John Lennon had thousands of admirers and imitators. But he was the first to admit that he had his own rock icons that he looked up to – Buddy Holly, The Ronettes, Arthur Alexander, the Everly Brothers …. and Rosie & The Originals who first took this song to #5 on the Billboard chart in 1961. Lennon said it was one of his favorite songs and when he recorded a cover in 1973 said, “send my love to Rosie, wherever she may be!” Rosie was actually Rosie Hamlin; she was only 15 years old when she recorded the song but said Lennon’s cover version was her favorite. The 1961 original was part of John Lennon’s personal juke box.
From 1961, this is Rosie & The Originals with “Angel Baby”
With his rendition of “Angel Baby”, here is John Lennon
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.
Before Motown, there was Tamla. Berry Gordy realized that the way to make money was to produce his own records for his own label. In 1959 he founded Tamla Records with an $800 loan from his family; he added the Motown label later that year. The Tamla label remained in operation until being merged with Motown’s main line at the end of 1986. Tamla’s first release was Marv Johnson’s “Come To Me” in January 1959.
An R&B singer, songwriter and pianist, Marv Johnson achieved early success in the US but ultimately became more popular overseas, especially in the UK and Australia. Let’s listen to a couple of his tunes; from 1959, this is “Come To Me”, Tamla Label’s first release.
The topic today at Jim Adams’ Song Lyric Sundayis to write about songs dealing with war and/or peace .… subjects that have been plaguing the world since the beginning of time.
Bill and I are pretty patriotic people; still, we were very relieved when he failed the draft physical. He and his identical twin brother were numbers 8 & 9 when they were called up; if not for them both having a pilonidal cyst, they surely would have been drafted and shipped off to Vietnam. It was the first and last “F” Bill ever got in his life. Let me just add …. Bill and I have total respect for all veterans – those who served and came home, those who died. Bill’s older brother served in the Navy, his sister’s husband was a marine and our fathers were in the US Army; Bill’s dad never left The States whereas my dad fought in the Battle of the Bulge. It was literally the luck of the draw.
Here are four songs about war and peace which were the soundtrack of our lives from the late 60s and early 70s.
From his 1969 video, this is Edwin Starr singing “War”. Originally written under the Motown label and first performed by The Temptations, “War” was later re-released as a single with Edwin Starr on vocals. This version has become the most popular protest song ever.
LYRICS
War, huh, yeah What is it good for? Absolutely nothing, uhh War, huh, yeah What is it good for? Absolutely nothing Say it again, y’all War, huh (good God) What is it good for? Absolutely nothing, listen to me, oh War, I despise ‘Cause it means destruction of innocent lives War means tears to thousands of mother’s eyes When their sons go off to fight And lose their lives
I said, war, huh (good God, y’all) What is it good for? Absolutely nothing, just say it again War (whoa), huh (oh Lord) What is it good for? Absolutely nothing, listen to me
It ain’t nothing but a heartbreaker (War) Friend only to The Undertaker Oh, war it’s an enemy to all mankind The thought of war blows my mind War has caused unrest Within the younger generation Induction then destruction Who wants to die? Oh
War, huh (good God y’all) What is it good for? Absolutely nothing Say it, say it, say it War (uh-huh), huh (yeah, huh) What is it good for? Absolutely nothing, listen to me
It ain’t nothing but a heartbreaker (War) It’s got one friend that’s The Undertaker Oh, war, has shattered many a young man’s dreams Made him disabled, bitter and mean Life is much too short and precious To spend fighting wars each day War can’t give life It can only take it away, oh
War, huh (good God y’all) What is it good for? Absolutely nothing, say it again War (whoa), huh (oh Lord) What is it good for? Absolutely nothing, listen to me
It ain’t nothing but a heart breaker (War) Friend only to The Undertaker, woo Peace, love and understanding, tell me Is there no place for them today? They say we must fight to keep our freedom But Lord knows there’s got to be a better way, oh
War, huh (God y’all) What is it good for? You tell me (nothing) Say it, say it, say it, say it War (good God), huh (now, huh) What is it good for? Stand up and shout it (nothing)
Here are the Animals with “We Gotta Get Out Of This Place”. Though the song never mentions war, it was quickly adopted by U.S. soldiers during the Vietnam War and was the most requested on Armed Forces Radio, according to the late radio personality Adrian Cronauer, whose life inspired the 1987 film “Good Morning, Vietnam”.
LYRICS
In this dirty old part of the city Where the sun refused to shine People tell me there ain’t no use in tryin’ Now my girl you’re so young and pretty And one thing I know is true You’ll be dead before your time is due, I know Watch my daddy in bed a-dyin’ Watched his hair been turnin’ grey He’s been workin’ and slavin’ his life away Oh yes I know it
(Yeah!) He’s been workin’ so hard (Yeah!) I’ve been workin’ too, baby (Yeah!) Every night and day (Yeah, yeah, yeah, yeah!)
We gotta get out of this place If it’s the last thing we ever do We gotta get out of this place ’cause girl, there’s a better life for me and you
Now my girl you’re so young and pretty And one thing I know is true, yeah You’ll be dead before your time is due, I know it Watch my daddy in bed a-dyin’ Watched his hair been turnin’ grey, yeah He’s been workin’ and slavin’ his life away I know he’s been workin’ so hard
(Yeah!) I’ve been workin’ too, baby (Yeah!) Every day baby (Yeah!) Whoa! (Yeah, yeah, yeah, yeah!)
We gotta get out of this place If it’s the last thing we ever do We gotta get out of this place Girl, there’s a better life for me and you Somewhere baby, somehow I know it We gotta get out of this place If it’s the last thing we ever do We gotta get out of this place Girl, there’s a better life for me and you Believe me baby I know it baby You know it too
This is “Peace Train”by Cat Stevens. His Majikat – Earth Tour was recorded during his last legendary North American tour in 1976. This was the ultimate tour for Cat Stevens before he quit the music business and changed his name to Yusuf Islam. He didn’t perform on stage again for nearly thirty years.
LYRICS
Now I’ve been happy lately Thinking about the good things to come And I believe it could be Something good has begun Oh, I’ve been smiling lately Dreaming about the world as one And I believe it could be Someday it’s going to come
‘Cause out on the edge of darkness There rides the peace train Oh, peace train take this country Come take me home again
Now I’ve been smiling lately Thinkin’ about the good things to come And I believe it could be Something good has begun
Oh, peace train sounding louder Glide on the peace train Ooh-ah, ee-ah, ooh-ah Come on now, peace train Yes, peace train holy roller Everyone jump upon the peace train Ooh-ah, ee-ah, ooh-ah Come on now, peace train
Get your bags together Go bring your good friends too Because it’s getting nearer It soon will be with you Now come and join the living It’s not so far from you And it’s getting nearer Soon it will all be true
Oh, peace train sounding louder Glide on the peace train Ooh-ah, ee-ah, ooh-ah Come on now peace train Peace train
Now I’ve been crying lately Thinkin’ about the world as it is Why must we go on hating? Why can’t we live in bliss?
‘Cause out on the edge of darkness There rides a peace train Oh, peace train take this country Come take me home again
Oh, peace train sounding louder Glide on the peace train Ooh-ah, ee-ah, ooh-ah Come on now, peace train Yes, peace train holy roller Everyone jump upon the peace train Ooh-ah, ee-ah, ooh-ah Come on, come on, come on Yes, come on, peace train Yes, it’s the peace train
Ooh-ah, ee-ah, ooh-ah Come on now, peace train Oh, peace train Ooh-ah, ee-ah, ooh-ah
Here’s the Plastic Ono Band with what has become the anthem for peace activists …. “Give Peace A Chance”. The song was written by John Lennon and Yoko Ono during their 1969 weeklong ‘BED-IN’ peace advertising campaign in Montreal, Canada. The film features the original recording of “Give Peace A Chance” and includes John and Yoko appearing at the National Peace Rally in Bryant Park, New York on April 22, 1972. It concludes with impromptu gatherings of fans in Liverpool, London, New York, etc. after John’s shooting on December 8, 1980. Since the lyrics are part of the video, I did not print them.
Welcome to Birthday Thursdays! Each week I will feature someone from the world of music whose birthday falls on that 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 Quincy Jones Born March 14, 1933 in Chicago, Illinois
Quincy Jones Talks About Frank Sinatra
Live in the studio – Frank Sinatra & The Quincy Jones Orchestra with “Teach Me Tonight”
“I Can’t Stop Loving You” – Quincy Jones at The BBC, 2016
Live with The Quincy Jones Band – “The ‘Ironside’ Theme”
“Celebrating Quincy Jones/Featuring Kati Brien – “The Midnight Sun Never Sets”
“Summertime” – Featuring Miles Davis with Quincy Jones & Orchestra
For Glyn’s Mixed Music Bag #11, Monthly Challenge Week 11 where we are asked to write about a song by a group or solo artist beginning with the letter E or F.
Today I’m going out on the proverbial limb by doing something completely different. We’re going long-hair, and I’m not talking about hard rock metal bands. Sit up straight and pay attention, boys and girls; we’re going classical!
In his seven-section Requiem, the French composer Gabriel Fauré distilled some of the most beautiful melodies he ever composed. The creation was a musical tribute to his father who died in 1885, three years before work on the piece began.
As with much of Western classical music, Requiem owes its roots to Christian faith. Traditionally, it is a prayerful lament for the dead; however, Fauré’s Requiem was altogether different because, unlike his contemporaries, Fauré had no clear religious beliefs.
In place of the somber nature of most requiems, Fauré’s is noted for its calm, serene and peaceful outlook. Anyone looking for morose themes is barking up the wrong tree. Instead, here you will find musical solace in a work that focuses not on the morbid, but on the restful and fear-free nature of death.
Of all seven sections of Fauré’s Reqiuem, the Pie Jesu, Agnus Dei and In Paradisum emerge as the most glorious, filled with rich, soulful melodies. The work garnered the praise of many other composers who thought it divine. It was performed at Fauré’s own funeral in 1924.
I’ve been a member of choirs all my life and have sung Fauré’s Requiem countless times, especially during Holy Week leading up to Easter. Since we are rapidly approaching that time of the season, I will be attending a performance of both Faure and Mozart’s Requiems presented by the Taconic Opera this Sunday, March 17. It just so happens that my son David will be singing lead tenor. I am incredibly and unceasingly proud of him.
Please bear in mind …. you don’t have to be a classic music buff or at all religious to listen/enjoy a requiem, especially one as breathtaking as Fauré’s. Here are the Pie Jesu (Pious Jesus) , Agnus Dei (Lamb of God) and In Paradisum(Into Paradise).
This is VOICES8 performing Faure’s “Pie Jesu”
This is “Agnus Dei” performed by Netherlands Radio Chorus / Rotterdam Philharmonic Orchestra
Performed by the Winchester Cathedral Choir, this is “In Paradisum”
I hope you have enjoyed today’s change of pace. You can check out Taconic Opera here if you are so inclined.
Lou Reed died just over a decade ago, but his influence on the world of Rock & Roll remains undimmed. The life and work of the Velvet Underground‘s main man and solo superstar has been celebrated in the new covers album, The Power of the Heart: A Tribute to Lou Reed. Keith Richards has released an excellent B&W video of the VelvetUnderground’s classic “I’m Waiting For The Man” in honor of what would have been Lou’s 82nd birthday on March 2.
Let’s listen to Lou Reed performing “I’m Waiting For The Man”. Gotta love Lou’s intro.
And here’s Keith’s new cover of “I’m Waiting For The Man”
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.
Summer 1960. The start of the Motown labels empire. Still a teenager, Mary Wells pitched a song to Berry Gordy Jr. which was written for Jackie Wilson. That took a lot of guts! This was the start; Mary Wells would soon earn the title “Queen of Motown”.
Turn up the volume; it’s time to get your groove on.
Jim at Song Lyric Sunday has informed us the suggestion for today is to write about a song(s) dealing with God or the afterlife. There are a lot of songs in this category and I considered a few but in the end I chose to write about something personal to me. And I’ve got an Elephant’s Trunk full of stories!
Fifty years ago I met and had a brief but memorable conversation with Cat Stevens. It was the summer of 1974 in the Hamptons at one of those parties where everyone was a friend of a friend of a friend. My husband was off getting us drinks and I suddenly found myself in the same place at the same time as Cat Stevens. We talked for a little while, mostly about Southampton, NY and Southampton, UK and the vast Atlantic Ocean – how, after crossing it fairly often, it no longer felt quite as vast to him as it originally did. Well, that’s what he talked about; I was swept away by his delightful accent, lost in his deep eyes and the dark curls that framed his face. After our little tête-à-tête, he went one way, I went the other and that was that. Of course I remember that day like it happened last week; I’m absolutely certain Cat Stevens has no recollection of me whatsoever. Damn! What I wouldn’t give for a selfie from back then!
Over the last five decades, Cat Stevens has led a wholly unique music career. After finding himself a crucial part of the early 70s singer-songwriting boom, he found faith in Islam following a near-death experience in 1976. He almost drowned off the coast of Malibu, California, and said he shouted, “Oh, God! If you save me I will work for you.” He stated that immediately afterwards, a wave appeared and carried him back to shore. This brush with death intensified his long-held quest for spiritual truth. Changing his name to Yusuf Islam, Cat discarded his guitar in favor of the Qur’an, much to the disappointment of his devoted fans.
However, it seems Cat Stevens was exploring his spirituality long before 1976 when he wrote “Lilywhite” in the late 60s. The lyrics “the dial” and “wheel of change” refer to the Buddhist concept of reincarnation, the cycle of life and death. This is also hinted at in the first line, “Back up on the mended road”.
In an interview with Mojo in 2009, Stevens remembered the “amazingly bad trip” that inspired him to write “Lilywhite”: “I was at Noel Redding’s house (Jimi Hendrix Experience), and he introduced me to this substance. That was the worst night of my life! We were in his flat. By the time it got to dawn and I was able to get to the door, it had snowed and it was like looking at an angelic gift from heaven! It was beautiful. The song represents a recapturing of that moment where after darkness comes light.”
Unfortunately “Lilywhite” has been eclipsed by some of Stevens’ hits but remains an essential part of his repertoire among devoted fans.
From his album Mona Bone Jakon, this is “Lilywhite” by Cat Stevens.
Lyrics
Back up on the mended road I pause Taking time to check the dial
And the Lilywhite I never knew her name But she’ll be passing my way sometime again.
I raise my hand and touch the wheel Of change Taking time to check the dial
Thank the Lilywhite I never knew her name But she’ll be passing my way sometime again. But she’ll be passing my way sometime again.
Thanks for sharing some time with me. FYI – Cat Stevens was as soft-spoken, humble and charming as you imagine him being. A lovely man, inside and out.
Don’t worry. I won’t bore you with endless chatter. Truly, I don’t have much more to say other than “Follow this guy”! Houston Roby is an excellent source of info, great music and interesting tidbits about music/bands/songs/etc …. some which may be new to us and others we forgot we even knew. Whatever the case, he’s definitely worth a read and a listen, I assure you. Enjoy today’s post.
Welcome to Birthday Thursdays! Each week I will feature someone from the world of music whose birthday falls on that 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 Peter Wolf Born March 7, 1946 in The Bronx, New York
Written for Glyn’s Mixed Music Bag #10, March Monthly Challenge Week 10 where we are asked to write about a song by any group or solo singer beginning with the letter E or F.
The only problem with songs like “Telephone Line”, “Mr. Blue Sky”, “Don’t Bring Me Down”, “Livin’ Thing” or “Evil Woman” is trying to figure out which one I want to listen to first. These days with online streaming services such as Amazon Music, YouTube, Spotify, etc., it’s so easy for us to listen to tunes wherever, whenever we want.
The songs titles I mentioned are just a handful of the great hits by ELO, that little rock band formed in 1970 in Birmingham, England by Jeff Lynne, Roy Wood and Bev Bevan. Their idea was to create a band that used orchestral instruments such as woodwinds, horns, and strings as the main focus rather than guitars. It was a crazy idea but it took off and the group achieved global success.
Over the years, just like all groups, there were disagreements, splits, total breakups. Apart from a brief reunion in the early 2000s, ELO remained largely inactive until 2014, when Jeff Lynne re-formed the band as Jeff Lynne’s ELO.
I had no idea which song to feature today so I read the names to my 4-year-old granddaughter and asked her to choose one .… that’s the truth! Of course, like any 4-year-old, she said “Mr. Blue Sky” (she laughed at that title) but since I wrote about that one not long ago for Jim Adams’ Song Lyric Sunday, I decided to go with a different one.
“Livin’ Thing” was written and produced by Jeff Lynne; it appears on ELO’s 1976 album “A New World Record” and was also released as a single. Music critics have said it’s “an extremely catchy record that has all the vocal and instrumental hooks to keep you listening”. Who am I to argue with that? And if you’re wondering about the meaning of the song, who better to ask than the guy who wrote it? Jeff Lynne has this to say: “’Livin’ Thing’ is simply a love song. Everybody would always say, oh, that’s about a whale or it’s about orgasms or it’s about whatever, lots of different things. It wasn’t really about that at all. It was just about love.” Nice one, Jeff.
This is “Livin’ Thing” by ELO:
Lyrics
Sailin’ away on the crest of a wave, it’s like magic Oh, rollin’ and ridin’ and slippin’ and slidin’, it’s magic
And you and your sweet desire You took me, oh (higher and higher, baby)
It’s a livin’ thing It’s a terrible thing to lose It’s a givin’ thing What a terrible thing to lose
I’m takin’ a dive Dive
Makin’ believe this is what you’ve conceived From your worst day (I’m takin’ a dive) Oh, movin’ in line, then you look back in time To the first day (I’m takin’, I’m takin’)
And you and your sweet desire (don’t you do it, don’t you do it) You took me, oh (higher and higher, baby)
It’s a livin’ thing It’s a terrible thing to lose It’s a givin’ thing What a terrible thing to lose
I’m takin’ a dive All the same Hey
Takin’ a dive, ’cause you can’t halt the slide Floating downstream (I’m takin’ a dive) Oh, so let her go, don’t start spoiling the show It’s a bad dream (I’m takin’, I’m takin’)
And you and your sweet desire (don’t you do it, don’t you do it) You took me, oh (higher and higher, baby)
It’s a livin’ thing It’s a terrible thing to lose It’s a givin’ thing What a terrible thing to lose
It’s a livin’ thing It’s a terrible thing to lose It’s a givin’ thing
Today at Song Lyric Sunday, Jim is asking us to write about a song based on true events. My husband Bill and I have lived near the water all our lives; he grew up on City Island in New York and spent all his teen years working in marinas repairing boats. Years ago we bought a boat which was supposed to be a fun family get-away adventure until we realized I get heinously seasick; Bill uses it for fishing. Before Covid, we spent 35 summers in Montauk, NY with the Atlantic Ocean as our view. It’s only natural that I would be drawn to a song about a nautical event.
The SS Edmund Fitzgerald sank in Lake Superior 49 years ago. Gordon Lightfoot’s song “The Wreck of the Edmund Fitzgerald” (1976, Moose Music, Ltd.) is a tribute to this shipwreck and the men who lost their lives.
On November 9, 1975, the Edmund Fitzgerald departed from Superior, Wisconsin with approximately 26,000 tons of ore bound for Detroit, Michigan. Just think about that for a second …. 26,000 tons; the cargo weighed more than the ship itself. Around 7 p.m. the National Weather Service issued a gale warning for Lake Superior. Overnight the winds increased tremendously and waves grew to incredible heights; no longer protected by land, the Fitzgerald was in terrible danger. At some point, another ship – the Anderson – made radio contact with the Fitzgerald and had her on their radar. When asked how the Fitzgerald was making out, they replied “We’re holding our own”. Shortly afterwards, the Fitzgerald disappeared from the Anderson’s radar screen.
There are phrases in the song that have been embellished, romanticized, making it sound as if the crew knew they were doomed. In reality, the sinking of the Fitzgerald was very rapid and it’s likely they didn’t know the seriousness of their condition. Thank the gods for that! In fact, after the wreck, a severely damaged lifeboat was found and only part of the second, suggesting that no attempts were made to leave the ship. No distress signals were ever issued. They didn’t know what hit them.
On November 10, 1975 the SS Edmund Fitzgerald sank in Lake Superior; all 29 crew members died. At the time, it was the worst shipping disaster on the Great Lakes in more than 10 years. No bodies were ever recovered from the wreckage. When the wreck was found, the ship had broken in half by the storm. It still sits on the bottom of Lake Superior at 530 feet deep.
“The Wreck of theEdmund Fitzgerald” was written, composed and performed by Canadian singer-songwriter Gordon Lightfoot. The song was recorded in December 1975 at Eastern Sound, a recording studio in a then-hippie district of downtown Toronto. The famous studio was later torn down and replaced by a parking lot …. cue Joni Mitchell! Lightfoot cleared the studio and killed all the lights except for the one illuminating the paper with his scribbled words when he recorded his vocals; he considered this song to be his finest work.
The single version hit #1 in Lightfoot’s native Canada on November 20, 1976, barely a year after the disaster. In the US it reached #1 in Cashbox and #2 for two weeks in the Billboard Hot 100. Overseas it was at best a minor hit, peaking at #40 in the UK Singles Chart.
This is “The Wreck of the Edmund Fitzgerald” by Gordon Lightfoot
Lyrics
The legend lives on from the Chippewa on down Of the big lake they call Gitchegumee The lake, it is said, never gives up her dead When the skies of November turn gloomy With a load of iron ore twenty-six thousand tons more Than the Edmund Fitzgerald weighed empty That good ship and true was a bone to be chewed When the gales of November came early
The ship was the pride of the American side Coming back from some mill in Wisconsin As the big freighters go, it was bigger than most With a crew and good captain well-seasoned Concluding some terms with a couple of steel firms When they left fully loaded for Cleveland And later that night when the ship’s bell rang Could it be the north wind they’d been feelin’?
The wind in the wires made a tattle-tale sound And a wave broke over the railing And every man knew, as the captain did too T’was the witch of November come stealin’ The dawn came late and the breakfast had to wait When the gales of November came slashin’ When afternoon came it was freezin’ rain In the face of a hurricane west wind
When suppertime came, the old cook came on deck sayin’ “Fellas, it’s too rough to feed ya” At 7 PM, a main hatchway caved in, he said “Fellas, it’s been good to know ya” The captain wired in he had water comin’ in And the good ship and crew was in peril And later that night when his lights went outta sight Came the wreck of the Edmund Fitzgerald
Does anyone know where the love of God goes When the waves turn the minutes to hours? The searchers all say they’d have made Whitefish Bay If they’d put fifteen more miles behind her They might have split up or they might have capsized They may have broke deep and took water And all that remains is the faces and the names Of the wives and the sons and the daughters
Lake Huron rolls, Superior sings In the rooms of her ice-water mansion Old Michigan steams like a young man’s dreams The islands and bays are for sportsmen And farther below Lake Ontario Takes in what Lake Erie can send her And the iron boats go as the mariners all know With the gales of November remembered
In a musty old hall in Detroit they prayed In the maritime sailors’ cathedral The church bell chimed ’til it rang twenty-nine times For each man on the Edmund Fitzgerald The legend lives on from the Chippewa on down Of the big lake they call Gitchegumee Superior, they said, never gives up her dead When the gales of November come early
Welcome to Birthday Thursdays! Each week I will feature someone from the world of music whose birthday falls on that 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 Jimmy Dorsey Born February 29, 1904 in Shenandoah, Pennsylvania
This is it, kids …. the final installment of Feb Fab Faux Four! What a trip this has been for me!
The Beatles have been in my life since WMCA NY disc jockey Jack Spector played “I Want To Hold Your Hand” on December 26, 1963. That’s a very long time ago – just over 60 years – and I imagine some of you weren’t even born yet. I’ve seen the Beatles perform live in concert and I’ve lived through every transformation in the 7 years, 7 months and 24 days they were together. I loved them. I still love them. They are not only in my heart but in my soul.
My goal here on this month-long blog was to have fun and not try to convert anyone into becoming Beatles fans, but after 29 days, I think I may have done exactly that with a few of you.
During this month I discovered that really good Beatles covers are very difficult to find; they are few and far between. Also, judging by the fact that almost every Beatles video presented on this blog was preferred over the cover reinforced what I already knew: the Beatles are hard to beat. They are the best group that ever was or ever will be!
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Now it’s time to get into our final song.
Many Beatles tracks have had interesting afterlives, and this is one of them. It sits towards the end of the last album they made together – 1969’s Abbey Road – but it is less a song than a segment, a tender part of the medley at the end of side two. In one minute and 32 seconds, it evokes nostalgia, innocence and loss in its lyrics and melody, about the impossibility of getting back home (“Once there was a way…”), and the singing of lullabies to a child (“Sleep, pretty darling, do not cry”).
Next comes the seventh and penultimate song in the album’s climactic medley. It features unison vocals in the chorus from all four Beatles, a rarity in their songs. The middle bridge – featuring brass instruments, electric guitar, and vocals – reprises the beginning of “You Never Give Me Your Money”, but with different words. The lyrics have been interpreted as an acknowledgement by the group that nothing they would do as individual artists would equal what they had achieved together, and they would always carry the weight of their Beatle past. The song is said to be about the Beatles’ business difficulties and the atmosphere at Apple at the time.
The final song of the medley is quite clearly the denouement, not only of the album but of the Beatles as a group. All four Beatles have a solo, including a Ringo Starr drum solo. Ringo disliked solos, preferring to cater drum work to whoever sang in a particular performance; in fact, this is the only drum solo he recorded with the Beatles. George, John and Paul perform a rotating sequence of three, two-bar guitar solos. The idea for a guitar instrumental over this section was George’s, and John suggested the three of them each play a section. The Beatles’ recording engineer, Geoff Emerick, later recalled: “John, Paul and George looked like they had gone back in time, like they were kids again, playing together for the sheer enjoyment of it. More than anything, they reminded me of gunslingers, with their guitars strapped on, looks of steely-eyed resolve, determined to outdo one another. Yet there was no animosity, no tension at all – you could tell they were simply having fun.” In 2007, the final track of the medley was ranked at number 7 on Q magazine’s list “The 20 Greatest Guitar Tracks”.
I listened to a lot of cover versions of this medley and it was impossible to find one that I really liked, except for Phil Collins. I came very close to going with Phil’s recording but I just couldn’t hit the share button on the video. For me, his remake is more of a George Martin remake with Phil singing Paul’s part and playing the drums over a Beatles’ recording. Since I couldn’t find the perfect cover, I made the decision to close out this month by playing only one version …. the original. Nothing else will do. If anyone knows of a version they think is better than or comparable to the original, you are most welcome to drop the link into the comments box. I look forward to hearing them. No professional tribute bands, please.
I can’t think of a better way to say “the end” than by featuring the medley from the fabulous Abbey Road. Here are the Beatles with “Golden Slumbers/Carry That Weight/The End”.
That, my friends, is how it’s done!
I hope you enjoyed spending February together listening to Beatles music; it’s been an incredible experience for me. To you who stuck with me and left comments throughout the month, I am in awe of you and so greatly appreciative. Thank you!
As the Beatles sang: “And in the end the love you make is equal to the love you take“.
This is the final challenge this month from Glyn at Mixed Music Bag, which is to write about a band or singer that starts with the Letters C or D.
Ellen Naomi Cohen was born in Baltimore, Maryland on September 19, 1941, the granddaughter of Russian-Jewish immigrants. Her family was subject to significant financial stress and uncertainty during her childhood years. Ellen’s father ran a lunch wagon and her mother was a nurse. Sometime in high school Ellen began calling herself “Cass”. She became interested in acting and shortly before graduation, moved to New York to further her acting career. After the death of one of her friends, she took on his name and Cass Elliot was born.
You may know her better as “Mama Cass”, from her time with the Mamas and the Papas.
Cass Elliot was known for her sense of humor and optimism and was considered by many to be the most charismatic member of the group. Her powerful, distinctive voice was a major factor in their string of hits. If you want to know more about the Mamas and the Papas, there’s plenty to read in Wiki.
After the group broke up, Cass Elliot released five solo albums; for this post I will feature Cass Elliot’s biggest hit as well as my favorite song by Mamas and the Papas.
“Dream a Little Dream of Me“, a 1931 song with music by Fabian Andre, Wilbur Andre and Wilbur Schwandt and lyrics by Gus Kahn, enjoyed its highest-charting success when it was covered in 1968 by Cass Elliot with the Mamas and the Papas. Gus Kahn’s sentimental, bucolic lyrics citing “birds singing in the sycamore tree”, “stars shining” and “night breezes” are a lullaby, specifically a romantic one of parting lovers.
This is a solo Cass Elliot with “Dream a Little Dream of Me” from her album “Mama’s Big Ones”.
“Creeque Alley” is an autobiographical hit single written by John and Michelle Phillips in late 1966, narrating the story of how the Mamas and the Papas was formed, and its early years. It also recounts Cass Elliot’s life after leaving high school and moving to NYC to pursue an acting career.
The title of the song, which does not occur in the lyrics, is derived from Creque or Crequi (pronounced “creaky“) Alley, home to a club in the Virgin Islands where the New Journeymen, John and Michelle Phillips’ original group, spent time on vacation. The lyric “Greasin’ on AmericanExpress cards” refers to that time during which they could only make ends meet by using their credit cards, and the lyric “Duffy’s good vibrations, and our imaginations, can’t go on indefinitely” refers to Hugh Duffy, the owner of the club on Creeque Alley.
The Phillips’ lyrics mention, directly or indirectly, many artists and bands who were part of the folk music scene at the time, including fellow band members Cass Elliot and Denny Doherty, Zel Yanovsky and John Sebastian of the Lovin’ Spoonfull, Roger Mcguinn of the Byrds and Barry McGuire of the New Christy Minstrels. Michelle Phillips is referred to in the lyrics by her nickname Michi (“John and Michi were getting kind of itchy, just to leave the folk music behind”).
The song peaked at #5 on the U.S. Billboard pop singles chart the week in 1967, becoming their last Top 10 hit. It made #9 on the UK Singles Chart, #4 on the Australian and #1 on the Canadian charts.
This is “Creeque Alley” by the Mamas and the Papas.
Lyrics
John and Mitchy were gettin’ kind of itchy Just to leave the folk music behind Zal and Denny workin’ for a penny Tryin’ to get a fish on the line In a coffee house Sebastian sat And after every number they’d pass the hat McGuinn and McGuire just a gettin’ higher In L.A., you know where that’s at And no one’s gettin’ fat except Mama Cass*
Zally said Denny, you know there aren’t many Who can sing a song the way that you do, let’s go south Denny said Zally, golly, don’t you think that I wish I could play guitar like you Zal, Denny and Sebastian sat (at the Night Owl) And after every number they’d pass the hat McGuinn and McGuire still a gettin’ higher In L.A., you know where that’s at And no one’s gettin’ fat except Mama Cass
When Cass was a sophomore, planned to go to Swarthmore But she changed her mind one day Standin’ on the turnpike, thumb out to hitchhike Take me to New York right away When Denny met Cass he gave her love bumps Called John and Zal and that was the Mugwumps McGuinn and McGuire couldn’t get no higher But that’s what they were aimin’ at And no one’s gettin’ fat except Mama Cass
Mugwumps, high jumps, low slumps, big bumps Don’t you work as hard as you play Make up, break up, everything is shake up Guess it had to be that way Sebastian and Zal formed the Spoonful Michelle, John, and Denny gettin’ very tuneful McGuinn and McGuire just a catchin’ fire In L.A., you know where that’s at And everybody’s gettin’ fat except Mama Cass Di di di dit dit dit di di di dit, whoa
Broke, busted, disgusted, agents can’t be trusted And Mitchy wants to go to the sea Cass can’t make it, she says we’ll have to fake it We knew she’d come eventually Greasin’ on American Express cards It’s low rent, but keeping out the heat’s hard Duffy’s good vibrations and our imaginations Can’t go on indefinitely And California dreamin’ is becomin’ a reality
*“And no one’s getting fat except Mama Cass” refers to making money and has nothing to do with gaining weight. By the end of the song, hinting at Cass Elliot’s struggles with recording success, the lyrics changes to “And everybody’s getting fat except Mama Cass”.
On July 27, 1974, Cass Elliot finished two weeks of solo concerts at the London Palladiumand went on a 24-hour celebration binge. She first attended the 31st birthday party for Mick Jagger after which she went to a brunch in her honor presented by Georgia Brown. While there, according to biographer Eddi Fiegel, Elliot was blowing her nose frequently, coughing and having trouble breathing. Next she attended a cocktail party hosted by American entertainment journalist Jack Martin. She seemed in high spirits but also appeared physically exhausted and sick. She left that party at 8:00 pm on Sunday, July 28, saying she was tired and needed to get some sleep.
Elliot retired to an apartment owned by singer-songwriter Harry Nilsson who allowed her to stay there. Several hours after Elliot left Jack Martin’s cocktail party, she died in her sleep at age 32. According to autopsy results, she died of a heart attack, and there were no drugs in her system. Four years later, the Who’s drummer Keith Moon died in the same bedroom, also aged 32 years.
Cass Elliot’s ashes are buried in Mount Sinai Memorial Park Cemetery in Los Angeles.
WARNING: THIS BLOG WAS NOT CREATED FOR BEATLEMANIACS! If you’re on the fence about the Beatles or if you just don’t like them, this blog is for you. My goal is not to convert you; it’s to expose you to the lesser-known Beatles songs we don’t hear day in and day out. These great tunes will show you just how amazing the Beatles are. Of course, if you are a Beatles fan, pull up a chair and enjoy the tunes!
Today I have chosen for you one of the most beautiful songs ever recorded by the Beatles. I was hoping I’d be able to feature this number for a couple of reasons; in addition to being a stunning piece of music with gorgeous lyrics, it’s one that’s rarely heard.
The song begins with a distinctive electric harpsichord intro, then John Lennon joins in, his guitar mimicking the harpsichord line. The vocals enter in their prominent and perfectly tuned three-part harmony. This was one of the few Beatles recordings to feature a Moog synthesizer, played by George Harrison.
According to John, the song’s close musical resemblance to the first movement of Beethoven’s “Moonlight Sonata” was no coincidence: “Yoko was playing ‘Moonlight Sonata’ on the piano and I said, ‘Can you play those chords backwards?’ Our song was written around those chords. The lyrics speak for themselves …. no imagery, no obscure references.“
While I was hoping to feature this song I was also reluctant; I couldn’t find any good covers. And then I discovered today’s remake and I’m pretty sure I forgot to breathe for a few of seconds.
Let’s listen to the song.
This is “Because” by the Beatles
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This is Elliott Smith with his remake of “Because”
This may very well be my favorite Beatles song. If I’ve said that before, please excuse me; I have so many favorite Beatles songs.
Elliott Smith was a dedicated fan of the Beatles, as well as their solo projects and claimed that hearing the White Album was his original inspiration to become a musician. In 1998, Smith contributed a cover of the Beatles song “Because” to the soundtrack and closing credits of the film “American Beauty”. This was the only Beatles song that Smith ever officially released.
This is too close to call; for me it’s definitely a draw.
PS – If any video won’t play for you, I’ve provided the name of the song and who did it so you can find it on YouTube. It’s a pain in the ass but it does happen from time to time. My apologies.
WARNING: THIS BLOG WAS NOT CREATED FOR BEATLEMANIACS! If you’re on the fence about the Beatles or if you just don’t like them, this blog is for you. My goal is not to convert you; it’s to expose you to the lesser-known Beatles songs we don’t hear day in and day out. These great tunes will show you just how amazing the Beatles are. Of course, if you are a Beatles fan, pull up a chair and enjoy the tunes!
Welcome back to Feb Fab Faux Four. We’re down to the final three days of the month; after this, I won’t be allowed to play another Beatles song until summer!
This next song is clearly about a guy begging for his woman not to leave him. It’s a real belter, with a hard and heavy Louisiana-style blues/rock sound.
Paul says he remembers “wanting to get the vocal right, wanting to get it good; it’s hard on the voice and if it comes off even a little bit lukewarm, then you’ve missed the whole point.“
John said “Paul wrote it, so what the hell, he’s going to sing it. If he’d had any sense, he should have let me sing it.”
Haha! I happen to like this song a lot and think Paul did a fine job on it. Let’s see what you think of my cover choice; as usual, the original will play first.
From the Beatles, this is “Oh! Darling”
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With his rendition of “Oh! Darling”, this is Graham Bonnet
Oh, sweet baby Jesus! This is how to do a cover! You stick to the basics, changing it up just enough to make it your own without tearing the hell out of it and making it unrecognizable.
I’ve always loved the gritty, down & dirty sound of the blues; “Oh! Darling” is a perfect example of that style of song. Graham Bonnet, front man for such hard rock and heavy metal bands as Rainbow, Michael Schenker Group and Alcatrazz was born to sing a song like this.
I adore Graham Bonnet. He’s got one of the best voices in rock, hard rock and metal. And since today is my birthday, Graham Bonnet singing “Oh! Darling” is my gift to me!
Talk about hitting all the right notes. My vote goes to Graham Bonnet.
PS – If any video won’t play for you, I’ve provided the name of the song and who did it so you can find it on YouTube. It’s a pain in the ass but it does happen from time to time. My apologies.
WARNING: THIS BLOG WAS NOT CREATED FOR BEATLEMANIACS! If you’re on the fence about the Beatles or if you just don’t like them, this blog is for you. My goal is not to convert you; it’s to expose you to the lesser-known Beatles songs we don’t hear day in and day out. These great tunes will show you just how amazing the Beatles are. Of course, if you are a Beatles fan, pull up a chair and enjoy the tunes!
Today’s song is another request. I did not have this one programmed so the cover choice is not mine. It’s a great number for the category of lesser known songs and I was glad to receive the request and cover suggestion.
During the recording of today’s song, Paul McCartney reportedly stormed out of the studio due to tension and disagreement with the band over the song’s arrangement and direction. The creative process for the Beatles during this time was often intense and fraught with artistic differences, which could lead to such incidents.
The song was originally inspired by an LSD trip; the lyrics were written by John Lennon based on an experience he had with actor Peter Fonda. It’s another case of he said, she said …. or in this case …. she said, she said.
This is “She Said, She Said” by the Beatles
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And here is our requested cover version of “She Said, She Said” by Lonestar.
No input from me on this one, kids, so you’ll have to virtually duke it out on your own. No hitting below the belt!
PS – If any video won’t play for you, I’ve provided the name of the song and who did it so you can find it on YouTube. It’s a pain in the ass but it does happen from time to time. My apologies.
WARNING: THIS BLOG WAS NOT CREATED FOR BEATLEMANIACS! If you’re on the fence about the Beatles or if you just don’t like them, this blog is for you. My goal is not to convert you; it’s to expose you to the lesser-known Beatles songs we don’t hear day in and day out. These great tunes will show you just how amazing the Beatles are. Of course, if you are a Beatles fan, pull up a chair and enjoy the tunes!
Today’s song is another in your face, bare naked plea inspired by John’s love for Yoko. As he put it: “When it gets down to it, when you’re drowning, you don’t say, “I would be incredibly pleased if someone would have the foresight to notice me drowning and come and help me,” you just scream.”
John and Yoko had a real connection. I don’t think the other Beatles disliked Yoko; I think they resented her hanging around all the time. None of the other wives came to the “office” every day; she was the 5th wheel, a distraction. John was totally into her and not what the group was doing. She was a constant presence and made things uncomfortable but neither she nor John cared.
Here are the Beatles with “Don’t Let Me Down”
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From Wales with their cover of “Don’t Let Me Down”, this is Stereophonic.
Here we have another case of “If I didn’t know the original, I’d be all over this one“. I love the sound of the lead singer’s voice and the group has a really good vibe. I like this cover a lot but, just like the cover of “I Am The Walrus”, it’s too slow. Besides, all I think of when I hear this song is the Beatles rooftop concert.
Another one for the Beatles. What are your thoughts?
PS – If any video won’t play for you, I’ve provided the name of the song and who did it so you can find it on YouTube. It’s a pain in the ass but it does happen from time to time. My apologies.
Today, Jim at Song Lyric Sunday is asking us to write about a song that was not originally released as an album single or never became a single.
The songs I’ve chosen were written and recorded by one of the biggest bands to come out of the UK in the 60s. No, not the Beatles! This time I’m talking about the Rolling Stones. Contrary to what some people believe, a person can be into both the Beatles and the Stones. Shocking, isn’t it!
Here’s a quick bio: The Rolling Stones were formed in London by founding members, vocalist Mick Jagger, guitarist Keith Richards, multi-instrumentalist Brian Jones, bassist Bill Wyman and drummer Charlie Watts. During their early years, Jones was the primary leader of the band.
Just like all bands starting out at that time, the Stones’ catalog consisted of cover songs. When they began writing their own songs, the Jagger-Richards partnership became the band’s primary songwriting and creative force; this alienated Brian Jones, who developed a drug addiction that by 1968 interfered with his ability to contribute meaningfully. Jones left the band shortly before his death in 1969, having been replaced by guitarist Mick Taylor. In 1971 the Stones released the album Sticky Fingers, the first of eight consecutive #1 studio albums in the US. Taylor left the band at the end of 1974 and was replaced by Ronnie Wood. Following Wyman’s departure in 1993, the band continued as a foursome.
Two of the Rolling Stones’ songs that were never released as singles are both mega hits – “Gimme Shelter” off their 1969 album Let It Bleed and “Can’t You Hear Me Knocking” from their first #1 album, Sticky Fingers.
“Gimme Shelter”is about the political and social unrest at the time. There was the war in Vietnam, race riots, the murders by the Manson Family and politicians being assassinated. Mick Jagger sings of needing shelter from this “storm”. Merry Clayton is the female vocalist featured singing the line “Rape, murder, it’s just a shot away”. She delivered a chilling vocal with her voice cracking on the word “murder” at the 3:01 mark and you can hear Jagger in the background saying “Whoo!” The Stones didn’t release the song as a single but Merry Clayton did …. in 1970 which made it to #73 in the US.
This is “Gimme Shelter” by the Rolling Stones; be sure to listen for Merry in the background.
“Can’t You Hear Me Knocking” is the fourth track on the Rolling Stones’ 1971 album Sticky Fingers. The first two and a half minutes of the song are down and dirty, riff-tastic Rolling Stones. The last four and a half minutes are an improvised, instrumental jam session. The length of this song made for a tough sell; in order to improve the chances of radio play, singles were held to around three minutes. The entire track was captured in one take, with the jam being a happy accident. The band had assumed the tape machine had been stopped and were surprised to find the entire session had been captured. Originally they were going to end the song before the jam started, but were so pleased with the results, they decided to keep it in.
The four singles from Sticky Fingers were “Brown Sugar,” “Bitch,” “Wild Horses,” and “Sway.” However, popular consensus is “Can’t You Hear MeKnocking” stands miles higher than “Sway”. Not only does it bear one of the Rolling Stones’ most instantly recognizable guitar riffs, but it’s been included in the soundtracks for a number of movies including Casino and The Fighter.
But what’s the song all about? What are the Stones trying to tell us? It’s probably best not to read too much into the lyrics of this one since even Mick Jagger isn’t exactly sure what he wrote! Appearing on the track is Bobby Keys, who had debuted his saxophone for the Stones on “Live With Me” back on Let It Bleed. Mick Taylor’s got that impressive guitar track starting at the 4:32 mark.
So, since I don’t have any spectacular words of wisdom to add to that, let’s just enjoy the Stones and “Can’t You Hear Me Knocking”.
The Rolling Stones’ estimated record sales of 200 million makes them one of the best-selling music artists of all time. They have won three Grammy Awards and a Grammy Lifetime AchievementAward. They were inducted into the Rock and Roll Hall ofFame in 1989 and the UK Music Hallof Fame in 2004. Billboard and Rolling Stone magazine have ranked them as one of the greatest musical groups of all time. I definitely concur.
Thanks so much to Jim for all the work he does week after week on Song Lyric Sunday.
WARNING: THIS BLOG WAS NOT CREATED FOR BEATLEMANIACS! If you’re on the fence about the Beatles or if you just don’t like them, this blog is for you. My goal is not to convert you; it’s to expose you to the lesser-known Beatles songs we don’t hear day in and day out. These great tunes will show you just how amazing the Beatles are. Of course, if you are a Beatles fan, pull up a chair and enjoy the tunes!
Welcome back to F4! We’re going to take a trip back in time.
I’m featuring another Beatle covering one of their favorite rock & roll songs; if you’ve been keeping track you know there’s only one Beatle I haven’t featured yet. So, who’s the last man standing? You’re about to find out …. but first, let’s listen to the original song which the Beatles covered.
From 1960, here are The Shirelles with their hit, “Boys”
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And here are the Beatles with their version of “Boys” with Ringo doing the singing.
There’s no doubt the fabulous girl groups from the early 60s broke boundaries and paved the way for future artists BUT …. and you knew there was a but coming …. this definitely goes to the high octane performance by Ringo and the boys. You can tell they are all into this one 100% and having the time of their lives! We can’t forget, however …. without groups like The Shirelles, the Beatles might not even exist.
PS – If any video won’t play for you, I’ve provided the name of the song and who did it so you can find it on YouTube. It’s a pain in the ass but it does happen from time to time. My apologies.
WARNING: THIS BLOG WAS NOT CREATED FOR BEATLEMANIACS! If you’re on the fence about the Beatles or if you just don’t like them, this blog is for you. My goal is not to convert you; it’s to expose you to the lesser-known Beatles songs we don’t hear day in and day out. These great tunes will show you just how amazing the Beatles are. Of course, if you are a Beatles fan, pull up a chair and enjoy the tunes!
Welcome to the final week of Feb Fab Faux Four! Let the countdown begin!
Today I’m featuring a lovely ballad off their 1970 “Let It Be” album. John explained how the words of the first line came to him: “I was lying next to my first wife in bed and I was irritatedand I was thinking. She must have been going on and on about something and she’d gone to sleep and I kept hearing these words over and over, flowing like an endless stream. I went downstairs and it turned into a sort of cosmic song rather than an irritated song, rather than “Why are you always mouthing off at me?” [The words] were purely inspirational and were given to me as boom! I don’t own it you know; it came through like that.“
This is “Across The Universe” by the Beatles.
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With his remake from the “I Am Sam” soundtrack, this is Rufus Wainwright and “Across The Universe”
Truth be told, I don’t really know that much about Rufus Wainwright so I Googled him and found out that he is a Canadian-American singer, songwriter and composer. He has recorded eleven studio albums and numerous tracks on compilations and film soundtracks. He has also written two classical operas and set Shakespeare’s sonnets to music for a theatre piece by American director and playwright Robert Wilson. Up until today I had no songs by Wainwright on my playlist; now I have one.
I listened to a few covers of this piece, including Bowie’s and one by Wainwright with Moby and Sean Lennon. None of them came close to the original.
This solo piece was a shining star for me. I’m not quite ready to call it a draw so score one more for the Beatles.
PS – If any video won’t play for you, I’ve provided the name of the song and who did it so you can find it on YouTube. It’s a pain in the ass but it does happen from time to time. My apologies.
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 Marni Nixon (Voice Dubber/Ghost Singer) Born February 22, 1930 in Altadena, California
Marni Nixon talks about Dubbing for Marilyn Monroe and Debora Kerr
Yul Brynner & Deborah Kerr perform “Shall We Dance” from “The King and I”. (Marni Nixon dubbed Deborah Kerr’s singing)
“Tonight” from “West Side Story” with Marni Nixon as ghost singer for Natalie Wood
Audrey Hepburn’s voice was dubbed by Marni Nixon for “I Could Have Danced All Night” from “My Fair Lady”
Marni Nixon doing her best Marilyn Monroe in “Diamonds Are A Girl’s Best Friend” from “Gentlemen Prefer Blondes”
WARNING: THIS BLOG WAS NOT CREATED FOR BEATLEMANIACS! If you’re on the fence about the Beatles or if you just don’t like them, this blog is for you. My goal is not to convert you; it’s to expose you to the lesser-known Beatles songs we don’t hear day in and day out. These great tunes will show you just how amazing the Beatles are. Of course, if you are a Beatles fan, pull up a chair and enjoy the tunes!
Today I’m featuring a fun song from Sgt. Pepper’s Lonely Hearts Club Band, a work regarded by musicologists as an early concept album. At the end of August 1966, the Beatles had permanently retired from touring and pursued individual interests. While on a return flight to London in November 1966, Paul came up with an idea that formed the impetus of the Sgt. Pepper concept: creating songs for an Edwardian military rock band.
Meanwhile……
John was out one day and he stopped at an antique store where he saw a framed poster on display advertising a circus. As he read the poster, an idea started forming. He bought the poster and hung it in his music room at home. Everything came together, incorporating many of the words from the poster almost exactly as they were written (except Henry the Horse was actually named Zanthus) and the result was a fantastical number unlike anything the Beatles had done before.
Here is “Being For The Benefit Of Mr. Kite!” by the Beatles.
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And here is Cheap Trick with their rendition of “Being For The Benefit Of Mr. Kite!”.
There was always a method to the Beatles madness. Love it or hate it, this song beautifully displays the brilliant imagination, unparalleled musicality and creative genius of the Beatles. This song helped keep Sgt. Pepper from becoming an overwhelming Paul McCartney project …. and thank goodness for that!
So, what about the Cheap Trick version. It’s very good, the best cover I could find, and why wouldn’t it be good? It sounds like Cheap Trick bought the sheet music for “Mr. Kite”, rehearsed it and did their level best to sound as close to the Beatles as possible. It’s a replica of the original and shows little imagination of its own but it’s done well …. I’ll give Cheap Trick that much.
This one goes to the Beatles, without question. Join me tomorrow for an interesting selection.
PS – If any video won’t play for you, I’ve provided the name of the song and who did it so you can find it on YouTube. It’s a pain in the ass but it does happen from time to time. My apologies.
Written for Glyn’s Mixed Music Bag #8 February Monthly Challenge where we’re asked to write about a song by any group or solo singer beginning with the letter C or D.
Formed in San Jose, California in 1970, The Doobie Brothers are known for their vocal harmonies and their flexibility in performing across numerous genres. Active for 50+ years, with their greatest success during the 1970s, the group is still performing and touring today.
So, what’s up with their name? Well, it’s really not that hard to figure out but the story goes that during the formative days while the group was trying to come up with a name, the guy who lived next door and hung out with them said “Since you’re always smoking pot, why not just call yourselves ‘The Doobie Brothers’?” The band members couldn’t deny that was true but thought the name was “really dumb”; they decided to go with it just until they came up with a better name but they never did.
The Doobie Brothers improved their playing by performing live all over Northern California in 1970. They attracted a particularly strong following among local chapters of the Hells Angels and got a recurring gig at one of the bikers’ favorite venues, the Chateau Liberté in the Santa Cruz mountains, playing there through the summer of 1970. A set of demos, which showcased dual lead electric guitars, three-part harmonies and some wicked drumming, caught the ear of the Warner Brothers’ staff and eventually earned the group a contract before the year was out.
Breakthrough success came to The Doobies after the 1972 release of their album “Toulouse Street” which contained the hits “Listen To The Music” and “Jesus Is Just Alright”. A string of hits followed, including “Long Train Runnin’” and “China Grove’.
“Listen To The Music” was written by lead singer and guitarist Tom Johnston and was the Doobie Brothers’ first big hit. Upon the release of the single, Cash Box said that it’s “the group’s mellowest rockin’ mood yet, one that could see them through to chart territory with AM play.” The staff of Billboard consider it the Doobie Brothers’ best song, saying that it “ranks high in the pantheon of rock n’ roll feel-good hits” and should “get your foot tapping and bring a bit of a smile to your face.”
“Listen To The Music” remains a staple of adult contemporary and classic rock radio. The band uses it as an encore song during live shows. The Doobie Brothers were inducted into the Vocal Group Hall Of Fame in 2004 and the Rock and Roll Hall Of Fame in 2020. The group has sold more than 40 million records worldwide.
Let’s listen to some Doobie Brothers; smoke ’em if you got ‘em.
This is “Listen To The Music” by The Doobie Brothers
LYRICS
Don’t you feel it growing, day by day People getting ready for the news Some are happy, some are sad Whoa, gotta let the music play
What the people need is a way to make ’em smile It ain’t so hard to do if you know how Gotta get a message, get it on through Oh, now momma don’t you ask me why
Whoa, oh listen to the music Whoa, oh listen to the music Whoa, oh listen to the music All the time
Well I know, you know baby, everything I say Meet me in the country for a day We’ll be happy, and we’ll dance Oh, we’re gonna dance our blues away
And if I’m feeling good to you and you’re feeling good to me There ain’t nothing we can’t do or say Feeling good, feeling fine Oh, baby, let the music play
Whoa, oh listen to the music Whoa, oh listen to the music Whoa, oh listen to the music All the time
Like a lazy flowing river Surrounding castles in the sky And the crowd is growing bigger Listening for the happy sounds And I got to let them fly
Whoa, oh listen to the music Whoa, oh listen to the music Whoa, oh listen to the music All the time
Whoa, oh listen to the music Whoa, oh listen to the music Whoa, oh listen to the music All the time
Whoa, oh listen to the music Whoa, oh listen to the music Whoa, oh listen to the music All the time
WARNING: THIS BLOG WAS NOT CREATED FOR BEATLEMANIACS! If you’re on the fence about the Beatles or if you just don’t like them, this blog is for you. My goal is not to convert you; it’s to expose you to the lesser-known Beatles songs we don’t hear day in and day out. These great tunes will show you just how amazing the Beatles are. Of course, if you are a Beatles fan, pullup a chair and enjoy the tunes!
Now it’s time for something completely different. I got a request to feature today’s song; if I get a request and I have room, I’ll post it. Too bad requests didn’t start coming in until just the other day. Regarding requests …. I will give you some info about the original song but will not comment on the cover.
So, just what the hell is this song about anyway? For John Lennon, the answer was simple: “That was just a sort of nice line that I made into a song. It was about me and Yoko. Everybody seemed to be paranoid except for us two, who were in the glow of love. Everything is clear and open when you’re in love.“
Additionally, the lyrics contain sayings the Beatles heard from Maharishi Mahesh Yogi. In further comments on the song, John said it addressed his bandmates’ initial reaction to his relationship with Yoko. There is also wide speculation that the title of the song as well as some of the lyrics reference John and Yoko’s heroin use during ’68.
Recorded early in the sessions for the White Album, the track typifies the Beatles’ return to a rock sound in 1968 after their psychedelic period.
I had originally programmed Soundgarden’s cover of this song but when the request came in, I went with that instead.
Ok, enough chitchat. Here we go.
Here are the Beatles with “Everybody’s Got Something To Hide Except For Me And My Monkey”.
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Today’s requested remake of the Beatles’ song with the longest name as done by Fats Domino.
PS – If any video won’t play for you, I’ve provided the name of the song and who did it so you can find it on YouTube. It’s a pain in the ass but it does happen from time to time. My apologies.
WARNING: THIS BLOG WAS NOT CREATED FOR BEATLEMANIACS! If you’re on the fence about the Beatles or if you just don’t like them, this blog is for you. My goal is not to convert you; it’s to expose you to the lesser-known Beatles songs we don’t hear day in and day out. These great tunes will show you just how amazing the Beatles are. Of course, if you are a Beatles fan, pull up a chair and enjoy the tunes!
Welcome to day 20 of Feb Fab Faux Four. We’re coming ’round the bend and the finish line is in sight!
Yesterday I hinted that today’s song was a huge hit for one of the Beatles during his solo career …. and by huge I mean HUGE. This was our Beatle’s first single as a solo artist and it topped the charts worldwide; it was the biggest-selling single of 1971 in the UK and the first #1 single by an ex-Beatle in the US and England. By the late 1970s, it was the most covered song written and released by any of the former Beatles since the band’s break-up. Did I say it was huge?
Our Beatle wrote today’s song in praise of the Hindu god Krishna, while intending the lyrics as a call to abandon attachment to any one religious sect through his blending of the Hebrew word “hallelujah” with chants of “Hare Krishna” and Indian prayers.
That last bit of information was a dead giveaway, I’m sure, so let’s cut to the chase and play some music.
Here is George Harrison with “My Sweet Lord”
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This is Edwin Starr’s remake of “My Sweet Lord“
My sweet lord! Can I get an “Amen”?!
I know the obvious choice for a cover version is Billy Preston but we’ve all heard that one too many times. Edwin Starr has given us a slowed down, almost gospel-like version and I have to give him kudos for taking on such a big song; his vocal range is impressive. I like his arrangement but it can’t hold a votive candle to George Harrison’s
“Every time I put the radio on, it’s ‘Oh my Lord’. I’m beginning to think there must be a God” said John Lennon after George scored the first number one hit by any solo Beatle. Sour grapes? Typical biting humor from John. And none of them thought George had what it took to write decent songs.
In 1976 George was slapped with a lawsuit claiming that “My Sweet Lord” sounded too much like the 1963 hit by the Chiffons called “He’s So Fine”. George took his guitar to the court and demonstrated how he wrote the song, but he was found to have committed “subconscious plagiarism”. It doesn’t seem to have negatively impacted his career. I’ll let you be the judge. Here are the Chiffons with “He’s So Fine”.
Well, all I can say is there’s a similarity. I think the Chiffon’s lawyers got lucky on this one.
That’s it for today, kids. Nine more vids to go before I’m outta here.
PS – If any video won’t play for you, I’ve provided the name of the song and who did it so you can find it on YouTube. It’s a pain in the ass but it does happen from time to time. My apologies.
WARNING: THIS BLOG WAS NOT CREATED FOR BEATLEMANIACS! If you’re on the fence about the Beatles or if you just don’t like them, this blog is for you. My goal is not to convert you; it’s to expose you to the lesser-known Beatles songs we don’t hear day in and day out. These great tunes will show you just how amazing the Beatles are. Of course, if you are a Beatles fan, pull up a chair and enjoy the tunes!
Welcome to day 19 of Feb Fab Faux Four. Are you having fun yet?
We’re spinning the wheel in the other direction and going back in time to another tune the Beatles covered.
Today’s number is a rockabilly song often credited to Carl Perkins; however, it been brought to light that Carl’s song is actually based on a 1936 song of the same name written by singer/songwriter Rex Griffin. Griffin’s song didn’t really go anywhere and Carl Perkins’ 1957 release achieved widespread popularity. Lucky Carl Perkins! The Beatles covered the song in 1964.
The Beatles recording was first released as the final track on “Beatles For Sale” in the United Kingdom late in ’64 and as the concluding track on the North American album “Beatles ’65”. The remake by the Beatles features a false ending which means the final musical phrase (not vocals) repeats itself after the song seems to have stopped; this false ending does not appear in the Carl Perkins version.
Here is Carl Perkins with his 1957 recording of “Everybody’s Trying To Be My Baby”.
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And from 1964, here’s “Everybody’s Trying To Be My Baby” by the Beatles featuring George Harrison on lead vocals. George was a life-long fan of Carl Perkins; it was a thrill for him to actually meet and perform with Carl.
There’s not a damn thing wrong with a George Harrisong!
As a diehard George fan, I love everything he ever did and believe the quality of his his solo work after the Beatles split is better than anything the other three produced. In this remake, George’s vocals were processed with the STEED effect; I doubt I’ll be able to explain this process with great clarity so I’m leaving it highlighted if you’d like to read about it.
Carl Perkin’s rockabilly recording is great but my vote goes to George and the boys.
Before I close this page out, here is a bonus track …. the original 1936 recording of Rex Griffin’s “Everybody’s Trying To Be My Baby”. Enjoy this very unusual and different arrangement.
I’m back tomorrow with what became a huge hit for one of the Beatles during his solo career. Join me to see which song it is.
PS – If any video won’t play for you, I’ve provided the name of the song and who did it so you can find it on YouTube. It’s a pain in the ass but it does happen from time to time. My apologies.
WARNING: THIS BLOG WAS NOT CREATED FOR BEATLEMANIACS! If you’re on the fence about the Beatles or if you just don’t like them, this blog is for you. My goal is not to convert you; it’s to expose you to the lesser-known Beatles songs we don’t hear day in and day out. These great tunes will show you just how amazing the Beatles are. Of course, if you are a Beatles fan, pull up a chair and enjoy the tunes!
Welcome to F4. This is one of those songs that had everybody wondering what the hell it was all about.
John Lennon wrote today’s song to bewilder listeners who had been seriously trying to interpret some of the Beatles’ lyrics. He was partly inspired by two LSD trips and Lewis Carroll’s poem “The Walrus and the Carpenter”.
George Martin arranged and added orchestral accompaniment that included violins, cellos, horns, and clarinet. A 16-voice choir of professional studio vocalists also joined the recording singing nonsense lines and shrill whooping noises. Shortly after release, the song was banned by the BBC for the line “Boy, you’ve been a naughty girl, you let your knickers down.” Scandalous!
Have you figured out today’s song? I’m sure you have. Let’s check it out.
This is “I Am The Walrus” by the Beatles
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With their cover of “I Am The Walrus”, this is Spooky Tooth
So, what did you think of this version by the progressive rock band, Spooky Tooth? I thought it was pretty good except for one thing ….. it was too slow. As you can see, the cover lasted almost two minutes longer than the original. It dragged on and probably should have been called “I Am The Sloth”.
No question …. this one goes to the Beatles. That’s my opinion; what’s yours?
Stop by for a jumping little number coming up tomorrow.
PS – If any video won’t play for you, I’ve provided the name of the song and who did it so you can find it on YouTube. It’s a pain in the ass but it does happen from time to time. My apologies.
Today in Song Lyric Sunday, Jim as asking us to write about a song(s) composed by a duo. I’ve chosen a duo not only from the US but from my hometown of New York. As a kid, I’d sing these songs in my bedroom pretending I was a major recording artist. Didn’t we all? I found myself happily swimming in a sea of wonderful memories as I wrote this post.
This former husband and wife duo wrote many of the 60s biggest hits and those songs were recorded by everyone from Aretha Franklin to James Taylor to the Beatles. He wrote the lyrics and she wrote the music to songs such as “Will You Still Love Me Tomorrow”, “Take Good Care Of My Baby” and “The Loco-Motion”, and chances are you’ve danced to a hit single by this dynamic songwriting duo.
I’m talking about Carole King and Gerry Goffin.
During the spring semester of her freshman year at Queens College in NY, Carole King was introduced to Gerry Goffin while at the student lounge. Goffin, three years older than King, was looking for someone to write lyrics for a musical he was writing. King took a look, said she wasn’t interested and added “You know, I write rock ‘n’ roll songs” but allowed Goffin to drive her home. Soon she was writing songs for his musical, he writing lyrics for her songs.
King and Goffin were married in 1959 when she was only 17 and pregnant with their first child. They quit college and took day jobs, Goffin working as an assistant chemist and King as a secretary. And in the evenings, they wrote songs together. High school friend Neil Sedaka got them an audition with music producer Don Kirshner; he offered a guaranteed advance against royalties of $1000 a year, to be doubled if the deal was renewed for a second year and tripled if for a third. The rest is history.
Their songs were always impeccably structured. Their music was for teens and dealt with themes of love, rejection and jealousy and teenagers dealing with them on their own terms. Carole’s heart-tugging melodies and Gerry’s superb lyrics captured the tone and the everyday language of their audience’s inner experiences with uncanny accuracy.
Carole had a gift for arrangement, knowing how to build a song. To help sell her songs, she began making low cost tapes to demonstrate her ideas to the producers. Those demos were so good that often the producer only had to copy them with the proper instrumentation to have a hit record.
One night in the fall of 1960 Carole and Gerry returned from an evening out and found a note from Don Kirshner saying he needed a lyric by the next day for the Shirelles. Goffin immediately began writing and King composing; the result was “Will You Still Love Me Tomorrow.” In January 1961, the song became the first song by a female group to reach #1 on the pop charts since the McGuirre Sisters in 1958, and first ever for a black female group.
Kirshner decided that Goffin & King were capable of running a record label and put them in charge of Dimension Records. For over a year they had a more consistent track record than any of their competition, including Phil Spector’s Philles Records. By 1964 they had come up with another 23 hits, but their best work was behind them and the British Invasion had begun.
However Goffin & King were heroes to these English groups. The Beatles recorded “Chains” and Paul McCartney was quoted as saying he wished he could write as well. On their first U.S. tour, meeting them was a priority. The Beatles were not the only British band that felt that way but by 1965, Carole and Gerry’s talents were becoming less important as groups such as the Byrds, the Young Rascals and the Beach Boys set the tone for other upcoming artists who wrote their own material.
By 1967 Goffin & King’s marriage was crumbling due to creative disenchantment, internal pressures and the times. They were divorced with King moving to California where she started a group called “The City” and came into her own as a performer. When Carole King found her solo niche, the team of Goffin & King ended.
I’d like you to think for a minute about those exhilarating days of young love as teenagers. Our parents called it “puppy love” and didn’t take us seriously, saying it would never last and we’d get over it. Some parents were dead set against their daughters or sons getting romantically involved at such a young age; really, who could blame them but who could blame us teenagers for falling in love? We can’t control what the heart feels and it was especially difficult for teenage girls. As much as we like to think people have evolved, they really haven’t changed all that much. Teen girls who have sex are thought of as promiscuous while guys are macho and sewing their wild oats. It’s an age old dilemma, the most personal situation young people can find themselves in.
Nothing obvious or indelicate was ever revealed in our featured song but if you read between the lines of Gerry Goffin’s gorgeous lyrics, there’s little doubt what this song is about. Using a variation on the theme “will you respect me in the morning?”, here are the Shirelles asking in a sublimely delicate and romantic way, “Will You Still Love Me Tomorrow?”
Lyrics
Tonight, you’re mine completely You give your love so sweetly Tonight, the light of love is in your eyes But will you love me tomorrow?
Is this a lasting treasure Or just a moment’s pleasure? Can I believe the magic of your sighs? Will you still love me tomorrow?
Tonight with words unspoken You say that I’m the only one But will my heart be broken When the night (when the night) Meets the mor- (meets the morning sun)
I’d like to know that your love Is love I can be sure of So tell me now, and I won’t ask again Will you still love me tomorrow?
So tell me now, and I won’t ask again Will you still love me tomorrow? Will you still love me tomorrow? Will you still love me-
In 1960, the Shirelles released the first version of “Will You Still Love Me Tomorrow” with “Boys” on the B-side. The single’s first pressing was labeled simply “Tomorrow“, then lengthened later. When first presented with the song, lead singer Shirley Owens did not want to record it because she thought it was “too country“; she relented after a string arrangement was added. However, Owens recalled on Jim Parsons’s syndicated classic radio program, “Shake Rattle Showtime“, that some radio stations had banned the record because they had felt the lyrics were too sexually charged.
In addition to reaching No. 1 in the US, the song reached No. 2 on the R&B chart, No. 4 in the UK and No. 3 in New Zealand. This version, with session musicians Paul Griffin on piano and Gary Chester on drums, was ranked at No. 126 among Rolling Stone’s list of The 500 Greatest Songs of All Time. Billboard named the song No. 3 on its list of 100 Greatest Girl Group Songs of All Time.
From 1971, the incredibly talented Carole King with “Will You Still Love Me Tomorrow”
The Elephant's Trunk 