The Originals Vol. 41
Following on from the post about rock & roll in A History of Country Vol. 8, here are three originals of rock & roll classics. Incidentally, I might have used in the past images from www.originalsproject.us, which I would have sourced elsewhere. Indeed, the image that accompanies the original for Blueberry Hill, which I found on another site, is from that brilliant site.
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Swing And Sway With Sammy Kaye – Blueberry Hill (1940).mp3
Glenn Miller and his Orchestra – Blueberry Hill (1940).mp3
Gene Autry – Blueberry Hill (1941).mp3
Fats Domino – Blueberry Hill (1956).mp3
Vladimir Putin ““ Blueberry Hill (2010).mp3
Blueberry Hill is Fats Domino”s song, but before the rock & roll pioneer got his ivory-tinkling hands on it, it had been a cowboy song, a jazz track (by Gene Krupa, no less) and, in its first recording, a big band number ““ and those just in the year it was written: 1940.
If Blueberry Hill”s melody sounds a vaguely Italian, it”s because its writer, Vincent Rose, was a Sicilian who came to the US at the age of 17. He already was 60 when he wrote song (which also went by the Italian title, Loma de Cerezas), and died in 1944. The lyrics were written by Al Lewis and Larry Stock (the latter also wrote the lyrics for that great Dean Martin song, You”re Nobody Till Somebody Loves You).
It”s not entirely clear who was the first to record the song, but the first to release it, on 31 May 1940, was the Sammy Kaye Orchestra with Tommy Ryan on vocals. It appeared under the unwieldy name Swing And Sway With Sammy Kaye, the band”s tagline. Four days later Krupa”s version was issued. But by then the version that would provide the song”s biggest hit, by Glenn Miller with Ray Eberle on vocals, was already in the can, having been recorded on 13 May. We might remember Eberle as the hapless singer whom Miller fired for arriving late to an engagement, as recounted in the entry for At Last in The Originals Vol. 40.
Sammy Kaye, something of an all-round entertainer, contributed a song to this blog before: Remember Pearl Harbor, which featured in Carson Robison”s”s version on A History Of Country Vol. 4. One may suppose that Sammy had reason to be rather annoyed at the Japanese: he was broadcasting on NBC radio when his programme was interrupted by the news of the bombing of the Hawaiian naval base on 7 December 1941.
In 1941, Blueberry Hill was sung by Gene Autry in the movie The Singing Hill (there are claims that Autry was the first to actually record the song). The song was never really forgotten ““ Louis Armstrong recorded it in 1949 but would have a hit with it only the next decade. But it became a million-seller only in 1956 with Fats Domino”s iconic, souped-up version.
As so often with cover versions that become classics, the idea to record it was an afterthought. When during a session in Los Angeles Domino ran out of songs, he suggested Blueberry Hill. Producer Dave Bartholomew needed to be convinced of the song; in the end his production sold 5 million copies worldwide and provided the template for many covers, including one by Elvis Presley. Domino might have had the great idea to record the song, but he was useless at remembering the correct lyrics. In the end, the engineer spliced together the correctly delivered lyrics from different takes.
In December 2010, Russian tsar Vladimir Putin, fresh from riding horses while exhibiting his toned, gratuitously bared torso and heroically shooting at unarmed whales, performed Blueberry Hill at a charity function in St Petersburg, with a spoken interlude and piano solo. The audience, which included a possibly smiling Goldie Hawn and a self-consciously jiving Kevin Costner, rewarded Mad Vlad”s karaoke with a standing ovation. It is unclear whether they did so in an act of fear or sycophancy. Apparently Putin learnt the song as part of the English studies he required to complete to qualify for an appointment in the KGB, the feared Soviet secret police. On evidence of his diction, we may no longer be surprised at the collapse of the Soviet empire. Putin, to his credit, acknowledged that he can”t sing, so music”s loss was Russian democracy”s dubious gain. For those who somehow can resist the lure of Putin on MP3, here”s the video, with much unrhythmic dancing to accompany the torturous singing (and, before anybody indignantly asks, I can sing the song better than Putin, though his English is probably superior to my Russian).
Also recorded by: Connie Boswell (1940), Russ Morgan And His Orchestra (1940), Kay Kyser and his Orchrstra (1941), Louis Armstrong (1949), Mose Allison (1957), Elvis Presley (1957), Ricky Nelson (1958), Pat Boone (1958), Duane Eddy (1959), Carl Mann (1959), Conway Twitty (1959), Andy Williams (1959), John Barry Orchestra (1960), Bill Black’s Combo (1960), Buster Brown (1960), Brenda Lee (1960), Bill Haley & His Comets (1960), Louis Armstrong All-Stars (1960), Chubby Checker (1961), Skeeter Davis (1961), Billy Vaughn Orchestra (1961), The Ramsey Lewis Trio (1962), The Lettermen (1962), Johnny Hallyday (1962), Bobby Vinton (1963), Hank Crawford and the Marty Paich Orchestra (1963), Cliff Richard and The Shadows (1963), Little Richard (1964), Soul Sisters (1964), Willie Mitchell (1966), San Remo Golden Strings (1966), The Loved Ones (1966), Everly Brothers (1967), Walker Brothers (1967), Caterina Valente (1968), Frank Valdor Sextett (1970), Loretta Lynn (1972), Jerry Lee Lewis (1973), Bert Kaempfert (1973), Ellen McIlwaine (1975), Billy ‘Crash’ Craddock (1977), Eddy Mitchell (as La colline de Blueberry Hill, 1977), Adriano Celentano (1977), The Beach Boys (1976), Jimmy Carl Black (1981), Mud (1982), Jah Wobble (1982), Link Wray (1982), Ricky King (1984), Yellowman (1987), Teresa Brewer & Friends (1991), Carol Sloane & Clark Terry (1997), Bruce Cockburn (1999), Tommy Kenter (2003), Jimmy Clanton (2006), Elton John (2007) a.o.
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Hank Ballard & the Midnighters ““ The Twist (1959).mp3
Chubby Checker ““ The Twist (1960).mp3
The Drifters ““ What”cha Gonna Do? (1955).mp3
Dick Clark, the legendary TV presenter who played such a big role in the evolution of rock & roll, believes that The Twist was the genre”s most important song because it was the first rock & roll record that a whole generation could freely admit to liking, from teenagers in tight jeans to jewellery rattling socialites and celebrities ranging from Marilyn Monroe to Truman Capote (even Jackie Kennedy was said to have twisted in the White House). Indeed, so popular was The Twist ““ the song and the dance ““ that Chubby Checker topped the US charts twice with it, for a week in September  1960 and then for two weeks in January 1962, following an appearance on the Ed Sullivan Show.
Clark is a protagonist in the story of the song which was written by Hank Ballard, the frontman of the R&B group The Midnighters. Ballard ““ who was born John Henry Kendricks in Detroit but grew up in Alalabama ““ and his band had enjoyed a string of hits with raunchy singles with titles such as Get It and Sexy Ways; they were so bawdy that they were banned from the airwaves. The Twist, recorded on 11 November 1959, was only a b-side to a Henry Glover ballad titled Teardrops On Your Letter, much to Hank”s annoyance. The single reached #4 on the R&B charts, and #87 in the pop charts. The flip side, now so much more famous, also attracted some attention, reaching #16 on the R&B charts (US charts have comprised radio play as well as sales).
When in early 1960 Ballard”s single Finger Poppin” Time was a top 10 hit, the record label, King, gave The Twist a commercial push, resulting in a pop hit that peaked at #26. Dick Clark became interested in featuring The Twist on American Bandstand show, which ran five days a week , apparently after the song received an enthusiastic response from the audience at a Baltimore TV show hosted by one Buddy Dean. In the event, it was performed on The Dick Clark Show on 6 August 1960 (though the first TV performance was on New York”s Clay Cole Show). But it wasn”t Hank Ballard and the Midnighters who performed on the programme.
It is not quite clear whether this was due to Ballard”s unavailability (which would be a vicious, er, twist of fate) or to Ballard”s raunchy reputation. Whatever the case, The Twist was recorded by Chubby Checker in July 1960 and performed by him on Clark”s show
Checker had recorded for Clark before. In fact, the man born Ernest Evans received his stage name from Clark”s wife. He was already nicknamed Chubby, but she gave him the surname by coining a pun on the name Fats Domino, whom Chubby had just impersonated (you get it: Chubby/Fats and Domino/Checkers). Clark chose Checker to sing The Twist because he sounded a bit like Ballard, and the cover sounded much like the original. . Ballard later said that when he first heard Checker”s version on the radio, he thought it was his own record playing (lending credence to the idea that Clark deliberately bypassed the writer and first performer of the song). The Twist and several Twist-themed follow-ups served to typecast Checker as a novelty song merchant.
The word “twist” was an old African-American term for dancing, though the silly moves of the early-“60s dance craze were Checker”s (who had seen young people improvising it to Ballard”s song). The word was used to denote dancing on Clyde McPhatter & the Drifters” 1953 song Let the Boogie Woogie Roll (“and when she did the twist she bopped me to my soul”). McPhatter, considered by many the first real soul singer, was a huge influence on Ballard ““ so much so that Ballard borrowed liberally from The Drifters” 1955 song What”cha Gonna Do? for his song Is Your Love For Real. And it was the song which Ballard proceeded to rework as The Twist.
Ballard, who died in 2003, reportedly was not resentful at being denied success with The Twist. One hopes that he received bountiful royalties from the song.
Also recorded by: Paul Rich (1961), Duane Eddy (1962), Keely Smith (1962), Patti Page (1962), The Miracles (1963), James Brown (1974), Klaus Nomi (1981), The Fat Boys With Chubby Checker (1988), The Radiators (1992), Dan Baird and The Sofa Kings (2001)
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Sonny West ““ Rave On (1957).mp3
Buddy Holly ““ Rave On (1958).mp3
M. Ward feat Zooey Deschanel – Rave On (2009).mp3
Sonny West ““ All My Love (Oh Boy) (1957).mp3
Buddy Holly and the Crickets ““ Oh Boy (1957).mp3
Buddy Holly wrote several stone-cold rock & roll classics, but two of his bigger hits were not by his hand. Both, Oh Boy and Rave On were written by rockabilly singer Sonny West with Bill Tilghman. The eagle-eyed reader will have spotted on the record label illustration a third name on the credit: Norman Petty. The rather eccentric Petty was the manager and producer of both West and Holly. He had very little to do with writing either song (though he did impose his unfortunate piano solo on Holly”s version of Rave On), but attached his name to the credits nonetheless.
Before landing up with Petty (whose dealings with Holly were not at all happy), the teenage Sonny West had tried to sign with Sun Records in Memphis, but was rejected. Staying with his sister near Holly”s hometown of Lubbock, Texas, West looked around for other opportunities to make it as a musician, and eventually found one with Petty in his remote studios in Clovis. He recorded one song with Petty before he bumped into Bill Tilghman, who proposed collaborating on songs for which he already had some basic lyrics.
When West presented Oh Boy to Petty, the manager declined to have the writer record it for release (a demo was recorded in February 1957, but remained unreleased until 2002, when it appeared on West”s Sweet Rockin’ Rock-Ola Ruby album). Instead, Petty gave the song instead to Buddy Holly and the Crickets, who with some lyrical tweaks cut it between 29 June and 1 July 1957. West reported being a little bitter about it, because he had written the song for himself, not for Holly.
His happiness was not improved by the recording of the other song he wrote with Tilghman. Petty had organised a contract with Atlantic, which would release many great records, but Rave On wasn”t one of them. Petty initially refused to produce what he described as a “hillbilly song”, but eventually it was cut in November 1957 with a backing band from Dallas called The Big Boys, also clients of Petty”s. West didn”t like the result, and the single went nowhere. Â However, he approved of the way Holly recorded it, in New York in January 1958.
Sonny West, an inductee into the Rockabilly Hall Of Fame, continues to perform and record today. (Read more about West”s memories, and his friendship with the young Waylon Jennings, in his interview with journalist Graham Lees).
Also recorded by: Terry Farlan (1969), Nitty Gritty Dirt Band (1970), John Smith & The New Sound (1970), Steeleye Span (1971), Fumble (1972), Commander Cody & His Lost Planet Airmen (1973), Showaddywaddy (1975), Mike Berry (1976), Denny Laine (1977), The Real Kids (1977), Delta-Cross Band (1979), Half Japanese (1980), Rick Nelson (1981), Wanda Jackson (1982), John Mellencamp (1988), Red River (1989), Connie Francis (1996), Hank Marvin (1996), Blumentopf (1999), Stompin’ Bird (1999), Marshall Crenshaw (2000), Status Quo (2000), Orange Black (2002), Sue Moreno (2002), P.J. Proby (2003), The Crickets with Phil & Jason Everly (2004), M. Ward & Zooey Deschanel (2009) a.o.
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Unlike many artists in the early days of rock “n” roll, Buddy Holly and his Crickets were no overnight success. After being dropped by Decca records (not always the greatest judges of talent either side of the Atlantic) in late 1956, Holly and his newly formed Crickets struggled to find a distributor to market the songs they recorded at Norman Petty”s studios in Clovis, New Mexico. Eventually, That”ll Be The Day gave the group its first hit; before that, Holly kept writing future hits which would be billed either as Crickets or Buddy Holly records “” purely a marketing ploy, for Holly saw himself as part of as collective. One of these songs recorded before fame came knocking in August 1957 was Not Fade Away (put down in May that year), which cheerfully plagiarised Bo Diddley”s seminal stop-start beat from his eponymous hit. Charlie Watts and Rolling Stones manager Andrew Loog Oldham later bizarrely claimed that the Stones innovated on the Crickets” original by introducing the Bo Diddley beat. Bill Wyman is more honest, saying that the Stones merely amplified it.
And it was the Crickets” Not Fade Away, originally released as the b-side of Oh Boy, with which the Rolling Stones had their first cross-Atlantic hit. It is an amusing sidenote that the Crickets” Not Fade Away unwittingly exercised a skiffle mentality: instead of drums, Jerry Allison beat out his rhythm on cardboard boxes, an idea borrowed from Buddy Knox”s hit Party Doll. It is said that on the Stones version, Phil Spector contributes to the recording by shaking a cognac bottle (“donated” by Gene Pitney) with a coin inside, doing the part Jagger does on stage with the maracas.
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, remarked to Riley as they were hanging out in the jail”s courtyard: “Here we are just walking in the rain, and wondering what the girls are doing” “” inspired the song”s composition (unnervingly, the comment was made by a man who was serving a sentence for six counts of rape). Bragg wrote the song but was illiterate; burglar Riley”s contribution was committing it to paper.
In 1956, the most rueful of all “50s singers, Johnnie Ray, recorded Just Walkin” In The Rain, which despite the Prisonaires regional success was an obscure track. The original certainly was despondent, but the so-called Prince of Wails invested it with a different sense of mournfulness. In a word, his first-person protagonist is pathetic. Rat”s version, produced and whistled by Ray Conniff (he of serial easy listening crimes) and arranged by Mitch Miller (still alive at 98), was a massive hit, reaching #2 in the US and #1 in the UK.
This is one of those orginals which was recorded first by somebody other than the writer (and even then, the authorship is disputed). Piaf”s lyrics were put to music by Louis “Louiguy” Guglielmi (who also wrote the song known in English as Cherry Pink And Apple Blossom White). For legal reasons, Piaf”s name could not be credited. At the time, that didn”t seem to matter much, since the composers failed to see much hit potential in the song “” even if, in 1945 France, after the defeat of Nazi Germany, the notion of seeing life through rose-tinted glasses must have seemed particularly attractive. So the song, then titled Les Choses en Rose, was farmed out to Piaf”s friend, the singer Marianne Michel. It was Michel who proposed the title by which the song became world famous, albeit in Piaf”s 1946 recording.
Soul purists will have been quite scandalised by Cher”s version of the Shoop Shoop Song, declaring with considerable indignation that it does not measure up to Betty Everett”s original. While the assessment on respective quality is correct, we erred in ascribing originality to Everett. The first version was recorded by Merry Clayton and released in 1963, a few months before Everett”s version came out in December 1963 to give the singer her first Top 10 hit.
Shortly after Clayton released It”s In His Kiss, Betty Everett recorded it very reluctantly, finding the song childish. Although credited to Everett alone, she as backed by a band called The Opals, effectively creating one of the supreme girl-group songs of the age. A month after Everett”s version was released on Chicago”s Vee-Jay Records, Warner Bros in LA issued a version of the song by Ramona King. To differentiate Everett”s version from King”s, Vee-Jay changed the title to The Shoop Shoop Song, after the catchy backing vocals.
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