Looks like that link might soon be dead, wordnwot. Apparently the Official Charts Company has asked The Chart Archive to take down its database. How long before 45cat is asked to remove its chart placings???
I recently picked up an old Troggs singles A and B sides CD among a cheap job lot in a house clearance sale and decided to listen to it in the car today. Track 2 is an absolute belter and I'd never heard it before. Turned out to be "From Home"- the flip side of "Wild Thing" which I have owned since 1966 but have never listened to. Find of the day, 46 years overdue.
Chip Taylor explains the stream of consciousness genesis of The Troggs’ classic.
At that time I was mainly a country writer - even though I was from New York. I'd been selling songs for $30 until I was signed to a CBS publishing company called April-Blackwood Music. The bluesy sweaty Memphisy stuff was inside me. I remember the day I wrote Wild Thing very well. I got a phone call from Jerry Granahan, an A&R guy and songwriter who said he had a new group and needed a song they could record the next day - Jordan Christopher & The Wild Ones. I said I'll try to write something this afternoon. I have a country session this evening but I'll try to do it before then.
Well, I'm a stream of consciousness writer, I go looking for something magic and out of this situation I got the chorus line, 'Wild thing ... you make my heart sing!' I didn't know where to go with it. But I liked where Stax Records would leave a space and speak something: 'Wild thing ... I think I love you' ... I didn't know what to say next, but the silences in Wild Thing are the best lyrics.
So, I had a verse and a chorus, which had maybe taken me eight minutes, [and] by then I was thinking, I love this thing. I'm not pushing this too hard, just see what happens as the spirit moves me. So I called an engineer I knew, Ron Johnson, at Dick Charles Studio where Gerry Goffin and Carol King did their demos. I asked him to set up a stool and a mike and, when I arrived, turn the lights out and just press the button. I didn't want to be seen. I sat there and started chunking away on the guitar, just holding that pulse, leave the strings open, and it sounded so cool.
When I finished and listened back I started banging on some things-I stomped on a floorboard, I beat on a can to get the accents, to get the feel, to get a chill- nothing too smart. When the Instrumental break came up Ron was doing a thing with his hands like where you whistle with a blade of grass, and it sounded like an ocarina. I thought, that's it. I loved the feel of it, with the lights out -I'd never done that before, it was just instinct - it was more sensual than anything I'd ever recorded.
I was a little nervous to let people see that side of me. I didn't want to be there when the publishing company heard it. When I went home I told my brother Jon [Voight] I'd done something good. I played it for him and he fell on the floor laughing. I said, You’re laughing? He said, That's the best song I ever heard.' And it's not funny, it's sexually serious, raw emotion.
Next day, when everybody was saying they loved it, after closing time I walked into the publishing company manager's office, a guy called Dave Rosner, and I took all the copies of the Wild Thing demo out of his files because I was embarrassed. But the next day he said he had found one. I couldn't hide it. Jordan Christopher & The Wild Ones did it well, as a regular blues record, [but] it didn't have that weird off-the-wall magic. The Troggs did it exactly my way. Wonderful. I hoped performers would feel the sweat of my writing [and] it made me feel they were Inside the song. And I loved that Larry Page production. Little bits of energy, and not doing any more than that. Letting the silence be the silence. Less is more. He understood.