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Any Major Originals – Motown

September 19th, 2019 7 comments

This year marks the 60th anniversary of the founding of Tamla Motown. I needn’t riff on about the genius and influence of Berry Gordy’s label; for that you are well-advised to watch the recent, marvellous Showtime documentary. Most of Motown’s classic hits were original compositions; a few were versions of previously recorded in-house productions (though far fewer than one might expect); a handful were songs brought in from outside Hitsville — and one was, as we’ll see, brazenly stolen.

If you wish to mark the 60th anniversary by way of covers of Motown hits, Covered With Soul Vol. 17 and Vol. 19 might do the trick.

 

Papa Was A Rollin’ Stone / Smiling Faces Sometimes
In Motown’s happy family it was common that the same songs would be recorded by different artists. Often this involved The Temptations, who sometimes originated a hit for others, and other times had a hit with a song previously recorded by others. And sometimes, there was a straight swap, as it was between The Temptations and The Undisputed Truth.

The Undisputed Truth, who are now mostly remembered for their hit Smiling Faces Sometimes, recorded Papa Was A Rollin’ Stone as a single release in 1971. It did not perform spectacularly well, peaking at #63 in the US charts. A year later, songwriter Norman Whitfield gave the song to the Temptations when he produced their 1972 All Directions album, on which it appeared as a 12-minute workout. The shortened single version went on to top the US charts in 1973.

The song dated the death of the deplorable Papa to “the third of September”, which happened to be the date Temptations singer Dennis Edward’s father died. Edwards was allocated that line, leading him to suspect that Whitfield had written the line knowing of that particular detail. Whitfield denied that (as he well might), but nevertheless exploited Edward’s anger about it by having him sing the line in repeated takes until the singer sounded very irate indeed. For his troubles, the Temptations dismissed Whitfield as their producer.

The group would never record anything better than Whitfield’s epics. And when Whitfield left Motown, the Undisputed Truth followed him.

But still at Motown, The Undisputed Truth took their signature song, Smiling Faces Sometimes, from The Temptations, who released it as a 12-minute track in April 1971 on their Sky’s The Limit LP and later, in as final twist of irony, as a b-side of Papa Was A Rollin’ Stone.

Released a month after The Temptations’ LP version, The Undisputed Truth enjoyed a US #3 hit with the song. The follow-up, Papa Was A Rollin’ Stone, flopped at #63. And then went to The Temptations…

 

War
While The Temptations and The Undisputed Truth scored hits with each others’ songs, Edwin Starr had a hit with a Temps song, War. The anti-Vietnam protest song appeared originally on the Temptations 1970 Psychedelic Shack album.

By popular request, Motown decided to release War as a single — but not by the Temptations, because the label did not want to associate its big stars with political causes.

Indeed, the Temptations themselves were apprehensive about offending some of their fans (though exactly why anybody who would dig the drug-friendly psychedelic grooves of early-’70s Temptations might be offended by an anti-war sentiment is a mystery). So Motown gave the song to a relative unknown who two years earlier had enjoyed his solitary hit.

Edwin Starr’s anthemic, fist-raising version was far more fierce and furious than that of The Temptations. Catching the zeitgeist, Starr’s War was a US #1 hit. And guess who appears on the backing track… The Undisputed Truth.

 

I’m Gonna Make You Love Me
There’s a link between the first recording of I’m Gonna Make You Love Me by Dee Dee Warwick in 1966 and the 1968 hit by Diana Ross & the Supremes and The Temptations: on the original, released on Mercury, Nickolas Ashford provided backing vocals; on the Motown cover, he was a co-producer.

The song was written by future Philly Soul legend Thom Bell and Jerry Ross, the patron of Kenny Gamble (whose sidekick Leon Huff received a writing credit for it on some releases). For Warwick it was a R&B #13 hit. Ross was so convinced of the song, he had it recorded by several other artists under his charge. Ashford and his wife Valerie Simpson did backing vocals on all of them.

But it was only in 1968 that I’m Gonna Make You Love Me dented the US pop charts, when Madeline Bell’s version, recorded in England after Dusty Springfield passed on it, took it to #26 in April that year (also on Mercury, incidentally).

A few weeks later the recordings for the Motown version began, being completed in stages over almost four months. The final product, essentially a duet of Diana Ross and Eddie Kendrick with Otis Williams joining the fun for the spoken interlude, was released in November 1968. It reached #2 on the Billboard pop charts.

 

You Are Everything / Stop Look Listen
Thom Bell also co-wrote You Are Everything, first a hit for The Stylistics before becoming a Motown staple in the version by Diana Ross and Marvin Gaye. In the US, it was a hit for The Stylistics (#9) while the Ross & Gaye recording wasn’t released as a single there; but in the UK the Motown version did the business, reaching #5 in 1974.

Follow-up Stop Look Listen (Listen To Your Heart), also a cover from a Thom Bell & Linda Creed composition for The Stylistics, reached only #25 in the UK, where the 1971 original had failed to dent the charts. The Motown version wasn’t released on single in the US, but it is probably the better-known version, not least thanks to its inclusion on soundtrack for Bridget Jones’s Diary.

 

Abraham, Martin And John
Another song that features here on strength of its performance in the UK is the idealistic Abraham, Martin And John, which in its folky original was a hit for erstwhile rock & roll idol Dion. Released soon after the assassination of Martin Luther King Jr (the only one of the martyred trio who unconditionally and absolutely wanted to free a lot of people), it reached #4 in the US.

In the UK, Dion had enjoyed #10 and #11 hits in 1961/62 (with The Wanderer and Runaround Sue respectively), and nothing since. So when Marvin Gaye released his version of the lament for the trio of unseen friends in early 1970, Britain’s delayed zeitgeist propelled it to #9. It was Gaye’s last solo Top 10 hit there for seven years (Let’s Get It On reached #31!).

 

For Once In My Life
Ron Miller and Orlando Murden were staff writers for the Jobete publishing company which was owned by Motown. In 1966 they wrote For Once In My Life, but were still struggling with it.

Miller asked little-known singer Jean DuShon, signed to Chess Records but then performing in a nightclub, to work with him on the vocal arrangement. He was so impressed with DuShon’s interpretation that he had her record and release the record on Chess.

Alas, Chess didn’t promote the record (some say due to pressure by Motown boss Berry Gordy), and it flopped. Hearing that the songwriters were giving the song to a non-Motown artist, Gordy insisted that it be immediately recorded by an act on his label. The song was given to Barbara McNair (whose stint at Motown was brief and who never was a priority for Gordy), who might have recorded it before DuShon, though the latter’s version was the first to be released. McNair’s version is included as a bonus track.

Over the next few months the song was recorded by several non-Motown artists, including Tony Bennett, who had a minor hit with it, Carmen McCrae, Della Reese, Vicky Carr and Nancy Wilson. On Motown, which regularly produced the same songs by different artists, it was released in 1967 alone by The Temptations, Four Tops and Martha & The Vandellas.

On 15 October 1968, teenager Stevie Wonder gave it an exuberant, uptempo treatment. Gordy didn’t like Stevie’s versions and declined to release it. When, at the urging of Billie Jean Brown, the head of Motown”s Quality Control Department, it was released as a single in late 1968, it became a massive hit, peaking at #2 (topping the charts was another Motown hit Gordy had previously vetoed, Marvin Gaye’s I Heard It Through The Grapevine).

Ron Miller wrote other hits for Stevie Wonder: Heaven Help Us All, Yester-Me Yester-You Yesterday (see below), and A Place In The Sun, as well as Diana Ross’ Touch Me In The Morning. But before Stevie had a hit with For Once In My Life, it was considered Tony Bennett’s song.

When Ella Fitzgerald introduced it on her 1968 Live in Berlin album (recorded before Stevie’s version was issued), she described it as Bennett’s song. A few years ago, Bennett and Wonder finally sang the For Once In My Life together, on the former’s album of duets. The pair took Grammies home for their efforts, and performed the song at the awards ceremony. Stevie dedicated it to his recently deceased mother, and Bennett… to his sponsors.

 

Someday We’ll Be Together
The Supremes’ sentimental farewell song with Diana Ross proved less than prescient (if we disregard the awkward performance of it on 1983’s Motown 25th anniversary show), and La Ross probably never thought that she “made a big mistake” by leaving.

The song was originally recorded in 1961 by the R&B duo Johnny & Jackie, in a Drifters-style arrangement. The Johnny half of the Detroit duo was Johnny Bristol, and Jackey was his singing and songwriting partner — and ex-air force compadre — Jackey Beavers. They co-wrote Someday We’ll Be Together with the great Harvey Fuqua, on whose Tri-Phi label the single appeared. It was not a big hit, and after several years of trying, Bristol and Beavers went their separate ways, with Jackey signing for Chess Records.

Bristol went on to become a noted producer on Motown, working with Fuqua on songs such as Marvin Gaye & Tammi Terrell’s Ain’t No Mountain High Enough and David Ruffin’s My Whole World Ended.

Bristol had the distinction of producing the final singles by both The Supremes and The Miracles before their headliners departed. That means, of course, that Bristol produced the song which he had co-written and first recorded himself for Diana Ross and the Supremes.

The other Supremes didn’t actually appear on it (which makes the decision to play Some Day We’ll Be Together at Florence Ballard’s funeral seem quite odd). Bristol had intended the song for Junior Walker and the All Stars, for whom he had already written the hit What Does It Take (To Make You Love Me). He had laid down the arrangement and backing vocals, by Maxine and Julia Waters, when Gordy decided that this would be the song with which to transition Diana into her solo career. Probably because of the title, he issued it as a farewell song for Diana Ross and the Supremes, rather than as a solo debut for Ross.

The male voice on the song is Bristol’s. Not satisfied with Ross’ performance, he harmonised with her, ad libbing encouragements. The sound engineer accidentally captured these, and since it sounded good, it was decided to keep them in. Diana Ross & the Backing Singers’ single topped the US charts (perhaps fittingly, the last chart-topper of the ‘60s).

Johnny Bristol, who died in 2004, went on to have some success as a singer, most notably with the 1974 hit Hang On In There Baby. He also wrote and recorded the first version of the Osmonds’ hit Love Me For A Reason.

 

Come See About Me
The Supremes hit Come See About Me is one of those records where the earlier recording was released later (as we’ll see, there are a few others in this mix). In keeping with the methodology of this series, we go primarily by release date. And here, it seems, Nella Dodds narrowly scooped The Supremes.

Come See About Me was written by Motown’s hugely successful songwriting team Holland-Dozier-Holland, and The Supremes recorded it on 13 July 1964, backed by The Funk Brothers. Somehow the song had come into the hands of the people at Wand Records in New York, who had their singer Nella Dodds record it. While The Supremes were still riding high in the charts with Baby Love, their second chart-topper in a row, Wand put out Dodds’ version, a pleasant affair which nonetheless can’t compare to the exquisite vigour of the Supremes’ version.

Although Dodds recorded for a New York label, she was a pioneer of Philadelphia soul — Kenneth Gamble, future Philly soul supremo, and Jimmy Bishop, who would discover many Philly soul acts, appeared on Dodds’ Wand recordings.

Motown were alarmed when they learned that Dodds’ record had been issued, and rush-released The Supremes’ recording. Dodds’ version stalled at #74, and she would never have a breakthrough hit. For The Supremes, Come See About Me became the third in a golden run of five #1 hits.

 

Shop Around
Smokey Robinson & The Miracles covered themselves very soon after releasing the original of Shop Around, Motown’s first million-seller, in 1960. The first version was the bluesy version of the song which features here. It was released only in Detroit (hence it is known as the “Detroit Version”), and credited to The Miracles featuring Bill “Smokey” Robinson.

Co-writer Berry Gordy astutely calculated that the song needed a poppy treatment and had The Miracles re-record it, apparently art something like three in the morning, with Gordy himself on piano — and thereby have their big breakthrough hit.

 

I Heard It Through The Grapevine
Gladys Knight believes she has good reason to be pissed off. There Gladys and her Pips had delivered an excellent dance number with I Heard It Through The Grapevine, scoring a US #2 hit in 1967, and Motown’s best-selling single up to then. And yet, a fair number of people will be surprised to know that the song was in fact not a Marvin Gaye original. One has to feel for poor Gladys, but Marvin’s more bluesy version, though unloved by Berry Gordy, is flawless in every way.

The timeline of the song is a little confusing. Written by Norman Whitfield and Barrett Strong, several Motown stars — including  as well as Smokey Robinson, Marvin Gaye and the Isley Brothers — tested for the song before Gladys Knight’s version was approved for release. It was Smokey who recorded it first, with The Miracles, on 16 August 1966. His version stayed in the vaults until after Knight had her hit with it, as did that recorded by Marvin Gaye, whom Whitfield had in mind when he wrote the song. He had to bug Gordy until the owner relented and had the Gladys Knight version released.

A year later Smokey’s version was released as an LP track, on the Special Occasion LP. On the very same day, on 26 August 1968, Gaye’s version was issued, as track 4 on his In The Groove album (later retitled after Grapevine). Having been recorded in February 1967 (before Gladys did her take), it was not supposed to be a single. But radio DJs picked it up and created the demand which forced Motown to issue it on single, on 30 October 1968.

 

Yester-Me Yester-You Yesterday / All I Do
Two other songs were recorded before their more famous covers, both by Stevie Wonder, but released later. Written by Ron Miller (who also wrote For Once In My Life) and Bryan Wells, Yester-Me Yester-You Yesterday was first recorded by Chris Clark, the white soul singer on the Motown roster, in 1966. Her version didn’t see the light of day until 2005; possibly it was a demo for a sing which would then remain unrecorded for two years.

All I Do Is Think About You went unrecorded even longer. Recorded by Tammi Terrell in 1966, it finally surfaced as All I Do on Stevie Wonder’s 1980 album Hotter Than July. Terrell’s version, and one done around the same time by Brenda Holloway, didn’t get a release until 2002, which is puzzling since it is very good.

For Stevie, one of three co-writers of the song, it wasn’t really a hit either. Which is puzzling since it also is very good.

 

You Got What It Takes
Marv Johnson’s You Got What It Takes was Motown’s first hit — and a case of brazen theft.

The song was written and first recorded in 1958 by blues musician Bobby Parker. It was the b-side of his debut solo single, Blues Get Off My Shoulder. A year later, Berry Gordy took it, literally. He had Marv Johnson record it, and then stole the songwriting credit for himself, with his sister Gwen Gordy (later Fuqua) and Roquel Davis. Poor Bobby Parker, powerless to act against the musical mugging, got nothing from the song, which was a Top 10 hit in both the US and UK.

And the kicker is that Gordy set up Motown and the music publishing wing Jobete because he was sick of getting stuffed by record companies for the work he had done…

As ever, CD-R length, home-handclapped covers, PW in comments…

 

1. Bobby Parker – You Got What It Takes (1958)
The Usurper: Marv Johnson (1959)

2. The Miracles feat. Bill ‘Smokey’ Robinson – Shop Around (Detroit Version) (1960)
The Usurper: The Miracles (1960)

3. The Temptations – Too Busy Thinking About My Baby (1966)
The Usurper: Marvin Gaye (1969)

4. The Isley Brothers – That’s The Way Love Is (1967)
The Usurper: Marvin Gaye (1969); The Temptations (1969)

5. The Miracles – Who’s Lovin’ You (1960)
The Usurper: The Jackson 5 (1969)

6. Johnny & Jackey – Someday We’ll Be Together (1961)
The Usurper: Diana Ross & The Supremes (1969)

7. Dee Dee Warwick – I’m Gonna Make You Love Me (1966)
The Usurper: Diana Ross & the Supremes and The Temptations (1968)

8. Tammi Terrell – All I Do Is Think About You (1965, rel. 2002)
The Usurper: Stevie Wonder (as All I Do, 1980)

9. The Choice 4 – I’m Gonna Walk Away From Love (1975)
The Usurper: David Ruffin (as Walk Away from Love, 1975)

10. The Stylistics – You Are Everything (1971)
The Usurper: Diana Ross and Marvin Gaye (1973)

11. The Stylistics – Stop, Look, Listen (To Your Heart) (1971)
The Usurper: Diana Ross and Marvin Gaye (1973)

12. Dion – Abraham, Martin & John (1968)
The Usurpers: Marvin Gaye (1970), Tom Clay (1971)

13. The Temptations – War (1970)
The Usurpers: Edwin Starr (1970), Bruce Springsteen (1986)

14. Smokey Robinson & The Miracles – Beauty Is Only Skin Deep (1964, rel. 1966)
The Usurper: The Temptations (1966)

15. Nella Dodds – Come See About Me (1964)
The Usurper: The Supremes (1964)

16. Chris Clark – Yester-Me Yester-You Yesterday (1966, rel,. 2005)
The Usurper: Stevie Wonder (1969)

17. Smokey Robinson & The Miracles – I Heard It Through The Grapevine (1966, rel. 1968)
The Usurpers: Gladys Knight & The Pips (1967), Marvin Gaye (1968)

18. Jean DuShon – For Once In My Life (1966)
The Usurpers: Tony Bennett (1967), Stevie Wonder (1968)

19. Thelma Houston – Do You Know Where You’re Going To (1973)
The Usurper: Diana Ross (1975, as Theme from ‘Mahogany’)

20. The Undisputed Truth – Papa Was A Rollin’ Stone (1973)
The Usurper: The Temptations (1973)

21. The Temptations – Smiling Faces Sometimes (1971)
The Usurper: The Undisputed Truth (1971)

Bonus Tracks:
Barbara McNair – For Once In My Life (1966)
Gladys Knight & The Pips – I Heard It Through The Grapevine (1967)

GET IT! or HERE!

 

More Originals:
The Originals: The Classics
The Originals: Soul
The Originals: Rock & Roll Years
The Originals: 1960s Vol. 1
The Originals: 1970s Vol. 1
The Originals: 1980s Vol. 1
The Originals: 1990s & 2000s
The Originals: Elvis Presley Edition Vol. 1
The Originals: Elvis Presley Edition Vol. 2
The Originals: Beatles Edition
The Originals: Carpenters Edition
The Originals: Burt Bacharach Edition
The Originals: Schlager Edition
The Originals: : Christmas Edition

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The Originals: Rock & Roll Years

August 22nd, 2019 5 comments

 

This edition of The Originals covers the Rock & Roll Years: the 1950s and very early 1960s.  Not every song is rock & roll, but the better-known versions of these songs would have been bought by those who also bought rock & roll records. And, having already covered the lesser-known originals of Elvis Presley hits (Vol. 1 and Vol. 2), the story must begin with Bill Haley & His Comets. Poor yourself a cup of coffee, or a long drink, sit back, and read about the lesser-known covers of the Rock & Roll Years.

 

Rock Around The Clock
It is indisputable that Bill Haley was a key figure in converting rock & roll into the mainstream — or, if we prefer to stray from euphemistic rationalisation, make a black genre infused with some country sensibility palatable to white audiences (so that’s a doctoral thesis delivered in 13 glib words). Haley was no more the father of rock & roll as the Bee Gees were the “Kings of Disco”. Rock Around The Clock wasn’t the first rock & roll single either (if there is such an originating record; on the original label it is categorised as a foxtrot), or even Haley’s first rock & roll song.

But it was the first rock & roll #1 hit, and the song’s pivotal influence is undeniable, even if it ripped off a 1947 hit, Hank Williams’ Move It On Over (which Chuck Berry also seems to have borrowed from for Roll Over Beethoven).

Rock Around The Clock was written for Haley, but due to various complications involving a feud between record company and authors, it was recorded first by Sonny Dae and His Knights, an Italian-American band, released on a label co-owned by Haley. The original version — quite distinct from the more famous version — made no impression, and there is no evidence that Haley referred to it in his interpretation. Indeed Haley and his Comets played it frequently on stage before they recorded it.

Haley’s Rock Around The Clock (recorded on 12 April 1954 as Sammy Davis Jr sat outside the studio awaiting his turn in the studio) features one of the great guitar solos of the era, by Danny Cedrone. Alas, Cedrone didn’t live to see his work become a seminal moment in music history — he died on 17 June 1954 in a fall, three days short of his 34rd birthday. Perhaps Cedrone might be regarded as the first rock & roll death. Which would give the Rock & Roll Hall of Fame two reasons to admit him.

As a footnote, Rock-A-Beatin’ Boogie, which also features here, was written by Haley in 1952, but was first recorded by Cedrone’s band The Esquires. Haley recorded, to greater commercial effect, after Cedrone’s death, in 1955.

 

Shake, Rattle And Roll
In its original version by Big Joe Turner, Shake Rattle And Roll is a salacious song about sexual intercourse (“a one-eyed cat peepin’ in a seafood store”). Haley — a man who did not particularly inspire thoughts of wild sex — defanged the song of its carnal suggestions and made it acceptable to halfway respectable folks.

The song was written by Jesse Stone (under a pseudonym), who also wrote The Drifters’ breakthrough hit Money Honey and arranged The Crew Cuts mega-hit Sh-Boom.  Turner recorded it for Atlantic on February 15, 1954, with Sam “The Man” Taylor on saxophone (he also played on the mentioned Jesse Stone-produced tracks). Stone, and Atlantic bosses Jerry Wexler and Ahmet Ertegün did the backing vocals.

It was released in April 1954 and did respectable business. Haley’s version, released in August that year, made it a classic. One night think that Turner would have resented the white guy getting the big success with the song. But the two soon became close friends, with Haley later helping out a struggling Turner.

Turner, who had enjoyed a career as a blues act in the 1940s (he was Esquire magazine’s male vocalist in 1945) and was a huge influence on rock & roll pioneers like Little Richard and Buddy Holly, died in 1985 at the age of 74.

 

See You Later Alligator
See You Later Alligator, the final of Haley’s trilogy of million-sellers, was a cover of Bobby Charles’ Cajun blues number. Born Robert Charles Guidry in Louisiana, Charles recorded the song as Later Alligator in 1955 at the age of 17. It was released in November 1955 without making much of a commercial impact. His hero, Fats Domino, also recorded a couple of his songs, first Before I Grow Too Old and in 1960 the hit Walking To New Orleans.

Haley recorded See You Later Alligator on December 12, 1955, apparently allowing his drummer Ralph Jones to play on it, instead of the customary random session musician. Released in January 1956, Haley’s version sold more than a million copies, but reached only #6 in the Billboard charts.

Contrary to popular perception, the catchphrase “See you later, alligator”— with the response “in a while, crocodile”— was not coined by the song, neither in Bobby Charles’ nor Bill Haley’s version. It was an old turn of phrase, used by the jazz set already in the 1930s, along the same lines as “What’s the story, morning glory?”, “What’s your song, King Kong?” and “What’s the plan, Charlie Chan?”. It was, however, due to Haley’s hit that the phrase spread more widely throughout the US and internationally.

 

Whole Lotta Shakin’ Going On
One day in 1956, Jerry Lee Lewis and his father Elmo were passing through Memphis. Aware of how Elvis Presley had emerged from Sam Philips’ Sun studio, Jerry Lee decided to drop in and audition, at the suggestion of his cousin Mickey Gilley (who later would become a big country star; another cousin, Jimmy Swaggart would become a notorious televangelist).

The audition didn’t go very well: nobody wanted a piano player. According to sound engineer Cowboy Jack Clement, Lewis sounded like country guitar legend Chet Atkins on piano. Jerry Lee was dynamic, to be sure, but he was country and boogie woogie — not rock & roll. A month later Lewis returned, with Clement’s encouragement. This time Sam Philips was in the studio. Lewis played a country hit, Ray Price’s Crazy Arms, in blues style. Philips was sold. Before too long, Lewis’ version of Crazy Arms became his debut single, on Sun.

In May 1957, Clement and Philips were seeking a follow-up single. The session to record the Clement composition I’ll Be Me did not go well. During a break, bassist JW Brown — Jerry’s cousin and future father-in-law (13-year-old Myra Gale’s dad) — suggested they play A Whole Lotta Shakin’ Going On, a cover of a song that had gone over well live. It took just one take for a pivotal moment in rock & roll to be created.

A Whole Lotta Shakin’ had been written by Dave “Curlee” Williams, half black and half Native American, and Roy Hall, a nightclub owner from Nashville who had been recording intermittently in the country genre for 11 years. Or maybe Roy Hall didn’t write it; as so often with songs in the 1950s, there’s no single accepted narrative.

The song became a minor hit in 1955 after the R&B singer Big Maybelle (real name Mabel Louise Smith) recorded it, produced by a young Quincy Jones. Though Big Maybelle’s version was better known, Lewis had picked up the song from a version by Hall, whom he had seen performing it with country star Webb Pierce in Nashville.

Perhaps more than any rock & roll classic, A Whole Lotta Shakin’ embodies the spirit of the nascent genre: a song created by a multi-racial team which first was a rockabilly number, then an R&B song, and then became something different altogether when performed by a singer who had a love for country, blues, and gospel and infused the stew with his own unique anarchic sensibility and lecherous sexuality.

Initially the song was banned, but after Lewis appeared on the Steve Allen Show, which had also provided Elvis with an early platform, the airplay ban was gradually lifted, and the song became a big hit. Suitably, it topped both R&B and country charts.

 

Walkin’ In The Rain
Not many pop classics were written in jail. Johnny Bragg and Robert Riley were incarcerated in 1952 at the Tennessee State Penitentiary when a chance conversation about the wet weather — Bragg, the story goes Read more…

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The Originals: Beatles

July 25th, 2019 5 comments

 

With the Beatles’ incredible achievements in mind, it is easy to forget that three of the Beatles’ first four albums were topped up with fillers, many of them cover versions — which is quite ironic since the Beatles went on to become the most covered band ever. Some of these covers are better known in their original versions; the Little Richard and Chuck Berry compositions and Motown classics, for example. Some are generic classics (A Taste Of Honey; Till There Was You), and some are fairly obscure, or would become so.

In this instalment of The Originals, we look at the lesser-known first recordings of songs covered by The Beatles on their albums or singles.

 

Twist And Shout
Twist And Shout is probably the most famous cover by The Beatles, and is most commonly associated with them. And rightly so: their take is rock & roll perfection. It was based on the 1962 cover by the Isley Brothers, who introduced the rhythm guitar riff (which borrows heavily from Richie Valens’ La Bamba) and the “ah-ah-ah” harmonies, to which the Beatles added the Little Richardesque “wooo”.

The song was written by the legendary Bert Berns (sometimes credited to his pseudonym Bert Russell) with Phil Medley. Berns gave Twist And Shout to The Top Notes  —  a Philadelphia R&B group which might have been forgotten entirely otherwise  —  whose recording was produced by a very young Phil Spector.

The result did not please Berns, who accused Spector of “fucking it up”. He was a bit harsh on young Phil; the Top Notes’ version is not bad, but Berns had hoped for something a more energetic. So he took the song to the reluctant Isley Brothers, who had scored a hit two years earlier with the driving Shout, which had the kind of sound Berns imagined for his song.  Their Twist And Shout, which Berns produced, became a US #17 hit and is included here as a bonus track. Read more…

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The Originals – Soul Vol. 1

June 27th, 2019 2 comments

The theme of this month’s instalment of The Originals is soul classics. The alert reader will notice, with possible alarm, that none of the tracks featured were Motown hits. But that reveals that I’m planning to do a special of lesser-known originals of Motown hits at some point.

 

 

Sweet Soul Music (Yeah Man)
Before Arthur Conley wrote Sweet Soul Music, his tribute to the living soul legends, he just wanted to cover Sam Cooke’s posthumously released Yeah Man. Otis Redding rewrote the lyrics, and got himself a namecheck — but excluded the man who was being plagiarised. It was a strange omission, since Sam Cooke influenced pretty much every soul singer of the 1960s, including and especially Otis Redding.

Try A Little Tenderness
Indeed, it was Cooke’s interpretation of the old standard Try A Little Tenderness which inspired Otis Redding’s reworking of the song. Once Otis was through with the song, with the help of Booker T & the MGs and a production team that included Isaac Hayes, it bore only the vaguest semblance to the smooth and safe standard it once was. Redding in fact didn’t even want to record it, ostensibly because he did not want to compete with his hero Cooke’s brief interpretation of the song on the Live At The Copa set. His now iconic delivery was actually intended to screw the song up so much that it could not be released.

It isn’t quite clear who recorded the original version: the versions by the New Mayfair Dance Orchestra and the Ray Noble Orchestra are both cited as having been recorded on December 8, 1932.

At Last
When Beyoncé Knowles was invited to sing At Last — Barack and Michelle’s special song — at Obama’s inauguration events in January 2009, Etta James was not best pleased. The veteran soul singer stated her dislike for the younger singer, who had portrayed Etta in the film about the Chess label, Cadillac Records. “That woman; singing my song, she gonna get her ass whupped,” James declared (she later relegated her outburst to the status of a “joke”).

It is her song, of course, certainly in the form covered so competently by Beyoncé. But many people recorded it before her, and it was a hit at least twice. The first incarnation came in the 1941 movie Orchestra Wives, in which it was performed by Glenn Miller and his Orchestra, who also recorded the first version to be released on record on 20 May 1942. It was a #9 hit for Miller. At Last became a hit again ten years later, for Ray Anthony with Tom Mercer on vocals. This version is typical 1950s easy listening fare, done much better in 1957 by Nat ‘King’ Cole (who tended to do music much better than most people).

In 1960 Etta James recorded the song, with Phil and Leonard Chess producing with a view to accomplishing crossover success. Her version, released Read more…

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The Originals: 1990s & 2000s

May 30th, 2019 5 comments

 

 

The eagle-eyed among you will have noticed that The Originals are running monthly now. This month we cover the 1990s and 2000s. My stash of lesser-known originals from that era is limited; so much so that I’m adding a few bonus tracks to exhaust those decades.

 

It’s Oh So Quiet
Bjork showed just how madcap crazy she is on the big band pastiche It’s Oh So Quiet. But the song was actually a cover of actress Betty Hutton‘s 1951 English version of the song, titled Blow A Fuse. It is no less maniacal than Bjork’s 1995 cover, right down to the frantic screams.

It’s fair to say that back in the day Hutton was a bit of a cook in her own right; her goofy performance in the musical Annie Get Your Gun (with which you apparently can’t get a man) testifies to a certain lack of restraint which is very much on exhibition on Bjork’cover.

Blow A Fuse itself was a cover of a 1948 German number by Austrian jazz musician Horst Winter, who knew it as Und jetzt ist es still (And now it’s quiet). It is included here as a bonus track.

Torn
When Natalie Imbruglia’s Torn had its long run in the upper reaches of the British and US charts in 1997, word was that the song was a cover of the Norwegian hit by Trine Rein. The truth is that it wasn’t even the first cover, or even the first Scandinavian version.

The song’s journey to hit-dom is a little complicated. The song was written by Ednaswap members Anne Preven and Scott Cutler in 1993. The same year it was recorded in Danish by Lis Sørensen as Brændt (“Burnt’) but by Ednaswap only in 1995. Still, those who overplayed the Norwegian angle aren’t entire wrong though: Imbruglia’s cover is a straight copy of Rein’s version, right down to the guitar solo.

Ednaswap were a not very successful ’90s grunge band, who came by their name when singer Anne Preven had a nightmare about fronting a group by that name being booed off the stage. Well, with a name like that… Preven has become a songwriter, receiving an Oscar nomination for co-writing the song Listen from  Dreamgirls.

 

I Swear & I Can Love You Like That
Before it was a worldwide mega-hit for soul crooners All-4-One, I Swear was a country song. In late 1993, singer John Michael Montgomery issued I Swear as a single. It did very well in the country charts and won the 1995 Grammy for Best Country Song, but reached only Read more…

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The Originals – 1960s Vol. 1

April 25th, 2019 7 comments

 

In this instalment of The Originals we look at some of the lesser-known first releases of songs that would become huge 1960s hits for others, starting with (what I will assume is) the innocence of My Boy Lollipop and ending with the national anthem of Orgasmia. There are 30 songs on the mix; I’m telling the story of 17 of them. Of the remaining 13, it may be noted that two were written by Laura Nyro, the one featured here in her first recording and the later Blood, Sweat & Tears hit And When I Die.

So, get a good cup of the hit beverage of your choice, settle in and enjoy the journey through the originals of 1960s classics.

 

My Boy Lollipop

Millie’s My Boy Lollipop, widely regarded as the first crossover ska hit which helped give reggae a mainstream audience. In its original version, My Boy Lollypop (note the original spelling) was a song recorded in 1956 by the white R&B singer Barbie Gaye, at 15 two years younger than Millie Small was when she had a hit with the cover in 1964.

As so often in pop history, the story of the song’s authorship is cloaked in controversy. By most accounts, it was written by Bobby Spencer of the doo wop band The Cadillacs, with the group’s manager, Johnny Roberts, getting co-writer credit. Barbie Gaye’s single became a very minor hit, championed by the legendary rock & roll DJ Alan Freed. It was Spencer’s misfortune to come into contact with the notorious mafia-connected record executive and music publisher Morris Levy, who implausibly claimed that he had in fact written My Boy Lollypop, using the moniker R Spencer as a pseudonym. The real Spencer was later reinstated on the credits which nonetheless still list Levy as a co-writer. Levy’s name is attached to other classics which he had no hand in writing, such as Lee Dorsey’s Ya Ya, Frankie Lymon’s Why Do Fools Fall In Love, and The Rivieras’ California Sun. We’ll encounter him again in the story of the next song in this post.

My Boy Lollipop was revived in 1964 by Chris Blackwell, boss of the nascent Island Records label in England, which had recorded no big hit yet. He chose young Millicent Small to record it. As half of the duo Roy & Millie she had already enjoyed a hit with We’ll Meet in Jamaica. Her version changed Island’s fortunes: the song became a worldwide hit, reaching #2 in both US and UK. Island, of course, went on to become the label of Bob Marley, Roxy Music, Robert Palmer and U2.

Hanky Panky

Among the inhabitants of cubicles with pianos at the Brill Building in New York were Ellie Greenwich (who in her earlier singing had named herself Ellie Gaye in tribute to Barbie Gaye) and her husband Jeff Barry, who together wrote so many of the songs we now associate with Phil Spector’s girl groups. In 1963, Greenwich and Barry recorded a demo of a song called What A Guy. It was intended for a doo-wop group called The Sensations, but the band’s label, Jubilee, was so impressed with demo’s girl-band style (which was in fact Greenwich’s multi-tracked voice, with Barry providing bass voice) that they decided to release it, in the name of the songwriters’ band, The Raindrops.

Trouble was that Greenwich and Barry had no song for the flip-side, so they thrashed out Hanky Panky in the space of 20 minutes. They were not particularly satisfied with the song, and when a group called The Summits released it soon after as the b-side of He’s An Angel (or it might have been released before What A Guy came out; it’s unclear), it didn’t do brisk business either.

And yet, the song had become popular among garage rock live bands, including one called The Spinners (not the soul band), from whom the teenage musician Tommy Jackson heard it. He recorded it with his band, The Shondells, in 1964 at a radio station in Michigan. It was a local hit, but Tommy decided to break up his band and complete his schooling. The following year he was contacted by a Pittsburgh DJ who had discovered the record and now wanted Tommy and his Shondells to perform it on air. He hurriedly put together a new line-up of Shondells, and changed his name to Tommy James. He then sold the 1964 master to Roulette Records, which released it without remixing, never mind re-recording it. The single went to #1 in July 1966. James later explained in a Billboard interview: “I don’t think anybody can record a song that bad and make it sound good. It had to sound amateurish like that.”

There is a great story of how the small New York-based Roulette label got to release Hanky Panky. It seems that a whole gang of labels, some of them majors, wanted to buy the record. Suddenly, one after another, they withdrew their offers, much to Tommy James’ surprised dismay. In the end Jerry Wexler of Atlantic told the singer, still a teenager, what was going on: Roulette’s Morris Levy (on whom The Soprano’s Hesch Rabkin is based) had called all rival labels telling them that Hanky Panky belonged to him. Intimidated, the rivals bought the bluff, and James had to go with Levy.

Needles And Pins
Needles And Pins was written by Sonny Bono and Jack Nietzsche and first recorded by the vastly underrated Jackie DeShannon in 1963, crossing the Atlantic the same year in Petula Clark’s version before the Searchers finally scored a hit with it in 1964 (DeShannon’s version, while not a hit in the US, topped the Canadian charts). The story goes that The Searchers first heard Needles And Pins being performed by Cliff Bennett at the Star Club in Hamburg and immediately decided that the song should be their next single. It became the second of their three UK #1 hits. They did retain DeShannon’s pronunciation of “now-ah”, “begins-ah” and “pins-ah”.

 

I’m Into Something Good
In the late 1950s Ethel “Earl-Jean” McCrea was a member of the R&B girl group The Cookies, which was absorbed into Ray Charles’ backing band, The Raelettes. Only Earl-Jean didn’t join the backing singer gig, instead becoming part of a new incarnation of The Cookies, who recorded the original of The Beatles’ Chains.

The Cookies did much demo work for Carole King and Gerry Goffin at Aldon Music, doing backing vocals on pop songs such as Little Eva’s The Loco-motion (it was through Earl-Jean’s recommendation that King and Goffin employed Little Eva as a babysitter) and Neil Sedaka’s Breaking Up Is Hard To Do. Along the way, they had a top ten hit with Don’t Say Nothing Bad About My Baby.

Earl-Jean left The Cookies in 1964 to try for a solo career, and it was King and Goffin who wrote her first (and only) solo hit: I’m Into Something Good, released on Colpix Records. It did a creditable job, climbing to #38 in the Billboard charts. Alas, her follow-up single, Randy, didn’t do as well, and when in 1966 Colpix folded, her solo career was over.

In Britain, the record producer Mickey Most – fresh from discovering The Animals – had heard I’m Into Something Good, and decided it was a perfect vehicle for his new protéges, Herman’s Hermits. The single became a UK #1 hit in September 1964, and then went on to reach #13 in the US, ringing in a golden period for Herman’s Hermits, who remarkably became the best-selling act in the United States in 1965, ahead of even The Beatles

Galveston

Jimmy Webb sat on the beach of Galveston on the hurricane-plagued Gulf of Mexico when he wrote this song, which might appear to be about the “Spanish-American War” (which we really should call the Cuban Independence War) but was just as applicable to the Vietnam War, which Read more…

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The Originals: Schlager edition

March 21st, 2019 6 comments

At first glance, this edition of The Originals seems narrowly aimed at Germans, but it should appeal to all fans of European and 1970s pop music.

The German Schlager has a reputation for being banal rubbish, and it’s not entirely unmerited. But the genre generated some legit entertainment and even moments of good quality. Often, those moments were the result of the Schlagermachine finding foreign songs and reproducing them for the German market. Sometimes what emerged was superior to the originals, as it was in the case of Danyel Gérard’s 1971 mammoth-hit Butterfly.

That song doesn’t feature here; only one track on this collection is the first version of a German hit sung by its original artist: Belgian singer Salvatore Adamo’s Petit Bonheur, which in German became Ein kleines Glück. The German version disproves the point I just made about teutonic production superiority. It’s a fairly strange bit of music in any version.

 

Before Giorgio Moroder became a pioneering trailblazer in Euro-disco and electronic music, he was a pop singer and Schlager producer. The Italian-born half-German came to Berlin in 1963. In 1969 he had a million-seller as Giorgio with Looky Looky, which topped the French charts. The following year he released Arizona Man, a Moog-driven, temp-changing pop number. His version went nowhere, but a German cover released shortly after gave Mary Roos her first hit.

Arguably the Schlager singer with the best strike-rate in choosing covers was Israeli-born Daliah Lavi. Four of her biggest hits were cover versions: three feature here; two were written by the same man: John Kongos. The South African singer went on to have two UK Top 10 hits (Tokoloshe Man and He’s Going To Step On You Again; both later covered by the Happy Mondays), but in 1970 his Would You Follow Me was translated into German and became a big hit for Lavi as Willst Du mit mir geh’n. The following year, the song was also covered by Olivia Newton-John.

 

Also in 1970, Kongos’ Won’t You Join Me was covered by the improbably-named Emil Dean Zoghby, who was a bit of a star in South Africa in the 1960s. Zoghby, who died in 2014 at 72, went on to be a stage actor in London and, back in South Africa, a record producer. Lavi’s cover, titled Wann kommst Du, was released in 1971.

The third original of a Lavi song is fairly well-known: Rod McKuen‘s catchy 1971 anti-war anthem Soldiers Who Want To Be Heroes, which enjoyed some success in Europe, especially in the Netherlands. In Laviâ’s hands, the peace song became a love song with the title Meine Art Liebe zu zeigen, which translates as My Way Of Showing Love.

 

Another astute selector of cover versions was Michael Holm. Most of these were quite well-known, so this mix of lesser-known originals picks the 1969 French song Fernando by Sheila, a singer whom the world of pop would get to know better as the lead of Sheila B. and The Devotions. Fernando – which was co-written by Danyel Vangarde, who’d later co-write hits such as the Gibson Brothers’ Cuba and Ottawan’s DISCO – became a Spanish hit as Un rayo de sol by Los Diablos, and for Michael Holm in Germany as Wie der Sonnenschein. Holm featured himself on the Christmas Originals for doing the first version of When A Child Is Born, which was itself based on an original instrumental, Le Rose blu by Ciro Dammicco (the song became later known as Soleado). Holm might feature again for doing the original of Chickory Tip’s Son Of My Father, which he co-wrote with Giorgio Moroder.

Perhaps the greatest Schlager singer-songwriter was Udo Jürgens, whose songs always stood a few steps above the standard Schlager fare. Jürgens had few needs for the songs of others, but one of his biggest hits, the cheeky seduction number Es wird Nacht Senorita of 1968, was a cover. Originally the song was recorded in 1965 as Le Rossignol Anglais by the popular French chansonnier Hugues Aufray, and the year after by Mireille Mathieu.

 

As a song travels the continent, its meaning can change. When Portuguese Brazilian singer Benito di Paula wrote and recorded his 1975 song Charlie Brown, a hit in Portugal, it was about the Peanuts character. Travelling eastwards it became a discofied number by Belgian outfit Two Man Sound (whose dance moves must be seen). Retaining the original lyrics, it was a huge hit in Belgium and Italy. But when it came to Germany, the hit version by Benny was no longer about the depressed protagonist of Charles M Schulz’s cartoon but about a promiscuous guy who beds every woman “between Mexico and Paraguay”, even your girlfriend.

One song here might just as well have featured in a 1970s edition of The Originals. A cover of Living Next Door To Alice was a big 1977 hit for Smokie. But it features here on strength Read more…

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The Originals: Carpenters edition

January 31st, 2019 7 comments

 

 

The Carpenters drew heavily from often not very well known songs, making them their own in the process. This was not so, however, with what is widely regarded at their signature tune: Close To You had been recorded a few times before the Carpenters got their turn in 1970.

Close To You

It started out as a humble b-side to actor Richard Chamberlain‘s 1963 single Blue Guitar. Within a year both Dionne Warwick and Dusty Springfield had recorded it, though Dusty’s version was not released until 1967, on her lovely Where Am I Going? LP.

Composer Burt Bacharach was not happy with either of the hitherto published versions when he offered the song to Herb Alpert, who had in 1968 recorded a rather good version of Bacharach’s This Guy’s In Love With You. Alpert, however, declined to do Close To You (apparently he didn’t like the line about sprinkling “moondust in your hair”), and gave the song to the Carpenters, who had released their debut LP on Alpert’s A&M label. A similarly hesitant Richard Carpenter and Alpert arranged the song — with the latter’s prominent trumpet track — and created aversion Bacharach was happy with.

Hurting Each Other

The secret in the Carpenters’ successful appropriation of appropriating songs first recorded by other people owes in part to an astuteness in often picking songs that weren’t very well known. Once Richard Carpenter imprinted his imaginative arrangements and Karen her marvellous vocals on such a song, it almost invariably was theirs. And so it was with Hurting Each Other, which the siblings recorded in late 1971. It appeared on their excellent 1972 album, A Song For You, and the single reached #2 on the US charts.

Hurting Each Other was written by Gary Geld and Peter Udell, whose songwriting credits also included Brian Hyland’s Sealed With A Kiss (another song that has a history as a lesser-known original). The first recording of the song was released in 1965 by teen idol Jimmy Clanton, a white R&B singer from Baton Rouge who had a string of hits in what has been called “swamp pop” and then faded into the sort of obscurity that has nonetheless ensured a performing career that continues to this day, complemented by a line in radio DJing.

 

Superstar

The genius of the Carpenters resided with their ability, through Richards’s arrangements and Karen’s emotional investment, to make other people’s songs totally theirs. In the case of Superstar, they not only took the song but also usurped its meaning. Sung by Karen Carpenter it no longer is the groupie’s lament it was written as. Indeed, in its first incarnation, by Delaney & Bonnie in 1969, the song was titled Groupie (Superstar), and included more explicit lyrics (“I can hardly wait to sleep with you” became “…be with you”). Released as a b-side, the song was written by the original performers with Leon Russell, and Eric Clapton featured on the recording. A few months later, former Delaney & Bonnie backing singer Rita Coolidge recorded it. According to Leon Russell, she had come up with the concept for it and Delaney Bramlett said she had helped with the harmonies.

But it was Bette Midler’s performance of the song on the Tonight Show in August 1970 that alerted Richard Carpenter, who hadn’t heard the song before, to it. It is said that Karen’s first take, read from a napkin, is the one that which made it on to the record.

A Song For You/This Masquerade

One singer features twice here: Leon Russell (plus, of course, his co-writing credit on Superstar). He released A Song for You on his eponymous debut album in 1970. It was covered to superb effect by Donny Hathaway and to some commercial success by Andy Williams, but it was the Carpenters’ 1972 version which brought the song to an international mainstream audience. The Carpenters recorded This Masquerade a year after it originally appeared on Russell’s 1972 Carney album. In their hands it becomes quite a different animal Read more…

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Any Major Originals: The 1970s

November 15th, 2018 15 comments

 

This is the first mix of lesser-known originals of 1970s hits; truth be told, for the most part the hit versions were a marked improvement on the first versions. I do prefer Badfinger’s version of Without You and Billy Preston’s You Are So Beautiful to the more famous versions. But more interesting than the musical merits are some of the backstories. And few are as dramatic as that of Without You, a mega hit for first Harry Nilsson in 1972 and in the 1990s for Mariah Carey.

Without You

There is something dismal about the notion that a pop classic would be best-known among some people in its incarnation by Mariah Carey. Those with a more acute sense of pop history will have been dismissive of Carey’s calorific cover of Nilsson’s hit. But even Harry Nilsson applied a generous dose of schmaltz to his cover of the Badfinger original.

Without You apart, there is a chain of tragedy which links the Welsh band and Nilsson. Both acts had a Lennon connection (more tragedy here, of course). Badfinger were signed to the Beatles’ Apple label, on which Without You was released in 1970; Nilsson was a collaborator with and drinking buddy of Lennon’s. Nilsson died fairly young, so did two members of Badfinger — both of whom wrote Without You and committed suicide.

Singer Peter Ham killed himself in 1975 (in his suicide note he referred to their “heartless bastard” of a manager), and in 1983, Tom Evans hanged himself after an argument over royalties for the song with former colleague Joey Molland (who both had played on Lennon’s Imagine album and other ex-Beatles solo records).

Nilsson reportedly thought that Badfinger’s Without You had been a Beatles recording — indeed, the Rolling Stone touted Badfinger as the Beatles’ heirs. His version, turning a fairly rough mid-tempo rock song into an orchestral power ballad (at a time when such things were rare) became a massive hit in 1972; Carey’s version hit the charts just a week after Nilsson’s death in 1994. One may fear the worst for Ms Carey should the Nilsson curse strike her: apart from the sad story of Badfinger and Lennon’s death, both Mama Cass and Keith Moon died in Nilsson’s flat.

 

Fernando

ABBA famously did not cover versions; given the songwriting chops of Benny Andersson and Björn Ulvaeus, they had no need to. But one of the group’s biggest hits was a cover of sorts: Fernando was originally recorded by Anni-Frid for her Swedish-language solo album Frida Ensam (which featured several cover versions, including Life On Mars and Wall Street Shuffle). Fernando, written by Benny and Björn with lyrics by ABBA manager Stig Anderson, was the LP’s lead single and proved very popular. In 1976 ABBA released an English version, with the theme changed from being a break-up song to the reminiscence of freedom fighters.

Video Killed The Radio Star

This slice of sci-fi flavoured nostalgia, inspired by a JG Ballard story, was co-written by Trevor Horn and Geoffrey Downes (then new members of prog-rock band Yes) with Bruce Woolley. So it seemed right that it should be recorded by the two parties — the Yes contingent and Woolley — in 1979. The latter got in there first, with his Camera Club. It is a breathless version with much energy and a quite nice guitar solo at the end, but none of the bombastic detail which made the Buggles’ synth-fiesta a huge hit.

The Buggles version is sometimes considered a bit naff, which does great injustice to a catchy song which does everything that is required of a very great pop song. The video of the Buggles version was the first ever to be played by MTV. But the Woolley version is all but forgotten.

Hanging On The Telephone

If it is not widely known that Blondie’s 1979 hit Hanging On The Telephone is a cover, then it probably is because the original performers, The Nerves, only ever released a (very good) four-track EP in 1976, which included the song. The Nerves — a trio comprising songwriter Jack Lee, Paul Collins (who’d later join The Beat) and Peter Case (later of the Plimsouls) — were a heavy-gigging LA-based rock band which despite their extremely brief recording career proved to be influential on the US punk scene. The members of Blondie surely have were aware of the song. A year after The Nerves split, Debbie Harry and pals picked up the song and enjoyed a huge worldwide hit with it.

 

Blame It On The Boogie

How many cover versions have been sung by the namesake of the original performer? Mick Jackson was a German-born English pop singer. His Blame It On The Boogie, which he also co-wrote, sounds like a presentable Leo Sayer number. The Jacksons changed little in the song’s structure — Mick’s original has all the touches we know well, such as the “sunshine, moonlight, good time, boogie” interlude — and yet they turned a pretty good song into a disco explosion of joy, presaging Michael’s Off The Wall a year and a bit later.

Mick Jackson actually wrote the song with Stevie Wonder in mind (and it’s easy to imagine how it might have sounded), but was persuaded by a German label to record it himself. When the freshly-minted record was played at a music festival in Cannes, a rep for the Jacksons — no doubt alerted by the performer’s name — secretly taped the song, flew it to the US and had the Jackson brothers record and release it in quick time, to release it before Mick could have a hit with it. With both singles out at the same time, the British press had some fun with the Jackson “Battle of the Boogie”. Mick’s single reached #15 in the UK and #61 in the US. The Jacksons’ version became the classic.

He Ain’t Heavy…

The Hollies’ guitarist Tony Hicks was desperately looking for a song to record when he was played a demo of He Ain’t Heavy, He’s My Brother. The band decided to record it without great expectations, with Reg Dwight (who would become Elton John) on piano. Of course, Read more…

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The Originals: The Classics

September 20th, 2018 9 comments

Here’s a collection of lesser-known originals of stone-cold pop classics, and quite a bit of background information to most of them. In fact, I suggest you make yourself a good cup of coffee, settle back and be engrossed in the stories of some of the most famous songs in pop history.

 

Hey Joe

We kick off with a track whose genesis is disputed, with some claiming Hey Joe is an old traditional folk song. There seems to be wide consensus, however, that it was written in the early 1960s by a folk singer called Billy Roberts, who may well have borrowed from a 1950s country song by the same title written by Boudleaux Bryant. Something of a cult classic on LA’s live scene and reportedly propagated by David Crosby, Roberts’ song was eventually recorded by The Leaves (though some claim that the Surfaris recorded their version first, but released it after the Leaves” version came out).

Where The Leaves rock out in a psychedelic fashion, Jimi Hendrix”s version’s, recorded in December 1966, is said to have been based on the slower folk-rock treatment by Tim Rose (who once was part of a folk trio including someone called Jim Hendricks, with Mama Cass Elliott), though Arthur Lee insisted it was the Love recording of September 1966 that inspired Hendrix. Whatever the case: the version here is the first to be released on record.

 

Wild Horses

A number of tracks here were originally released before the actual writers had hits with them. One of those is the Rolling Stones’ Wild Horses, which was first released by The Flying Burrito Brothers. The Stones recorded it before the Flying Burrito Brothers did, but released it only after Chris Hillman and Gram Parsons’ band released it on their 1970 album, Burrito Deluxe. Wild Horses was written in 1969 (Keef says about his new-born son; Jagger denies that its re-written lyrics were about Marianne Faithfull) and recorded in December 1969 at the Muscle Shoals studio in Alabama, the day after the group laid down Brown Sugar. Jamming in a country mood, Mick asked Keith to present a number in that genre, spurring his country-loving friend on by saying: “Come on, you must have hundreds”. Keith disappeared for a bit, and returned with a melody and words for the chorus. Mick filled in the lyrics for the verses, and the song was recorded (with Jim Dickinson standing it for Ian Stewart, who did not like playing minor chords) before the Stones packed up and left Memphis.

Earlier that year, the Stones had collaborated on the Flying Burrito Brothers’ The Gilded Palace Of Sin album; and as the curtain fell on the 1960s, the Burritos opened for the Stones at the notorious Altamont concert (according to some reports, it was during their performance that the Hells’ Angels started the first fight). Parsons was especially friendly with Keith Richard, whom he introduced to the treasury of country music. It is even said that the song was intended for Gram — probably a false rumour, yet it sounds more like a Parsons than a Stones song. Whether or not it was intended for Parsons, the Burritos were allowed to record Wild Horses, and release it before the Stones were able to (a delay forced by contractual reasons involving their “divorce” from Allen Klein) on 1971″s Sticky Fingers album.

 

My Sweet Lord

Billy Preston recorded and released My Sweet Lord before George Harrison did. Preston had at one point come to be regarded as the “Fifth Beatle”, thanks to his keyboard work which earned him a co-credit on the Get Back single. He had actually known the band since 1962, when he toured Britain with Little Richard, for whom the Beatles opened in Liverpool. Post-Beatles, Preston continued working with Harrison, who had brought him into the Let It Be sessions. Written in December 1969 in Copenhagen, My Sweet Lord song first appeared on Preston’s Encouraging Words album, a star-studded affair which included not only Harrison, but also Eric Clapton on guitar, Keith Richard on bass and Ginger Baker on drums.

The album also included Harrison’s All Things Must Pass (a song which the Beatles had considered of recording); almost a year later that song would provide the title of the triple-LP set. The All Things Must Pass album, produced by Phil Spector, also included George’s cover of his own My Sweet Lord. Preston’s version is much closer to Harrison’s original concept than the composer’s own take. In his defence during the My Sweet Lord/He’s So Fine plagiarism case, Harrison said that he had been inspired not by early-’60s girlband pop, but by the Edwin Hawkins Singers’ 1969 hit Oh Happy Day. That influence is acutely apparent on Preston’s recording, but less so on Harrison’s chart-topper. Indeed, had Preston scored the big hit with it, not Harrison, it might have been Ed Hawkins initiating the plagiarism litigation.

 

California Dreamin’

John and Michelle Phillips wrote California Dreamin’ in 1963, suitably while living in New York, before forming The Mamas and The Papas and while John was still with a group called The New Journeymen. Fellow folkie Barry McGuire helped John and Michelle land a recording contract. In gratitude, they gave McGuire a song for his next album: California Dreamin’, which was recorded (with the now formed Mamas & Papas on backing vocals) in 1965, but was released only in 1966. It was supposed to be McGuire’s follow-up to Eve Of Destruction, but The Mamas and The Papas recorded the song themselves and released it as a single in 1965, initially to widespread indifference. Only when it started getting airplay on a Boston radio station did the song become a hit in early 1966. McGuire insists that the Mamas & Papas didn’t so much re-record the song as replace his voice with Denny Doherty’s and the harmonica solo with the flute. Listen to the two versions and judge for yourself.

 

Suzanne

Several of Leonard Cohen”s most famous songs were first recorded by folk warbless Judy Collins: Sisters Of Mercy; Bird On A Wire; Since You”ve Asked; Hey, That’s No Way to Say Goodbye — and Suzanne. The song was born in Montreal, landmarks of which are described at length in the song. Cohen already had a chord pattern in place which he then married to a poem he had written about Suzanne Verdal — the beautiful wife of the sculptor Armand Vaillancourt, a friend of Cohen’s — whom he fancied but, as the lyrics have it, touched only in his mind. One night in 1966 Read more…

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