“Stranger On The Shore” Written by: Acker Bilk, Robert Mellin Recorded: 1961 Producer: Denis Preston Engineer: Adrian Kerridge Arranger: Leon Young
Released: October 1961
Available on: Stranger On The Shore Is This The Blues
Personnel: Acker Bilk – clarinet Featuring The Leon Young String Chorale
Acker Bilk said he thought up the song’s melody in a taxi and named the gentle tune ‟Jenny” in honor of his daughter. Having scored several hits since his first, 1960’s ‟Summer Set”, Bilk was famous enough to be asked to create the theme for a BBC TV children’s series about a French au pair in Brighton. Bilk offered them ‟Jenny” but was asked to change its title to the name of the program, Stranger on the Shore. Its wistful, airy tones, with Bilk’s ‟liquorice stick” accompanied by silken strings, was heard on TV on Sunday afternoons, accompanying the culture-shocked lead character longingly staring out across the English Channel towards her home in France. The song is certified gold by the RIAA (Recording Industry Association of America).
This is “Stranger On The Shore” by Acker Bilk
May your Saturday be smooth sailing. Thanks for stopping by.
Written in response to The Unicorn Challenge where we are asked to be creative in 250 words or less by using the photo you see below. This is my story.
NB. My story is another perspective prompted by C.E. Ayr’s intriguing response to this week’s Unicorn Challenge. Please check out C.E.’s story here and/or here. I hope you enjoy my version and his.
Contrary to popular opinion, sometimes these things really do just happen – at least that’s how it was for me.
My husband was out for the day … the monthly visit with his son from his first marriage. I never fault him this time alone; it’s good for him and it gives me the chance to spend a day in my favorite book store.
One day while on my way home, I paused to watch the swans; from the bridge I saw a man emerge from his boat. As if drawn by my presence, he glanced up at me and waved. I waved back. Then the most unexpected thing happened: he beckoned me. I went down to greet him and that was the beginning of our affair.
Now I live for my husband’s monthly visits with his son.
This month my husband’s son is backpacking with friends and there is no visit. He busies himself with tennis and darts at the pub. Desperate to meet my lover, I bailed on our tennis game, pretending to be sick, and my husband went off alone to find a partner.
The afternoon with my lover was heavenly; half-way home I turned around and returned to the boat.
How could I know my husband had paused on the bridge to watch the swans and saw me leave the boat?
How could my husband know that while he was plotting his jealous revenge, I had returned to the boat and was inside when he torched it?
When you’re the daughter of one of the most poignant vocalists of all time, it’s nearly impossible not to carry on the tradition. With a voice as crisp as her father’s, Natalie Cole carved a career path of her own with hits including “This Will Be (An Everlasting Love)” and “Inseparable.” She made Grammy Award history by being the first black artist to win Best New Artist in 1976 and the first black woman to win Album of the Year for her tribute album to her father, Unforgettable .… With Love, in 1992.
“This Will Be” was Natalie Cole’s debut single, released in April 1975, and one of her biggest hits, becoming a #1 R&B and #6 pop smash in the United States, also reaching the UK Top 40. She won a Grammy Award for Best Female R&B Vocal Performance, a category that had previously been dominated by Aretha Franklin. It would also help her win the Grammy Award for Best New Artist.
From 1975, this is Natalie Cole and the classic soul sound of “This Will Be”
“Gee, the house sure is quiet. I wonder where everybody’s gone. Bobby’s been a little distant lately and that makes me sad. I mean, we’ve been best buds ever since he was a little guy. We did everything together and he wouldn’t go anywhere without me. And he gave the best hugs at night. Shh! Here he comes now! Bobby! I just knew you wouldn’t leave without me. What’re we doing today?”
“I’m watching TV with Becky …. alone.”
“Gosh, Bobby. You’re my bestie. Who’s this Becky chick?”
Welcome to Birthday Thursdays! Each week I will feature someone from the world of music whose birthday falls on this day. There won’t be any chit chat from me, no facts and figures – just some great tunes (and an occasional surprise). Check it out right here every Thursday and enjoy the music.
Happy Birthday to Engelbert Humperdink Born May 2, 1936 inChennai, India
An old man lived alone in the country. He wanted to dig up his garden and plant vegetables, but the ground was too hard. He sat down and wrote a letter to his son, who was in the state penitentiary.
Dear Fred,
It looks like I won’t be able to plant my garden this year. I’m too old to be digging up a garden plot. If only you were here, I know you’d dig the plot for me and all my troubles would be over.
Love, Dad
A few days later he received a letter from his son.
Dear Dad,
Whatever you do, don’t dig up that garden — that’s where I buried the bodies!
Love, Fred
Early the next morning, FBI agents and local police arrived and dug up the entire area without finding any bodies. They apologized to the old man and left.
The following day the old man received another letter from his son.
Dear Dad,
Go ahead and plant your garden now. That was the best I could do under the circumstances.
And this is what it looks like now after a few weeks of water and sun; I just repotted into a larger pot; now I’m going to stand back and watch what happens. I’ve been thinking I should name it Audrey III!
It looks a bit prehistoric, doesn’t it? All that new reddish growth will unfurl into giant-sized leaves; if you look closely you can see some are already beginning to unfurl. This is one of the largest plants I have. Stay tuned for Audrey III’s growth over the next few weeks.
Written for Glyn’s Mixed Music Bag #18, where we are asked to write about a song by a group or solo singer beginning with the letter G or H.
As the 60s slipped into the 70s, an American hard rock band was getting started in Flint, Michigan. Known for such iconic rock hits as “We’re An American Band”, “I’m Your Captain” “Some Kind Of Wonderful” and their cover version of “The Loco-Motion”, the guys called themselves Grand Funk Railroad, culling their name from Michigan’s GTWR (Grand Trunk Western Railroad. Originally comprised of singer/guitarist Mark Farner, singer/drummer Don Brewer and bassist Mel Schacher, the band’s style of rock reflected their blue-collar Michigan surroundings. There were no pretensions, no airs …. just sweaty, longhaired grooves and celebratory tunes for days.
Known for a crowd-pleasing arena rock style, Grand Funk toured extensively and played to packed stadiums worldwide and was well-regarded by audiences despite a relative lack of critical praise. Early in their career, they headlined a much hyped free concert in Hyde Park, wowing the audience while being relatively unknown in the UK. They also opened for Led Zeppelin in their home state of Michigan.
GFR split and reunited numerous times; in 1996 all three members reunited for a summer tour in which they played to over 250,000 people, and a slate of Bosnian relief dates in 1997 including several TV performances. In 1998 they did a 65+ date tour listed as one of the top ten grossing tours of the year.
Grand Funk Railroad’s first number-one hit, 1973′s “We’re An American Band”, came seven albums into the band’s career and was literally written around the lines “We’re coming to your town. We’ll help you party down.”
According to songwriter/drummer Don Brewer, the inspiration came from the band’s day-to-day life. “We’re on planes all the time, flying into these towns. I remember looking down at the ground as we’re coming into a city and that thought came to my mind: ‘We’re coming to your town to party it down’ – because that’s what this band does.” Brewer then added more lyrics about the trials and tribulations of life on the road: “Booze and ladies, keep me right / As long as we can make it to the show tonight.” Prior to writing “We’re An American Band”, Brewer had stuck mostly to drumming.
Released on July 2, 1973, “We’re An American Bane” went to #1 on the US chart, and the album of the same name went to #2 on the Billboard 200. The album jacket was originally covered in gold-colored foil; the initial pressings were in clear, dark yellow vinyl to suggest a “gold” record. The album is #200 of the National Association of Recording Merchandisers definitive 200 albums of all time. Grand Funk Railroad has released 14 studio albums and 5 live albums (10 platinum) with sales totaling over 25 million records sold, 10 million of which were sold in 1970 alone.
The band’s lineup in recent years features Brewer and Schacher, as well as former Kiss member Bruce Kulick on guitar, 38 Special expatriate Max Karl on vocals, and keyboard player Tim Cashion, formerly with the likes of Robert Palmer and Bob Seger.
This is “We’re An American Band” by Grand Funk Railroad.
Big thanks to Glyn for hosting another week of Mixed Music Bag.
“Mohammedan-owned Chinese/Tai/Himalayan/Middle Eastern/Indian Restaurant” – well, you certainly don’t see too many of those in Lancaster, Pennsylvania but there it is right in the heart of the downtown dining district. This meeting of culinary minds is definitely intriguing and what an original and humorous name – ‘Tasty Balls’.
That caught my eye and gave me a good laugh as I read about the new exotic fusion restaurant in the newspaper. I wondered if my wife Judith intentionally left the paper on the kitchen table conveniently opened to the dining section for me to see. Judith has many fine attributes; subtlety is not one of them.
We met soon after I graduated college. I took a year off to backpack my way through Asia and the Middle East. Money was tight so I had to be frugal while traveling; that’s how I learned to find really good food at cheap prices.
One day while trekking through Shanghai, I stopped at a noodle and dumpling place. I was drawn to the sound of feminine laughter coming from the next table. There were two pretty blondes who looked to be around my age; I asked if I could join them and they agreed. Judith and Eunice were cousins from England on holiday. I hit it off quite well with Judith and we agreed to meet the next night for dinner. After that night we knew we wanted to be together and the rest, as they say, is history.
As I continued reading the article, I learned this new restaurant was operated by the same people who managed a nearby tea house called ‘The Barefoot Magpie’ – another place I’d never heard of. How can this be? I’ve lived in Lancaster all my life and thought I knew every place there was to eat. Obviously I haven’t been getting out enough lately.
What’s this? ‘Tasty Balls’ serves only one item: dumplings. What made it so special was the staggering number of varieties of dumplings on the menu. Now I knew without a doubt that Judith left this article here for me to stumble upon; she knows I am the world’s biggest sucker for dumplings!
Well now, let’s see what else the article says: “Extravagantly yet handsomely decorated … moderately priced … perfectly prepared dumplings … culinary delight.” My stomach rumbled and my mouth watered as I read a description of just a tiny sampling of dumplings offered at ‘Tasty Balls’:
Jiaozi – A Chinese dumpling consisting of delicately sautéed ground meat and chopped vegetables wrapped into a thinly rolled dough-ball which is then fried to a golden brown or gently steamed.
Xiaolongbao – A Taiwanese delicacy, this steamed dumpling has meat and broth inside. The small, succulent orb is meant to be eaten whole; one bite and the fortunate diner’s mouth is filled with liquid ambrosia.
Momos – A staple from Tibet and Nepal, these delectable pouches are filled with yak, beef or chicken and have become an obsession with the patrons at ‘Tasty Balls’.
Shish Barak – Middle Eastern ravioli-like envelopes filled with seasoned lamb, onion and pine nuts, these piquant squares are boiled, baked or fried and served in a warm yogurt sauce with melted mint butter and a garnish of chopped cashew nuts.
Muthia – This Indian delight consists of chickpea flour, turmeric, chili powder, curry powder and salt bonded together with oil. Once shaped, these fritters can either be fried or steamed, depending on personal preference.
Luqaimat – Originally from Saudi Arabia, this luscious dessert translates into “small bites”. Found in many Middle Eastern countries, this is a treat of fried dough sweetened with date syrup and garnished with sesame seeds. With a scoop of pistachio ice cream, this is a delightful end to an unforgettable meal.
I suddenly realized the newspaper was wet; either I was salivating over the scrumptious description of dumplings or I was crying tears of joy that this heaven-sent restaurant was now located in little old Lancaster. Oh, what joy, what rapture!
Judith came into the kitchen, took one look at my face and asked “What in the world has come over you?”
Holding up the soggy newspaper I exclaimed “This – as if you didn’t know, you little minx! Tempting me with an article about delectable dumplings. Well, it worked. It’s ‘Tasty Balls’ tonight!”
“Oh, I don’t think so, luv” Judith laughed. “That’s Eunice’s. She must have left it behind when she returned to the UK after her visit. That paper is from Lancaster, England!
While Johnny Cash’s cover of Trent Reznor’s “Hurt” gets all the press, this Neil Diamond tune is just as good. The 1966 Diamond version was about young adult heartbreak, while Cash’s rendition is about going through life and never getting over it. It remains not only one of Cash’s best cover songs, but one of his finest moments on the American Recordings albums.
“Solitary Man” was Neil Diamond’s debut single as a recording artist, having already had moderate success as a songwriter for other artists. By July, the track had become a minor hit, rising to No. 55 on the US pop singles chart. It would then be included on Diamond’s first album, The Feel of Neil Diamond, which he released in August 1966.
The song is a ballad of a loner looking for love; the theme of the song has been closely identified with Diamond himself. In the lyrics, the singer lists some of his relationships and how they each ended. He laments “I know it’s been done, having one girl who loves you.” But he doubts it will happen for him. Indeed, Diamond himself would tell interviewers, “After four years of Freudian analysis, I realized I had written ‘Solitary Man’ about myself.“
Johnny Cash used “Solitary Man” for the title track of his third album under the American Recordings label, American III: Solitary Man, in 2000, featuring guest backing vocals by Tom Petty. The recording received a Grammy Award for Best Male Country Vocal Performance.
From 1966, this is the amazing Neil Diamond with “Solitary Man”.
And this is what it sounded like when Johnny Cash released it 34 years later.
That’s today’s Twofer Tuesday! Thanks for stopping by.
The Motown Sound has something extra-special about it. Berry Gordy, Jr. knew people would be listening on their car stereos and transistor radios and he was going to do what it took to make songs sound good and memorable. Even if you couldn’t put your finger on it, when a Motown song came on, baby, you knew it. Still do.
“Heat Wave” was written by the songwriting team of Holland-Dozier-Holland and was first made popular by the group “Martha and the Vandellas”. Released as a single on the Motown subsidiary Gordy label, this song garnered a Grammy Award nomination, the first Motown group to ever do so.
Founded in 1957 by friends Annette Beard, Rosaline Ashford and Gloria Williams, the group eventually included Martha Reeves who moved up in ranks as lead vocalist after Williams’ departure in ’61. During their nine-year run from 1963-1972, “Martha and the Vandellas” charted over 26 hits recorded in the styles of doo-wop, R&B, pop, blues, rock and roll and soul. In 1995 the group was inducted into the Rock & Roll Hall of Fame.
“Heat Wave” was one of the first songs to exemplify the style of music later termed as the “Motown Sound”.
Here are Martha and the Vandellas performing their 1963 hit, “Heat Wave”.
And this is what was on the B Side: A Love Like Yours (Don’t Come Knocking Everyday)
Thanks for joining me today for a dose of Monday Motown Magic.
A rare alternate album cover of Heep’s “Demons and Wizards”
It was the early 1970s and the four of us scored tickets to see Uriah Heep in Allentown, PA. It was the dog days of August … the kind of sun that blisters your skin in minutes … and the concert was outdoors. The drive was 3 hours each way in scorching temperatures but we were going to that concert come hell or high water. Allentown became our Mecca and the road trip our personal hard rock pilgrimage. The details of that day are a little sketchy but the concert was freakin’ awesome.
Today’s theme at Song Lyric Sunday is all about songs performed with orchestras and/or choirs.
Formed in London in 1968, Led Zeppelin developed their style by drawing from a variety of influences, including blues and folk music. The band was comprised of vocalist Robert Plant, guitarist Jimmy Page, bassist and keyboardist John Paul Jones and drummer John Bonham. With a heavy guitar-driven sound, they are cited as one of the forerunners of hard rock and heavy metal music. Zeppelin has been credited as significantly impacting the nature of the music industry, particularly in the development of album-oriented rock and stadium rock.
Led Zeppelin is one of the best-selling musical groups of all time, with total sales estimated at over 300 million records sold worldwide. The group achieved eight consecutive UK #1 albums and six #1 albums on the US Billboard 200, with five albums certified diamond in the United States. Rolling Stone magazine once describedZeppelin as “the heaviest band of all time”, “the biggest band of the 70s”, and “unquestionably one of the most enduring bands in rock history”. Led Zeppelin was inducted into the Rock & Roll Hall of Fame in 1995; the museum’s biography of the band states that they were “as influential during the 1970s as the Beatles were during the 1960s”. That’s quite a statement.
There are so many great songs that fit into this category and I changed my mind several times before finally making my decision. For me this is the quintessential presentation of a legendary song which has withstood the test of time over and over again.
The performance I have chosen to feature today is what I consider to be an indelible moment in time. On December 2, 2012, Led Zeppelin received the Kennedy Center Honors; it’s an award bestowed upon those considered to have contributed greatly to American culture. In a world where awards are handed out like lollipops, The Kennedy Center Honors are a big deal.
Every December, the awards climax with a gala event at the Kennedy Center Opera House in Washington, D.C., and in 2012 the show included an emotional performance by Heart’s Ann & Nancy Wilson, with Jason Bonham on drums.
Did I say “emotional”? It’s almost startlingly so. It’s the looks the members of Led Zeppelin give each other during the performance. It’s Robert Plant’s eyes watering as he watches Ann Wilson singing a song he famously has a difficult relationship with. It’s the gospel choir paying tribute to Led Zeppelin’s original drummer John Bonham in the most unexpected way. It’s Jason Bonham lifting his eyes towards the heavens as the song climaxes. It’s extraordinary.
This is no hype; you’ll know what I mean when you see the reaction from Robert Plant, Jimmy Page and John Paul Jones watching from the best seats in the house. The song is one you all know; it has been called “the single-most important and celebrated song Led Zeppelin ever recorded”.
From the Kennedy Center in Washington DC, this is Ann & Nancy Wilson with orchestra and choirs performing the epic “Stairway To Heaven”.
LYRICS
There’s a lady who’s sure all that glitters is gold And she’s buying a stairway to Heaven
When she gets there she knows, if the stores are all closed With a word she can get what she came for
Ooh, ooh, and she’s buying a stairway to Heaven
There’s a sign on the wall, but she wants to be sure ‘Cause you know sometimes words have two meanings
In a tree by the brook, there’s a songbird who sings Sometimes all of our thoughts are misgiven
Ooh, it makes me wonder Ooh, makes me wonder
There’s a feeling I get when I look to the West And my spirit is crying for leaving
In my thoughts I have seen rings of smoke through the trees And the voices of those who stand looking
Ooh, it makes me wonder Ooh, really makes me wonder
And it’s whispered that soon if we all call the tune Then the piper will lead us to reason
And a new day will dawn for those who stand long And the forests will echo with laughter
Oh-oh-oh-oh-whoa
If there’s a bustle in your hedgerow, don’t be alarmed now It’s just a spring clean for the May queen Yes, there are two paths you can go by, but in the long run There’s still time to change the road you’re on
And it makes me wonder Ohh, whoa
Your head is humming, and it won’t go, in case you don’t know The piper’s calling you to join him
Dear lady, can you hear the wind blow? And did you know Your stairway lies on the whispering wind?
And as we wind on down the road Our shadows taller than our soul There walks a lady we all know Who shines white light and wants to show How everything still turns to gold And if you listen very hard The tune will come to you at last When all are one, and one is all To be a rock and not to roll
“By The Time I Get To Phoenix” Written by: Jimmy Webb Recorded: August 29, 1967 Producer(s): Al De Lory, Nick Venet Arranger/Conductor: Al De Lory
Released: October 23, 1967
Available on: By The Time I Get To Phoenix
Personnel: Glen Campbell – vocals, acoustic guitar James Burton – acoustic guitar, electric guitars Joe Osborne – bass Jim Gordon – drums
The inspiration for “By the Time I Get to Phoenix” originated in Jimmy Webb’s breakup with his partner, Susan Horton. Their relationship, which peaked in mid-1965, was also the primary influence for “MacArthur Park”, another Webb composition. Webb called the song a “succinct tale” with anO. Henrytypetwist at the end which consists merely of the guy saying,‘She didn’t really think that I would go,’but he did.” Although the protagonist in the song plans to leave his lover, Webb did not leave Horton; their breakup was a mutual agreement.
Glen Campbell’s version topped RPM magazine’s Canada Country Tracks, reached number two on Billboard’s Hot Country Singles chart and won two awards at the 10th Annual Grammys. BMI named it the third most performed song from 1940 to 1990. The song was ranked #20 on BMI’s Top 100 Songs Of The Century. It was #450 on Rolling Stone magazine’s Top 500 Songs of All Time. And perhaps the greatest accolade …. Frank Sinatra called it “the greatest torch song ever written”.
This is the exquisite “By The Time I Get To Phoenix” by Glen Campbell.
May your Saturday be smooth sailing. Thanks for stopping by.
“Where you been, girl? You got anythin’ goin’ on in that head of yours besides them nonsense rhymes? Your Ma’s been cookin’ all day and she sure coulda used your help with them black-eyed peas but you was nowhere to be found. You best not-a been hangin’ ‘round that good-for-nuthin’ boy again, girl. If I told you once, I told you a thousand times … keep away from him! There’s somethin’ not right with that boy! He’ll bring nuthin’ but misery. You start messin’ around with him and you’re gonna live to regret it. Then try and find yourself a decent husband! No man I know wants used goods! Now stop makin’ excuses, girl! I’m your Pa and I know when you’re lyin’ … just like you was lyin’ about not bein’ out by the river. You know how I know that? ‘Cause somebody done seen ya. I see by the look in your eyes that it’s true. Yeah, you was seen by that new preacher man. And that ain’t all, girl. He said you was with that troublemaker and you had your heads together like you was plottin’ somethin’ real private-like. I swear, girl, you ain’t got a lick a sense between ya. Stop this dang foolishness ‘cause it’s gonna lead to no good! C’mon now, girl … dinner’s waitin‘. Anna, your cookin’ is fit for a king! What you goin’ on about, woman?Jesus! I seen that boy just yesterday. Now, why’d he go do a fool thing like that!”
NB: Bobbie Gentry remarked that the message in Ode To Billie Joe revolved around the “nonchalant way” the family discussed Billie Joe’s suicide. She also said she included the verse about something being thrown off the bridge because it established a relationship between Billie Joe and the daughter, providing “a possible motivation for his suicide after meeting with her“. Gentry told The New York Times in 1969: “I had my own idea what was thrown off the bridge while I was writing it, but it’s not that important. Actually it was something symbolic. But I’ve never told anyone what it was.” The last time Bobbie Gentry appeared in public was at the Academy of Country Music Awards on April 30, 1982, almost 42 years ago to the day. Since that time, she has not recorded, performed or been interviewed. A 2016 news report stated that Gentry lives a secluded lifestyle in Los Angeles; she has refused to speak to reporters about Ode To Billie Joe or to give interviews.
Music is in the bloodline of the Nelson family. Country giant Willie Nelson passed his songwriting prowess on to his sons Lukas and Micah Nelson, both of whom are musicians. Today I’ll be focusing on Lukas, the frontman of Lukas Nelson & Promise of the Real. The band appears as the backing band for Bradley Cooper’s character in the 2018 edition of A Star Is Born, with Lukas also co-writing and co-producing songs for the film. From 2015 to 2019, they toured as the backing band for Neil Young. With Young, the band recorded two studio albums (The Monsanto Years and The Visitor), a soundtrack album (Paradox) and two live albums (Earth and Noise &Flowers). For his work on A Star Is Born, Lukas won the BAFTAFilm AwardForOriginal Music in 2019 and a Grammy Award in 2020 for Best Compilation Soundtrack For Visual Media, sharing both awards with Bradley Cooper and Lady Gaga.
Lady Gaga assists Nelson on “Find Yourself.” Her powerful vocals can be heard in the background of the chorus. Nelson and Gaga’s voices perfectly complement one another and, though this is just one of several collaborations between the pair, it’s undoubtedly the best.
This is “Find Yourself” by Lukas Nelson & Promise of the Real.
Thanks for stopping by and spinning some tunes with me.
In the middle of a field there stands a great big tree and at the base of the tree’s very broad trunk is a miniature door with a little knob. Beyond that miniature door is the most dizzying of spiral staircases intricately woven together with twigs and seeds, licked-clean popsicle sticks and discarded toothpicks. Each landing of the staircase leads to a cluster of tiny rooms .… storage rooms, dining rooms, play rooms, sun rooms and hibernating rooms. Inside those tiny rooms are the giddiest chipmunks busy storing, dining, playing, sunning and, when the wintry snowflakes bluster about, snugly hibernating. 🐿️
Welcome to Birthday Thursdays! Each week I will feature someone from the world of music whose birthday falls on this day. There won’t be any chit chat from me, no facts and figures – just some great tunes (and an occasional surprise). Check it out right here every Thursday and enjoy the music.
Happy Birthday to Ella Fitzgerald Born April 25, 1917 inNewport News, Virginia
Written for Glyn’s Mixed Music Bag #17, where we are asked to write about a song by a group or solo singer beginning with the letter G or H.
Steve Marriott, Peter Frampton, Greg Ridley & Jerry Shirley
Frustrated with a number of things but mostly his image as a teen idol, Steve Marriott finally had enough. It was New Year’s Eve, 1969, when he threw down his guitar and walked off the stage at London’s Alexandra Palace, quitting his band, Small Faces. Marriott was a talented musician and vocalist who wanted to be taken seriously for his music …. not his looks.
After quitting, Steve Marriott called two friends – one was Peter Frampton – another frustrated teen idol who had recently quit his band, Herd – and the other was 17-year-old drummer Jerry Shirley. Marriott asked his friends if he could join the band they were forming and, to sweeten the pot, said he’d bring with him Greg Ridley, a well-respected bass player from the band Spooky Tooth, who was also looking to make a change. Well, of course, Frampton and Shirley couldn’t turn down an offer like that and so the newest “supergroup” (as the press called them) was created. The guys in the band hated being called a supergroup …. they were worried about expectations being set too high and dooming them to failure. In retaliation they chose a name they were more comfortable with …. Humble Pie.
Their debut album, “As Safe As Yesterday Is”, was released in August 1969, along with the single, “Natural Born Bugie”, which reached #4 in the UK singles charts; the album peaked at #16 in the UK album charts. “As Safe As Yesterday Is” was one of the first albums to be described by the term “heavy metal” in a 1970 review in Rolling Stone magazine.
In 1971 Humble Pie released their most successful record to date, “Rock On“, as well as a live album recorded at the Fillmore East in New York entitled “Performance Rockin’ the Fillmore”. The live album reached #21 on the US Billboard 200 and was certified gold by the Recording Industry Association of America. Culled from four sets recorded on May 28 and 29, 1971 (the original LP was essentially a sampler of songs from several raucous shows), “Performance Rockin’ the Fillmore” was released that November as a double album set. Humble Pie was second on the bill, after Fanny and before headliner Lee Michaels, a fact hardly anyone seems to remember. I will testify to that because I was in the audience at the Fillmore East on May 28, 1971 and the only group I remember seeing was Humble Pie. That was just one month before the legendary Fillmore closed its doors …. the end of an era in the history of rock.
Peter Frampton’s final recording with Humble Pie in 1971 was, by some irony, the band’s most successful, and is widely acknowledged as one of the most influential live albums of the decade. Humble Pie produced 11 studio albums and 2 live albums.
“I Don’t Need No Doctor” from “Performance Rockin’ the Fillmore” was an R&B song written by Nick Ashford, Valerie Simpson and Jo Armstead, first released by Ashford in August 1966; it went nowhere. The song has been recorded by Ray Charles, John Mayer, rock bands New Riders of the Purple Sage, Great White and Styx, metal band W.A.S.P. and others. Humble Pie’s version became an FM radio standard in the US, peaking at #73 on the Billboard Hot 100 and propelling the album up the charts.
Live from the Fillmore East in my hometown of New York City, this is the single version of “I Don’t Need No Doctor” by Humble Pie.
Personnel
Steve Marriott– guitar, vocals, harmonica Peter Frampton – guitar, vocals Greg Ridley – bass guitar, vocals Jerry Shirley – drums
Technical team
Live recording by Fedco Audio Labs Engineer: Eddie Kramer Assistant Engineer: David Palmer Re-mixed at Electric Lady Studies, New York Produced by The Pie
In 1991 Steve Marriott died in an accidental house fire at the age of 44; bassist Greg Ridley died in 2003 at the age of 56 from complications from pneumonia. Peter Frampton continues to enjoy success as a solo artist and Jerry Shirley is still behind the kit, touring with the current members of Humble Pie.
The Fillmore East didn’t last all that long, from March 8, 1968 to June 27, 1971, but a ton of great music was played there. It was our personal music Mecca. Pretty much every legendary 1960s band …. except the Beatles, the Rolling Stones, Cream and Dylan …. graced the stage and I was in attendance for a lot of those shows. It was epic.
Big thanks to Glyn for hosting Mixed Music Bag every week.
Melissa at dVerse poets has asked us to write a poem for the prompt “If You Don’t Like Cats, I’m Sorry”, based on one of Louis Wain’s drawings. I have written a Dectina Refrain for “Cat’s Nightmare”. Oh, but there’s a catch: we can’t use the word “cat” in our poems!
A Dectina Refrain is written as follows: 1st line is 1 syllable, 2nd line is 2 syllables, 3rd line is 3 syllables, and so on for 9 lines; the 10th line is comprised of the first four lines as one stand-alone sentence.
“Cat’s Nightmare” by Louis Wain
WHO do you think you are, trying to hide from the likes of us? We have our eyes on you watching every move you make; foolish kitties, there’s no escape. A tasty whisker pie we will bake! Who do you think you are, trying to hide?
It doesn’t happen very often but last Sunday was a rare babysitting day for us; our usual days to watch our 4-year-old granddaughter Colette are Tuesday and Thursday but both our son and daughter-in-law (Colette’s mom & dad) had to work over the weekend. That was a rarity for them as well, but one is a librarian and the other a doctor and with both the library and the hospital open every day of the week, they sometimes pull a weekend shift but seldom do their rotations coincide as they did last Sunday.
My husband Bill has been having good and bad days this month, thinking about and missing his twin brother who died suddenly on April 2, so our son has been extra considerate, asking if watching Colette at this time is too much of an imposition; we answer without hesitation “Not at all …. in fact, just the opposite!”
Colette is always fun to be with but recently she has been a true blessing and a much-needed distraction …. a tonic, a balm for our sad and broken hearts, a healing magical concoction of love, joy, sunshine and humor blended with a combination of innocent wisdom and an intuitive nature that defies her tender age.
We were looking through some old photo albums with Colette …. snapshots of Bill and his brother as babies, as kids growing up on City Island, our wedding photos …. and even though Colette knew Bill’s brother and saw them together many times, seeing those photos left an impression on her, especially the ones of Bill and Jim when they were babies; it’s true, you know, that when our kids and grandkids are little and they look at us, they only see us as we are and have no idea we were ever any younger than we are right now.
One particularly sweet photo of Bill and Jim brought tears to my husband’s eyes and though he tried to hide his tears, they spilled through his fingers causing Colette to ask why he was so sad and we explained that Uncle Jim was gone, that he had left us to be with God in heaven; she thought for a second, put her little hand on Bill’s and said “Well, that’s ok, Grampy; don’t worry because God will take good care of him and it’s all going to be ok.”
In 1964 The Kinks came out with a song with a killer riff, so it only made sense that 14 years later guitar genius Eddie Van Halen would take the tune and make it a showcase for his brand of guitar pyrotechnics. Singer David Lee Roth, meanwhile, perfectly laid bare each and every emotion that may have been buried beneath a previous generation’s decency.
The song, of course, is “You Really Got Me”, written by Kinks’ frontman Ray Davies. Lead guitarist Dave Davies performs the song’s famous guitar solo, although it was long rumored that Jimmy Page had performed the solo …. hearsay that Page himself denied.
“You Really Got Me” was originally released in the UK on August 4, 1964 as The Kink’s third single and reached #1 on the Record Retailer chart the following month, remaining there for two weeks. Van Halen’s cover of the song was released as their first single and peaked at #36 on the Billboard Hot 100.
This is the fabulous 1964 original version of “You Really Got Me” as recorded by The Kinks.
And this is what it sounded like when Van Halen recorded it 14 years later.
That’s today’s Twofer Tuesday! Thanks for stopping by.
The waiter silently glided up to my table carrying a silver tray with an empty glass, a decanter of ice cubes and a bottle of chilled limoncello. I watched as he expertly filled my glass halfway with ice, then with ease poured the moonglow yellow nectar over the cubes. I watched, mesmerized, as the oro liquido trickled down the inside of the glass and gently caressed the ice. A little twist of the wrist and he was done.
Not making eye contact, I thanked the waiter and told him to leave the bottle. He obliged.
I reached into my breast pocket and retrieved my silver cigarette case. Selecting a Muratti, I tapped it three times on the case and placed it between my lips. There was an ashtray and a book of matches on the table, compliments of the hotel; I lit my cigarette and inhaled deeply. I always got a rush from the feel of the slow burn of that first drag. I exhaled slowly watching the smoke rings break away and drift off.
Raising the glass of limoncello, I took a healthy sip and swirled it around in my mouth, savoring the refreshing lemony sweetness as I swallowed. I immediately began to feel a calm wash over me and I took another generous pull; it was unexpectedly heady. Placing the glass on the table, my hand remained suspended in midair as I spied the cursive inscription on my cigarette case:
To Nigel From Camilla Christmas, 2010
Plain, boring and emotionless …. exactly like Camilla was to me …. and I to her, no doubt. I quickly realized I hadn’t thought about her since that afternoon, since the accident. Even if there was anything left, which was doubtful considering the height of the cliffs and the number of times her frail body hit the rocks before disappearing into the choppy Mediterranean, there was no reason to assume it was anything but an accident. And that’s exactly what it was …. difficult to prove, though, if certain facts came to light
I put the cigarette case back into my pocket and thought about my next move. I refilled my glass, lit another Muratti and stared at the lights from the ships on the water. The longer I sat the more comfortable I became with my plan of action. It was imperative that nothing be rushed, not even a whiff of anything unusual lingering in the air.
Tomorrow I will leave Agrigento as planned. After lunch I’ll check out of the hotel; if anyone asks about Camilla, she had personal business to attend to. The concierge will arrange for my rental to be out front. Camilla preferred to travel light; it will be easy to add her bag to mine.
The waiter floated to my table, filled my glass with the last bit of limoncello, nodded politely and left, taking the empty bottle with him. I felt all traces of tension leave my body.
The Motown Sound has something extra-special about it. Berry Gordy, Jr. knew people would be listening on their car stereos and transistor radios and he was going to do what it took to make songs sound good and memorable. Even if you couldn’t put your finger on it, when a Motown song came on, baby, you knew it. Still do.
Motown’s first great girl group, TheMarvelettes, consisted of four school friends who were only 14 and 15 years old; some of their early hits were written by the girls themselves. When I was 14, I was busy practicing writing my signature as Mrs. George Harrison! What were you doing at 14?
“Please Mr. Postman”, recorded in 1961, was one of the first #1 singles by an all-female vocal group and is easily Motown’s best single to date – a song with a killer tune and a lyrical hook which listeners around the world instantly latched on to.
Despite their successful start, the group was eclipsed in popularity by the Supremes, with whom they shared an intense rivalry. The Marvelettes made a comeback in 1966 with several hits but struggled and stopped performing together in 1969. The group disbanded for good in 1970.
Kudos to TheMarvelettes for paving the way for future girl groups!
Here now is the fantastic sound of “Please Mr. Postman” by TheMarvelettes” with a young Marvin Gaye playing the drums.
And this is what was on the B Side: “So Long Baby”
Thanks for joining me today for a dose of Monday Motown Magic.
Otis sensed it before Sam even heard it – tires crunching through the snow slowly approaching the diner’s driveway. The black lab growled, knowing instinctively it wasn’t Deb and the kids; it was much too early. They weren’t due back until around 10:00. Besides, Otis would have recognized the sound of Deb’s Jeep.
But there was one definitive reason why Otis knew it wasn’t Deb and the kids returning from their ski trip; Deb never drove in the dark with her lights off.
The instant Sam heard the vehicle, a knot started forming in his gut. “It’s ok, boy” he whispered soothingly to Otis while reaching for the service revolver he kept hidden in the cupboard and slipped it into the pocket of his Washington Wizards sweatshirt. Sam squinted in the darkness at the LED clock on the diner’s microwave – 5:10AM – too early, even for diehard customers. Tapping at his other pocket, Sam was reassured knowing his cell phone was there.
Careful not to knock over anything that would make noise, Sam quickly strode to the window and with one finger eased back the curtain ever so slightly. In the bleak pre-dawn hours he could barely make out the shape of a hulking SUV parked outside the diner. This was not just a business to Sam and Deb; the spacious second floor was home to them and their kids. If anyone tried to break in or cause harm, Sam took it very personally.
Otis growled again; Sam hushed the skittish dog and together they crept back to the counter and slid behind it. Sam fingered the gun in his pocket; he was ready if it came to that.
Footsteps on the front stairs were followed by a quick rap on the window. Otis was more nervous than ever and Sam spoke softly to him while slipping him a treat to keep him quiet. One more rap on the window, then the front door handle jiggled. Then jiggled again, this time with attitude. Sam decided he needed to go on the offensive.
“We’re closed” he called out. “If you need help, the police station’s just down the road. I can call them.”
“No need for that, champ” came a voice from the other side of the door. “I just ended my shift there. Saw a car leaving your parking lot and wanted to make sure everything was ok.”
“Thanks, we’re fine.” Sam replied through the door. Something about the way this guy said “champ” made the hair on his arms stand up.
“Hey, it’s my job. I’d feel better if you let me take a look around” declared the guy outside.
“And I’d feel better if you showed me some I.D. Just slip it under the door.”
“No problem, champ.” A shiny laminated wallet-size rectangle slid across the floor.
Glancing to make sure the deadbolt on the front door was secure, Sam quickly retrieved the card and checked it out in the glow of his cell. The I.D. confirmed the guy was a trooper and the photo staring back proved what Sam feared – this guy was no stranger.
“Son of a bitch! Dan McGinty!”
The same Dan McGinty from New York. Sam could never forget his brother officer from their days in the NYPD. A dirty cop, that piece of scum almost got Sam and his partner Frank killed in an ambush. Their testimony at Dan’s trial helped get a conviction but Frank would never walk again. What was McGinty doing out of jail and out here in the boonies? How the hell did he ever land a job as a state trooper? Sam had a really bad feeling about this.
Otis sprang to his feet, jolting Sam out of his momentary reverie. The black lab stared in the direction of the kitchen and growled loudly. And Sam knew. In the stillness of the early morning he heard that familiar voice behind him.
“Hey, champ. Been a real long time.”
It was the last thing Sam heard before the room went black.
The theme today at Jim Adams’ Song Lyric Sunday is to write about a duet(s) featuring two prominent performers.
Three years ago, Sir Tom Jones …. quite possibly the Sexiest Man Ever …. and Helene Fischer …. Die Königin der deutschen Popmusik (The Queen of German Pop Music) …. got together on Helene’s show where the duo put on an unforgettable performance that has been viewed over 21 million times on YouTube. Backed by a brass band and a dazzling stage show, they treated the audience to a seductive duet, proving that Tom Jones’ voice is still worthy of the halls of fame. Even in his 80s, Tom is leaving fans in awe with his unbelievably strong and silky smooth voice. Not many performers can stand up to that.
Helene Fischer became one of the most popular musical artists in Germany after making her recording debut in 2006. She consistently racked up hits in Germany, Austria, and Switzerland before her 2013 album “Farbenspiel” (“Play of Colors”) became one of the most successful in German history. She followed it with still more number one records, including a four-week stay at the top of the album chart with 2017’s “Helene Fischer”.
Today’s song was released in 1999 in several European countries; the following year it was issued across the rest of Europe where the track served as the second single from Jones’ 34th album, ”Reload”. Commercially, it reached number one in France and Switzerland while becoming a top-three hit in Austria, Germany, Iceland, Italy, Spain, the United Kingdom.
Here is the Sexiest Man Ever along with the Queen of German Pop Music with their sizzling duet, “Sex Bomb”.
LYRICS
Spy on me, baby, use satellite Infrared to see me move through the night Aim, gonna fire, shoot me right I’m gonna like the way, the way that you fight
Now you found the secret code I use To wash away my lonely blues And I can’t deny or lie ‘Cause you’re the only one who makes me fly
Sex bomb, sex bomb, you’re my sex bomb And you can give it to me when I need to be turned on Sex bomb, sex bomb, you’re my sex bomb And, baby, you can turn, turn me on (woo)
Hey!
Don’t get me wrong, ain’t gonna do you no harm This bomb’s for lovin’, you can shoot it far I’m your main target, come and help me ignite Lovestruck, holding you tight
Make me explode, although you know The route to go to sex me slow Yes, I must react to claims of those Who say that you are not all that
Sex bomb, sex bomb, you’re my sex bomb And you can give it to me when I need to come along Sex bomb, sex bomb, you’re my sex bomb And, baby, you can turn me on (yeah)
Sex bomb, sex bomb, you’re my sex bomb And you can give it to me when I need to come along Sex bomb, sex bomb, you’re my sex bomb And, baby, you can turn me on (oh right)
You can give me more and more, counting up the score You can turn me upside down and inside out You can make me feel the real deal I can give it to you any time because you’re mine
Sex bomb, sex bomb, you’re my sex bomb And you can give it to me when I need to come along Sex bomb, sex bomb, you’re my sex bomb And, baby, you can turn me, baby, you can turn me on
Sex bomb, sex bomb, you’re my sex bomb And you can give it to me when I need to come along Sex bomb, sex bomb, you’re my sex bomb Baby, you can turn me on
Baby, you can turn me on And, baby, you can turn me on Baby, you can turn me on And, baby, you can turn me on
“Europa (Earth’s Cry, Heaven’s Smile)” Written by: Santana/Coster Recorded: 1976 Producer: David Rubinson Engineer(s): David Rubinson, Fred Catero Assistant Engineer: Susie Foote
Released: March 26, 1976
Available on: Amigos
Personnel: Carlos Santana – lead guitar Neal Schon – rhythm guitar David Brown – bass Greg Rolie – keyboards Michael Schrieve – drums Armando Peraza – percussion Jose Chepito Areas – timbales
Upon seeing a friend suffering a bad experience while high on mescaline, Santana composed a piece titled “The Mushroom Lady’s Coming to Town“. This precursor contained the first lick to “Europa“. The piece was put away and not touched for some time. When Santana was touring with Earth, Wind & Fire in Manchester, England, he played the tune, this time with songwriter Tom Coster who helped him with some of the chords, and a new song was born. It was renamed as “Europa (Earth’s Cry Heaven’s Smile)”.
The track was featured in the 2004 film “Shall We Dance?” and has become one of Santana’s most beloved songs with its combination of Latin rhythms, blues and jazz influences.
This is Santana with “Europa”
May your Saturday be smooth sailing. Thanks for stopping by.
It was Friday night and my paycheck was burning a hole in my pocket. As it turns out, my on again/off again boyfriend, Jagger, was off again so I was free as the proverbial bird. Just as well; I was getting tired of the slouch anyway. But it was New Year’s Eve 1946 and I didn’t want to be alone.
Anxious to hit the tables and ring in the new year, I got myself all dolled up in an outfit that was quite possibly illegal in 33 states – a lowcut slinky little black number with a high side slit, silk stockings with lacy garters and red satin stilettos. Maybe I’d run into a high roller ready, willing and monetarily able to treat me to a bourbon, a thick juicy steak and a slice of pie a la mode.
I grabbed a taxi to the casino, the driver giving me the once-over in the rearview. I wasn’t interested in any two-bit palooka so I played it cool. Averting my eyes, I glanced out the window, snuggled deeper into my fur coat and lit a Chesterfield. The smoke encircled my head and my bright red lipstick left a perfect kiss around the filter.
When we arrived, I tossed a fiver at the cabbie and stepped out onto the sidewalk. The staccato of my heels alerted the man in black .… Special Agent Sam Bishop.
“Evening, Candace. You’re looking angelic, if you don’t mind my saying. I don’t suppose you’ve heard from Jagger.”
