The Originals Vol. 42
In the 42nd instalment of The Originals we”ll revisit the originals of three huge hits, two USÂ #1s and one chart-topper in Britain, from the mid-“60s. Remember: if you are looking for particular songs that have been covered in this series, visit the index of The Originals.
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Earl-Jean ““ I”m Into Something Good.mp3
Herman”s Hermits ““ I”m Into Something Good.mp3
Lady Lee – I”m Into Something Good.mp3
In the late 1950s Ethel “Earl-Jean” McCrea was a member of the R&B girl group The Cookies, which was absorbed into Ray Charles” backing band, The Raelettes. Only Earl-Jean didn”t join the backing singer gig, instead becoming part of a new incarnation of The Cookies, which featured before in this series as the original act to record The Beatles” Chains (see The Originals Vol. 25). We also met The Cookies as the first act to record On Broadway, though their version was not released (see The Originals Vol. 33).
As noted in the entry for On Broadway, The Cookies did much demo work for Carole King and Gerry Goffin at Aldon Music (which in the shorthand of music history tends to be conflated with the Brill Building down the road). They also did backing vocals on pop songs such as Little Eva”s The Loco-motion (it was through Earl-Jean”s recommendation that King and Goffin employed Little Eva as a babysitter), Neil Sedaka”s Breaking Up Is Hard To Do and Mel Tormé”s Comin” Home Baby. Along the way, they had a top ten hit with Don”t Say Nothing Bad About My Baby.
Earl-Jean left The Cookies in 1964 to try for a solo career, and it was King and Goffin who wrote her first (and only) solo hit: I”m Into Something Good, released on Colpix Records. It did a creditable job, climbing to #38 in the Billboard charts. Alas, her follow-up single, Randy, didn”t do as well, and when in 1966 Colpix folded, her solo career was over.
In Britain, the record producer Mickey Most ““ fresh from discovering The Animals ““ had heard I”m Into Something Good, and decided it was a perfect vehicle for his new protéges, Herman”s Hermits. Fronted by Peter Noone, a Mancunian with an All-American smile, the other Hermits were allowed to play on some songs, while on others session musicians did the job. Nobody seems to agree about who played on I”m Into Something Good; it is possible that any, all or none of Nicky Hopkins (the Rolling Stones” keyboard man from 1967-76), Jimmy Page and John Paul Jones (later of Led Zeppelin) played on it. Band member Barry Whitwam insists the band did the duties; Noone and Most said they didn”t (though possibly in a fit of pique over contractual wrangles). It does seem that the song was arranged by Hermits guitarist Dereck Leckenby, which would suggest that he would have had the bandmembers perform on it.
Whoever played on it, the single became a UK #1 hit in September 1964, and then went on to reach #13 in the US, ringing in a golden period for Herman”s Hermits, who remarkably became the best-selling act in the United States in 1965, ahead of even The Beatles.
Also in 1964, Billy Fury”s girlfriend Lady Lee, a character with a quite fascinating lifestory, recorded I”m Into Something Good. Later she and Fury split and in 1969 Lee married British DJ Kenny Everett.
Also recorded by: Lady Lee (1964), Don Devil and the Drifters (1964), Sir Henry and His Butlers (1966) Donny Osmond (1971), The Machines (1982), Peter Noone (1988), The Stool Pigeons (1996), Dave Cloud (1999), The Langley Schools Music Project (2001), The Bird And The Bees (2010) a.o.
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Nella Dodds – Come See About Me (1964).mp3
The Supremes – Come See About Me (1964).mp3
This is one of those records where the earlier recording was released later (another instance of that, which I was made aware of only recently, concerns Ruby Don”t Take Your Love To Town; an edit and new file are now up on The Originals Vol. 24). In keeping with the methodology of this series, we go primarily by release date. And here, it seems, Nella Dodds narrowly scooped The Supremes.
Come See About Me was written by Motown”s hugely successful songwriting team Holland-Dozier-Holland, and The Supremes recorded it on 13 July 1964, backed by The Funk Brothers. Somehow the song had come into the hands of the people at Wand Records in New York, who had their singer Nella Dodds record it. While The Supremes were still riding high in the charts with Baby Love, their second chart-topper in a row, Wand put out Dodds” version, a pleasant affair which nonetheless cannot compare to the exquisite vigor of the Supremes” version.
Although Dodds recorded for a New York label, she was a pioneer of Philadelphia soul ““ Kenneth Gamble, future Philly soul supremo, and Jimmy Bishop, who would discover many Philly soul acts, appeared on Dodds” Wand recordings. Gamble later co-wrote a hit which The Supemes would cover with The Temptations (and which will still feature in this series).
Motown were alarmed when they learned that Dodds” record had been issued, and rush-released The Supremes” recording. Dodds” version stalled at #74, and she would never have a breakthrough hit. For The Supremes, Come See About Me became the third in a golden run of five #1 hits.
Also recorded by: Choker Campbell (1964), Gene Barge (1965), The Newbeats (1965), Barbara Mason (1965), Jr. Walker (1967), Mitch Ryder (1968), Bonnie Pointer (1979), Tracy Nelson (1980), Neil Sedaka (1984), Shakin’ Stevens (1987), Afghan Whigs (1992), The Originals (1998), Freda Payne (2001), James Taylor Quartet (2007) a.o.
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The Raindrops – Hanky Panky (1963).mp3
The Summits ““ Hanky Panky (1963).mp3
Tommy James and the Shondells ““ Hanky Panky (1966).mp3
Among the inhabitants of cubicles with pianos at the Brill Building in New York were Ellie Greenwich and her husband Jeff Barry, who together wrote so many of the songs we now associate with Phil Spector”s girl groups. While writing music was their bread and butter, they also wanted to record. Greenwich had already done so in the late “50s, as Ellie Gaye, and while writing hits in the early “60s, she also sang on demos for Brill compositions.
In 1963, Greenwich and Barry recorded a demo of a song called What A Guy. It was intended for a doo-wop group called The Sensations, but the band”s label, Jubilee, was so impressed with demo”s girl-band style (which was in fact Greenwich”s multi-tracked voice, with Barry providing bass voice) that they decided to release it, in the name of the songwriters” band, The Raindrops. Trouble was that Greenwich and Barry had no song for the flip-side, so they thrashed out Hanky Panky in the space of 20 minutes. They were not particularly satisfied with the song, and when a group called The Summits released it soon after as the b-side of He”s An Angel (or it might have been released before What A Guy came out; it”s unclear), it didn”t do brisk business either.
And yet, the song had become popular among garage rock live bands, including one called The Spinners (not the soul band), from whom the teenage musician Tommy Jackson heard it. He recorded it with his band, The Shondells, in 1964 at a radio station in Michigan. It was a local hit, but Tommy decided to break up his band and complete his schooling. The following year he was contacted by a Pittsburgh DJ who had discovered the record and now wanted Tommy and his Shondells to perform it on air. He hurriedly put together a new line-up of Shondells, and changed his name to Tommy James. He then sold the 1964 master to Roulette Records, which released it without remixing, never mind re-recording it. The single went to #1 in July 1966. James later explained in a Billboard interview: “I don”t think anybody can record a song that bad and make it sound good. It had to sound amateurish like that.”
There is a great story of how the small New York-based Roulette label got to release Hanky Panky. It seems that a whole gang of labels, some of them majors, wanted to buy the record. Suddenly, one after another, they withdrew their offers, much to Tommy James” surprised dismay. In the end Jerry Wexler of Atlantic told the singer, still a teenager, what was going on: Roulette”s Morris Levy (on whom The Soprano“s Hesch Rabkin is based) had called all rival labels telling them that Hanky Panky belonged to him. Intimidated, the rivals bought the bluff, and James had to go with Levy.
Also Recorded By: The Junior Mance Trio (1965), Sam the Sham & the Pharaohs (1966), The Outsiders (1966), The Wallflower Complexion (1966), The Ventures (1966), Neil Diamond (1966), , Joan Jett and The Blackhearts (1981), Link Protrudi and the Jaymen (1987), Ellie Greenwich (1999), The Cramps (2004), The Freedoms (2004), Los Hitters (2005) a.o.
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Much of Eurodisco was made in West Germany, with Giorgio Moroder producing Donna Summer in Munich, and acts like the Silver Convention strutting their shiny trousers there, too. It is fair to say, however, that the German Schlager scene was not a hotbed of disco (or, indeed, anything else but banality). The exception was Marianne Rosenberg, whose sensible secretary”s hairstyle complemented her girl-next-door image. She retained the coiffure and high collar dress during her foray into disco in 1975, the splendid Ich bin wie Du (“I am like you”). The fusion of straight-lacedness and disco queenhood established Marianne as an icon in Germany”s gay scene, a position she continues to occupy today.
Before she became a gay icon, a gawkier teenage Marianne Rosenberg appealed to Paul McCartney to reply to her fan letter, because no other girl likes him as much as she does. She resorts to emotional blackmail: John and Ringo and even the odd Rolling Stone would have sent her an autograph by now. But not Paul, oh no. So she has to resort to singing this song to attract his attention. There are, of course, other ways to get Paul”s attention (if not a thumbs up sign). Seven years later, in 1977, German newspapers were agog with the claims of a teenager that Mr Paul McCartney had fathered her during one of the Beatles” stints in Hamburg. To the shock of nobody, the claims were found to be “” gasp “” untrue.
Last time we encountered ABBA recording in German. Before she became one of the As in the groups” acronymised name, Agnetha Fältskog tried to realise the ambition of many Scandinavian singers of the day with a dream of musical success: breaking into the German Schlager scene. Agnetha released a batch of German singles between 1968 and 1972, most of them quite awful even by the low standards of the genre, though a couple were actually quite good. In her endeavours, Agnetha “” who already had a career in Sweden but put it on hold while going for stardom in West Germany “” was produced by her boyfriend, Dieter Zimmermann. Once Dieter was history, her next boyfriend, Björn, worked out better on the way to stardom.
Four years earlier, Señor Gonzales was Agnetha”s second German single. I see no reason why it shouldn”t have been a Schlager hit. It has the necessary clichéd lyrics and banal melody; it even has the faux-Mexican sound the Schlager-buying public was so fond of (though here Agnetha might have been ahead of her time; the Mexican Schlager wave peaked in 1972 with Rex Gildo”s superb Fiesta Mexicana, which I shall feature soon). The b-side to Señor Gonzales is a rather better affair. Mein schönster Tag is a country ballad which our girl sings rather well; it is a cover version of a country song, but I can”t work out what the original is. Somebody will surely tell me.
In the 1960s it became common for English-speaking artists to make foreign-language recordings of their hit songs. Foremost among the European countries to offer a market for such things was West Germany. In 1966, Johnny Cash recorded I Walk The Line as Wer Kennt den Weg (alas not as Johannes Bargeld). In the early 1950s, Cash had been based as an US soldier in southern Germany. Clearly he did little in that time to benefit from the opportunity to learn German; his accent is quite appalling.
Like her compatriots Petula Clark and, to a lesser extent, Dusty Springfield, Sandie Shaw recorded a lot of her repertoire in German (and in French), including her epic version of Bacharach/David”s Always Something There To Remind Me. Here the title translates as “Just once to be happy like the others”. Recorded in 1965, Sandie sounds like she actually knows what she is singing. She clearly makes an effort (though towards the end the effort apparently becomes a bit too much for her), and her diction is charmingly foreign. That”s all the German public ever asked for; as noted previously, nothing could win the hearts of Germans as much as somebody butchering their languages gently.
Berry Gordy could spot a marketing opportunity, and so he had the stars of his Motown roster record their big hits in various European languages, apparently singing from phonetic lyric sheets. Diana Ross makes a game attempt at it; one can understand her implorations not to be left by the addressee of the song. The Temptations take rather more relaxed view of linguistic doctrines, anticipating the German tendency to include English words as part of the conversational language. Germans are quite happy to use the word “girl” instead of Mädchen, or indeed “happy” instead of glücklich, as the Temptations do here (dear Diana is more purist about this: she actually uses the word glücklich, which must be a bit of a tongue breaker for non-German speakers).
And another German version of an English-language hit. Millie (who sounds even more chipmunkish in German) doesn”t make an effort to translate the chief rhyme “” sweet as candy/sugar dandy “” into German. And how could she? “Du bist so süss wie Süssigkeiten / Du bist mein Zuckerbursche” somehow wouldn”t work well as a line of seduction. So we can forgive that. But why didn”t the songwriters bother to change the line “I love you I love you I love you so” to “Ich lieb” dich ich lieb” dich ich lieb” dich so” ? That”s just lazy.
And yet, the two Bayern München legends featured here can be forgiven for their amateur warblings (if not for their club affiliation). Beckenbauer is, in my view, the greatest defensive player of all time. Adept at playing in virtually any position, he was an elegantly authoritative figure on the pitch. Germans, always acutely sensitive to their troubled history, called him “Der Kaiser”, which is preferable to “Der Führer”.
If Beckenbauer”s nickname was somewhat misguided, that of his teammate Gerd Müller”s is quite mind-boggling, coming just a quarter of a century after World War 2: “Der Bomber”. The moniker was supposed to testify to Müller”s genuinely breathtaking ability to score goals “” he”s by far the best I”ve seen in my lifetime. But it was a misnomer. The nickname suggests that Müller had a mighty shot, firing V2 rockets with accuracy from outside the penalty area. In reality, Müller had no particularly powerful shot. He was, however, compact with a low centre of gravity and an almost unerring positioning instinct. Many of his goals were scored with his backside, or while he was on the ground. His single, Dann macht es bumm (“And then it bangs”), perpetuates the mistaken notion of the blitzkrieging bomber. It also perpetuates the reality that Gerd Müller wasn”t particularly bright. Still, the man is a legend and probably not a friend of the evil Blatter.
Vera Lynn has just become the oldest person to have a British #1 album (alas not with her collection of Rammstein covers), but the world”s oldest still active performer is Johannes Heesters. The Dutch-born singer and former actor, whose career was directed almost exclusively at German audiences, is still at it at 105 years of age. As one might expect, he is much loved in Germany.
Not a German song, obviously, but a stinging propaganda satire by the legendary English wit at the expense of Germans. Of course he had no intention of pleading for post-war clemency towards Germans; quite the contrary. And yet, to some extent his satirical entreaty would be realised. To be sure, some Germans were treated badly after the war, especially the many women who were raped by occupying soldiers (and not just by the Russians, who clearly did not share the song”s sentiments). But, truth be told, Germans subjected to occupation in the West cannot have too many complaints about the treatment they received.
Tony Schilder is now retired, but in his day he was a keyboard maestro in the field of South African jazz-fusion. His trio regularly featured guest artists, of whom the internationally best known is Jonathan Butler. Schilder”s trio was the houseband of the Montreal nightclub in Cape Town”s Manenberg (which lent its name, inaccurately spelt, to Dollar Brand”s jazz opus), an impoverished, gang-riddled township established by the apartheid regime for South Africans classified as “Coloured” (that is, people of mixed race). In that community”s vibrant nightclub scene, Montreal was the place to be in the 1980s. It had style and Cape Town”s great artists would regularly appear there, such as frequent Schilder collaborator Robbie Jansen (a gifted saxophonist and vocalists, whose unrecorded version of Marvin Gaye”s What”s Going On is the best I”ve heard) or Dougie Schrikker, “the Frank Sinatra of the Cape Flats”.
The famous version, of course, is that by Diana Ross, her first solo single after splitting from the Supremes. Shortly after La Ross recorded the Ashford & Simpson composition in 1970, the Supremes (now fronted by Jean Terrell) recorded it with the Four Tops, creating a more joyous version than Diana”s, which was lovely but not particularly soulful in arrangement or vocal delivery. I will be honest and admit that I had forgotten I even had this until last weekend, when I ripped most of the tracks featured here. It”s on a collection of soul tracks released in 1974 which I picked up cheaply some 20 years ago in a second-hand shop. Whatever I paid for it, this song alone made it a bargain.
American readers of a certain age may well remember this: Hushabye was the song with which the legendary DJ Alan Freed closed his televised Big Beat Show. Written by Doc Pomus and Mort Shuman, it was released in 1959 by the New York doo wop group The Mystics, Italian-Americans from Bensonhurst. A year after Hushabye was released, a young Paul Simon (then calling himself Jerry Landis) joined as lead singer, albeit only very briefly.
Jazz legends The Crusaders covered Carole King”s So Far Away twice. The studio version is nice; the live take, from 1974″s Scratch: Live At The Roxy, is brilliant. It”s warm and cool, exciting and relaxing. And it sounds barely like the original tune. At 1:54 trombonist Wayne Henderson begins a note which he holds continuously for a minute, driving the crowd mad with concern for his safety (one member shouts “stop!”) before Sample, Hooper, Felder, Carlton and Popwell resume to finish the song off in a rhapsodic orgasm.
A typically exuberant Mungo Jerry number with its boogie woogie piano, improvised instrument, percussive oral noises and Ray Dorset”s obligatory scat and exclamation of “all right, all right, all right”. Most of Mungo Jerry”s tracks sounded like they were remakes of old songs, but few actually were. Have A Whiff On Me is an exception; it was an old blues song which the folk/blues historians John and Alan Lomax picked up from James “Ironhead” Baker (he of 
The regular reader will have noticed that this blog features very little by way of reggae (one Peter Tosh track, and one by Freddie McGregor in 321 posts). For a brief time in the mid-“˜80s I was into reggae, absorbed a lot of it, and then got bored with it. During that fleeting flirtation, I bought the 12″ of Own Them Control Them by the London band Misty In Roots. It was not a hit ““ none of the group”s single bothered the UK Top 75 ““ and I hadn”t heard it for a very long time. When I did, it did remind me why I bought the record in first place: it”s very good indeed.
Before Disney had their massive resurgence following 1989″s A Little Mermaid, the studio had lost its mojo It took Universal with the Steven Spielberg produced An American Tail in 1986 to show Disney the way to make great animated films again (even if some of them were too saccharine for my taste). The adventures of the immigrant mouse Fievel were charming, certainly in the first film. Children in film can be very endearing or very annoying. Phillip Glasser, barely eight-years-old at the time, voiced Fievel beautifully. His reprimand to Plummer”s French Statue-of-Liberty-building pidgeon for using the word “never” is very cute without being too sugary.
We started with a bit of South African music, and here we wrap up with the greatest ever South African song which in a truncated form and combined in a medley with the old apartheid-era anthem Die Stem is part of South Africa”s current national anthem. To this day, I refuse to sing the apartheid-anthem portion, an act of recalcitrance which many South Africans with much greater grievances than I can lay claim to evidently do not share, for they sing it with gusto.
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