notion – and this was from a time when visiting London, never mind living and working in it, was still a distant pipedream – that the song encapsulated the situation of the displaced Scotsman, marooned in a world he doesn’t really like or perhaps even understand. Make no mistake, this is undeniably a Scottish record, and seemingly all about someone...

Threads Of Alligator Lizards In The Air: “Purple Rain” by Prince and The Revolution

The original idea was for a country-style collaboration with Stevie Nicks, to whom Prince sent a ten-minute instrumental backing track, asking her to come up with some lyrics. However, Nicks was overwhelmed by what she heard and feared that the task was too much for her to take on, so the song was reworked in rehearsal with The Revolution, utilising Wendy Melvoin’s guitar phrasing as a new guideline. The song appears to have existed before the film; Purple Rain the movie is best described as lucid hokum, but its soundtrack changed the atoms which constituted “pop,” far more so than much ostensibly radical music of the period. For many of that decade’s generation, Purple Rain the soundtrack was “our” Ziggy Stardust – better conceived, performed and produced in every way – and the title song, which closes the album, was “our” “Rock ‘N’ Roll Suicide.” It is such a patient epic, the song, and about a lot of things, and people – each of the verses addresses a different su...