Covered With Soul Vol. 10
We reach a decade of Covered With Soul mixes with interpretations of songs better known in versions by the Mamas and the Papas, Rolling Stones, Randy Newman, The Righteous Brothers, Brook Benton, Ben E King (or Shirley Bassey), Barbra Streisand, Dionne Warwick, The Shirelles, Frankie Laine, Frankie Valli, Jimmy Cliff, Blood Sweat & Tears, Bob Dylan, Chicken Shack (or the late Etta James), Kris Kristofferson, Gil Scott-Heron, Carpenters, Doobie Brothers, Bread and Abba.
Even if you are a casual observer of soul music, you will know at least one voice here among the lesser known singers: Dorothy Morrison. She was the lead voice on Oh Happy Day, the mammoth hit for the Edwin Hawkins Singers. A superior singer, Morrison never hit the big time as a solo artist ““ she had one Top 100 hit in 1970 with All God’s Children Got Soul ““ Â though she was much in demand as a backing singer with acts like Boz Scaggs and Rita Coolidge, and continues to perform as a gospel artist. In 1970 she backed Crosby, Stills, Nash & Young, Joan Baez and Joni Mitchell at the Big Sur Folk Festival, which yielded the Celebration album, from which Merry Clayton“s version of Dylan”s The Times They Are A-Changin” comes. Clayton will, of course, always be associated with the Rolling Stones for her spine-tingling vocals on Gimme Shelter (her solo version of the song featured on Covered With Soul Vol. 1). A Stones song is also represented in this mix: Labelle“s fantastic take on Wild Horses, which might actually eclipse both the Rolling Stones and the Flying Burrito Brothers” version, which was released before that by the Stones.
Tommy Hunt features here covering Kris Kristofferson in 1976. He had a mammoth hit some two decades earlier, as a member of The Flamingos with I Only Have Eyes For You. We have also met him in The Originals as the first performer of Bacharach/David”s I Just Don”t Know What To Do With Myself (see The Originals 36). Even at 78, Hunt remains very active in show business, as his website proves.
 TRACKLISTING
1. Vessie Simmons – Dedicated To The One I Love (1971)
2. Labelle – Wild Horses (1971)
3. Maxine Weldon – I Think It’s Going To Rain Today (1971)
4. Vivian Reed – You’ve Lost That Loving Feeling (1970)
5. Hearts Of Stone – Rainy Night In Georgia (1971)
6. Dee Dee Warwick – I Who Have Nothing (1969)
7. Melba Moore – People (1971)
8. Gladys Knight & The Pips – Theme From Valley of the Dolls (1968)
9. Cissy Houston – Will You Still Love Me Tomorrow (1972)
10. The Ebonys – I Believe (1973)
11. The Manhattans – Can’t Take My Eyes Off You (1970)
12. Martha Reeves – Many Rivers To Cross (1974)
13. Dorothy Morrison – Hi De Ho (That Old Sweet Roll) (1970)
14. Merry Clayton – The Times They Are A Changin’ (Live) (1970)
15. Margie Joseph – I’d Rather Go Blind (1973)
16. Tommy Hunt – Help Me Make It Thru The Night (1976)
17. Esther Phillips – Home Is Where The Hatred Is (1972)
18. Jimmy ‘Bo’ Horne – They Long To Be Close To You (1979)
19. Candi Staton – Listen To The Music (1977)
20. The Whispers – Make It With You (1977)
21. Carol Douglas – Dancing Queen (1977)
“¦
I don”t really care much for Mothers” Day or Fathers” Day, mostly because I”ve had neither mother nor father since I was 18. Still, as a father I damn well expect to get breakfast in bed today. High hopes”¦ Fathers” Day, of course, does bring to mind my late father, who died suddenly when I was 11. It has occurred to me that I am now at the same age he was when I was born, the fifth of his six children. He doubtless was far more mature than I am now. He probably wouldn”t have written blogs about moustaches in pop and the twattery of Michael Fucking Bolton. But then, I didn”t fight in World War 2, my brother did not die in war, my father was not persecuted by the Nazis, and I”ve never been widowed. Of course he was more mature than I will ever be.
Not so much a song about parental relations than one of despair and hope. Released on 1988’s Idlewild album, the singer notes that just where his father lives in Scotland, the military has set up a missile system. That persuades him that he does not want to be responsible for bringing a child into this ugly world. But then he comes across something of great beauty “” a recording of early 20th century opera singer Enrico Caruso “” and it changes his notion of fatherhood, about his unborn child and about being the child of a father. It is a very beautiful song from a desperately under-appreciated album.
This quite brilliant 2005 track is an indictment of a really shitty father who seems to have abandoned his family. The song drips with bitterness and anger and sarcasm and a healthy shot of self-pity. “Your autograph”s worthless so don”t send me letters, and don”t mail me cash “cause your money is no good. What”s left in your mattress is holes that lack of love left, some hair from a horse and none of it is yours, man.” Somebody has Daddy Issues”¦
Loudon”s children, Rufus and Martha, evidently are not great fans of his parenting style, as we”ll see in the next song. Here, Loudon addresses his teenage son, recalling his own difficult relationship with his father, suggesting that volatile filial interactions are hereditary. He”d rather not fight with his son: “I don’t know what all of this fighting is for; but we”re having us a teenage/middle-age war.” Presumably father and son don”t hold back when screaming at each other. And yet: “This thing between a father and a son “” maybe it”s power and push and shove; maybe it”s hate”¦but probably it”s love.”
Perhaps Loudon can persuade his son, but daughter is disenchanted. He has clearly caused Martha (and, it seems, her mother) so much pain that the breakdown in their relationship is complete: “I will not pretend, I will not put on a smile, I will not say I”m all right for you”¦” And then the repeated outburst: “You bloody mother fucking asshole. Oh you bloody mother fucking asshole.” No breakfast in bed for Loudon on Fathers” Day then?
Ah, a father after my own heart. A man of my height (what do you mean “only” 5″7, Gladys) who knows how to swear and a short fuse. But he loved his children. This song, from 1973″s Neither One Of Us album, should resonate with adult children remembering their father through the medium of anecdote: “Ooh, my brothers and sisters still talk about how Daddy lost his temper that day. You see, he built a picket fence from the garage to the house. Well, Sam, tell me what I say, the same day the garbage man backed into the fence and the whole darn thing gave way. You should have been there”¦”
The family that sings together, stays together. Until somebody dies. Johnny Cash didn”t have a particularly happy family; his father blamed Johnny for the accidental death of his older brother. In this song, written by Carl Perkins, the family enjoys harmony, despite poverty. “Daddy sang bass, mama sang tenor. Me and little brother would join right in there.” Now, however, they”re all dead. Cash remembers the closeness and has the religious convictions to presume meeting them again in the afterlife: “Singing seems to help a troubled soul. One of these days, and it won”t be long, I”ll rejoin them in a song.” Cash died 34 years after recording the song at San Quentin jail.
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 . 
It is odd when a legend of popular music ends up covering his own song. So it is with Kris Kristofferson who was commissioned to write Me And Bobby McGee by a record label boss.
One of the biggest Beach Boys hits was in fact an old Caribbean sea shanty about the ship John B which was sunk in a Barbados harbour in 1900. Borrowing from a 1935 recording titled Histe Up the John B. Sail, folk pioneers the Weavers first recorded it 1950 as The Wreck of the John B. But it wasn”t that version from which the Beach Boys borrowed their tune, but the 1958 take by clean-cut, stripey-shirted folk singers the Kingston Trio, who were the first to record the song under its now established title. The Kingston Trio”s version has an appropriate calypso lilt, giving it a lightness that invites a spot of finger-snapping.
Gladys Knight believes she has good reason to be pissed off. There Gladys and her Pips had delivered an excellent dance number with I Heard It Through The Grapevine, scoring a US #2 hit in 1967, and Motown”s best-selling single up to then. And yet, a fair number of readers will be surprised to know that the song was in fact not a Marvin Gaye original. One has to feel for poor Gladys, but Marvin”s version is flawless in every way. Released a year after Gladys” hit, it was at first just as an album filler. Marvin appropriated the song, investing himself into it so much that nobody can conceive of it as anything other than a Marvin Gaye number. Look at the list covers: would you really need to hear any of them in any way other than out of curiosity?
If it is not widely known that Blondie”s 1979 hit Hanging On The Telephone is a cover, then it probably is because the original performers, The Nerves, only ever released a four-track EP in 1976, which included the song. And having obtained it recently, I think it”s a very fine EP it is, too. The Nerves ““ a trio comprising songwriter Jack Lee, Paul Collins (who’d later join The Beat) and Peter Case (later of the Plimsouls) ““ were a heavy-gigging LA-based rock band which despite their extremely recording career proved to be influential on the US punk scene. The members of Blondie surely have were aware of the song. A year after The Nerves split, Debbie Harry and pals picked up the song and enjoyed a huge worldwide hit with it. The original hasn”t aged much: it reminds me of the Von Bondies or The Killers.
This slice of sci-fi flavoured nostalgia, inspired by a JG Ballard story, was co-written by Trevor Horn and Geoffrey Downes (then new members of horrible prog-rock band Yes) with Bruce Woolley. So it seemed right that it should be recorded by the two parties ““ the Yes contingent and Woolley ““ in 1979. The latter got in there first, with his Camera Club. It is a breathless version with much energy and a quite nice guitar solo at the end, but none of the bombastic detail which made the Buggles” synth-fiesta a huge hit. The Buggles version is sometimes considered a bit naff, which does great injustice to a catchy song which does everything that is required of a very great pop song. The video of the Buggles version was the first ever to be played by MTV. But the Woolley version is all but forgotten.
My latest greatest chum RH sent me this me. Black Betty is an old African-American folk song favoured by labour gangs. The recording here is the oldest in existence, preceding that by Lead Belly, who often is credited with writing it, by six years. Indeed, it probably dates back to the 19th century. This is a 1933 field recording made by the musicologists John and Alan Lomax in 1933 of the convict James “Ironhead” Baker and backing band of prisoners at Central State Farm in Texas. The Ram Jam version wasn”t even the first rockified adaptation. In 1976, a year before the Ram Jam hit, it was recorded by an outfit called Starstruck, which included future Ram Jam member Bill Bartlett.
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