David Bowie: Lazarus

Day three of our tribute to David Bowie features a new song from the album “Blackstar” that was released just two days before his death. Although “Lazarus” was from the new album, it premiered on December 17, 2015. It would be his last single release while Bowie was alive.

“Lazarus,” as well as the entire album “Blackstar,” was a statement concerning his impending death and his release from pain. Although the song wasn’t specifically written about his own death, it was the title song his off-Broadway production of a sequel to “The Man Who Fell to Earth.” Lazarus took place 30 years after the original story.

While Bowie played the character of Thomas Gerome Newton in the film, the character was reprised by Michael C. Hall – who might be better remembered as playing Dexter Morgan. The title “Lazarus” alludes to the biblical character that Jesus raised from the dead for days after he passed.

It’s quite different from anything else Bowie has recorded and he fully utilizes the talents of Donny McCaslin on sax, Tim Lefebvre on bass, Jason Linder on keyboards, Ben Monder on guitar, and Mark Guiliana on drums. Bowie plays acoustic on the cut.

Lyrics

Look up here, I'm in heaven
I've got scars that can't be seen
I've got drama, can't be stolen
Everybody knows me now

Look up here, man, I'm in danger
I've got nothing left to lose
I'm so high, it makes my brain whirl
Dropped my cell phone down below
Ain't that just like me?

By the time I got to New York
I was living like a king
Then I used up all my money
I was looking for your past

This way or no way
You know I'll be free
Just like that bluebird
Now, ain't that just like me?

Oh, I'll be free
Just like that bluebird
Oh, I'll be free
Ain't that just like me?

David Bowie: Young Americans

Day two of our tribute to David Bowie, who passed away on Sunday, takes us back again to 1975 with another Bowie hit – “Young Americans.” It was a tongue-in-cheek look at these United States and was recorded two days after Richard Nixon’s resignation on August 9, 1974. Thus Bowie immortalized Tricky Dick in song. However, it wasn’t the first time, though. Neil Young did it on “Ohio” in 1970 and Lynyrd Skynyrd mentioned Watergate on 1974’s “Sweet Home Alabama.”

“Young Americans” features killer saxophone work by the legendary David Sanborn and a backup vocal arrangement courtesy of Luther Vandross. Luther, Ava Cherry, and Robin Clark were the backup singers on this song that Bowie termed as “Plastic Soul.” “Young Americans” peaked at #28 in early 1975.

David Bowie: Fame

This morning on the way to work I heard the sad news of the passing of David Bowie due to cancer. It was just Friday that this same news outlet reported that it was Bowie’s 69th birthday as well as the day his new album “Blackstar” was being released. Too bad he never had the opportunity to see the success of his latest release.

As looking over the number of Bowie’s songs that I have featured on Reading between the Grooves over the years, I found nine – here are the links.

• The Jean Genie. Posted in 2010.
• Changes. Posted in 2011.
• Knock on Wood (live). Posted in 2011.
• Arnold Layne (with David Gilmour). Posted in 2011.
• Cat People (Putting out Fire with Gasoline). Posted in 2012.
• Under Pressure (with Queen). Posted in 2012.
• Space Oddity. Posted in 2013.
• This is not America (with the Pat Metheny Group). Posted in 2013.
• 1984. Posted in 2014.

As a tribute to the life of David Bowie, this week I am going to feature more music by this late great rocker who changed musical styles throughout his career; what a trendsetter. For the initial post, it’s a #1 record from 1975: “Fame.” The songwriting credits went to Bowie, John Lennon, and Carlos Alomar.

While all three play guitar on the track, Alomar plays the funk parts. Lennon is doing the background vocals as well as engineering the tape loops that are found during the song. The beginning tape loop is a recording of several chords played backwards. Later, a backwards guitar is added to the mix. The final effects have Bowie’s voice recorded at various speeds and played back at normal speed. This not only changed the speed of which the word “Fame” was sung, but also the pitch of the playback as well.

“Fame” – what’s your name? Why, I think its David Bowie. Rest in peace Ziggy Stardust.

The Unforgettable Natalie Cole has Passed

Since I didn’t turn the TV on yesterday, I didn’t learn about Natalie Cole’s death on New Year’s Eve until this morning. Over the years at the different formatted radio stations I worked and as a mobile DJ, I had the opportunity to play her music. She was always popular with the audience.

I grew up listening to Nat King Cole’s music at our home. He was one of my mother and dad’s favorite artists. So I was drawn to her smooth voice which matched her father only octaves higher. That led me to really enjoy her duet with her late father in 1991 on “Unforgettable.” It was nearly three decades since his death and modern technology allowed the marrying of the voices of this father/daughter pair. Smooth – it was smooth.

While “Unforgettable” was not her biggest hit, it at least made a sizable dent into three Billboard charts. Since it was an adult contemporary recording, it was natural that it placed at the #3 mark on the A/C charts. Since her primary chart success came on the R&B charts, it did well there peaking at #10 – even though it was not typical fare for this genre in 1991. Finally as she had five previous Top 10 singles on the Hot 100, it did well overall on this mainstream chart as it took the #14 slot.

While her dad had a hit with the song in 1951, it was originally recorded in mono. In 1961, Cole returned to the Capitol studios and re-recorded the song in stereo. It was this version from which his voice was extricated from the original tracks and a near perfect recreation of the Nelson Riddle arrangement was accomplished with current studio musicians. The primary instrumental difference was the addition of Pete Christlieb’s alto sax lead during the break. Nat’s parts were inserted along with his daughter’s voice to make an unforgettable performance.

“Unforgettable . . . with Love,” the tribute album of her father’s music, was a huge success selling over seven million copies and earning six Grammy awards in the process. “Unforgettable” specifically earned the Grammy for Record of the Year and the Grammy for Best Traditional Pop Performance. It was this genre of standards in which Natalie reveled and became her calling card for years to follow.

The 65 year old Natalie Cole died Thursday night at Cedar Sinai Hospital in Los Angeles “due to complications from ongoing health issues.” We’re sorry to see you part, but Natalie, you’ll always be a part of us – truly unforgettable. Rest in Peace.

The Zombies: This Will Be Our Year

Recorded in 1967, “Odessey and Oracle” was released in 1968 months after The Zombies had disbanded. The tracks were recorded on four-track Studer tape machine at Abbey Road Studios and then mixed to mono; however, the band was informed by CBS that they needed a stereo mix. Keyboardist Rod Argent and guitarist Paul Atkinson pooled their financial resources and remixed the original four-tracks into a stereo mix. This new mix was finished 48 years ago today – January 1, 1968.

By this time, The Zombies were buried – and would later reanimate in the 1990s. Lead vocalist Colin Blunstone went onto a solo career: first billed as Neil McArthur and then later under his own name. Rod Argent and Paul Atkinson formed the band “Argent.” Bassist Chris White, the only non original member of The Zombies, perfected his craft as a songwriter and producer for both Blunstone and Argent. Drummer Hugh Grundy transitioned to being record label A&R man.

The album was released on Date Records (a subsidiary label of CBS) in the US in June 1968; however, it’s first single from the forthcoming LP was released in late 1967 on Columbia. All in all, seven US singles were issued from the album. Only one charted, and that was second release of “Time of the Season” – the fifth of the seven US singles. “Time of the Season” was their highest charting single in Canada and their second highest charting single in the US – peaking at #3. “She’s Not There” from 1964 was their only US #1. None of the singles charted in the UK.

The second single, “This will be our Year,” was only issued as a radio station promo and like most of the others, it failed to generate any interest from radio or otherwise. It is a fitting song for us as it is New Year’s Day. The year 1968 was not The Zombies year as they had called it quits in December 1967 and none of their releases charted. The re-release of “Time of the Season” made 1969 a much better year for this former cohort of musicians.

“This will be our Year” is a great tune that has been covered by a number of artists including the Foo Fighters. I really like the double tracking of Colin Blunstone’s vocals on this cut. It is very Beatlesque and for good reason – they used the same tape deck that Sgt. Pepper’s Lonely Hearts Club Band was recorded.

Re-channeled Original Mono Mix

The mono mix of the song has horns that were not overdubbed onto the four track machine but directly to the mono mix by producer Ken Jones. This song was re-channeled for stereo as is – horns and all. The All Music Guide compares it to “Penny Lane.”

Alternate True Stereo Version

There is an alternate true stereo mix without the horns. It’s too bad the horns were not put on the four-track machine as this mix with the horns would have been a killer release.

Outside of “Time of the Season,” “Odessey and Oracle” was not a commercial success. It was, however, considered a critical masterpiece. As your New Year’s gift, we have provided both versions of “This will be our Year.” I hope it will be yours as well.

Wishbone Ash: Blind Eye

I got thinking this week about the British rock band Wishbone Ash and my introduction to their music. I was given a sampler album that featured artists from a variety of MCA labels: Decca (US), Coral, Uni, and Kapp. It was called “The MCA Sound Conspiracy” and the first track on the LP was Wishbone Ash’s “Blind Eye.” It was their first American single, as well as the lead cut from their self-titled debut album.

What was critical to Wishbone Ash’s sound was the twin guitar leads of Andy Powell and Ted Turner. The quartet was rounded out by Martin Turner (no relation to Ted) on bass and Steve Upton on drums. The piano on the cut is uncredited – so, your guess is as good as mine. Ted Turner sings the lead on this track.

Wishbone Ash was discovered by Ritchie Blackmore who encouraged MCA to sign the band. Deep Purple’s producer, Derek Lawrence, handled the production duties on the band’s first three albums – which are often considered their best.

As you can imagine, Wishbone Ash never received the popularity in the US that they deserved. No singles charted and album sales were not commensurate with their overall talent. Wishbone Ash, by the way, is still together with Andy Powell remaining as the band’s sole original member. Still talented – still great music.

The Dominoes: Sixty Minute Man

Well, it has finally occurred. I have reached my sixtieth birthday. I don’t remember the nature of my conversation with my boss two weeks ago, but it may have been because we opted to take the elevator rather than climbing four flights of stairs. I made the comment, “Well it’s not like I’m sixty or anything.” Immediately, the cold slap of reality hit me and I said – well, I won’t be able to say that in two weeks. Yes, time has a way of catching up to us. I’m just glad I’m here. My father and grandfather never made it to being 50 let alone 60.

Over the past few weeks, I’ve been debating on what to play on this auspicious occasion. The only song with 60 in its title, of which I am aware, was the 1951 R&B hit by The Dominoes “Sixty Minute Man.” It is an important recording in musical history as it vies as being one of the recordings that was responsible for the creation of rock ‘n roll.

While there is much debate on which song holds those honors, there are dozens of tunes that have been considered in hindsight. I tend to lean towards Jackie Brensten’s “Rocket 88,” but that’s my personal choice. “Sixty Minute Man” was recorded three months earlier on December 30, 1950 and was released in May of the next year.

While some consider it a novelty record, “Sixty Minute Man” did quite well on the charts holding the number one slot on the R&B charts for 14 weeks. It crossed over to the pop charts where it peaked at #17. Additionally, “Sixty Minute Man” was 1951’s “Song of the Year.” It also has made it to the soundtracks to several major motion pictures. Quite impressive,

It was written by The Dominoes’ manager and pianist Billy Ward and his talent agent partner, Rose Marks. The song features the lead vocals of the quartet’s bass singer Bill Brown. In addition to Brown, The Dominoes consisted of Charlie White, Joe Lamont, and Clyde McPhatter, who later sang lead with The Drifters. McPhatter adds the woo hoos and the falsetto parts. Good stuff, but released before my birth some sixty years ago today.