In Memoriam – March 2011
The Grim Reaper must be in need of a holiday after his brutally busy month.In fact, we’re still finding his victims from last month. For example, the 20 February death of doo wop singer Willie Davis was announced only last week.
Among this month’s dead are Carl Bunch, a drummer who toured with Buddy Holly & the Crickets in early 1959. He was in hospital due to frostbite sustained on the unheated tourbus which Buddy, Richie Valens and the Big Bopper tried to rescape by taking the flight that killed them.
Austrian disco-rocker Kurt Hauenstein’ Supermax featured in the Stepping Back series just a few days after his death (which at that point had passed me by; a reader alerted me to it). And with death of St Clair Lee, both male voices of The Hues Corporation are now silent. Another disco voice now gone is Loleatta Holloway, whose Love Sensation was copiously sampled from for Black Box’s 1989 hit Ride On Time ““ including her vocals (“performed” in the video by a slim, young thing). Holloway had more than that in her repertoire, as the slow-burning soul track in this mix, a b-side from 1971, shows.
Country music lost steel guitar maestro and composer Ralph Mooney (whose Crazy Arms was one of the great hits of the 1950s), composers Joe Taylor and Todd Cerney, Opry member Mel McDaniel, bluegrass musician and songwriter Harley Allen and, above all, Ferlin Husky, who with Buck Owen and Jean Shepard pioneered the Bakersfield sound that produced the likes of Merle Haggard and Gram Parsons.
Nate Dogg’s singing-rap style was, in my view, underappreciated. To my chagrin, in his Summer Night On Hammer Hill, Jens Lekman excluded Nate’s contribution to the ’90s hip hop classic Regulate altogether, mentioning only Warren G.
Of all deaths this month (and probably most others), that of London reggae man Smiley Culture is the most bizarre: he reportedly stabbed himself in the heart during a raid by the police, who suspected him of dealing in cocaine. In that light, his humorous 1984 hit Police Officer, about being searched for ganja in his Lancia, is almost spooky.
Willie Davis, 78, tenor of doo wop group The Cadets (also recording as The Jacks, on February 20
The Cadets – Stranded In The Jungle (1956) Read more…
Suspicious Minds was written by American Sound Studios in-house writer Mark James (whose real name was Francis Zambon), who also wrote hits such as It”s Only Love and Hooked On A Feeling for his friend, country singer BJ Thomas. The latter was also a UK hit for the vile Jonathan King. BJ Thomas was in line to record Suspicious Minds before the song was given to Elvis “” who insisted on recording the song even when his manager, “Colonel” Tom Parker, threatened that he wouldn”t over the question of publishing rights (always an issue with Parker). Thomas went on to have a big hit that year anyway with Raindrops Keep Falling On My Head, and went on to record Suspicious Minds in 1970.
Elvis would record four more songs written or co-written by James: Always On My Mind (written originally, as noted in 
The influence on Elvis” early music by the sounds of Rhythm & Blues on the one hand and country music on the other “” Arthur Crudup and Hank Snow “” is well known. A third profound influence was gospel. Here, too, Elvis drew from across the colour line. Often he was one of the few white faces at black church services (as a youth in Tupelo, he lived in a house designated for white families but located at the edge of a black township), but he also loved the white gospel/country sounds created by the likes of the Louvin Brothers “” whose charmless sibling Ira once declined an approach by his fan Elvis, citing his reluctance to speak to the “white nigger”.
Elvis” biggest gospel hit was Crying In The Chapel, which had been written in 1953 by Artie Glenn for his son Darrell, who performed it in the country genre. The same year, the R&B band Sonny Til & the Orioles “” progenitors of the doo wop style of the late “50s and the first of a succession of bird-themed bandnames “” scored a #11 hit with the song (around the same time, a pop version by June Valli reached #4). It was the Orioles” recording from which Elvis drew inspiration in his version, recorded shortly after he returned from the army in 1960. It was not released, at Tom Parker”s command, because Artie Glenn refused to share the rights to the song with the cut-throat publishing company of Elvis repertoire, Hill & Range. And with good reason, for the song continued to be a hit by several artists. Eventually Hill & Range secured the ownership. When Crying In The Chapel was eventually released in 1965, it was not only a US hit (his first top 10 single in two years), but also topped the UK charts.
Apparently written for Perry Como, The Wonder Of You was first recorded by Ray Peterson (he of Tell Laura I Love Her notoriety) in 1959, scoring a moderate hit with it. Peterson, who died in 2005, later liked to recount the story of how Elvis sought his permission to record the song. “He asked me if I would mind if he recorded The Wonder Of You. I said: “˜You don’t have to ask permission; you”re Elvis Presley.” He said: “˜Yes, I do. You”re Ray Peterson.”” Not that Peterson owned the rights to the song, or was particularly famous for singing it.
This song is probably most famous in its incarnation as Engelbert Humperdinck”s gaudy 1967 hit. In its original form, however, it is a country classic, written by Dallas Frazier. It was first recorded in 1965 and released the following year by that great purveyor of unintentionally funny songs and owner of the hickiest of hick accents, Ferlin Husky. His version was an album track; fellow country singer Jack Greene turned it into a hit in 1967. Elvis” version, which appeared on the quite excellent 1971 Elvis Country album (after being a 1970 b-side of I Really Don”t Want To Know) and was a UK top 10 hit that year, certainly draws from the song”s country origins “” though surely not from Husky”s original.
Elvis did not particularly like Burning Love; if he didn”t record it under protest, he certainly was not going to spend much time on it. Where 16 years earlier he”d spend 30-odd takes on the spontaneous sounding Hound Dog (see 
Tom Parker got Elvis to sing this old standard because it was a favourite of his wife, Mrs Marie (!) Parker, in its 1940s version by country star Gene Austin. Written by Tin Pan Alley residents Lou Handman and Roy Turk in 1926, it was recorded by a swathe of artists in 1927. The first of these versions, by Ned Jakobs, was not released, so the honour of first released recording goes to one Charles Hart. The song first became a hit in the version by the improbably named Vaughn Deleath, “The Radio Girl”. Her take dates to June 13 (Hart”s was May 8). On August 5, 1927, the famed tenor Henry Burr put his voice to it. Many a crooner would follow, but some performers adapted the song to their genre. So it was with the Carter Family “” the pioneers of country music who went on to produce June and Anita “” whose quite lovely 1935 bluegrass version is barely recognisable, musically and even lyrically.
Featured here is not the studio version which those who don”t already have it don”t really need. What they need is the laughing version from one of his 1969 Vegas gigs. The conventional story has it that Elvis, probably amphetamine-addled, was cracking up at the high-pitched singing of a backing singer (said to be Cissy Houston, Whitney”s mother). An alternative story has it that after Elvis, as was his wont, “humorously” changed the lyrics from “Do you gaze at your doorstep and picture me there” to “Do you gaze at your bald head and wish you had hair”, when he spotted a bald man in the audience, setting him off into a fit of laughter “” and all the while the backing singer keeps going in a most gamely fashion.
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