In Memoriam – May 2012
The Grim Reaper wreaked havoc in May. Robin Gibb, Donna Summer and Adam Yauch were the headliners, but there were also members of The Dillards and Crowded House who left us. Two blues and soul guitarists died: Charles Pitts, who played on so many of Isaac Hayes” records (his guitar helped make The Theme of Shaft such an iconic track) and Pete Cosey, who played on many Chess records.
In April we lost Andrew Love, who was involved in creating the iconic intro for Otis Redding”s Try A Little Tenderness. In May we lost another co-creator of a famous Otis intro: Donald “˜Duck” Dunn, who died at 70, provided the driving bass of I Can”t Turn You Loose. Fans of the Blues Brothers will know that intro; it”s played during the long introduction of the band as Jake and Elroy are trying to make to the stage. And on that stage was Donald “Duck” Dunn, the bassist with the white Afro and beard, appearing as himself. Check out the man”s discography.
We also lost Doc Watson, who did much to revive and keep alive the flame of traditional country and bluegrass at a time when the genre was tending towards the glossy pop sound.
First on the list this month is Jim McCrary, one of the rare non-musicians who warrant inclusion in this series. His contribution resides in album covers and rock photography. His LP cover portfolio includes Carole King”s Tapestry (and album cover which I will deal with in a couple of week’s time), the Carpenters” Offering and Now And Then, The Flying Burrito Brothers” Burrito Deluxe and The Flying Burrito Bros, and Joe Cocker”s Mad Dogs And Englishmen. He also took the famous series of photos of Gram Parson in the Nudie suit. Read more…
The slice of funky soul from The Isley Brothers” classic 1973 album 3+3 (named for the three original Isleys plus the three new members) was a cover of their 1964 recording, which had been inspired Curtis Mayfield”s band The Impressions. Released just before the Isleys signed for Motown, the original has a vague bossa nova beat with a jazzy brass backing, but is immediately recognisable as the song they recorded nine years later. The 1964 recording was a flop. The latter version, with reworked harmonies and without the brass, added Ernie”s distinctive guitar, Chris Jasper”s new-fangled synthethizer, Santanesque percussions, and the menacing interjection “Look, yeah, but don”t touch”. It became their first Top 10 hit in four years.
Before he became a guitar god, Rundgren was part of the Philadelphia garage rock band Nazz (not The Nazz, who went on to become the band Alice Cooper, before their singer appropriated that name for himself as a solo artist), whom their manager sought to promote as a teenybopper outfit. The name refers to comic-poet Lord Buckley”s poem “The Nazz”, a hip retelling of the Jesus story, but might also have been an allusion to the Yardbirds” song The Nazz Are Blue.
Simply Red”s Holding Back The Years sounds like a cover version of an obscure “60s soul number, and the versions by Randy Crawford and Angie Stone show how good a soul song it is. But it is, in fact, a Mick Hucknall composition. Before Hucknall became Simply Red (would you recognise any of the other interchangeable members in the street?), he was the lead singer of the Frantic Elevators, a punk group whose founding was inspired by the Sex Pistols” 1976 Manchester gig. They stayed together for seven years of very limited success, releasing four non-charting singles and recording a Peel session. The last of the four singles, released in 1982, was Holding Back The Years, a song Hucknall had mostly written as a 17-year-old about his mother”s desertion when he was three (he added the chorus later). Their version is understated and almost morose, in a Joy Division sort of way. Although released independently, as the cut-and-paste artwork on the sleeve suggests, they had high hopes for the single. Ineffective distribution dashed those hopes.
Strictly-speaking this is not really a cover version, or even a song by Strontium 90, but a demo by the group’s member Sting, though it was eventually released in 1997 on the Strontium 90 retrospective of live and demo cuts, Police Academy. In its initial form, the unrequited love for stalkers anthem (Sting has a string of those) is an acoustic number which is actually pretty good. Strontium 90 consisted of the three future Police members “” Sting, Andy Summers and Stewart Copeland “” plus founder Mike Howlett, who went on to be a successful producer of many New Wave acts. So Howlett, through Strontium 90 introduced Andy Summers to Sting and Copeland, who had previously gigged together.
In early February 1968, the Beatles were in the Abbey Road studios to produce a single they would released while they went off to hang with the Maharishi in India. That single turned out to be Paul”s Lady Madonna (the same session also produced the b-side, George”s The Inner Light, and John”s Hey Bulldog, which would appear on the Yellow Submarine soundtrack). John”s contribution to the quest for a new single was Across The Universe, whose lyric “words are flowing out like endless rain into a paper cup” he said came to him when his then-wife Cynthia was babbling about something he took no interest in. The arrangement for the song was problematic, however. John did not think that Paul was getting the backing falsetto right, so Paul brought in two female fans who were standing outside the studio, Lizzie Bravo and Gayleen Pease, to sing backing vocals instead. They did not turn professional, and the recording shows why. John later voiced his suspicion that Paul intentionally sabotaged many of his songs “” citing also the violence McCartney did to, erm, Strawberry Fields “” though he also admitted that his own vocals on Across The Universe were poor (and he couldn”t blame Paul for that).
Here is the second volume of “60s soul tracks. Some of these songs are pretty well-known, but many others are hidden or forgotten gem. Eddie Holland”s track is as much a gem as it is a historical curiosity; it”s one of the few records he released on Motown before Berry Gordy decided that Eddie, with Brian Holland and Lamont Dozier, should work exclusively as one of the label”s in-house writer/producer teams, in particular for the Supremes and the Four Tops . 
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 so came to the attention of the Beatles, whose version upped the tempo to produce a joyously frenetic and, indeed, orgasmic version.
It was the last song to be recorded after a marathon 12-hour session which saw ten tracks put down for the Please Please Me album, on 11 February 1963. Lennon had been ill with a cold “” towards the end of the song, if you listen closely, you can hear Lennon cough “” and his voice was already hoarse, soothed by milk and throat lozenges. The first take demolished Lennon”s voice; a second take was recorded but, according to producer George Martin, Lennon”s voice was by then gone (and George Harrison”s hands bleeding). That first take captured one of the great vocal performances in rock & roll “” by a singer who, according to Martin, did not like his own voice, begging the producer to modify it on the recordings. Martin would later recall Lennon asking him repeatedly: “Do something with my voice. Put something on it. Smother it with tomato ketchup. Make it different.” In time, Lennon became adept at using his voice in different ways.
Another US #17 hit found its way on the Please Please Me album, recorded during the same session that produced Twist And Shout and the next song. The Cookies at the time were Little Eva”s back-up singers (and, later, Ray Charles”) who occasionally released singles themselves. Apart from the Top 20 success of Chains, they had a top 10 hit with Don”t Say Nothin” Bad (About My Baby). The Cookies recently featured on this blog (
A Taste Of Honey was the title of a 1958 British kitchen-sink play by Shelagh Delaney (whose picture appeared on the single sleeve of The Smith”s Girlfriend In A Coma). The play was adapted in 1960 for Broadway, with the addition of incidental music. The song that became known as A Taste Of Honey provided a recurring theme. Among the cast of the Broadway production was Billy Dee Williams . Williams recorded the tune set to lyrics in 1960, failing to generate pop music”s crowning moment. Two years later, crooner Lenny Welch recorded the song (some source mistakenly claim that this was the first vocal version). It was Welch”s version which Paul McCartney was familiar with when the Beatles included it in their live repertoire, and then on their debut album, on which McCartney duetted with himself.
Whether or not one would regard this as a lesser-known original depends on one”s interest in showtunes. The Broadway afficionado will know Till There Was You as the song that ends Act 2 in the 1957 musical The Music Man, as the librarian (Barbara Cook) addresses the professor (Robert Preston). The soundtrack of the stage musical “” it was made into a movie in 1962 “” was one of the biggest US sellers of the 1950s, as many musicals were in the days before pop LPs (which, as noted, the Beatles helped usher in).
Having recorded it for their sophomore album, With The Beatles, the group played Till There Was You at the Royal Variety Performance, apparently giving the Queen Mother much pleasure. The old bat probably frowned soon after at Lennon”s exhortation for jewellery rattling (he had planned to say “rattle your fucking jewellery”, but wisely though disappointingly chickened out), and possibly did not dance on top of her seat to the next song, Twist And Shout.
Appearing on Help!, Act Naturally was the Beatles” final cover version, if one ignores Let It Be”s Maggie May. The other remake on Help!, Dizzy Miss Lizzy, had been recorded a month earlier. So we mark 17 June 1965 as the day the Beatles became an exclusively original band.
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