Mercury Records: Mighty Quinn

Loosely based on Anthony Quinn’s performance as an Inuit named Inuk in the 1960 film “The Savage Innocents,” the official title of Bob Dylan’s composition was “Quinn the Eskimo (Mighty Quinn).” Although Dylan recorded a demo the song with The Band in 1967, he did not release a recording of the song until 1970 when a live version appeared on the “Self Portrait” LP. The rendition that most folks remember, however, is the 1968 hit by Manfred Mann.

While Manfred Mann’s #1 UK release on Fontana Records was consistently named “Mighty Quinn,” this was not the case for the American version on Mercury Records. Not only did the US release have a plethora of label styles from variety of pressing plants, the song’s title varied as well. Mercury releases of the tune in 1968 are listed as “Mighty Quinn (Quinn the Eskimo),” “The Mighty Quinn (Quinn the Eskimo),” and “Quinn the Eskimo.” The US version charted at #10.

Manfred Mann’s version featured Mike d’Abo on vocals, Manfred Mann on keyboards, Mike Hugg on drums, Tom McGuinnes (later of McGuinnes Flint) on guitar, and Beatles’ friend Klaus Voorman on bass and flutes. Mann and Hugg were the only two original members of the band that remained in 1968.

Despite the fact that the album did not include “By Request – Edwin Garvey,” the flip side of “Quinn the Eskimo (Mighty Quinn),” the UK album was titled “Mighty Garvey!” The US LP release was more appropriately named “The Mighty Quinn.”

Mercury Records: In A Big Country

Well it’s the fourth week of the month and time for my monthly record label feature. Due to the recent passing of Lesley Gore last week, I’ve decided to highlight her label: Mercury Records. We’ll feature Lesley later this week in a special tribute.

Founded in Chicago in 1945, Mercury Records was able to crack most genres of record music. While its early successes came with jukebox play, it gave the big record companies a run for the money. Additionally, Mercury was the first company to produce pre-recorded cassette tapes.

Remaining an independent label until 1961, Mercury was purchased by Dutch parent company of Philips Records. By 1972, Philips and Deutsche Grammophon (owner of Polydor Records) merged and Mercury’s division was named as Phonogram after its British counterpart.

In 1988, Polygram was purchased by Seagram who also owned Universal Music Group. At this time, the label was discontinued and most Mercury acts were assigned to The Island Music Def Jam Group while Mercury Nashville Records became the imprint for its country artists. In 2007, the Mercury imprint was resurrected.

For today, I am traveling back to 1983 for a one-hit wonder for the Scottish band Big Country with their eponymous song “In a Big Country.” I particularly liked this record for the guitars that mimicked the sound of Highland pipes. This quartet from Dunfermline, Fife really shows their Celtic roots.

“In a Big Country” was the only one of band’s three charting singles to chart within the Top 40. If fact, “In a Big Country” peaked above 40 on three charts. On the Hot 100, it made it to #17. It was played in enough clubs to allow it to chart at #37 on the dance chart. However, its biggest success came with album radio where it went to #3 on the rock chart.

The Many Shades of Leon Russell: Jumpin' Jack Flash/Youngblood

Although Leon Russell’s piano, songwriting, and arranging had been all over the music charts in the 1960s, I had never heard of him until I saw “The Concert for Bangladesh” in 1971. I was blown away by his energy, his prowess on the keyboard, and that gravelly voice. And what a voice it is – he has one of the most unmistakable vocal styles that has had the opportunity to hit the American airwaves.

While Leon is showcased on George Harrison’s “Beware of Darkness” on one verse, he is pure Leon on a medley of The Rolling Stones’ “Jumpin’ Jack Flash” and the Jerry Leiber, Mike Stoller, and Doc Pomus classic “Youngblood.” I always loved that song – I had the original single by The Coasters on ATCO; it was flipside of their hit “Searchin’.” I didn’t think anyone else could do it or “Jumping Jack Flash” justice until I heard Mr. Russell perform this medley.

Some of Leon’s “Shelter People” appear on this recording. The additional lead vocals are provided by Don Preston who also plays guitar on this medley. Additionally, bassist Carl Radle is on this cut – his only performance on the album. Other “Shelter People” include Jesse Ed Davis on guitar, Jim Keltner on drums, and back-up vocalists Claudia Linnear and Don Nix. A large cast of other great musicians, such as Billy Preston on Hammond organ, supported Leon and his crew. I wish the live film footage was available on YouTube, but sadly it’s not.

The Many Shades of Leon Russell: I'm So Lonesome I Could Cry

For the last week and a half, I’ve been wracking my brain concerning what to feature during the second week in February. I didn’t get to one last post during the final week of January when I featured Smash Records and had planned to feature a cut from Leon Russell’s and Marc Benno’s Asylum Choir. Unfortunately, I didn’t get to it and wondered if I should feature Leon Russell’s music at some point. In the past, I’ve spotlighted other artists, such as Iain Matthews and Jack Bruce, who had illustrious careers as part of the Second Week Special. So, I put the idea on the back burner as an idea to pursue in the future.

That moved to the front burner on Friday when I received a text from Greg Rector requesting that I play Leon Russell’s version of Hank Williams’ classic “I’m So Lonesome I Could Cry.” Russell recorded the song for his 1973 country album “Hank Wilson’s Back” and was one of the album’s single releases. Russell used the Hank Wilson personal for some of his country recordings.

To some it seemed like Russell, whose career had skyrocketed in 1972 with his Top 15 release of “Tightrope,” had switched horses midstream. Did the pseudonym help or hurt his career? I don’t know, but there are many shades of Leon Russell – along with his hair color – from dark to salt and pepper to gray to white.

My first realization of Russell came with George Harrison’s “The Concert for Bangladesh” in 1971. Ever since seeing the movie, I’ve been a fan of Russell’s music. Over the years, I’ve learned about his beginnings of his career in Tulsa with J.J. Cale; session work in Los Angeles with Liberty Records and the famed, but fluid, The Wrecking Crew; the two albums with Marc Benno as the Asylum Choir; his membership in Joe Cocker’s Mad Dogs and Englishman; his solo career; and his collaborations with Mary Russell, Willie Nelson, New Grass Revival, Elton John, and others. Some of this will be chronicled during this week.

As for today, I am honored to begin my look at Leon Russell with a request. Hank Williams wrote and recorded “I’m So Lonesome I Could Cry” in 1949 during which time he and his wife Audrey were having marital issues. While many artists have recorded this song and had greater chart success, Russell’s recording was important in that it secured his reputation as a country artist. However, it was far cry from Leon’s varied previous recordings.

While Russell’s persona Hank Wilson scored some crossover chart success with “B” side the album’s first single, “Roll in My Sweet Baby’s Arms,” it had a lackluster performance at #78 on the Hot 100 and #57 on the Country chart. The “A” side, “I’m So Lonesome I Could Cry,” matched the “B” side’s pop chart position at #78, but failed to chart on the country side of things. The follow-up single, “A Six Pack to Go,” failed to chart completely.

Although a brilliant album, I guess the world was not ready in 1973 for Leon Russell singing country songs – although he did an excellent job in the country side of things. Hank Wilson was back and he wasn’t going away either. Three additional Hank Wilson albums were issued with each in the subsequent decades as well as a Hank Wilson compilation in 2009.

But honestly, “Hank Wilson’s Back” wasn't really a departure for Leon Russell, as this early TV appearance with Glen Campbell attests. Leon sings lead on “Jambalaya” on the “Shindig Community Sing” from the mid 1960s.  Check out Leon's dark hair on this video.

Smash Records: If You Really Want Me To Go, I'll Go

Like yesterday’s post, today’s selection was released twice on the Smash label; however, only one was issued as a single. Not be confused with the Rhondels from Virginia, the Ron-Dels were a Texas band that was formed by and named for Ronnie Kelly and Delbert McClinton.

In May 1965, The Ron-Dels released the Delbert McClinton composition, “If you really want me to Go, I’ll Go” on Brownfield Records, a regional label based in Texas. Within a month, Smash picked up the master and released the single for national distribution.

Unfortunately, the song failed to make a huge dent and only charted at #97 in July 1965. For reasons stated below, it still is an important record for us to consider.

Sir Douglas Quintet’s Version

Although the song was never a chart success, it had been recorded by a number of country musicians. Another Smash artist and fellow Texans, the Sir Douglas Quintet, recorded it for their 1968 “Mendocino” album release.

Unfortunately, there is not a quality version of Sir Douglas Quintet’s treatment of “If you really want me to Go, I’ll Go” on YouTube. For lack of something better, I’ve included what’s available for continuity sake. The recording below is unfortunately tinny and incomplete.

Similarities to The Beatles

There is one nagging thing about “If you really want me to Go, I’ll Go,” and that it is similar to a Beatles tune. It’s no secret that Delbert McClinton had a friendship with John Lennon. Stories abound about how both McClinton, who was supporting Bruce Channel on a 1962 tour of England, traded harmonica licks with Lennon.

German version of the LP - my introduction to the  song.

Not only is “If you really want me to Go, I’ll Go” musically comparable to The Beatles’ “I Don’t Want to Spoil the Party,” the lyrical content is similar as well. Could McClinton have been influenced by The Beatles’ recording? It’s possible. Although it was an album cut, “I Don’t Want to Spoil the Party” was released on the European LP “Beatles for Sale” in December 1964 – six months prior to McClinton’s song.

“I Don’t Want to Spoil the Party” did not have an American release until June 1965, as it was one of the songs from “Beatles for Sale” that was held over for inclusion on the “Beatles VI” album. I have included it for comparison purposes. See if you think they sound similar.

Smash Records: The Sun Ain't Gonna Shine (Anymore)

Occasionally, when I’ve looked at specific labels, I discover that a single song was released a number of times by different artists. Such is the case with today’s selection “The Sun Ain’t Gonna Shine (Anymore).” Written by the hit producing songwriting team of Bob Crewe and Bob Gaudio, the initial version was recorded by The Four Seasons, but was released under Frankie Valli’s name on the Smash Records label.

As a member of the band, Gaudio sang and played keyboards and Crewe, who produced a plethora of Four Seasons’ hits, reprised this role on the original recording of “The Sun Ain’t Gonna Shine (Anymore).” Although Crewe and Gaudio had written a number of hit songs like “Big Girls Don’t Cry,” “Walk Like A Man,” “Ronnie,” “Rag Doll,” “Bye Bye Baby (Baby Goodbye),” “Silence is Golden,” “Can’t Take My Eyes off of You,” and others; Frankie Valli’s version of “The Sun Ain’t Gonna Shine (Anymore)” wasn’t one of them. The original version had a dismal showing at #128.

But Valli’s version of the tune was not the end of its run. In 1966, another Smash artist would have greater success with the song. Although The Walker Brothers hit number one with “The Sun Ain’t Gonna Shine (Anymore)” in the UK, it peaked at #13 in their native United States.

While none of The Walker Brothers were actually named Walker and they certainly weren’t brothers, their greater success was due to their successful attempt at an American invasion of Britain at the height of the British invasion on this side of the Atlantic. It has been rumored that The Walker Brother’s fan club in England was larger than The Beatles’ fan club membership in Britain. I’m not so sure I believe this; but if it were so, it would have been quite an honor for this trio of Yanks from Los Angeles. By the way, all three Walkers continued to use the surname personally and professionally long after they disbanded.

Smash Records: Out of Sight

He was “The Godfather of Soul,” “The Hardest Working Man in Show Business,” and one of several musicians who had records that couldn’t be played on a turntable – think about that one for a moment and you’ll get it. When James Brown began having disputes with his label, King Records, Smash was more than delighted to become his label of choice.

Smash Records released several Brown vocals in 1964 – “Caledonia” – charting at #95, “The Things that I Used to Do” – peaking at #99, and “Out of Sight” backed with “Maybe the Last Time.” While “Maybe the Last Time” got some airplay and charted at #107, the real Smash James Brown hit was “Out of Sight,” which made it to #24 on the pop charts #5 on the R&B chart.

Because the courts sided with King Records, Brown was prevented from recording any further vocals on Smash.  Brown’s further records on Smash through 1966 were all instrumentals. “Out of Sight” was credited as James Brown and His Orchestra unlike the plethora of single material King was releasing under the name of James Brown and the Fabulous Flames at the same time. Eventually some of the Smash recordings would be re-released by King.

Although “Out of Sight’s” songwriting credits went to Ted Wright, this was a pseudonym for James Brown. Why he used another name at this juncture is not known.

I really love the horns on this song. Long live “The Godfather of Soul.”