The other night I was watching one of TNT’s newest shows, “Memphis Beat,” and lead character Detective Dwight Hendricks (played by Jason Lee) finished off the show by singing Elvis Presley’s last number one record, “Suspicious Minds.” That got me thinking about the original version of the tune and how it would fit the First Friday theme. The song was written by Mark James under the pseudonym Francis Zambon in 1968. James also recorded the tune under his own name.
Elvis released the song after his 1968 comeback TV special that reminded American’s of the King of Rock ‘N Roll’s influence on the artists that eclipsed his popularity in the mid 1960s. The song was recorded in Memphis at American Sound Studios along with his hits “In the Ghetto” and “Kentucky Rain.” Everyone curl your upper lip and repeat after me, “Thank you, thank you very much.” In a couple weeks, we’ll honor the 33rd anniversary of Elvis’ death on August 16, 1977. For more on that, see my January 8th post. “Elvis has left the building.”
Friday, August 6, 2010
Thursday, August 5, 2010
Pilot: Magic
I heard Pilot’s one hit wonder Magic the other night used on a commercial. I’m not totally sure, but I believe that the ad was for Chase Bank. Recorded in 1974 and charting in the UK at #11, “Magic” was a top 5 hit in the US and Canada during the summer of 1975. It wasn’t the first time this song has been used commercially; “Magic” was conjured up at least twice before for Pillsbury and J.C. Penney ads.
From Edinburgh, Scotland, Pilot signed a worldwide recording deal with EMI Records. Their first LP and the single “Magic” were produced by Alan Parsons. Parsons, who later was renowned for his solo recordings, was an EMI recording engineer at Abbey Road Studios where he contributed to the Beatles’ LP named after EMI’s famed recording studio.
From Edinburgh, Scotland, Pilot signed a worldwide recording deal with EMI Records. Their first LP and the single “Magic” were produced by Alan Parsons. Parsons, who later was renowned for his solo recordings, was an EMI recording engineer at Abbey Road Studios where he contributed to the Beatles’ LP named after EMI’s famed recording studio.
Wednesday, August 4, 2010
A Trio of Power Trios - Part One
Anything Goes on Wednesday and today is no different as we provide a trio of tunes from a trio of “power trios.” A “power trio” consisted of guitar, bass, and drums. Various bands handled the vocal chores differently. Another characteristic of the “power trio” was to play live at high volumes to compensate for the lack of a second guitar or keyboards.
When I think of “power trios,” I imagine Marshall stacks, an abundance of distortion, the creative use of feedback, and long monotonous drum solos. In the recording studio, however, other instrumentation was added for increased commercial appeal. On the road, the bands performed as is and did so very creatively with only three musicians. Today’s trio of “power trios” comes from the British Isles.
Written by Pete Brown and Jack Bruce, “I Feel Free” was Cream’s first single in the US and second in the UK following the lackluster “Wrapping Paper.” In the US, “I Feel Free” was included on the American “Fresh Cream” LP in place of “Spoonful,” which was released by ATCO as a single with part 1 on the A side and part 2 on the B side. The British version, the one I own, eliminates “I Feel Free” and had a slightly different cover.
The first video of this song is a stereo mix of the song that features bassist Jack Bruce on lead vocals and guitarist Eric Clapton on harmony lead. Of course, Ginger Baker is holding down the beat. There is no truth in the rumor that the outfits worn by Cream in the following video were the inspiration for the Snuggie.
The second version is a pseudo-live version of the tune for television. The interesting aspect of this song is that Jack Bruce is playing a Fender Bass VI, which was similar to the baritone guitar that Danelectro manufactured. There was one critical difference, the baritone guitar was tuned a fourth lower than a standard 6-string electric (B-E-A-D-F#-B) while a Bass VI was tuned a full octave lower than a guitar.
Although the low four strings on Bass VI were tuned to the same pitch as a standard bass guitar, the scale length of 30 inches, which was shorter than the 34 inch scale of the Fender Jazz and Precision Bass, required thinner strings. In later videos, Bruce is seen playing a cherry finish Gibson EB-3.
Virtually unknown in the US, the Irish “power trio” featured the guitar and vocals of Rory Gallagher, bass of Richard McCracken, and the drums of John Wilson. “Blister on the Moon” was the band’s first single from their self-titled first album. In 1969, the band toured North America in support of Blind Faith, which featured ex-Cream members Ginger Baker and Eric Clapton.
The Gun (or simply Gun as they were titled on their first LP) consisted of brothers Paul and Adrian Curtis/Gurvitz (on bass and guitar respectfully) and drummer Louie Farrell. The Gurvitz brothers had performed under the pseudonym Curtis until 1970 when they returned to their birth surname.
“Race with the Devil” was a top-10 hit in the UK, but largely was ignored in the US. I bought their debut album back in the early 70s because Roger Dean had done the cover art. Dean was known for his artistic contributions for several Yes albums during that decade.
A second version is a pseudo-live version from British television, which gives you an idea of their onstage presence. The Gurvitz brothers later joined with ex-Cream/Blind Faith drummer Ginger Baker to form another power trio known as the Baker-Gurvitz Army.
When I think of “power trios,” I imagine Marshall stacks, an abundance of distortion, the creative use of feedback, and long monotonous drum solos. In the recording studio, however, other instrumentation was added for increased commercial appeal. On the road, the bands performed as is and did so very creatively with only three musicians. Today’s trio of “power trios” comes from the British Isles.
Cream: I Feel Free
Written by Pete Brown and Jack Bruce, “I Feel Free” was Cream’s first single in the US and second in the UK following the lackluster “Wrapping Paper.” In the US, “I Feel Free” was included on the American “Fresh Cream” LP in place of “Spoonful,” which was released by ATCO as a single with part 1 on the A side and part 2 on the B side. The British version, the one I own, eliminates “I Feel Free” and had a slightly different cover.
The first video of this song is a stereo mix of the song that features bassist Jack Bruce on lead vocals and guitarist Eric Clapton on harmony lead. Of course, Ginger Baker is holding down the beat. There is no truth in the rumor that the outfits worn by Cream in the following video were the inspiration for the Snuggie.
The second version is a pseudo-live version of the tune for television. The interesting aspect of this song is that Jack Bruce is playing a Fender Bass VI, which was similar to the baritone guitar that Danelectro manufactured. There was one critical difference, the baritone guitar was tuned a fourth lower than a standard 6-string electric (B-E-A-D-F#-B) while a Bass VI was tuned a full octave lower than a guitar.
The Fender Bass VI
Although the low four strings on Bass VI were tuned to the same pitch as a standard bass guitar, the scale length of 30 inches, which was shorter than the 34 inch scale of the Fender Jazz and Precision Bass, required thinner strings. In later videos, Bruce is seen playing a cherry finish Gibson EB-3.
Taste: Blister on the Moon
Virtually unknown in the US, the Irish “power trio” featured the guitar and vocals of Rory Gallagher, bass of Richard McCracken, and the drums of John Wilson. “Blister on the Moon” was the band’s first single from their self-titled first album. In 1969, the band toured North America in support of Blind Faith, which featured ex-Cream members Ginger Baker and Eric Clapton.
The Gun: Race with the Devil
The Gun (or simply Gun as they were titled on their first LP) consisted of brothers Paul and Adrian Curtis/Gurvitz (on bass and guitar respectfully) and drummer Louie Farrell. The Gurvitz brothers had performed under the pseudonym Curtis until 1970 when they returned to their birth surname.
“Race with the Devil” was a top-10 hit in the UK, but largely was ignored in the US. I bought their debut album back in the early 70s because Roger Dean had done the cover art. Dean was known for his artistic contributions for several Yes albums during that decade.
A second version is a pseudo-live version from British television, which gives you an idea of their onstage presence. The Gurvitz brothers later joined with ex-Cream/Blind Faith drummer Ginger Baker to form another power trio known as the Baker-Gurvitz Army.
Tuesday, August 3, 2010
Beth Patterson: Wasted Years
I had the chance of hearing and meeting Beth Patterson when she played Lewisburg, WV in 2008 and 2009. She puts on an excellent show that mixes traditional, original, and borrowed songs for a very enjoyable set.
Of some of the borrowed tunes I’ve heard her do included Emerson, Lake, and Palmer’s “Lucky Man” and a variety of Rush songs. Rush is her favorite band. She does an awesome Geddy Lee impersonation.
To my knowledge, I don’t remember hearing her do today’s Traditional Tuesday selection, “Wasted Years.” She terms it as “‘a traditional English ballad’ about loves lost and making the most out of life.”
By the way, today’s “traditional English ballad” is a 1986 Iron Maiden song that hit the top 20 in the UK. It was the first single from their “Somewhere in Time” LP.
Beth does a great version of this tune that was recorded at Yo Mama’s in New Orleans. If you ever have a chance to see Beth Patterson live, I suggest you do so as she puts on a great show.
Of some of the borrowed tunes I’ve heard her do included Emerson, Lake, and Palmer’s “Lucky Man” and a variety of Rush songs. Rush is her favorite band. She does an awesome Geddy Lee impersonation.
Beth Patterson in Lewisburg, WV; February 2008; photo by the author
To my knowledge, I don’t remember hearing her do today’s Traditional Tuesday selection, “Wasted Years.” She terms it as “‘a traditional English ballad’ about loves lost and making the most out of life.”
By the way, today’s “traditional English ballad” is a 1986 Iron Maiden song that hit the top 20 in the UK. It was the first single from their “Somewhere in Time” LP.
The author with Beth Patterson. February 2008. Photo by Jim Kandrach
Beth does a great version of this tune that was recorded at Yo Mama’s in New Orleans. If you ever have a chance to see Beth Patterson live, I suggest you do so as she puts on a great show.
Sunday, August 1, 2010
The Spectres: (We AIn't Got) Nothing Yet
I was looking for a cover song last night when my brother called and we got into a conversation about the Blues Magoos and their song “(We Ain’t Got) Nothing Yet” from their LP “Psychedelic Lollipop.” We agreed that it was one of the greatest rock riff songs ever. Well, since it is "Covers Monday," I had to find a re-recording of this song and the British band the Spectres released their cover in 1967 to compete with the original by the Blues Magoos.
While the Blues Magoos original charted in the UK, it did not generate the interest that it did in the US where the song peaked at #5. The Spectres' (who lated became Status Quo) version failed to chart; however, their cover was musically close to the original. Unfortunately, the vocals and overall production of the song was lackluster at best. It's worth a listen for historical purposes.
As you listen to this stereo version from the Mercury label release of “(We Ain’t Got) Nothing Yet,” you can hear the superior production. The glue that holds this song together is the Vox Continental Organ and the hook is the riff.
Did the riff originate with the Blues Magoos? Some would suggest no as Ricky Nelson used it in his version of the old Gershwin/Heyward tune from “Porgy and Bess.” Nelson recorded the riff four years before the Blues Magoos. Musical plagiarism or coincidental inspiration? You be the judge. It also has guitar elements that sound like Johnny Rivers as well.
If the Blues Magoos ripped off Ricky Nelson, then it stands to reason that someone would rip them off – and they did. In 1970, Deep Purple released their song “Black Night” as a single. It did quite well in their homeland charting at #2, but failed to make the US top 40 when it peaked at #66. In fact, the whole song was borrowed from other artists. The title came from an Arthur Alexander song and the songs tempo was inspired by Canned Heat.
While the Blues Magoos original charted in the UK, it did not generate the interest that it did in the US where the song peaked at #5. The Spectres' (who lated became Status Quo) version failed to chart; however, their cover was musically close to the original. Unfortunately, the vocals and overall production of the song was lackluster at best. It's worth a listen for historical purposes.
The Blues Magoos’ original
As you listen to this stereo version from the Mercury label release of “(We Ain’t Got) Nothing Yet,” you can hear the superior production. The glue that holds this song together is the Vox Continental Organ and the hook is the riff.
Riff What Riff?
Did the riff originate with the Blues Magoos? Some would suggest no as Ricky Nelson used it in his version of the old Gershwin/Heyward tune from “Porgy and Bess.” Nelson recorded the riff four years before the Blues Magoos. Musical plagiarism or coincidental inspiration? You be the judge. It also has guitar elements that sound like Johnny Rivers as well.
What Comes Around Goes Around
If the Blues Magoos ripped off Ricky Nelson, then it stands to reason that someone would rip them off – and they did. In 1970, Deep Purple released their song “Black Night” as a single. It did quite well in their homeland charting at #2, but failed to make the US top 40 when it peaked at #66. In fact, the whole song was borrowed from other artists. The title came from an Arthur Alexander song and the songs tempo was inspired by Canned Heat.
Robert Randolph And The Family Band: If I Had My Way
It’s a rainy Sunday morning and I need something besides a huge mug of coffee to get me going, so I am going to suggest a little Sacred Steel with Robert Randolph and the Family Band. If you haven’t heard of the band or genre of music, put on your seat belt as it will get you moving. If you attend a church with staid worship practices, this music may be a little too much for a Sunday morning – so listen with extreme caution to “If I Had My Way.”
Randolph's version of this old song is somewhat confusing as the song was originally written about Samson and this is alluded to in the verse about Delilah. Randolph's story line changes to Daniel in the lion's den. Delilah and Daniel do not fit together and it was Samson and not Daniel who tore the building down. Besides the obvious lyrical inaccuracies, the song has a good meaning and it moves.
Sacred Steel developed as a musical tradition in a African American Pentecostal denomination that probably holds the Guinness Book of World Records for the longest church name. For practicality sake, the name is usually shortened to the “House of God Church”; however, the official name of the denomination is The House of God Which Is the Church of the Living God the Pillar and Ground of the Truth Without Controversy. I can see where “House of God” might be an acceptable substitute.
Tradition has it that in the 1930s a “House of God” minister brought a lap steel guitar to a service to use to accompany the song service as the congregation could not afford an organ. The use of the lap steel spread like wildfire to like minded congregations. In the 1940s, the lap steel was replaced by some musicians with the console steel guitar and finally the pedal steel guitar as played by Robert Randolph. It is not unusual to find House of God Sacred Steel players that use any of the three versions of the steel guitar.
Probably the best known of the Sacred Steel players is Robert Randolph from Orange, NJ. Not only does the Family Band perform gospel music, the showcase a wide variety of unrelated musical styles. It makes me want to get one of my steels out to play this morning. Add a little distortion and we can get everyone moving.
Randolph's version of this old song is somewhat confusing as the song was originally written about Samson and this is alluded to in the verse about Delilah. Randolph's story line changes to Daniel in the lion's den. Delilah and Daniel do not fit together and it was Samson and not Daniel who tore the building down. Besides the obvious lyrical inaccuracies, the song has a good meaning and it moves.
Sacred Steel developed as a musical tradition in a African American Pentecostal denomination that probably holds the Guinness Book of World Records for the longest church name. For practicality sake, the name is usually shortened to the “House of God Church”; however, the official name of the denomination is The House of God Which Is the Church of the Living God the Pillar and Ground of the Truth Without Controversy. I can see where “House of God” might be an acceptable substitute.
Tradition has it that in the 1930s a “House of God” minister brought a lap steel guitar to a service to use to accompany the song service as the congregation could not afford an organ. The use of the lap steel spread like wildfire to like minded congregations. In the 1940s, the lap steel was replaced by some musicians with the console steel guitar and finally the pedal steel guitar as played by Robert Randolph. It is not unusual to find House of God Sacred Steel players that use any of the three versions of the steel guitar.
Probably the best known of the Sacred Steel players is Robert Randolph from Orange, NJ. Not only does the Family Band perform gospel music, the showcase a wide variety of unrelated musical styles. It makes me want to get one of my steels out to play this morning. Add a little distortion and we can get everyone moving.
Alternate Version
Saturday, July 31, 2010
The Marshall Tucker Band
In 1973, producer and musical entrepreneur Don Kirshner left ABC’s “In Concert” to begin his own syndicated TV show “Don Kirshner’s Rock Concert.” The show aired during the middle of the week following the 11:00 news and provided prerecorded live concerts for 90 minutes. I remember watching the second episode of the show on October 2, 1973 with a number of my fellow students at Kentucky Christian College in the common room of Jones Hall.
This late week night addition to the TV offerings wreaked havoc with my college class taking routine. For my freshman year, my brother John “helped” me construct my schedule for my first year. He decided that I needed to take all of my classes in the morning starting with 7:30 am courses. His reasoning was that I could have the afternoon to myself. It was quite the struggle staying up and watching great shows like “Rock Concert.”
The October 2nd show was the second episode of the first season. The show consisted in part of a September 10, 1973 Macon, Georgia concert featuring the Allman Brothers, Wet Willie, and the Marshall Tucker Band. Other performances by Larry Graham, Martin Mull, and Todd Rundren rounded out the evening. While I had never heard of Wet Willie and Marshall Tucker before this show, one particular song caught my attention – “Can’t You See.” Here’s the live version from the show.
I loved this song and “Take the Highway.” Within a month, I bought the album from the DJ Record Shop in Grayson – one of only three local outlets that were selling records in the small city of 4,000. The others were Ralph’s and the Sundry Store. It was my first album I had purchased in Grayson. I had gotten to be pretty good friends with the owner as I had bought my first mandolin from him in September of that year.
The use of the flute on this song got me interested in learning the instrument which I was able to do in 1975 with the help of Patty Williams. I later bought my own in 1979 from Joe Dobbs at the Fret and Fiddle in West Huntington, WV. I get it out occasionally and I am well aware of my own limitations on this instrument.
I did get to use it on a recording in 1995; I played flute one of the cuts from Dr. Charles Polk’s “Just a Little Prayer” CD. I ran it through a digital delay to get a Tim Weisberg type effect. That’s the close as I have been to playing it in public.
In 1983, I had the chance to meet the band at Concord College during a concert appearance. They opened for the Greg Allman Band during that show.
Here’s a YouTube playlist of their entire debut album with the exception of the final cut, “AB’s Song” which is not currently available on YouTube.
This late week night addition to the TV offerings wreaked havoc with my college class taking routine. For my freshman year, my brother John “helped” me construct my schedule for my first year. He decided that I needed to take all of my classes in the morning starting with 7:30 am courses. His reasoning was that I could have the afternoon to myself. It was quite the struggle staying up and watching great shows like “Rock Concert.”
The October 2nd show was the second episode of the first season. The show consisted in part of a September 10, 1973 Macon, Georgia concert featuring the Allman Brothers, Wet Willie, and the Marshall Tucker Band. Other performances by Larry Graham, Martin Mull, and Todd Rundren rounded out the evening. While I had never heard of Wet Willie and Marshall Tucker before this show, one particular song caught my attention – “Can’t You See.” Here’s the live version from the show.
I loved this song and “Take the Highway.” Within a month, I bought the album from the DJ Record Shop in Grayson – one of only three local outlets that were selling records in the small city of 4,000. The others were Ralph’s and the Sundry Store. It was my first album I had purchased in Grayson. I had gotten to be pretty good friends with the owner as I had bought my first mandolin from him in September of that year.
The use of the flute on this song got me interested in learning the instrument which I was able to do in 1975 with the help of Patty Williams. I later bought my own in 1979 from Joe Dobbs at the Fret and Fiddle in West Huntington, WV. I get it out occasionally and I am well aware of my own limitations on this instrument.
I did get to use it on a recording in 1995; I played flute one of the cuts from Dr. Charles Polk’s “Just a Little Prayer” CD. I ran it through a digital delay to get a Tim Weisberg type effect. That’s the close as I have been to playing it in public.
In 1983, I had the chance to meet the band at Concord College during a concert appearance. They opened for the Greg Allman Band during that show.
Sitting/Kneeling: Doug
Gray, Jim Owston of WCIR, & Toy Caldwell
Standing: Bob Spencer of WCIR, Concord Staffer, George McCorkle,
Paul Riddle, Ronnie Godfrey, Franklin Wilkie, Jerry Eubanks, & Concord Staffer.
Photo by Taunya L. Jones
Standing: Bob Spencer of WCIR, Concord Staffer, George McCorkle,
Paul Riddle, Ronnie Godfrey, Franklin Wilkie, Jerry Eubanks, & Concord Staffer.
Photo by Taunya L. Jones
Here’s a YouTube playlist of their entire debut album with the exception of the final cut, “AB’s Song” which is not currently available on YouTube.
Subscribe to:
Posts (Atom)
