Any Major Dude With Half A Heart

December”s headline death probably is that of the great Cesária Évora, who emerged from the tiny West African island of Cape Verde, a former Portuguese colony.

But as a soul fan, percussion maestro Ralph MacDonald is my headline departure of the month. He wrote some stone-cold classics and appeared on an impressive catalogue of soul and fusion albums, including those released in their heyday by Bill Withers, George Benson, Donny Hathaway, Ashford & Simpson, Brothers Johnson, Margie Joseph, Patti Austin, Grover Washington, Maynard Ferguson, The Crusaders, Michael Franks,  Eric Gale, Bob James,  Herbie Mann, Earl Klugh, and Sadao Watanabe, as well as on pop albums by the likes of Billy Joel (The Stranger, 52^nd Street, Innocent Man) and Paul Simon (Still Crazy”¦, One Trick Pony, Graceland).

The Ragovoy curse struck again. First the great songwriter died in July; then his occasional collaborator Jimmy Norman, with whom he wrote Time Is On My Side, died in November; in December singer Howard Tate, for whom Ragovoy wrote and produced several songs (including Get It While You Can, which Janis Joplin later covered, and 8 Days On The Road) passed away at 72.

Three of the world”s longest-performing artists died in December: Myra Taylor first took to the stage as a 14-year-old in 1931; she made her final performance in a career spanning 70 years on 24 July this year. Fans of The Originals will appreciate the first recording of the great Ink Spots hit I Don’t Want To Set The World On Fire, which featured Myra Taylor on vocals (originals fans will also enjoy Ruby and the Romantics” Our Day Will Come, covered by Amy Winehouse on her new posthumous album) .

Johannes Heesters, who died at 108, had been a huge star in Nazi Germany and counted Nazi leaders among his friends ““ a stigma that followed him to his death. Hated in his native Holland, he was still hugely popular in West Germany.  He still toured as a centenarian, and performed to the age of 105.

Bill Tapia, dead at 103, was a ukulele maestro. Check out his version of Stars and Stripes Forever, from just two years ago, which he introduces as having played during World War I ““ the audience laughs, but the guy isn”t joking. He has been performing since 1918.

Among the more bizarre deaths is that of Willie Nelson”s drummer Dan Spears, who fell outside his house and, unable to move, froze to death.

Sadly, this will be the final monthly In Memoriam. Compiling each instalment simply takes up much more time than I can afford to spend, so this is a decision I had to make ““ with much regret, because I don”t think anyone is doing it quite this way on the Internet.

Michal “˜Michal the Girl” Friedman, singer, from complication during the birth of twins on November 25
ATB ““ The Autumn Leaves (2004)
Read more…

In this instalment in the series of the lesser known originals, we look at Killing Me Softly With His Song, He Ain’t Heavy, He’s My Brother, Evil Ways, (Ghost) Riders In The Sky, and I Wanna Be Loved, an obscure ’70s soul song covered a decade later by Elvis Costello. A vote of thanks to my friends Walter, RH and Mark for feeding me some of the music featured here (the latter a very long time ago).

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Kelly Gordon – He Ain’t Heavy, He’s My Brother (1969).mp3
The Hollies – He Ain’t Heavy, He’s My Brother (1969).mp3
The Persuasions – He Ain’t Heavy/You’ve Got A Friend (1971).mp3
Donny Hathaway – He Ain’t Heavy, He’s My Brother (1972).mp3
The Housemartins – He Ain’t Heavy, He’s My Brother (1986).mp3

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, it became a mega-hit and pop classic. But the Hollies were not the first to record it. The song had already been released by Kelly Gordon in April 1969 – five months before the Hollies’ version – as a single and on his Defunked album (the single’s b-side was That’s Life, a song Gordon had co-written five years earlier, but had been recorded before and made famous by Frank Sinatra). The original of He Ain’t Heavy by Gordon, more active as a producer than a singer, is slower and more mournful. Based on his interpretation, the publishers thought it would be a good song for Joe Cocker to record. And it would have been, but Cocker turned the song down.

He Ain’t Heavy was written by Bobby Scott (who also wrote A Taste Of Honey) and the older veteran lyricist Bob Russell (Little Green Apples), who was already ailing with cancer and died at 55 in February 1970, just after the song had become a worldwide hit. There is much speculation as to the origin of the title; most commonly it is believed that the line was inspired by Father Edward Flannagan, the founder of Boys Town, who had adopted it as the organisation’s motto, reputedly after spotting a cartoon of a boy carrying another in a corporate publication named Louis Allis Messenger, that was captioned “He ain’t heavy Mister, he’s m’ brother!” It was not a new line; it had been used in literature and magazine articles before, and supposedly provided the punchline for a Native American folk story.

There have been many covers of the song. I have several favourites. Donny Hathaway’s soul interpretation tops the Hollies’ pop version. Then there are two fine a cappella versions. There are three such recordings by The Housemartins are in circulation: on the compilation Now That’s What I Call Quite Good, as a bonus track on the London 0 Hull 4 CD, and unofficially on the 1986 BBC Saturday Live sessions. It is the latter featured here. It might very well have been inspired by the magnificent version released in 1971 by the a cappella band The Persuasions, who recorded it as part of a medley with You’ve Got A Friend — which The Housemartins also recorded a cappella. (Edit: See the message by former Persuasions frontman Jerry Lawson in the comments section.)

Also recorded by: Neil Diamond (1970), I Ribelli (as Il vento non sa leggere, 1970), The Ruffin Brothers (1970), The Osmonds (1971 & 1975), Glen Campbell (1971), Ramsey Lewis (1971), Cher (1971), Donny Hathaway (1971), Gladys Knight & The Pips (1971), Melba Moore (1971), Johnny Mathis (1972), Brotherhood of Man (1974), Olivia Newton-John (1975), The Housemartins (1985/86), Al Green (1987), Bill Medley (1988), Gotthard (1996), Rufus Wainwright (2001), Helmut Lotti (2003), Pentti Hietanen (2005), Barry Manilow (2007) a.o.

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Lori Lieberman – Killing Me Softly With His Song (1972).mp3
Roberta Flack – Killing Me Softly With His Song (1973).mp3
(Text has been edited since it was first posted)

There are two stories describing the genesis of Killing Me Softly With His Song. The more widely-spread story has folk-singer Lori Lieberman so moved by Don McLeanis live performance of the song Empty Chairs that she wrote a poem about, calling it Killing Me Softly With His Blues. The composers Charles Fox and Norman Gimbel, who were taking time out from their impressive TV theme production line (Happy Days!) to write songs for Liebermanis self-titled debut album, used her poem as the basis for the song which she would be the first to record in 1971, releasing it the following year.

Or so Lieberman says. Norman Gimbel’s recollection is very different, though much less known. In an e-mail to this blog (which will go up fully reproduced on Sunday), he explained how it was a book he was referred to years earlier by composer Lalo Shifre that featured the line “Killing Me Softly With His Blues” (the title of the poem Lieberman says she wrote). He like the idea and stored it away for a few years until he needed lyrics for the Lieberman album which he and Fox were writing, changing the word “blues” to “song”.

Although Lieberman didn’t score a big hit with the song, Flack stumbled upon it in 1972 while in air. After reading about Lieberman in the TWA airline magazine and her interest piqued by the title of the song, she tuned into the song on the in-flight radio, and decided to record it herself. Over a period of three months, Flack experimented with and rearranged the song, changing the chord structure, adding the soaring ad libs and ending the song on a major chord where Lieberman did with a minor. Her remake made an immediate impression, topping the US charts for four weeks and reaching #6 in Britain. Her version won Grammys for Song of the Year, Record of the Year and Best Pop Vocal Performance.

Almost a quarter of a century later, in 1996, Killing Me Softly – its full title by now routinely castrated – made an unwelcome return to the album charts in the form of the Fugees’ cover (it wasn’t released as a single so as to boost album sales). Lauryn Hill’s vocals are fine, though the hip hop arrangement negates the confessional intimacy of Flack’s, or indeed Lieberman’s, version. And that would be adequate; the mood of a lyric often is disengaged from a song’s sound to little detriment (think of all the great upbeat numbers with morose lyrics). Besides, the Fugees had conceived of the song as an anti-drug anthem with the revised title Killing Him Softly, a plan that was abandoned when they were denied permission for such modification. The whole exercise becomes something of a prank thanks to Wyclef Jean’s repeated intonation of “one time” and “two time”, as though he was auditioning for the role of parody DJ on Sesame Street. No matter how affecting Hill’s vocals, Wycount von Count’s antics render the Fugees’ version one of the most deplorable covers in pop.

Also recorded by: Johnny Mathis (1973), Rusty Bryant (1973), Tim Weisberg (1973), Perry Como (1973), Bobby Goldsboro (1973), John Holt (1973), Anne Murray (1973), The Ventures (1973), Shirley Bassey (1973), Woody Herman (1973), Katja Ebstein (as Das Lied meines Lebens, 1973), Vikki Carr (1973), Lynn Anderson (1973), Rune Gustafsson (1973), Lill Lindfors (as Sängen han sjäng var min egen, 1973), Marcella Bella, Lara Saint Paul, Ornella Vanoni (all as Mi fa morire cantando, 1973), Andy Williams (1974), Mike Auldridge (1974), Charlie Byrd (1974), Petula Clark (1974), Engelbert Humperdinck (1974), Ferrante & Teicher (1974), George Shearing Quintet (1974), Charles Fox (1975), Hampton Hawes (1976), Cleo Laine & John Williams (1976), Mina (1985), Lance Hayward (1987), Al B. Sure! (1988), Donald Brown (1989), Casal (as Tal como soy, 1989), Linda Imperial (1991), Yta Farrow (1991), Joanna (as Morrendo de amo, 1991), Luther Vandross (1994), Ron Sanfilippo (1994), Michael Chapdelaine (1995), Mahogany (1996), The Fugees (1996), Victoria Abril (1998), Joe Augustine (1998), Kermit Ruffins and the Barbecue Swingers (1998), The BB Band (1999), Anthony Arizaga (2000), Hank Marvin (2002), Eric Hansen (2002), Kimberly Caldwell (2003), Raymond Jones (2004), Herb Alpert & The Tijuana Brass (2005), Omara Portuondo (as Matendome suavemente, 2006), Helge Schneider (2007), a.o.

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Burl Ives – Riders In The Sky (1949).mp3
Vaughn Monroe – Riders In The Sky (1949).mp3
Peggy Lee – Riders In The Sky (A Cowboy Legend) (1949).mp3
The Ventures – Ghost Riders In The Sky (1961).mp3
Deborah Harry – Riders In The Sky (1998).mp3
Riders In The Sky, sometimes known as Ghost Riders In The Sky, is one of those standards which is famous mostly for being famous. It has been recorded many times, and most people know at least its melody (I knew it first in the The Ventures’ 1961 guitar-driven instrumental version), but there seems to be no artist to whom the song is universally and specifically attached.

The song was written in 1948 by Stan Jones, a California forest ranger by trade who wrote western music as a sideline, also contributing music to film classics such as The Searchers and Rio Bravo. Riders In The Sky was first recorded in February 1949 by Burl Ives, still to be outed as a supposed communist fellow traveller and a few years from becoming friends with the McCarthyist “defenders of freedom”. Two months after Ives, Vaughn Monroe recorded it with his orchestra, and scored an international hit with it. The same year, Gene Autry sang it in a film, also titled Riders In The Sky, and Peggy Lee did a version, adding the parenthetical “A Cowboy Legend” to the title. The song made a comeback in the British charts in 1980 with the instrumental take by The Shadows, covering ground previously traversed by The Ventures and Dick Dale. And in 1998, Deborah Harry, formerly of Blondie, issued her electronica version.

Also recorded by: Bing Crosby (1949), Peggy Lee (1949), Gene Autry (1949), Spike Jones (1949), Eddy Arnold (1959), The Ramrods (1961), The Ventures (1961), Dick Dale (1963), Frank Ifield (1963), Frankie Laine (1963), Lorne Greene (1964), Duane Eddy (1966), The Englishmen (1967), Tom Jones (1967), Elvis Presley (live, 1970), Dennis Stoner (1971), Mary McCaslin (1975), Riders in the Sky 91979), Johnny Cash (1979), The Shadows (1979), Outlaws (1980), Fred Penner (1980), Milton Nascimento (1981), Marty Robbins (1984), The Trashmen (1990), R.E.M. (as Ghost Reindeer in the Sky, 1990), Michael Martin Murphey (1993), Johnny Cash & Willie Nelson (1998), Deborah Harry (1998), Dan Aykroyd, John Goodman and The Blues Brothers Band (1998), Ned Sublette (1999), Concrete Blonde (2004), Peter Pan Speedrock (2006), Me First and the Gimme Gimmes (2006), Die Apokalyptischen Reiter (2006), Spiderbait (2007), Dezperadoz (2008), Children of Bodom (2008) a.o.

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Teacher’s Edition – I Wanna Be Loved (1973).mp3
Elvis Costello – I Wanna Be Loved (1984).mp3
For a prolific songwriter, Elvis Costello has covered songs widely. His best known cover perhaps is George Jones’ A Good Year For The Roses, itself a country classic. I Wanna Be Loved, a Costello single in 1984 which appeared on the otherwise underwhelming Goodbye Cruel World album (and features Scritti Politti’s Green Gartside on backing vocals), was plucked from obscurity. That’s what Costello said, and he was not exaggerating. I have been able to find nothing about Teacher’s Edition or about Farnell Jenkins, who wrote the song, except that it was released in on the Memphis-based Hi Records (which counted Al Green, Ann Peebles and O.V. Wright among its roster) in1973 as a b-side to a song titled It Helps To Make You Strong, and enjoyed popularity in the Northern Soul set. Jenkins, now 67, now seems to be a Chicago-based writer of Gospel songs.
Also recorded by: nobody else, it seems

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Willie Bobo – Evil Ways (1967).mp3
Santana – Evil Ways (1969).mp3
This month, you may hear it incidentally mentioned, marks the 40th anniversary of Woodstock. For Santana, the festival was the great break-out moment. Within a few months of Woodstock, the group had a hit with Evil Ways, the first of a string of covers by Carlos and his shifting band of chums. Evil Ways was recorded first by Latin jazz percussionist Willie Bobo, who would later collaborate with Santana. It was written by Bobo’s guitarist Sonny Henry, who is also doing vocal duty. Bobo died young, in 1983 at 49 of cancer. His son, Eric Bobo (the family name is actually Correa), also became a percussionist, with Cypress Hill.

The vocals (and the organ solo) on the Santana version are by the band’s co-founder Gregg Rolie, whose keyboards and vocals were also so integral to Santana”s version of Black Magic Woman (featured in Vol. 1). Rolie proceeded to co-found Journey with former Santana bandmate Neal Schon. In Journey, Rolie was initially lead vocalist, but ceded frontman duties when Steve Perry joined.

Also recorded by: Johnny Mathis (1970), Cal Tjader (1971), Carlos Santana & Buddy Miles (1972)

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In The Originals Vol. 22 we looked at The House Of The Rising Sun. In the interim, our friend Walter has sent me the first known recording of the song, by Clarence “Tom” Ashley and Gwen Foster, recorded in 1933. I have added it to the original article, and post it below:

Ashley and Foster – Rising Sun Blues.mp3

Those interested in more versions of the song will be well served by this post on the fascinating Merlin in Rags blog, which specialises in old folk and blues.

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More Originals

Amid all the heartbreak and unrequited love (with lovelessness and death still to come) we are looking at this month, we need a respite from the gloomy tears and instead frolic in the calm waters of true love reciprocated “” which in itself, as some of the lyrics here suggest, is a source of anxiety and uncertainty. And, well, perhaps some lucky person might need a decent mix for Valentine”s Day which does not include the unlovely horrors perpetrated by Chris DeBurgh, Jennifer Rush, Peabo Bryson, Céline Dion, Engelbert Humperdinck, Stevie Wonder and, of course, Michael Bublé ““ and who prefer to do without “edgy” comps featuring the love musings of Coldplay, U2, Avril Lavigne and James Blunt. As always, the mix is timed to fit on a CD-R. It might be a good alternative to an overpriced VD card (and if anybody tries that, please let me know if it was a good idea).

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1. Donny Hathaway – A Song For You (1971)
You taught me precious secrets of the truth withholding nothing, you came out in front and I was hiding. But now I’m so much better and if my words don”t come together, listen to the melody, “cause my love is in there hiding.

2. Carpenters – I Won”t Last A Day Without You (1972)
When there”s no gettin” over that rainbow, when my smallest of dreams won”t come true, I can take all the madness the world has to give, but I won”t last a day without you.

3. Ben Kweller – Sundress (2006)
I don”t need a smile from a mannequin, I just want to hold you in my hands. I do everything you want me to”¦for you.

4. The Weepies – Happiness (2004)
Friday 13, lights go red, green, in a coffee shop. I”m giving you the look while someone else is fingering your wallet in my pocketbook. It”s a mean town, but I don”t care. Try and steal this! Can”t steal happiness.

5. Mindy Smith ““ Falling (2004)
When I”ve almost had enough, something about you draws me back again. When I”ve almost given up, something about you pulls me in. And we”re falling”¦

6. John Prine with Iris Dement – In Spite Of Ourselves (1999)
She thinks all my jokes are corny, convict movies make her horny. She likes ketchup on her scrambled eggs, swears like a sailor when shaves her legs. She takes a lickin” and keeps on tickin”. I”m never gonna let her go.

7. Moldy Peaches – Anyone Else But You (2001)
Here is the church and here is the steeple, we sure are cute for two ugly people, I don”t see what anyone can see in anyone else but you.

8. Simone White – The Beep Beep Song (2007)
(Yeah, the one from the Audi commercial) Despite all the warnings I landed like a fallen star in your arms.

9. Curtis Mayfield – So In Love (1975)
This love affair is bigger than we two. Lose our faith and it will swallow you. Loving you is what I”ll always feel, never ever doing things against our will. Loving means, never require any kind of test “¦ Ya got me so in love.

10. Aretha Franklin – Baby I Love You (1967)
If you want my lovin”, if you really do, don”t be afraid, baby. Just ask me, you know I”m gonna give it to you. Oh, and I do declare: I want to see you with it. Stretch out your arms, little boy, you”re gonna get it ““ “cause I love you.

11. Ron Sexsmith ““ Never Give Up On You (2006)
I”d never give up on you because I know you”d do the same for me. Never give up on you because you take me as I am, how I”ll always be.

12. Mary Chapin Carpenter – Grow Old With Me (1999)
Grow old along with me. Two branches of one tree face the setting sun when the day is done. God bless our love. (Beautifully sung by Carpenter, the real poignancy of this song derives from its authorship: written and demoed by John Lennon shortly before his murder in December 1980, it first appeared on his posthumous Milk And Honey album)

13. Tom Waits – Falling Down (1988)
For she loves you for all that you are not “¦You forget all the roses, don”t come around on Sunday. She”s not gonna choose you for standing so tall; go on and take a swig of that poison and like it.

14. Alexi Murdoch – Love You More (2006)
Love you more than anyone. Love you more than anyone. Love you more in time to come. Love you more. (That”s the complete lyric”¦)

15. Finley Quaye ““ Dice (2003)
I was crying over you. I am smiling, I think of you. Misty morning and water falls, breathe in the air if you care, you compare, don”t say farewell. Nothing can compare to when you roll the dice and swear your love”s for me.

16. Dexys Midnight Runners – This Is What She”s Like (1985)
“Well how did all this happen?” “Just all at once really. The Italians have a word for it.” “What word what is it?” “A thunderbolt or something.” “What, you mean the Italian word for thunderbolt?” “Yeah, something like that. I don”t speak Italian myself you understand?” “No.” “But I knew a man who did. Well, that”s my story. The strongest thing I”ve ever seen.” (Single version)

17. The Cure ““ Lovesong (1989)
Whenever I”m alone with you, you make me feel like I am home again. Whenever I”m alone with you , you make me feel like I am whole again. Whenever I”m alone with you, you make me feel like I am young again. Whenever I”m alone with you, you make me feel like I am fun again.

18. Jens Lekman – I Saw Her In The Anti-War Demonstration (2004)
And the skies were clear blue skies, and her eyes were clear blue eyes, and her thighs were about the same size as mine, and we were walking in the anti-war demonstration; it was a sweet sensation of love.

19. Kacy Crowley ““ Kind Of Perfect (2004)
The last few years have been much harder than we ever thought they”d be. I know you hate it when I say I”m sorry, but I”m sorry. There was never a point in our love that I didn”t love you; not a point in our love. I always did, I always will, I always do, love you still, I always would, how could I not? Just look at us baby, we”re kind of perfect.

20. Joshua Radin – The Fear You Won”t Fall (2007)
I know you”re scared that I”ll soon be over it. That”s part of it all, part of the beauty of falling in love with you is the fear you won”t fall.

21. Nina Kinert – Through Your Eyes (2004)
All the time I stood here holding dandylions and chocolate for you. Tumbleweeds and fireworks go by. It”s hard to keep them still for you to see, nut you know that I try. I want to see you watching what I see, now that you”re mine, through your eyes.

22. Sarah Bettens ““ Grey (2005)
Will you be my everything? Maybe just this time we can really think that I am yours and you are mine; I am yours and you are mine…

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More songs about love

Here’s the trouble with Valentine’s Day, apart from the crass commercialisation and pressure to spend a month’s salary on a dozen frozen roses shipped in from Argentinia or wherever. Valentine’s Day is just for the select few, the lucky ones who are experiencing love in a good way. It excludes those who yearn for love, those who have had their heart shredded to ribbons, those who love somebody they cannot have. No, it doesn’t just exclude hem; it mocks them. The forced inclusiveness — red and white dresscodes, the Valentine’s cards and, worse, Valentine’s e-mails to people — creates an illusion that love causes no pain, that love is like it is in the movies (and how many rom coms open at your multiplex on February 14?). Worse, Valentine’s Day makes people in a relationship say or do things they may not really mean, even if they don’t really know what they are doing. So for most people, the most appropriate Valentine’s Day song is the one I posted a few days ago: Gram Parsons & Emmylou Harris – Love Hurts.mp3

For most people, Valentine’s Day is a banal fraud, and so are many of the songs that extol the glory of love. In lyrics, romantic love, of whatever brand, is usually a musical McGuffin, the plot device that drives the song. The Beatles sang exclusively about romantic love until Rubber Soul, their sixth album, “Nowhere Man” breaking the mould. Some of the emotions portrayed in some of these songs ring true, of course. Sometimes the lyrics are eloquent even. But do they convey the feeling of love accurately? Does, say, Kylie Minogue communicate it today? The challenge today, as it was on the mix-tape I posted on Saturday, is to find songs that can convey being in love believably, in lyrics, sound and performance (songs marked with an asterisk have been recycled from older posts).

Art Garfunkel – All I Know.mp3
“I bruise you, you bruise me. We both bruise too easily, too easily to let it show.” Art Garfunkel breaks our hearts in his beautiful 1973 version of the Jimmy Webb song. Being in love is a fragile reality. You are vulnerable. Your future is determined by the one your with: “All my plans have fallen through, all my plans depend on you; depend on you to help them grow.” Hurt may be just around the corner. Is Art neurotic or realistic when he sings: “But the ending always comes at last; endings always come too fast”? All these questions have no answer. There is only one answer: “I love you, and that’s all I know.”

Sarah Bettens – Grey.mp3
Sarah Bettens, of the folk-rock duo K’s Choice, takes the vulnerable route too. Here, love isn’t red, nor black or white. It’s somewhere in between: grey. Love can die, and Sarah says it might do so from her side even as she pleads to be loved. “You can’t be my everything and I am not half you. But you can make it all worthwhile, and that’s why I love you.”

The Weepies – Cherry Trees (live).mp3
Yeah, posted again. This is a gorgeous love song based on Pablo Neruda’s poem. “I wanna do with you what spring does with the cherry trees”, the idea nicked from Neruda, means that love must renew itself and grow. “Sometimes our love is like a mountain: solid and steep, grounded in heat. And sometimes we rage like a river, cold and fast, then quiet and deep. We ride the storm, ’cause when it’s through we have changed and love is new.” This is the key love surviving summarised in two lines.

Everything But The Girl – Love Is Where I Live.mp3*
Some of the songs here are love-giddy, others communicate the fear of being in love. Of the latter, this is the darkest. Tracy Thorn seems certain that this love won’t last. It’s here now, but may not always be. So she repeats these three words like a mantra: “It won’t last”. She’s been burned in love before, clearly. Love is here, but it cannot survive when one partner thinks it is already doomed. What Tracy needs is a shot of Donny Hathaway’s brand of love.

Donny Hathaway – A Song For You.mp3
In this definitive version of Leon Russell’s stunning declaration of love, Donny Hathaway puts us through the wringer. He has treated the woman he professes to love poorly, but now he is going to articulate just how much he loves her back: “and if my words don’t come together, listen to the melody, ’cause my love is in there hiding”. He’s not lying: the melody is enveloped in pure love. It communicates tenderness and vulnerability. But the words do come together: “I love you in a place where there’s no space or time. I love you for in my life you are a friend of mine. And when my life is over, remember when we were together: we were alone and I was singing this song to you.” Would you not melt? Would that not reassure Tracy Thorn?

Herb Alpert – This Guy’s In Love With You.mp3
It may be a little premature to include this Bacharach composition here. It might belong in yesterday’s post. Our dude has only just picked up that the girl he desires seems to like him back. From here on, Herb gets into it. The deal, as far as he knows, is done. Back out of the deal, he tells her melodramatically in the best bit of the song, and he might not survive it: “My hands are shakin’, don’t let my heart keep breaking ’cause I need your love, I want your love. Say you’re in love and you’ll be my girl…if not…I’ll just…die.” To great effect, when it seems that the song has ended on that note, it resumes with Herb’s trumpet, indicating that probably the girl has not given him cause to die. Yay!

Blue October – Calling You.mp3
We’ve not dealt with the insecurity in love that produces quasi-stalker behaviour, have we? This is where alt.rockers Blue October come in to help us out. This seems to be quite a sweet song: guy finds girl (probably out of his league), life has become easier and better…except he feels the need to phone her all the time to see if she is thinking or dreaming of him (yup, way to keep the girl, dude, waking her up all the time). The thing is, love makes people act stupidly. We may laugh at our dude here, but who in love has not ever had the same impulses?

The Crimea – Lottery Winners On Acid.mp3
Let’s get giddy, kicking off with John Peel-championed Indie-rockers The Crimea (with the original EP version, not the inferior re-recording with which they scored a 2006 UK hit). The song has a ’60s-like exuberance about it, and not just because of the acid reference. Our boy is so deep-fucked in love, he even loses his grasp on basic grammar: “If she get a black eye, I want a black eye. If she get a splinter, I want a splinter too.” And later: “If she get a disease, I want a disease. If she go tripping, I go falling over.” And his Mom might rightly enquire: “If she jumps of a bridge, would you jump as well?” Of course our boy would. ” Everything she say, I was thinking anyway.” Isn’t that just the way love is, initially?

Style Council – You’re The Best Thing (extended).mp3
Presumably Paul Weller wrote this for Dee C. Lee, a former Wham! backing singer who joined the Style Council in 1984 when she and Weller hooked up. So when he sings stuff like: “I could be discontent and chase the rainbows’ end, I might win much more but lose all that is mine” (meaning Dee C.’s love), you sort of wonder what their chances are. All good intentions in vain, Weller and Lee ended up getting divorced.

Sarah McLachlan – Ice Cream (Live).mp3
Sarah McLachlan takes the more conventional route to explain love: it’s like ice cream or chocolate. A jubilatory song that conveys the euphoria that comes with being in love, and being loved back. A note of caution: ice cream and chocolate melt in heat; will the romance retain its shape in the heat of passion?

Minnie Riperton – Lovin’ You.mp3
A song just dripping with love. The birds are singing, so is Minnie, hitting orgasmically high notes. The song was written with her husband, and in the end Minnie sings, in multi-syllable mode, the name of their daughter, Maya (SNL comedian Maya Rudolph). Which is lovely, I think. The lyrics are simple, yet communicate all that needs to be said. The line, “Stay with me while we grow old, and we will live each day in springtime” is a great one for wedding proposals (though these are best not uttered on February 14). In the context of this song it is poignant: Minnie died of cancer in 1979, five years after “Lovin’ You” was a hit.

Earth, Wind & Fire – Love’s Holiday.mp3
Love finds expression in sex. So, to round this thing off, a couple of songs saturated with love and sex. On “Love’s Holiday”, Maurice White rocks his sonorous voice in the most seductive manner. Forget about Barry White or Isaac Hayes, Maurice’s is the voice of a sex god. “Would you mind if I looked in your eyes till I’m hypnotised, and I lose my pride?” Playa got game. But, ooops, what’s this: “Would you mind if I make love to you till I’m satisfied, once again.” Till you are satisfied, Mo? What sort of seductive proposition is that? Promise her satisfaction twice over before you think of yourself, you selfish goon!

Foo Fighters – Everlong (acoustic version.mp3)*
Maurice’s women may be better off with Mr Grohl, who may not look particularly hot, take much care of his hair (if the Grammys performance is a reliable guide) or have a particularly sexy voice, but he has a way with words: “Slow how you wanted it to be… Breath out, so I can breathe you in, hold you in.” And here is the beauty of Grohl’s seduction technique: he doesn’t make grandiose promises of being a bureau-of-standards-approved lovemachine; he doesn’t flatter about bodies being wonderlands. He just outlines how he plans to make an emotional connection while in the act of making love. Which makes this is one of the best song about sex ever.

Before we launch into the second part of the Age of the Afro series, let me thank the kind people who commented so generously and positively on the first installment — and, indeed, everybody who posts comments. Any blogger, certainly the music writers, will agree that comments validate our efforts, and encourage us to carry on. So, on to the next lot of ’70s soul classics. Read more…

OK, I’m cheating a bit. There are factions of the Taste Police who adore Karen & Richard’s music. Read this post as pissing off those branches of the Taste Police who would prosecute their Carpenters-loving colleagues.

It is a little odd that the same members of the Taste Police who will defend the Carpenters are quite prepared to heap scorn on far edgier acts — for lacking edge. Let’s face it, you can’t really screw to the Carpenters (“Song For You” and “This Masquerade” being exceptions), they were mostly a cover act, and fans of the Carpenters are likely to like James Blunt as well. And many Carpenters song were utter crap. But when the Carpenters were great, they were indeed great. Richard’s arrangements could be exquisite. Perhaps the Taste Police forgives that. But Richard Carpenter, surely, is the least rock ‘n roll man ever to have worn the pop mantle. All I’m left with is Karen Carpenter: one of the finest vocalists in pop ever, blessed with an astonishingly beautiful and versatile voice.

Carpenters – (They Long To Be) Close To You.mp3
This Bacharach-David composition was the Carpenters break-through hit, and the best-known version of the song, which has been recorded by artists as diverse as Dionne Warwick, Isaac Hayes (whose symphonic version is incredible), the Cranberries and the Barenaked Ladies (the late Gwen Guthrie recorded a lovely upbeat version of it in 1986). The Carpenters were discovered by Herb Alpert and signed to his A&M label; it was Alpert who suggested they record “Close To You”, and it sounds like he is playing on it too.
Gwen Guthrie – (They Long To Be) Close To You.mp3

Carpenters – Superstar.mp3
Oh, Karen’s plaintive, yearning voice on this can move you to tears. Another Taste Police target, Luther Vandross later took this song, stirred in some Stevie Wonder, and created a 9-minute epic which should be regarded as one of the great cover versions of any song. I’m not quite sure how a song written from the perspective of a groupie (begging the question of why it wasn’t used in Almost Famous) came to become a big hit for the wholesome Carpenters. No doubt, they knew what the song was about; they even toned down the lyrics in one instance. A host of other artists recorded “Superstar” in the two years between its composition and the Carpenters’ hit version, including Rita Coolidge and Bette Middler, whose TV performance of the song alerted Richard to it.
Luther Vandross – Superstar/Until You Come Back To Me.mp3

Carpenters – Rainy Days And Mondays.mp3
This might be my favourite Carpenters song. Its undramatically but touchingly describes the condition of depression, with the promise of finding refuge and comfort from melancholy from “the one who loves me”. Karen invests much emotion into her delivery; presumably this was a song she could identify with more than the one written from a groupie’s perspective. I’m with Karen on Mondays being a bit of a downer, but rainy days cheer me up. As does this sad but hopeful song.

Carpenters – Goodbye To Love.mp3
This song breaks my heart. What fatalistic lyrics (” And all I know of love is how to live without it”) delivered with such a range of emotion. But it’s not the sad lyrics and Karen’s vocals that get me as much as that fuzzy guitar solo which captures the entire sentiment of the song. It’s a guitar solo that reaches inside me and wrenches my guts. Never mind “Rainy Days”, I think this is my favourite Carpenters song.

Carpenters – Hurting Each Other.mp3
A cover of a fairly obscure ’60s track. As this song begins, Karen sounds bit like Dusty Springfield. At 0:38, the chorus kicks in and it’s pure Carpenters. Richard’s arrangement is wonderful, making it sound like a Bacharach song. The climax at 2:13 is possibly the finest Carpenters moment: Karen’s phrasing of the lines, ” Making each other cry, breaking each other’s heart, tearing each other apart”, with her emphasis on the words “each other” as the strings go all soul on us…phew!

Carpenters – A Song For You.mp3
“A Song For You” was the title track for their best album by far, released in 1972 (it also featured the previous two songs). Karen’s vocals are incredibly intricate and emotionally beautifully judged, a real masterclass of singing (which Christina Aguilera might have taken note of on her attempt of a cover). I love the way Karen sings the word “better”. It seems difficult to top this version, but Donny Hathaway’s version, recorded a year earlier, is even better. Imagine Donny and Karen had lived to record it as a duet (hmmmm, Karen, dead; Gwen, dead; Luther, dead; Donny, dead…)!
Donny Hathaway – A Song For You.mp3

Carpenters – This Masquerade.mp3
If a song has a flute in it, I’m almost certain to love it. And “This Masquerade” has some of the best flute in pop. Like “A Song For You”, it was written by Leon Russell. George Benson’s version, from Breezin‘, is better known. Good as it is, the Carpenters’ take pisses all over it. Another intricate vocal performance, a wonderful jazzy arrangement — and Richard rocks a lovely piano solo, just before the first flute solo. Amazingly, this was only the b-side to the appalling cover of the Marvelettes‘ “Please Mr Postman” (the one with the Disneyland promo). And here’s a key as to why some members of the Taste Police still disregard the Carpenters’ genius: many of the great moments are obscured by the rubbish that was released to score hits.

The Carpenters – There’s A Kind Of Hush.mp3
And this is the sort of song I blame for that. The arrangement is cheesy and shoddy, the melody is pretty but lacking in substance, and the lyrics are so generic as to give Karen nothing to do with them. Of all the rubbish Carpenters songs, it’s not even remotely the worst. To his credit, Richard is unhappy with his reworking of the Herman’s Hermits hit, especially the use of the synth. (Previously uploaded on the Time Travel: 1976 post)