Posts Tagged ‘Sammy Davis Jr’

Coming home

January 19th, 2010 15 comments

And so I’m saying goodbye to lodging on the sofas of WordPress and Blogger, and move into my own home, with my own domain and my own armchair.  Please bookmark it and, if you are a fellow blogger, amend the link:

The presentation here is a work in progress. Some of the things WordPress used to do for me automatically, I now must do myself. It’s a bit like leaving the caring landlord who painted your walls (but evicted you for putting a nail into the wall for a framed picture) and having to paint my own walls.

So, to get the housewarming going, a batch of songs on the theme of home, quickly collated by executing a couple of searches on my drives. There was enough for a hundred songs, it seems. Not of all of them are lyrically appropriate; Porter Wagoner’s song about an execution, for example. I’m pleased to have opportunity to highlight the great soul crooner Grady Tate. And the Terry Smith song…well, if anybody wants to know the sound of Cape Town, this is it, authentically.

Gil Scott-Heron – Back Home (1974).mp3
Grady Tate – After The Long Drive Home (1974).mp3
Porter Wagoner – Sing Me Back Home (1969).mp3
Sammy Davis Jr – Any Place I Hang My Hat Is Home (live, 1967).mp3
Charlie Sexton – Bring It Home Again (2005).mp3
Bo Diddley – Down Home Special (1956).mp3
Terry Smith – Take Me Home (The Cape Town Song).mp3

The Originals Vol. 14

January 21st, 2009 11 comments

Jerry Jeff Walker – Mr. Bojangles (1968).mp3
Bobby Cole ““ Mr. Bojangles (1968).mp3
Nitty Gritty Dirt Band ““ Mr. Bojangles (1971).mp3
Sammy Davis Jr ““ Mr. Bojangles (1972).mp3

jerry-jeff-walkerThere is no truth to the old chestnut that Mr Bojangles tells the story of the great Bill Robinson. Folk/country singer Jerry Jeff Walker, who wrote and first recorded the song, tells the story of being in a New Orleans holding cell for public disorderliness with, among others, a street dancer (a white one, because cells were segregated). These public performers were generically nicknamed Bojangles (after Robinson). This man told his tales of life and of his grief for his dog. Urged on by the other cellmates, he proceeded to give them a tap dance. In 1968, three years after the incident, Walker recorded the song about that experience. Mr Bojangles is by far his most famous contribution to popular music. The second-most important would be to inspire Townes van Zandt to start writing songs.

The song was covered by several well known performers but became a hit only in 1971, when the Nitty Gritty Band took it the US #9, drawing from Walker”s folk arrangement. The best, and probably best-known, version was recorded a year later, drawing from the arrangement of Bobby Cole”s version (props to Ill Folks blog), which was in the lower reaches of the US charts at the same time as Walker”s. Cole added to the song the vaudeville sounds which evoked the tap-dancing ambience. It was that quality of Cole”s version from which Sammy Davis Jr seems to have drawn. Sammy was a hoofer himself, of course, so in his younger days would have known many characters such as Mr Bojangles, even in his family of entertainers. Sammy could identify with the song, and he delivers a beautiful performance, with the right mix of carefree spirit (the whistling) and drama which his protagonist projects. To some the line about the dog gone dying might be overwrought; I get goosebumps when I hear it.

Also recorded by: Rod McKuen (1968), Neil Diamond (1969), The Byrds (1969), Harry Nilsson (1969), Neil Diamond (1969), Lulu (1970), Harry Belafonte (1970), John Denver (1970), Ronnie Aldrich & his Two Pianos (1971), Nina Simone (1971), King Curtis (1971), Nancy Wilson (1971), David Bromberg (1972), John Holt (1973), Bob Dylan (1973), Esther Phillips (1986), Chet Atkins (1996), Edwyn Collins (1997), Steve Hall (1997), Whitney Houston (1998), Magna Carta (2000), Robbie Williams (2001), Jamie Cullum (2003), Luba Mason (2004), The Bentones (2005), Ray Quinn (2007) and loads of others for whom I have no years of recording: Frank Sinatra, Glenn Yarbrough, Arlo Guthrie, Frankie Laine, Elton John, Michael Bublé, and more.


Pino Donaggio – Io che non vivo (senza te).mp3
Dusty Springfield ““ You Don”t Have To Say You Love Me.mp3

pino-donaggioPino Donaggio is best known as a composer of the scores for films such as Don”t Look Now, Carrie and Dressed To Kill. But before that, he was a big pop star in Italy, having abandoned the classical training he received as a teenager (and which prepared him for his soundtrack career) for pop after performing with Paul Anka in the late 1950s.

He performed Io che non vivo (senza te), which he wrote with Vito Pallavicini, at the San Remo Festival in 1965 with the country singer Jody Miller. Dusty Springfield was there and then asked Vicki Wickham, producer of the British music TV show Ready Steady Go! and a songwriter, to set the song to English lyrics for her. Wickham asked Simon Napier-Bell (one-time manager of the Yardbirds, Marc Bolan and Wham!) to help her. Napier-Bell later remembered that they wrote the lyrics in a taxi. Springfield”s version (reportedly recorded in 47 takes) was released in 1966 and became one of her signature hits.

The original title means, roughly translated, “I, who cannot live without you”. My Italian being rusty, I have no idea how Donaggio riffed on that theme (EDIT: Paolo helps us out in the comments section). The English lyrics express the “If you love someone, let them go” motto. The intent of the lyrics may be the converse of the original (I don”t know, and nor did Napier-Bell), but the dramatic arrangement does not differ substantially “” other than Dusty”s mighty, heartbroken vocals begging the object of her unrequited affection to decline her offer of romantic freedom.

Also recorded by: Smokey Robinson & the Miracles (1966), John Davidson (1966), Carla Thomas (1966), Cher (1966), Vikki Carr (1966), Jackie De Shannon (1966), Connie Francis (1967), Matt Monro (1967), Bill Medley (1968), Kiki Dee (1970), Elvis Presley (1970), Guys & Dolls (1976), Helen Reddy (1981), Tanya Tucker (1981), Ferrante & Teicher (1992), Maureen McGovern (1992), Denise Welch (1995), Clarence Carter (1997), Brenda Lee (1998), Marti Jones (2000), Fire-Ball (2004), Jill Johnson (2007), John Barrowman (2008), Shelby Lynne (2008) a.o.


The Strangeloves ““ I Want Candy.mp3
Bow Wow Wow ““ I Want Candy.mp3

strangelovesI Want Candy originally was a Bo Diddley-inspired 1965 US #11 hit for the Strangeloves, a joke project of songwriter/producers Bob Feldman, Jerry Goldstein and Richard Gottehrer (the latter would go on to produce the likes of Blondie and the Go-Go”s, and co-founded the Sire label on which Madonna launched her career). The conceit was that the Strangeloves were Australian brothers who had made a fortune by crossbreeding a new type of sheep, named after Gottehrer. The gag did not acquire much public traction, but it did present a problem when I Want Candy”s success imposed the demand for live performances by the Strangeloves. The three producers solved the problem by putting together a band of session musicians. Their adventures on the road will form part of the story in the next entry.

The touring versions of the Strangeloves were artificially put together, as were Bow Wow Wow 15 years later, albeit with much more of a plan. After he had finished managing the punk version of the Spice Girls, Malcolm McLaren went on to inspire Adam Ant & the Ants to success, and just as the group got there, stole the Ants from Adam to form a new group, Bow Wow Wow, in 1980. Ever mindful of the gimmick imperative, he found a precocious 14-year-old girl to front the band, Burmese-born Annabella Lwin (born Myint Myint Aye, which allegedly means High High Cool “” my Burmese is as rusty as my Italian).

Lwin was not shy to flaunt her sexuality, appearing nude on the cover of the group”s debut album, simply titled See Jungle! See Jungle! Go Join Your Gang, Yeah! City All Over Go Ape Crazy. The now15-year-old”s parents were so outraged that they threatened to institute legal action against McLaren. Evidently Malcolm got the girl”s parents around to his point of view: the single cover for I Want Candy depicted Annabella again in a state of some undress. McLaren, incidentally, had considered a second singer to partner Lwin, but the artist he had in mind, going by the name Lieutenant Lush, was considered to wild. The disorderly vocalist went on to find success as Boy George.


Bow Wow Wow”s 1982 version of I Want Candy was produced by Kenny Laguna, who at the time was scoring big with singers such as Joan Jett and Kenny Loggins. The story goes that Laguna had the band already in the Florida studio to record the song when he realised that he had no recording, no lyrics and no songsheet for it. So he got in touch with Richard Gottehrer (at the time in a studio recording another cover version, the Go-Go”s Vacation) who taught him the song over the telephone. Gottehrer also had to persuade Laguna that the guitar hook was an integral part of the song. Bow Wow Wow were not pleased with what they considered a bubble gum song. Still, it was their only hit, reaching #9 in the UK. It was only a minor hit in the US. Yet, strong rotation on MTV ensured its status as an “80s classic.

Also recorded by: Brian Poole And The Tremeloes (1965), The Bishops (1978), The Bouncing Souls (1994), Chrome (1995), Candy Girls (1996), Black Metal Box (1997), Aaron Carter (1998), Good Charlotte (2001), Melanie C (2007)


The Vibrations – My Girl Sloopy.mp3
The McCoys ““ Hang On Sloopy.mp3

The Debs – Sloopy’s Gonna Hang On.mp3
vibrationsEarlier in the series, The McCoys featured with their original of Sorrow, famously covered by David Bowie. Oddly enough, the group”s 1965 signature hit, Hang On Sloopy, was a cover version, of the Vibrations” 1964 US top 30 hit My Girl Sloopy, written by the legendary Bert Berns (who also had an association with the Strangeloves) and Wes Farrell. The Vibrations were a soul group from Los Angeles which kept going well into the 1970s; one if their members, Ricky Owens, even joined the Temptations very briefly. Several of their songs are Northern Soul classics (which basically means that they were so unsuccessful that the records are rare).

I promised in the entry for I Want Candy that the story of the Strangeloves would have a sequel. Our three producer heroes were on tour, shadowing the session musicians playing their songs, when they decided My Girl Sloopy should be the follow-up to I Want Candy. The Dave Clark Five, on tour with the Strangeloves, got wind of it, and said they”d record Sloopy too. So the Strangelove trio, afraid that the Dave Clark Five might have a hit with the song before they could release theirs, acted fast to scoop the English group. They recruited an unknown group based in Dayton, Ohio, called Rick and the Raiders, renamed them The McCoys, and in quick time released the retitled Hang On Sloopy.

But it wasn”t all the McCoys playing on the single, only singer Rick Zehringer (later Derringer) performed on it “” his vocals having been overlaid on the version already recorded by the Strangeloves, and a guitar solo added to it. The single was a massive hit, reaching the US #1. In 1985 it was adopted as the official rock song of Ohio (honestly). And, for the hell of it, there”s also the answer song by The Debs. Oh, and the Sloopy of the title is jazz singer Dorothy Sloop.

Also recorded by: The Invictas (1965), Quincy Jones (1965), Little Caesar & The Consuls (1965), The Newbeats (1965), The Yardbirds (1965), Jan & Dean (1965), The Eliminators (1966), The Raves (1966), The Wailers (1966), Ramsey Lewis Trio (1966), The Phantoms (1966), The Supremes (1966), The Fevers (1966), Count Basie & his Orchestra (1968), The Lettermen (1970), Ramsey Lewis (1973), Skid Row (1976), BAP (1980, in the Cologne dialect Kölsch), Daddy Memphis (1998), Aaron Carter (2000), Die Toten Hosen (2000), Saving Jane (2006)


don-gibsonDon Gibson – I Can’t Stop Loving You.mp3
Ray Charles – I Can’t Stop Loving You.mp3

It is a mark of Ray Charles” genius that he, the Father of Soul, took a country song to the US #1, still sounding like a country song. It is fair to say that sometimes there is a pretty thin line between southern soul and country. Brook Benton is perhaps the best example of a soul singer casually entering country territory. Indeed, it is that cross-germination of white country and black R&B which helped give rise to Rock & Roll, a musical form of racial integration which anticipated the intensification of the civil rights struggle. But that is a debate for another day, unhelpfully dealt with in 35 words.

raycharlesWhen Ray Charles released his seminal Modern Sounds in Country and Western Music (in 1962, at the height of the civil rights struggle), he let it be known that country music has soul “” an elementary truth which the haters of the genre have too easily ignored. Don Gibson, hardly the prototype for sweaty, sexy party music, had soul. You can hear it on his 1958 original of I Can”t Stop Loving You, one of 150 country songs shortlisted for the Ray Charles LP. If anything, Ray Charles (and arranger Sid Feller) added Nashville schmaltz to the song. Indeed, it is the one song on the album that is still recognisably a country number. This wasn”t Charles” first foray into country. A few years earlier he had recorded Hank Snow”s I”m Movin” On.

Gibson recorded I Can”t Stop Loving You during the same December 1957 session that produced the great country classic, Oh Lonesome Me (which Johnny Cash later covered to great effect, and one of the few covers Neil Young ever recorded). I Can”t Stop”¦ was the b-side to Oh Lonesome Me, a US top 10 hit. Before Ray Charles got hold of it, the song had already been covered several times, including a version by Roy Orbison. Indeed, at the same time the song was a b-side for Gibson, Kitty Wells had a big hit with it in the country charts.

Also recorded by: Kitty Wells (1958), Roy Orbison (1960), Rex Allen (1961), Rick Nelson (1961), Tab Hunter (1962), John Foster (as Non finirò d’amarti, 1962), Connie Francis (1962), Bobby Sitting & the Twistin’ Guy’s (1962), Hank Locklin (1962), Grant Green (1962), The Ventures (1963), Count Basie (1963), Peggy Lee (1963), Paul Anka (1963), Webb Pierce (1963), Ferlin Husky (1963), Floyd Cramer (1964), Faron Young (1964), Jim Reeves (1964), Jean Shepard (1964), Nancy Wilson (1964), Chet Atkins & Hank Snow (1964), Frank Sinatra & Count Basie (1964), Dinah Shore (1965), Tom Jones (1965), Gene Pitney (1965), George Semper (1966), Tennessee Ernie Ford (1966), Bettye Swann (1967), Pucho & the Latin Soul Brothers (1968), Jimmy Dean (January 1968), Long John Baldry (1968), Jerry Lee Lewis (1969, as a blues), Elvis Presley (1969), Jim Nabors (1970), Eddy Arnold (1971), Charlie McCoy (1972), Conway Twitty (1972), Sammi Smith (1977), Jerry Lee Lewis (1979, as a country song), Van Morrison (1991), Arlen Roth (1993), Diane Schuur & B.B. King (1994), Anne Murray (2002), John Scofield (2005), Mica Paris (2005), Martina McBride (2005) a.o.

More Originals

Music For Bloggers: Vol. 8

September 11th, 2008 5 comments

Oh, my week was made by the lovely responses I received to my lament about not getting enough comments. I really wasn”t angling for compliments, but those that came really built me up, buttercup. People reading my semi-coherent ramblings to their computer-illiterate aunts in Canada… Wow! So I”m deeply touched and very grateful for all the nice comments. Don”t be shy, shower me with comments. Comments are fuel for the blogger. But, as I admitted, I”m guilty of not always commenting myself, so this series is probably as much about assuaging my own feelings of Catholic guilt by giving props to bloggers whose work I appreciate as it is about promoting them. As always, if your blog has not been featured yet, it might do so in the future.

The name gives it away: another blog dedicated to the glories of crackling vinyl. A few weeks ago, when choosing songs for my contribution to the Vinyl Record Day blogswarm, I was torn between uploading the clinical CD rip of Je t”aime”¦moi non plus, or a vinyl rip I got from who knows where. I went for the CD rip, but the crackling of the latter recreated the memory of growing up with the song in ways the digital version couldn”t. ally of dustysevens has some pretty rare stuff, and some that”s fairly easy to find . Take Sad Sweet Dreamer by the Sweet Sensation. If you need to have the digital version, it”s HERE. But if you grew up with it, you might want to capture what I might call the Birkin Effect, where the crackle is part of the instrumentation and, indeed, atmosphere of the song. For that, visit dustysevens (and other vinyl blogs). And if you don”t really dig vinyl rips, you can still visit to sample ally”s lovely, slightly off-beat humour and some of the surprising illustrations she finds (hand shadow tips, anyone?). The song dedication to ally’s blog is a vinyl rip I made last night, from the apparently rare-on-the-Internet Save The Children soundtrack of a docu on the 1972 PUSH Expo concert in Chicago featuring the cream of African-American musicians, including Sammy Davis Jr singing one of my all-time favourites.
Sammy Davis Jr – I Gotta Be Free (live) (vinyl rip).mp3

All Eyes And Ears
This is a blog I discovered after its owner commented to my No-Comments lament. What made me check out All Eyes And Ears was Dane”s remark that she was thinking of chucking the blog biz because of low hit and feedback rates. So I wanted to see if she should do so. Oh, but she shouldn”t. There are, of course, a lot of photography blogs about, and quite a few that combine photos and music, as Dane”s does. The excellent Art For Art”s Sake springs to mind. What I really like about All Eyes And Ears is the subject matter of photos: apparently unremarkable landmarks in humdrum Ohio brought to life with a keen eye for atmosphere, structure and symmetry. Who knew that a washed-out sign on a filthy wall next to a horribly dull building could be so beautiful? Dane’s art has style. And the songs she selects to illustrate her illustrations are so well-judged: Monkees, Brigitte Bardot, Glen Campbell, Carly Simon, Chuck Berry and so on. But hurry, it”s all on YouSendIt. I am still looking for a good pic of a financial institution located at a riverside in Dane”s homestate”¦ (thangyooverymuchfolks, I’ll be here all week)
Olivia Newton-John – The Banks Of The Ohio.mp3

Bob Evans Recording Album #3 in Nashville
I”m a great fan of Bob Evans” second album, Suburban Songbook, which I picked up at a gig he played in Cape Town (supporting the excellent Farryl Purkiss) last year. So I am very much looking forward to the Australian singer-songwriter”s third album, which he is currently recording in Nashville, where he also made Suburban Songbook. My anticipation is tickled further by his blogiary (is that a word for a blog-diary? Hey, in the cyberworld you can make up your own words), his account of how the recordings are going, where he gets drunk and who paid for supper. Even if that sounds a bit mundane, it”s not boring, because our man Kevin ““ for his Mom does not call him Bob ““ is quite an amusing chap, in a self-deprecating manner. I think it”s great to read about the process of recording an album from the first-person perspective of a normal musician, rather than the tales of excess involving groupies, drugs and debauchery. Not that Mr Mitchell ““ for his parents are not Mr and Mrs Evans either ““ would necessarily object to those elements of stardom. Bob/Kevin doesn’t read my blog, I don’t think, so I shall dedicate one of his own songs to him.
Bob Evans – The Great Unknown.mp3

Retro Kino
Do you remember the “80s film The Legend Of Billie Jean? Oh yeah, now that I mention it, you do. Helen wotserface was in it, right? We all thought she’d be a big star. Yeah. OK, Summer School? No? Mark Harmon teaches a bunch of proto-slackers in a summer camp? Ring a bell? Did you fancy Kirsty McNichol or Tatum O”Neal (or, indeed, Matt Dillon) in Little Darlings? Nah, I preferred Kirsty ““ though she probably wouldn”t prefer me (alleged and rumoured lesbians are funny that way. Anyway, probably for the better we didn”t get married). Andrew McCarthy. Whatever happened to him? I quite liked him, y”know, but I reckon Weekend At Bernies II killed his career flat. He was in Weekend At Bernies II, wasn”t he? Ah yes, if you were young in the “80s, then Retro Kino is going to bring back memories, some good and some perhaps unwelcome. A fairly new blog ““ just two months old ““ it provides well-written and informed comments on the almost forgotten piece of “80s cinema, plus posters and some video clips. A splendid trip to some kind of wond

erful nostalgia destinations. The dedication is from a film which surely will feature on Retro Kino at some point.
David Foster – Love Theme From St. Elmo’s Fire.mp3

Retro Music Snob
Retro Music Snob surfs the blogs so you don”t have to. The blog”s deal is to highlight posts of interest from other blogs, with a summary of said post. For the reader it is, of course, a great way of discovering new blogs, and for the blogger it”s a useful exercise seeing at a glance what other bloggers are up to. Earlier I said that comments are fuel for bloggers. Spare a thought then for RMS whose gig is quite unlikely to involve a fusillade of reaction. As a regular visitor and one who really appreciates this wonderful and well presented service, I hope to say “thank you” with this tenuously-linked song dedication:
Wings – Listen To What The Man Said.mp3

Previously featured:
Music For Bloggers Vol. 1: Totally Fuzzy, Not Rock On, Serenity Now (RIP), Stay At Home Indie Pop, The Late Greats, Tsururadio, 200percent, Jefitoblog (RIP), Television Without Pity, Michael’s World
Music For Bloggers Vol. 2: Fullundie, Mr Agreeable, Greatest Films, Peanut’s Playground, Just Good Tunes, Csíkszereda Musings, Mulberry Panda, The Black Hole, Secret Love, Hot Chicks With Douchebags
Music For Bloggers Vol. 3: Girl On A Train, Maybe We Ain’t That Young Anymore, Earbleedingcountry, Spangly Princess, Ill Folks, Deacon Blues, One-Man Publisher, CD Rated
Music For Bloggers Vol. 4: Pop Dose, Todger Talk, Holy Goof (RIP), Echoes In The Wind, Sunset Over Slawit, The Hits Just Keep Coming, The Ghost of Electricity, Guitariotabs
Music For Bloggers Vol. 5: The Quietus, Barely Awake In Frog Pyamas, The Great Vinyl Meltdown, Fusion 45, Inveresk Street Ingrate, The Songs That People Sing
Music For Bloggers Vol. 6: my hmphs, Visions of Wrong Terrence, Don’t Burn The Day Away, Mine For Life, 3 Minutes 49 Seconds
Music For Bloggers Vol. 7: Uncle E’s Musical Nightmare, Jens Lekman, Ain’t Superstitious, AM Then FM, Psd Photoshop Disasters, SIBlingshot on the Bleachers, Dr Forrest’s Cheese Factory, NME & Melody Maker


Albums of the Years 1960-65

November 15th, 2007 2 comments

Continuing the series of albums of the year, I am condensing the years of the ’60s prior to that of my birth. It was not a time for albums yet, at least not in pop. There were classic jazz albums, such as Coltrane’s A Love Supreme, an essential album of the decade with which I have never been able to close a friendship. In the ’60s the great Sinatra left Capitol and Nelson Riddle to become a crooner for the people following him into middle-age. There was one final great Capitol album, some goofing with the Rat Pack, then straight into bloated easy listening territory. Sinatra became so bland, he made Engelbert Humperdinck seem like the muse for the New York Dolls.

But the early ’60s also saw the rise of the Beatles as a pop band which could churn out good albums at an alarming rate. Consider that between the ropey debut of Please, Please Me to Rubber Soul, not quite three years passed. Only two years after Rubber Soul came the ludicrously influential Sgt Peppers. Two years later, the Beatles were finished. Such a rich body of work and astonishing artistic growth in seven years. Think about it: an act starting out in 2000 and breaking up about now, leaving behind a legacy like that. No wonder the Beatles are represented in this top 10 three times, with some consideration for two of the remaining three albums.

As ever, my top 10s are also not representative of the “best” albums of the year. Some are, but others will be included simply because I like them, knowing well that they are not as innovative or influential as others I have listed.

1. The Beatles – Help (1965)
On Sunday I bought the new DVD set. The movie looks and sounds great. Its cinematic merits aside (it is a bit ropey), Help! the film is a fascinating time capsule, coming after The Goons and before Monty Python. Add to that the Fab Four in action, and the songs, and it is a richly rewarding DVD, at least for the Beatles fan. And the album is my favourite Beatles set of all.

Help was the culmination of the Beatles” innocent period, before lyrics started to acquire deeper meanings; before musical innovation became a hallmark of Beatles albums; before George Harrison was given the opportunity to express himself. Notable is the Dylan influence on both Lennon and McCartney “” on “You”ve Got To Hide Your Love Away” (my all-time favourite Beatles song, by John) and on the country-flavoured “I”ve Just Seen A Face” (Paul). “Ticket To Ride” and the title track hint at the leap the group would make just a few months later with Rubber Soul. For now, though, the songs were mostly still uncomplicated and sometimes even a bit goofy (“You”re Going To Lose That Girl”, “Another Girl”, Ringo”s cover of Buck Owen”s “Act Naturally”).

Perhaps because Help was recorded just as the Beatles became musically more adventurous, but before such innovation turned up some aberrations, it is their most perfect pop album. Even the inappropriate Dizzy Miss Lizzy, a throwback to the first three albums that should have been replaced by I”m Down (b-side to the single release of Help), cannot detract from the album”s perfection “” positioned, as it is, at the end of the album, one can just switch it off.
The Beatles – You’ve Got To Hide Your Love Away.mp3
The Beatles – You’re Gonna Lose That Girl.mp3
The Beatles – I’ve Just Seen A Face.mp3

2. The Beatles – A Hard Day’s Night (1964)
In preparation for this post, I listened to the three Beatles albums under review. I was going to rank Rubber Soul higher, but was reminded that there was more guff on that album than there is on the Beatles’ first soundtrack album. Somehow, my respect for Beatles albums tends to be based on the quality not of the singles but that of the tracks that were neither singles nor included on the 1973 red and blue compilations (a question of overfamiliarity, probably). And the album tracks on A Hard Day’s Night are just great: Anytime At All (how was that never a single?), I’ll Cry Instead, If I Fell, I’ll Be back. The singles/red album numbers ““ the title track, Things We Said Today, I Should Have Known Better, Can’t Buy Me Love ““ are outstanding as well. Oh, and the movie was really good as well (“He’s such a clean old man”).
The Beatles – Anytime At All.mp3

3. Vince Guaraldi Trio – A Charlie Brown Christmas (1965)
The soundtrack to the Peanuts Christmas special. It is a sublime film and a sublime record. Both are immensely comforting, I find. This might be the only jazz album which people who hate jazz can love, and which jazz lovers can forgive for being loved by jazz novices. Nominally it is a Christmas album. If one is familiar with the Peanuts film, it will evoke Christmas. If not, it might well do so anyway, but it works at any time of the year. Listen to O Tannenbaum, a cool bass and piano driven version of the quintessential German yuletide song (Silent Night is Austrian, don’t you know?): it extends far beyond the Christmas spirit and fir trees. And yet, if you want it to be about Christmas, it can and will be. Even the 4 minute version of the Peanuts theme song (properly titled Linus And Lucy).
Vince Guaraldi Trio – O Tannenbaum.mp3

4. Miles Davis – Sketches Of Spain (1960)
First off, I love the album cover. But if that were enough to qualify, Herb Alpert would be included in this post. Sketches Of Spain delivers what it promises: Davis interpreting Spanish music. Rodrigo’s classical Spanish guitar piece Concierto De Aranjuez gets the trumpet treatment, with Gil Evans’ luscious, deeply affecting arrangement producing 12 minutes and 43 seconds of utter bliss. I have said it before, to appreciate Miles Davis’ powers of innovation, one must look to his subtle works, certainly not to the jazz fusion wankery of Witches Brew. On Sketches Of Spain, things sway gently one moment, next a jolt as the tune segues into a film noir mood before it regains its whispering, ominous beauty. It is indeed a sad album, perhaps the saddest instrumental album I know besides Morricone’s wonderful soundtrack of Once Upon A Time In America. It is a rare and special thing when being a passive participant to such sadness can make one glad to be alive. Listen to this track, and, for the sake of experiment, cue your favourite upbeat pop song to follow it. My bet is that you will resent the pop song for crashing in on the afterglow of the emotion Davis has created.
Miles Davis – Concierto De Aranjuez.mp3

5. The Beatles – Rubber Soul (1965)
Never mind Revolver, it was Rubber Soul that represented the quantum leap in the Beatles’ artistic trajectory. Suddenly all kinds of strange instruments ““ especially George’s sitar ““ crept into the music, and the lyrics became increasingly surreal and, at times, cynical. Lennon seemed to be a bitter chap at that point. Run For Your Life, even by his own admission, is a nasty song, and Drive My Car is far from the polite tone of previous records (though Another Girl on Help is pretty mercenary). Some of the generic lyrics are still evident on the songs by Paul and George; it is John who first breaks out of the easy-going ghetto. Two songs stand out: the nostalgic In My Life, which seems to have been written by a man twice Lennon’s age, and Girl, which fuses a beautiful melody with much exasperated bitterness. The latter also has the best single sound on the album: the sharp intake of air through closed teeth, which serves to emphasise the protagonist’s frustration. The counterpoint is McCartney’s Michelle, an atrocious song which the greasepot crooners quickly latched on to as they had done with Yesterday and would do with Something. But where Yesterday is a brilliant song (spoiled by overexposure) and Something is sublime, Michelle is just horrible.
The Beatles – Girl.mp3

6. Stan Getz & Joao Gilberto – Getz/Gilberto (1964)
When I picked this album up in a charity thrift shop in the ’80s, I had no idea what a classic I was buying. To be honest, I had no idea who Gilberto was, only a vague idea about Getz, bossa nova was a mystery to me, and I regarded The Girl From Ipanema as a cheesy elevator muzak tune which punk forgot to kill. I bought the album solely because I liked the cover. I need not explain what happened when I played the record, at least not to those who love it as I do. This is a late-night, kick-back record, intimate and warm. It is a great lovemaking record, I imagine (I’ve never thought of testdriving it for that purpose). Astrud Gilberto may not be the greatest singer of all time (she was roped in only because she could sing in English), but her relaxed and cute voice, when it appears, provides the varnish to Getz’s cool sax, Joao’s warm vocals and Jobim’s astounding compositions.
Getz/Gilberto – The Girl From Ipanema.mp3

7. Bob Dylan – The Freewheelin’ Bob Dylan (1963)
I am not a Dylanisto. To me, not every Dylan album is a masterpiece, even as I have most of the older ones. This one, however, is superb, with the relative sparseness of the music (in contrast to Highway 61 Revisited anyway) all the more emphasising Dylan’s poetry. There are some songs one may happily overlook when compiling the definitive Dylan anthology (Down The Highway!), and the inclusion of two self-referencing songs smacks of egotism. But when Freewheelin’ hits, it hits so well. The hits are obvious ““ Blowin’ In The Wind, A Hard Rain’s…, Don’t Tink Twice… ““ but lesser known tracks like Corrina Corrina, Girl From The North Country and the quite funny I Shall Be Free are very good indeed. The surprise track is Talking World War III Blues, a song that engrosses the listener with its sermonising and satirising storytelling ““ despite the unappealing title, Dylan’s terrible vocals and the overbearing harmonica. I suppose the astute Dylan fan might wonder why, if I like that, I am not a Dylanista. It just ain’t me, babe.
Bob Dylan – Don’t Think Twice, It’s All Right.mp3

8. Otis Redding – Otis Blue/Otis Redding Sings Soul (1965)
It is tantalising to imagine what might have become of Otis Redding had he not died in a plane crash in 1968. Would he have adapted to the smoother sounds of ’70s soul? Would he have dabbled in disco? Might the future of soul music been shaped along a different path by this great singer’s influence? Or would he have gone the way of many of his contemporaries, into oblivion and largely excised from public consciousness until the ’60s soul revival of the ’80s (Londoners may well recall the Friday night club at the Kentish Town & Country Club, the Locomotion). The question I’m really posing is this: is Otis Redding a legend because of his music, or because of his dramatic death when he was in his prime? On the evidence of this album (the title and cover of which suggests that Otis was a country singer dabbling in soul as Ray Charles did in country), I’m inclined to think that Redding is a legend because he is. Redding took the Stones’ Satisfaction, and replaced Jagger’s great insolent vocals with mature emotion (the story goes that Otis had never heard the song before recording it). There is Respect, the original, done so in such a unique way that Aretha Franklin could take the song and shape it in her own image. There is the Temptations’ My Girl, no longer a cute spark of sunlight, but deflowered by the soulman. Redding even manages to nearly match Sam Cooke’s soaring A Change Is Gonna Come. But the highlight is I’ve Been Loving You Too Long, which Redding co-wrote with the great Jerry Butler (a song Isaac Hayes should have covered in a 15-minute epic). Redding’s performance of it at the Monterrey festival shortly before the plane crash is even more fantastic. And so I’m offering that live version rather than the one on the album.
Otis Redding – I’ve Been Loving You (live in Monterrey).mp3

9. Frank Sinatra – Nice ‘n’ Easy (1960)
This album (which I bought at the same charity shop as the Getz/Gilberto LP) marked the beginning of the end of Sinatra’s glorious Capitol/Nelson Riddle era. A few albums on the label followed, but the decline was beginning to set in amid a rapidly changing musical landscape. The besuited swing stars of the ’50s were beginning to fade, and a new batch of groovily clad and chesthaired poseurs like Humperdinck and Tom Jones were taking their place. All the more the pity. The killer track on this album is the title song, with the great spoken line, “Like the man said, one more time”, symbolising the last great hurrah of Sinatra’s credibility, just one album before he recorded Old Mac Donald, for crying out loud. But while the title track swings , the rest of the album is Sinatra in relaxed balladeering mood. It might have been false advertising, but the listener is not being cheated. Tracks like I Got A Crush On You, That Old Feeling and Try A Little Tenderness (just a few years before Otis Redding totally revamped and appropriated the song) showcase Sinatra’s capacity for investing himself into a song, before he descended into the greasepit of covering Yesterday and Something for our mothers’ uncles.
Frank Sinatra – Nice ‘n’ Easy.mp3

10. The Rat Pack – Live At The Sands (1963)
I am cheating now. This album was released only in 2001, presumably to cash in on the Rat Pack retro hype inspired by the remake of Ocean’s 11 and fed off by the likes of Robbie Williams trying to capture some of the cool. Oh, but the Rat Pack dudes were cool (it was Humphrey Bogart, of course, who founded the original Rat Pack, of which Sinatra was not a member). At least on stage they were cool. This collection captures the three principal members, the vocalists, on a great night. The banter is very amusing (though by today’s standards definitely not politically correct), with zinging teasing taken in good spirits and reciprocated. I have appropriated Sammy’s line: “…and these are the best friends I have”. Sammy Davis Jr certainly has his wits about him when he tells Dean Martin during a set of impressions to “be nice…or I’ll do Jerry [Lewis]”, with whom Martin was famously feuding. Sammy’s impersonations are great ““ especially that of Dino (“just having a little bit of fun folks”). It takes guts to impersonate somebody while that somebody is watching you. The vocal performances on the album are fine, but it is not enjoyable for that primarily; as Dino tells the audience: “if you want serious, buy a album”. It is just great fun, with three witty pallies riffing off one another. I was sad to note that Joey Bishop, the comedian of the Rat Pack, died last month at 89.
Sammy Davis Jr. – All The Way (impressions).mp3