Gary Lewis And The Playboys – Count Me In (Vinyl) - Discogs

About the Song

In the vibrant world of 1960s pop, few bands captured the youthful energy and infectious melodies quite like Gary Lewis & The Playboys. Their 1965 hit, “Count Me In,” stands as a prime example, pulsating with a driving beat and an irresistible invitation to join the fun.

Gary Lewis & The Playboys, led by the energetic frontman Gary Lewis (son of legendary comedian Jerry Lewis), weren’t your typical rock and roll band. Their sound leaned heavily towards a pop-oriented style, incorporating elements of surf rock and garage rock. “Count Me In” perfectly exemplifies this approach, offering a blend of catchy hooks and a youthful exuberance that resonated with teenagers at the time.

The song explodes from the speakers with a burst of jangly guitars and a pounding drumbeat that instantly grabs your attention. Gary Lewis’s charismatic vocals take center stage, brimming with enthusiasm as he extends the titular invitation: “Count me in, I wanna be with you.” The lyrics, penned by Glen Hardin, paint a picture of a young man eager to be part of the action, whether it’s a party, a trip to the beach, or simply spending time with a special someone. It’s a sentiment that anyone who’s ever felt the thrill of youthful possibility can relate to.

“Count Me In” isn’t just about the lyrics; it’s a meticulously crafted piece of pop music. The interplay between the guitars, drums, and the occasional blast of organ creates a dynamic soundscape that’s both simple and effective. The song’s structure is a classic verse-chorus format, but it’s delivered with such infectious energy that it keeps the listener engaged from start to finish.

The song’s success was undeniable. It reached number two on the Billboard Hot 100 chart, trailing only Herman’s Hermits’ “Mrs. Brown, You’ve Got a Lovely Daughter.” “Count Me In” became a staple on radio stations across America, cementing Gary Lewis & The Playboys as a household name.

More than a song, “Count Me In” is a sonic snapshot of a bygone era, a time when pop music thrived on catchy melodies and unbridled enthusiasm. It’s a song that evokes feelings of carefree joy and youthful camaraderie, reminding us of the simple pleasure of being part of something bigger than ourselves. Even today, its infectious energy continues to capture the hearts of listeners across generations, making you want to jump up and shout, “Count me in!”Gary Lewis & the Playboys - Wikipedia

Video 

Lyrics: Count Me In

If you need someone to count on
Count me in
Someone you can rely on
Through thick and thinWhen you start to count
The ones that you might ever doubt
If you think of counting me
Count me outWhen you count the ones that want you
Count me, too
And if I’m not first on your list
Count me blueJust be sure you count on me
And when the countings through
Count me madly in love with you

If you need someone to count on
When you’re down
And all your other friends you’ve lost
Count me found

Just be sure you count on me
When you’re down and out
Count me in through thick and thin
Or it don’t count

When you count the ones that want you
Count me, too
And if I’m not first on your list
Count me blue

Just be sure you count on me
And when the countings through
Count me madly in love with you

 

You Missed

THE CHAOS STOPS. THE NOISE FADES. AND IN THE FINAL SECONDS, TOBY KEITH STEPS BACK INTO THE LIGHT. For most of the video for “Think As You Drunk,” Riley Green leans into the kind of high-octane, rowdy trouble that country music fans have been raising hell to for decades. He’s losing boots, stumbling through bars, and ending up in handcuffs—with his corgi, Carl, watching the whole mess with a look of pure, sober judgment. It’s the kind of reckless, fun-loving anthem that keeps the honky-tonks loud on a Friday night. But then, just as the dust settles, the mood completely shifts. As the track winds down, the familiar, unmistakable roar of Toby Keith’s voice cuts through, playing “As Good As I Once Was.” The camera stops following the chaos and lingers on a framed photo of Toby, center stage, holding a red Solo cup high in the air—a classic pose for the man who turned that cup into a national symbol. In that quiet moment, the jokes fall away. Riley Green doesn’t need a tearful monologue or a scripted tribute; he lets the music and the image do the heavy lifting. It is a masterful, respectful tip of the hat from one generation of country stars to the man who laid the blueprint for the modern drinking anthem. The tribute is more than just a nod in a video; it’s a commitment. A portion of the proceeds from the song is headed to the Toby Keith Foundation, directly supporting children fighting cancer and their families. While Carl the corgi might win the “funniest moment” award, Toby Keith gets the final word—a hauntingly perfect reminder of the legacy he left behind.

SHE STEPPED UP TO THE MICROPHONE TO SING A LOVE SONG WITH A MAN WHO WAS ALREADY GONE. When Lorrie Morgan walked into the studio to record “‘Til a Tear Becomes a Rose,” she wasn’t just performing a track for a Greatest Hits album. She was stepping into a haunting, high-stakes duet with her late husband, Keith Whitley, who had passed away just a year earlier. The technology was simple, but the emotional weight was crushing. Keith’s voice was already on the tape, preserved from an old demo he’d recorded with his friend Ricky Skaggs. There was no studio collaboration, no sharing a smile between takes, and no husband to hold once the final note faded. Lorrie had to stand in the silence, put on her headphones, and wait for Keith’s voice to come through—then harmonize with a ghost. When the song was released in 1990, it didn’t just climb the charts; it hit a nerve that few country songs ever reach. It felt raw, immediate, and painfully real. That fall, when the industry gathered for the CMA Awards, the song took home the trophy for Vocal Event of the Year. The two names—Lorrie Morgan and Keith Whitley—were etched together on the award, a cruel reminder of a partnership that had been tragically severed in its prime. While Lorrie stood alone to accept the honor, the recording remained a permanent monument to what they had been. It wasn’t just a song about sorrow or a performance about heartbreak; it was a widow using her own voice to reach across the silence and sing one last time with the man she couldn’t hold again. It stands today as a testament to the fact that while death can end a marriage, it can’t always silence the music that two people built together.

A PERFECT FINALE: ALAN JACKSON HANGS UP HIS HAT AND WELCOMES HIS FIFTH GRANDCHILD.For a man who built a career on songs that capture the milestones of life—the memories, the heartbreaks, and the quiet joys—the timing of Alan Jackson’s latest chapter feels like something written into a country standard.On June 27, 2026, Alan Jackson took the stage at Nashville’s Nissan Stadium for his final, massive farewell concert, “Last Call: One More for the Road – The Finale.” With over 50,000 fans in the stands and a roster of country’s biggest names joining him, the mood was one of celebration and reflection. During the show, Alan shared a sweet, prophetic moment with the crowd, pointing out his daughter Dani, who was heavily pregnant at the time. “We have three wonderful daughters and sons-in-law, and now we’ve got 4.75 grandchildren,” he joked. “One’s due any minute. She’s out there… I feel sad for her being here tonight, she’s about to go into labor with all this sound going on.” He wasn’t off by much. Twelve days after that final bow, the Jackson family grew once more. On July 9, 2026, Dani and her husband, Sam Carrington, welcomed Samuel Hudson Carrington—”Hudson”—the couple’s first child and Alan and Denise’s fifth grandchild. Alan shared the news on Instagram with a touching photo of himself and Denise cradling the newborn. It’s a milestone that brings a beautiful full-circle moment to the Jackson household. With all three of his daughters—Mattie, Ali, and Dani—having been pregnant at the same time, this “baby boom” has been the perfect way for Alan to transition from the spotlight of his touring career to the quiet, cherished life of a grandfather. For the man who spent decades singing “Remember When,” this is a new “remember when” in the making: one legendary farewell, one beautiful hello, and a retirement that couldn’t have been timed more perfectly.

PEOPLE SAW WHAT THE CANCER HAD TAKEN, BUT WHEN HE STEPPED TO THE MIC, HE SHOWED THEM THE ONE THING IT COULD NEVER REACH. By the end of 2023, the physical toll was impossible to miss. Stomach cancer had stripped away the frame of the man who once seemed to fill an entire arena just by walking out onto the stage. When Toby Keith stepped onto the boards at Dolby Live in Las Vegas, the audience wasn’t looking at the “Big Dog Daddy” of the 2000s; they were looking at a man who had been through the fires of hell. But then, he started to sing. The voice was different—weathered by pain, tempered by exhaustion, and rougher around the edges. But it wasn’t broken. It carried the same iron-clad authority that had defined his career for three decades. He didn’t try to hide his condition or mask the changes with stagecraft; he stood there, exposed and honest, and let the music do the work. When he performed “Don’t Let the Old Man In,” the atmosphere in the room shifted. It wasn’t just a song anymore; it was a manifesto. Every word felt like a deliberate strike against the inevitable, a defiant declaration from a man who wasn’t done yet. He wasn’t just singing about age; he was singing from the front lines of his own battle. Those shows were meant to be a comeback. Instead, history turned them into a final stand. In the end, cancer succeeded in weakening his body and cutting his time short, but it couldn’t touch the core of who he was. When he began to sing, the noise of his illness vanished, leaving behind only the one thing that had fueled his entire life: an unwavering refusal to back down.