Any Major Dude With Half A Heart

In the latest installment of the Not Feeling Guilty series, we are looking at singers whose names sound like those of school teachers; that is, artists who went by their given names, regardless of how ordinary and un-rock & roll they were (the gallery below, which is intended to inject a little gentle humour into the proceedings, might bear out my point. A bigger version of the collage is included in the package). You weren’t going to become a big star with the name Ruhnke (though LaBounty is a pretty cool name).

Many of these singers also looked like they might have been your teacher. And that is not a slur on teachers nor the artists. These singers were recording artists, not creations of image. Their names, bad beards and bald heads assured us that they were here to create music, for the sake of music. Their craft was honest. And, as this mix shows, there was plenty talent behind the ordinary names. If their music’s point is to make you feel good, these people have probably succeeded.

Only few of the acts here struck it really big, though one is married to a man who is one of the godfathers of this genre. Amy Holland married Michael McDonald, who produced and played keyboards on the featured song, the title track of the album which won her a Grammy nomination for Best New Artist in 1981. Holland and McDonald have been married since 1983.

The biggest hit here is Alan O’Day’s Undercover Angel, which was a US #1 and a global hit. It wasn’t his first chart-topper: three years earlier his composition Angie Baby was a #1 hit for Helen Reddy. He also co-wrote the The Righteous Brothers’ 1974 hit Rock And Roll Heaven (originally by a group called Climax). Later O’Day won an Emmy for his music on the Muppets Babies show. O’Day, whose hairline moved forward as he got older, died at 72 in 2013.

US-born and Australia-raised Steve Kipner had some success as a young man in Australia, sang backing vocals on a number of the Bee Gees’ early recordings (which were produced by his father), and had a couple of hits as part of the band Tin Tin. He released only one solo album, in 1979. But his greater success came as the co-writer of a string of hit records spanning four decades. These include Olivia Newton-John’s Physical, Chicago’s Hard Habit To Break, Christina Aguilera’s Genie In A Bottle, Natasha Bedingfield’s These Words, The Hardest Thing by 98 Degrees, He Loves U Not by Dream, Kelly Rowland’s Stole, The Script’s Breakeven and The Man Who Can’t Be Moved, Cheryl Cole’s Fight for This Love, Camilla Cabello’s Crying In The Club, James Arthur’s Say You Won’t Let Go…

Another prolific songwriter was Bruce Roberts, whose co-writing credits includes the Donna Summer & Barbra Streisand disco classic No More Tears. He also co-wrote Streisand’s The Main Event, Bette Midler’s You’re Moving Out Today, Starmaker for Paul Anka/Judy Collins/The Kids from ‘Fame’, Rita Coolidge’s Fool That I Am, Laura Branigan’s The Lucky One, Dolly Parton’s You’re The Only One, Jeffrey Osborne’s You Should Be Mine (featured on Any Major Soul 1986/87), and more. He also co-wrote Lani Hall’s Where’s Your Angel?, which featured on Not Feeling Guilty Vol. 10.

If AOR singers were teachers…

Yet another singer here with an impressive record of writing hits for others is Randy Goodrum, to whom we owe, as writer or co-writer, the Ann Murray hit You Needed Me, Kenny Rogers & Dottie West’s What Are We Doin’ In Love, Steve Perry’s Oh Sherrie, DeBarge’s Who’s Holding Donna Now, Toto’s I’ll Be Over You, and George Benson’s 20/20, among others. Goodrum also wrote songs for Bill Clinton’s presidential campaigns.

Goodrum also wrote two other (colour-coordinated) songs here. Pop-gospel-country singer Micki Fuhrman recorded Goodrum’s Blue River Of Tears in 1979; it was a single release only, and made no impact, which is a pity. Fuhrman released three albums and a bunch of singles until 1983.

Goodrum’s Bluer Than Blue was a hit in 1978 for Michael Johnson, an musical all-rounder. As a youth, he studied classical guitar in Barcelona; in the 1960s he was a member alongside John Denver in the folk outfit Chad Mitchell Trio. In the late 1970s he ventured into AOR, and in the 1980s became a country musician. One of Johnson’s hits was This Night Won’t Last Forever, a US #19 in 1979, which features here in Bill LaBounty’s 1978 original version. Johnson died in 2017 at 72.

In the 1960s, the British musician Graham Dee — the only artist in this lot operating with a stagename; his real name is Davidson — worked with future Led Zep members Jimmy Page and John Paul Jones, filled in for Syd Barrett in Pink Floyd and in Them, and played for Elkie Brooks, The Walker Brothers and Carl Perkins.

Near-namesake Larry Lee must not be confused with the guitarist of the same name who played with Jimi Hendrix at Woodstock. This Larry Lee was a founder member of the Ozark Mountains Daredevils. As the band’s drummer, Lee wrote and took lead vocals the band’s best-known song Judy Blue, which like the Warnes song mentioned above featured on Not Feeling Guilty Vol. 10. Later he joined The Vinyl Kings, with Not Feeling Guilty alumnus Jim Photoglo (introduced on Vol. 7).

Terence Boylan had cool classmates, who helped him record his debut album in 1969: Walter Becker and Donald Fagen, yet to become Steely Dan. Boylan released three LPs between 1969 and 1980, and that was it for his recording career. Happily, Boylan had science to fall back on. He is now director of a foundation he founded to facilitate research and international scientist exchange fellowships.

The best teachers’ name here must be Dick St Nicklaus. I couldn’t find much about him, except that he once worked with Lamont & Dozier, released two albums which were huge hits in Japan, and wrote a number of sings which were recorded by the likes of Laura Branigan, Peter Allen, Vanilla Fudge and Bill Medley.

Craig Ruhnke was introduced in Vol. 9, Peter McCann in Vol. 10. Oh, and I think I’ll opt for religious instruction classes.

As ever, this mix is timed to fit on as standard CD-R and includes home-cruised covers, the whole caboodle above in PDF format, and the yearbook gallery above in larger format. PW in comments.

1. Roby Duke – Seasons Of Change (1982)
2. Alan O’Day – Undercover Angel (1977)
3. Randy Goodrum – Fool’s Paradise (1982)
4. Amy Holland – How Do I Survive (1980)
5. Graham Dee – Too Good To Last (1977)
6. Jim Schmidt – Love Has Taken It All Away (1983)
7. Bill Champlin – Tonight Tonight (1981)
8. Bill LaBounty – This Night Won’t Last Forever (1978)
9. Craig Ruhnke – It’s Been Such A Long Time (1983)
10. Terence Boylan – Tell Me (1980)
11. Larry Lee – Number One Girl (1982)
12. John Valenti – Did She Mention Me (1980)
13. Teri De Sario – The Stuff Dreams Are Made Of (1978)
14. Dwayne Ford – Lovin’ And Losin’ You (1981)
15. Richard Torrance – Anything’s Possible (1978)
16. Dick St. Nicklaus – Can’t Give Up (1979)
17. Michael Johnson – Bluer Than Blue (1978)
18. Micki Fuhrman – Blue River Of Tears (1979)
19. Peter McCann – Do You Wanna Make Love (1977)
20. Bruce Roberts – Cool Fool (1980)
21. Steve Kipner – The Ending (1979)

GET IT! or HERE!

Not Feeling Guilty Mix 1
Not Feeling Guilty Mix 2
Not Feeling Guilty Mix 3
Not Feeling Guilty Mix 4
Not Feeling Guilty Mix 5
Not Feeling Guilty Vol. 6
Not Feeling Guilty Vol. 7
Not Feeling Guilty Vol. 8
Not Feeling Guilty Vol. 9
Not Feeling Guilty Vol. 10

More CD-R Mixes

In March the Reaper took it easier than he had in previous months, but he did claim a number of behind-the-scenes pioneers: the inventor of cassette tapes, an inventor of a synthesizer, a woman who broke a glass ceiling in the music industry…

The Wailer
For more than 30 years, Bunny Wailer (born Neville O’Riley Livingston) was the last man standing of the group whose stage name gave the legendary reggae group its name, with Bob Marley checking out in 1981 and Peter Tosh six years later. The Wailers were something of a family affair: Bunny’s father and Marley’s mother became a couple, having a daughter together; and Tosh had a son (reggae singer Andrew Tosh) with Bunny’s sister.

I needn’t discuss the musical impact of The Wailers or of Bunny Wailer; the obituaries have done so to better effect than I could. But I’ll say this: Marley and Tosh were the more celebrated singers, but I think that the percussionist Bunny was also a great vocalist, in the tradition of his hero Curtis Mayfield.

The Influencer
English jazz trombonist Chris Barber changed the trajectory of pop music profoundly. First he did so by pioneering the skiffle craze in Britain through his recording of Rock Island Line which, once credited to vocalist Lonnie Donegan, became a big hit in 1954. The skiffle craze inspired many British youths to form bands; among them a young Liverpudlian named John Lennon…

Barber made his name as a traditional jazz musician, scoring a big transatlantic hit with the instrumental Petite Fleur in 1959. But in the late 1950s/early 1960s he also brought US blues musicians such as Big Bill Broonzy, Sonny Terry & Brownie McGhee, and Muddy Waters to Britain, thereby helping to introduce many young musicians to that genre. These included The Rolling Stones, The Animals, The Yardbirds, and across the Irish Sea, Rory Gallagher. The latter would join up with Barber; the guitar that opens the featured track is his. Later he also collaborated with Dr John, creating a mardi gras anthem that represented New Orleans on my long musical journey through the USA (on Any Major American Road Trip Vol. 2).

Stop. Eject.
On my 10^th birthday I received my first cassette recorder, a basic thing whose smell I vividly remember. That birthday present kicked off a relationship that would last for exactly a quarter of a century, when I bought a car with a CD player and I had no more use for my old tapes. But it is thanks to cassettes — the hobby of making mix-tapes — that we have this little corner of playlist-dabbling. Without tapes, you’d not be reading these words today!

As we know, home-taping killed music, and the man responsible has now died at 94. Lou Ottens developed the cassette tape with his team for the Dutch company Royal Philips, introducing the first sample of this new technology in 1963. Tapes were still catching on in 1972 when Ottens became instrumental (if you pardon the unintentional pun) in the development of compact discs. Ottens would regard the CD as his greater accomplishment.

Ottens began his career of invention as a teenager when he put together a device to block the radio jammers of the Nazi forces that were occupying the Netherlands in World War 2, enabling his family to receive banned radio broadcasts.

The Trailblazer
In 1959, the RCA Camden label was about to fold — and who better a fall-guy than a woman trying to make her way in a man’s game. But Ethel Gabriel, a woman in her late 30s who had worked her way up from doing dogs-body’s work in the 1940s to become a successful record producer (the first woman on a major US label), was no fall gal. She issued a series of easy listening albums, which culminated in a Grammy win in 1967. These were especially the Living Strings/Brass/Marimba/Voices/Jazz etc LPs. As an A&R executive, she was responsible for putting out records by acts like Perry Como, Cleo Laine, Roger Whittaker, Elvis Presley, Dolly Parton, Jim Reeves, Eddy Arnold, Henry Mancini, Harry Belafonte, Perez Prado, Neil Sedaka and many others. In 1982, Gabriel was appointed vice-president of RCA’s Pop Contemporary A&R division, becoming the first woman at RCA Records to become a vice-president.

The Synth Pioneer
Having started his musical career as a jazz musician in bands led by the likes of Ronnie Scott, Dick Morrissey and Chris Barber, London-born Malcolm Cecil went to live in New York where he invented the world’s largest synthesizer, the Original New Timbral Orchestra (TONTO), which was widely used in the famous Record Plant studios. You can hear him play the synth on Little Feat’s Dixie Chicken, and he assisted acts such as the Doobie Brothers (the synth on Long Train Running and China Grove were programmed by Cecil), Isley Brothers, Harry Nilsson, Randy Newman, Joan Baez and Gil-Scott-Heron in their use of his synth.

With his regular musical partner Robert Margouleff, Cecil co-produced Stevie Wonder’s albums Music Of My Mind, Talking Book (including Superstition and You Are The Sunshine Of My Life), Innervision (on which he played bass on Visions) and Fulfillingness First Finale. He also produced or co-produced acts like Syreeta, Mandrill, Billy Preston, and Gil Scott-Heron.

The Rockabilly King
The first tribute record to be released after the plane crash that killed Buddy Holly, Richie Valens and The Big Bopper was co-written and released by rockabilly singer and double-bassist Ray Campi, who has died at 86. It was titled Ballad Of Donna And Peggy Sue, namechecking titular names from hits by Valens and Holly — and Campi recorded it with The Big Bopper’s backing band. Campi, the supposed “The King of Rockabilly” who would use his white double-bass as a prop in his wild stage shows, did music only as a sideline while working as a teacher. It was only when he was rediscovered in the 1970s, when the rock & roll revival hit, that he began to record again and tour full-time.

As always, this post is reproduced in PDF format in the package, which also includes my personal playlist of the featured tracks. PW in comments.

Ralph Peterson Jr., 58, jazz drummer, on March 1
Ralph Peterson Quintet – Soweto 6 (1988)

Mark Goffeney, 51, guitarist, body discovered on March 2

Bunny Wailer, 73, Jamaican reggae pioneer, on March 2
The Wailers – Sunday Morning (1966, on lead vocals)
The Wailers – Pass It On (1973, on lead vocals)
Bunny Wailer – Dreamland (1976)
Bunny Wailer – Riding (1979)

Àlex Casademunt, 39, Spanish pop singer and TV presenter, on March 2

Chris Barber, 90, English jazz trombonist and bandleader, on March 2
Lonnie Donegan’s Skiffle Group – Rock Island Line (1954, as leader & on bass)
Chris Barber’s Band – Catcall (1967, written by Paul McCartney)
Chris Barber – Drat That Fratle Rat (1972)

Radim Pařízek, 67, drummer of Czech rock band Citron, on March 2

Duffy Jackson, 67, jazz drummer, on March 3
George Benson & Count Basie Orchestra – Without A Song (1990, on drums)

Dagoberto Planos Despaigne, 64, singer and songwriter with Cuban band Los Karachi, on March 3
Los Karachi – Pero Qué Le Sucede a Mi Negra (1988, also as writer)

Maria José Valério, 87, Portuguese singer, on March 3

Alan Cartwright, 75, bassist of Procol Harum (1972-75), on March 4
Procol Harum – Nothing But The Truth (1974)

Bhaskar Menon, 86, Indian-born label executive (Capitol, EMI), on March 4

Michael Stanley, 72, rock guitarist, singer and songwriter, on March 5
Michael Stanley Band – He Can’t Love You (1980)

Lou Ottens, 94, inventor of the cassette tape, co-developer of CDs, on March 6
Tift Merritt – Mixtape (2010)

Lars Göran Petrov, 49, singer of Swedish death metal band Entombed, on March 7

Sanja Ilić, 69, composer and keyboardist of Serbian bands San, Balkanika, on March 7
Grupa San – Anabela (1974)

Sasa Klaas, 27, Botswanan hip hop/R&B singer-songwriter, helicopter crash on March 6

Josky Kiambukuta, 72, singer with Congolese rumba collective TPOK Jazz, on March 7
Orchestre T. P. OK-Jazz – Kebana (1973, on lead vocals and as writer)

Julien-François Zbinden, 103, Swiss jazz pianist and composer, on March 8

James MacGaw, guitarist of French prog-rock group Magma (1998-2017), on March 8
Magma – Emëhntëhtt-Ré IV (2009)

Adrian Bărar, 61, guitarist and composer with Romanian rock band Cargo, on March 9

Mark Whitecage, 83, jazz reedist, announced on March 9
Adam Lane, Lou Grassi & Mark Whitecage – Five O’Clock Follies (1998)

Len Skeat, 84, English jazz double-bassist, on March 9

Shuichi Murakami, 70, Japanese jazz drummer, on March 9
Ryuichi Sakamoto – I’ll Be There (1983, on drums)

Freddy Birset, 73, Belgian singer and musician, on March 9

Randy Myers, 73, songwriter, on March 10
Jackie DeShannon – Put A Little Love In Your Heart (1969, as co-writer)

Roger Trigaux, 69, founder of Belgian avant-garde groups Univers Zero, Present, on March 10

Lily de Vos, 96, Dutch singer, announced on March 11

Jewlia Eisenberg, singer of avant-rock band Charming Hostess, on March 11
Charming Hostess – Laws of Physics (1999)

Ray Campi, 86, rockabilly singer and double bassist, on March 11
Ray Campi – Caterpillar (1956)
Ray Campi – Ballad Of Donna And Peggy Sue (1959)

Maximiliano Djerfy, 46, guitarist of Argentine rock band Callejeros, on March 12

Raoul Casadei, 83, Italian singer and composer, on March 13

Reggie Warren, 52, singer with soul group Troop, on March 14
Troop – Mamacita (1989)

Thione Seck, 66, Senegalese singer and musician, on March 14
Orchestra Baobab – Mouhamadou Bamba (1981, as member)

Eulalio ‘Sax’ Cervantes, 52, saxophonist of Mexican rock band Maldita Vecindad, on March 14
Maldita Vecindad – Kumbala (1991)

Doug Parkinson, 74, Australian rock singer, on March 15
Doug Parkinson In Focus – Dear Prudence (1969)

Matt Miller, 34, ex-keyboardist of indie group Titus Andronicus, on March 17

Corey Steger, 42, guitarist of metal band Underoath, car crash on March 17

Freddie Redd, 92, jazz pianist and composer, on March 17
Howard McGhee – O.D. (Overdose) (1960, as composer)

Mayada Basilis, 54, Syrian singer, on March 17
Mayada Basilis – Kezbak ‘Helou (2007)

Paul Jackson, 73, rock and jazz bassist, on March 18
Santana – Give Me Love (1977, on bass)

Gary Leib, 65, musician with band Rubber Rodeo, cartoonist (Idiotland), on March 19
Rubber Rodeo – Anywhere With You (1984)

Cristián Cuturrufo, 48, Chilean jazz trumpeter, on March 19

Dan Sartain, 39, rock musician, on March 20
Dan Sartain – Walk Among The Cobras (Pt. I) (2005)

Constance Demby, 81, ambient music composer, on March 20

Buddy Deppenschmidt, 85, jazz drummer, on March 20
Stan Getz & Charlie Byrd – Desafinado (1962, on drums)

Hana Hegerová, 89, Slovak singer and actress, on March 23

George Segal, 87, actor and occasional musician, on March 23
George Segal & The Imperial Jazz Band – What You Goin’ To Do When The Rent Comes ‘Round (1974)

Ethel Gabriel, 99, producer and label executive, on March 23
Perez Prado – Cherry Pink And Apple Blossom White (1955, as producer)
Caterina Valente – The Party’s Over (1961, as producer)
Living Marimbas – Mission Impossible Theme (1968, as producer)

Peter Viskinde, 67, guitarist of Danish rock bands Malurt, Big Fat Snake, on March 23
Malurt – Superlove (1981)

Don Heffington, 70, drummer, percussionist and songwriter, on March 23
Emmylou Harris – Drivin’ Wheel (1983, on drums)
Lone Justice – Ways To Be Wicked (1985, as member)
Dave Alvin – Rio Grande (2004, on drums)

Noel Bridgeman, 74, Irish drummer (Skid Row, Mary Black), on March 23
Skid Row – New Faces Old Places (1969, as member)
The Waterboys – Fisherman’s Blues (1988, on drums)

Tavish Maloney, guitarist with rock band Oso Oso, on March 25

Brett Bradshaw, drummer with rock band Faster Pussycat (1991-93), on March 26
Faster Pussycat – Nonstop To Nowhere (1992)

Malcolm Cecil, 84, British musician and producer, on March 28
Dick Morrissey Quartet – St. Thomas (1961, on double bass)
Stevie Wonder – Visions (1973, on bass and as co-producer)
The Isley Brothers – Footsteps In The Dark (1977, as co-producer)
Gil Scott-Heron – Angel Dust (1978, as co-producer)

Hans Kinds, 74, guitarist of Dutch blues band Cuby & the Blizzards, on March 29
Cuby + Blizzards – L.S.D. (Got A Million Dollars) (1966)

Claire dela Fuente, 62, Filipino singer, on March 30
Claire Dela Fuente – Something In Your Eyes (2008)

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Previous In Memoriams

Keep up to date with dead pop stars on Facebook

In every decade there seems to be a cultural revival of eras that are 15-30 years in the past. I suppose these revivals are the natural consequence of people who grew up 15-30 years ago becoming the cultural decision-makers of the day, resuscitating their happy days of growing up, of being teenagers, of being consumers of music, movies and TV. And if those days weren’t always happy, these people always had music, TV and film to comfort them. So the culture of past generations is revived by middle-age decision-makers and consumed by both their peers and by young people, together and apart.

That generational nostalgia cycle really took hold in the 1970s, when the 1950s revival started with movies like American Graffiti and The Last Picture Show, and bands like Sha Na Na, and then TV shows like Happy Days (a title that signposts that nostalgia I mentioned above) and revival groups like Showaddywaddy in the UK. The death of Elvis gave it further momentum, and it culminated with the musical and movie Grease. Even in the mid-1980s the ’50s revival still had currency, with the Back To The Future film presenting a particular version of 1955.

By then, the 1960s revival was in full swing. In Britain, Mods were already in a Battle of Revivals with Teddy Boys in the late 1970s. Then the murder of John Lennon in 1980 drove ’60s nostalgia into overdrive, bringing us Dirty Dancing and, in the UK, Levi jeans commercials soundtracked by soul hits of that era. And in the 1990s and 2000s, nostalgia for the 1970s even brought bell bottoms back into fashion, their death certificates from the ’80s having been declared briefly invalid.

Now we are in the midst of a 1990s revival, which is unnerving for those of us who are still coming to terms with the advent of the third millennium AD. But suddenly 1990s sitcoms have become all the rage, and the Spice Girls have been artistically rehabilitated by many! Has Garth Brooks started touring again, flying above the cheering crowds?

The 15-30 year revival cycle suggests that the nostalgia for the 2000s should be in full swing now, which means baggy T-shirts must be in soon (or they already are; what would I know?). But the 2000s never really went away, and that is probably the key to nostalgia and the revivals it generates: the eras must have died before they can be revived.

The 1990s is in the grey area of nostalgism: some of it never went away, and yet some of it seems like a different country now.

This mix of music — one act representing each letter of the alphabet — will, I hope, make the 1990s present as an interesting decade. It’s a decade that had its own culture — grunge or Brit pop, for example — but also served as a bridge between a segmented past and the blur of slowly shifting culture in an age when the spirit of the past couple of decades is ever-present, through the Internet and Netflix.

Politically, it was the last summer of relative peace, before 9/11 and the devastation of personal rights that followed that event. It was still a decade of hope, with the fall of the Eastern Bloc, Germany reuniting, South Africa’s peaceful transition from apartheid, the appearance of economic stability (the price for which we paid after 2008, with the lie of austerity), and the optimism that the new-fangled World Wide Web would be a force only for good.

The writing was already on the wall, of course. In the US, there was rise of Republican obstructionism and ultra-partisanship in the 1994 midterms — which came to full bloom in the Tea Party and the social dystopia of Trumpism. The Columbine massacre in 1999 proved to be not an aberration but the starting salvo for a culture of mass shootings so frequent that they have lost the power to truly shock. And in South Africa, the liberators turned out to be just as corrupt as their racist predecessors. But it is not an act of nostalgia to observe the 1990s were better than the two awful decades that followed them.

But back to the music… These ABC mixes are a bit like nostalgia radio stations, though here the playlist compiler has better taste than many of those who decide which old song should play twice a day on the radio. Your kids (or gandchildren) might be pleased to hear something from the 1990s that’s not Bryan Adams, Whitney Houston or “What if God was one of us”.

The mix couldn’t be timed to fit on a CD-R, but I made home-shellsuited covers anyway, in case these come in handy. The text above is included as an illustrated PDF booklet.

1. Arrested Development – People Everyday (1992)
2. Barenaked Ladies – Brian Wilson (live) (1996)
3. Crowded House – Distant Sun (1993)
4. Duran Duran – Ordinary World (1993)
5. En Vogue – My Lovin’ (You’re Never Gonna Get It) (1992)
6. Fastball – Out Of My Head (1998)
7. George Michael – Spinning The Wheel (1996)
8. Harvey Danger – Flagpole Sitta (1997)
9. Indigo Girls – Galileo (1992)
10. James – Laid (1993)
11. Khadja Nin – Wale Watu (1996)
12. Lemonheads – It’s A Shame About Ray (1992)
13. Mango Groove – Hometalk (1990)
14. Nick Heyward – The Man You Used To Be (1998)
15. Oasis – Don’t Look Back In Anger (1995)
16. Primal Scream – Rocks (1994)
17. Queen Latifah – U.N.I.T.Y. (1993)
18. R.E.M. – Man On The Moon (1992)
19. Shawn Mullins – Lullaby (1998)
20. Tasmin Archer – Sleeping Satellite (1992)
21. US3 – Cantaloop (1992)
22. Verve – Lucky Man (1997)
23. Weezer – Falling For You (1996)
24. Xzibit – Paparazzi (1996)
25. Youssou N’Dour feat. Neneh Cherry – 7 Seconds (1994)
26. Zhané – Groove Thang (1994)

GET IT! or HERE!

MORE ABC MIXES:

Any Major ABC of the 1950s
Any Major ABC of the 1960s
Any Major ABC of the 1970s
Any Major ABC of the 2000s
Any Major ABC of Soul
Any Major ABC of Country
Any Major ABC of Christmas

There was still a lot of great soul in the early 1980s. In fact, there was a lot of great soul throughout the decade; it’s just the famous hits that got worse.

Dimples
One of the better hits of the mid-1980s was the rather misogynist Oran ‘Juice’ Jones hit The Rain, in which the singer delivers a spoken diatribe to effect a break-up with his cheating girlfriend (“Don’t touch that coat!”). On this mix, the roles are reversed as Betty Wright cuts down the hapless Richard ‘Dimples’ Fields, on whom she has served divorce papers. And with good reason, for he is seeking to get his jollies elsewhere. Her rap as she cuts the cad down to size is quite spectacular. Fields, who begins the track by framing himself as a victim, merits our applause for setting himself up in this song as a target for a woman’s righteous fury.

Fields went on to have an R&B hit in 1982 with If It Ain’t One Thing, It’s Another (a re-recording of a track he had originally released in 1975), and a number of low-charting releases, but he enjoyed less success than he deserved. Dimples, his nickname by which he went on his later recordings (given to him for his ready smile), died at only 57 in 2000.

Jones Girls
His She’s Got Papers On Me is one of two tracks here which I might have held back for a mix I’m plotting of songs with spoken words; the other is The Jones Girls I Just Love The Man, in which the girl’s take issue with the quality of a sister’s no-good boyfriend. In some families, I suspect, this song could be the national anthem.

The sisters — Shirley, Brenda and Valerie  — found success with Gamble & Huff, having first been mentored by Curtis Mayfield, through whom they got to work with Aretha Franklin. It was as a support act for Diana Ross that the Jones Girls came to Gamble & Huff’s attention. Besides releasing their own albums, they also provided backing vocals for the PIR roster. Of the three sisters, only lead singer Shirley (who in the featured song is the no-good man’s girlfriend) is still alive. Valorie died in 2001; Brenda in 2017. The Jones Girls previously featured on Any Major Soul 1980/81 and Any Major Soul 1978/79.

Apollo Creed sings!
One singer here is more famous as a movie star, or even as an American football player than as a soul crooner. In 1981, Carl Weathers (Apollo Creed in Rocky). You Ought To Be With Me, on which the actor has a writing credit, was his single foray into recording music. Which is a pity: Weathers is doing a creditable job of it.

Blues ‘n’ Soul
Another act is not really known as a soul singer. Bobby Rush was a veteran blues singer by the time Talk To Your Daughter came out. As a young man, he was friends with blues legends like Elmore James and Pinetop Perkins, and with Ike Turner. The featured track is from the period in his long career when Rush was produced by Philly soul pioneer Kenny Gamble. Rush, who veers into the fields of soul, funk and even hip hop, won his first Grammy in 2017, at the age of 87.

Tutored by B.B.
And a nephew of Rush’s old pal Emore James features here, too. L.V. Johnson was better known as a session guitarist — he was taught to play that instrument by B.B. King — for acts like the Bar-Kays, Johnnie Taylor, and the Soul Children. After strumming and also writing for other acts, and releasing a few singles in the 1970s, he released his debut album in 1981 (it also included a soul version of Danny Boy, featured on Covered With Soul Vol. 22). Several albums followed, none particularly successful. L.V. Johnson died in 1994 at the age of 48.

Feva
Sandra Feva released three LPs and a succession of singles, under her stage name and real name, Sandra Richardson. The breakthrough never came, but in the 1980s Feva was also a session singer, backing he likes of Aretha Franklin (including on Who’s Zooming Who), Prince, George Clinton/Paliament/Funkadelic, and others. Feva died at 73 in 2020.

As always, CD-R length, covers, text above in PDF, PW in comments…

1. The Whispers – Love Is Where You Find It
2. Luther Vandross – Sugar And Spice
3. Ray Parker Jr. – A Woman Needs Love
4. Sandra Feva – Tell ’Em That I Heard It
5. Tyrone Davis – Love (Ain’t Over There)
6. Chaka Khan – Any Old Sunday
7. The Jones Girls – I Just Love The Man
8. Richard ‘Dimples’ Fields feat. Betty Wright – She’s Got Papers On Me
9. Al Jarreau – Breakin’ Away
10. Debra Laws feat. Ronnie Laws – Very Special
11. Bobby Womack – Where Do We Go From Here?
12. Thelma Houston – There’s No Running Away From Love
13. Carl Weathers – You Ought To Be With Me
14. Yvonne Gage – Tonight (I Wanna Love You)
15. Earth, Wind & Fire – Wanna Be With You
16. L.V. Johnson – We Belong Together
17. Bobby Rush – Talk To Your Daughter
Bonus track: Fifth Avenue – Miracles

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More Any Major Soul

We’re now breaking into the Top 20 in the series of the Top 75 pop acts, as compiled by me and my trusty assistants at Rolling Stone magazine, compiled according to the system I explained in the first part. To jog your memory, it’s a combination of Rolling Stone magazine’s Top 100, my own Top 75, plus bonus points for the level of influence an act has had on pop history or their genre, and more bonus points for how many albums of each at I own (because the list should skew in some way to my taste).

The listed acts are accompanied by a notional “favourite song”. As discussed last time, there usually isn’t such a thing as one “favourite” song. I also made concessions. In this lot, for example, I chose as AC/DC’s song the live version of A Whole Lotta Rosie. If pressed, I’d say Ride On is my favourite track of the group, because it has been that for the past 40 years. But Ride On, a slow blues-rock number, is not really representative of AC/DC. So Rosie it was.

Choosing a track for Chuck Berry also required consideration. It might have been School Days or Too Much Monkey Business or You Never Can Tell, but I opted for the one with the lyrics that frightened the WASP establishment (until people like #32 covered it, and drew that sting).

The Rock & Roll pioneers who ranked highly in the RS list dropped down on mine perhaps a little unfairly, losing crucial points in the category of albums by particular artists I own. I tend to have collections of their works, rather than albums (the same quirk pulled Hendrix and Ray Charles down, and gave Queen a rather unfair boost, thanks to the esteem I used to hold them when I accumulated their earlier LPs).

The rankings are subjective, of course. I acknowledge that most people will regard Cooke, Holly or Little Richard to be greater and certainly more influential acts than, say, Gil Scott-Heron (though impact was considered in the points allocation). But the points fell as they fell…

And they fell favourably towards John Lennon, who is featuring here purely on form of his solo output. Rolling Stone ranked him far too highly at #38 (and McCartney not at all); on my list he even crept up a few places, on strength of the great number of Lennon LPs I own (which reminds me that I once owned a Japanese pressing of the Wedding Album, with all the inserts. It’s worth about $99 now).

I’m glad that I have been able to give relief to the absurd ranking Rolling Stone gave Michael Jackson. Much as I think Thriller is overrated, and everything after Thriller substandard, Off The Wall is a near-perfect album, and his work with The Jackson 5/The Jacksons is superb. But, of course, the sum of his music isn’t the total of his career. Jackson’s influence was arguably third only to that of Elvis and The Beatles; that merited more than 35^th place — and perhaps more than #18, especially when you see in the final instalment next month who’s at #17.

Here are places 34 to 18 (Rolling Stone Top 100 ranking in brackets), and featured track. The playlist follows a more logical sequence. As always, CD-R length, home-ranked covers, PW in comments. Plus: as before, the text here is included in PDF format for future reference.

34 (—-) Isaac Hayes – I Stand Accused (1970)
33 (16) Sam Cooke – A Change Is Gonna Come (1964)
32 (13) Buddy Holly – That’ll Be The Day (1957)
31  (8)  Little Richard – Ooh! My Soul (1958)
30 (38) John Lennon – Instant Karma (1970)
29 (—-) Kris Kristofferson – Sunday Mornin’ Comin’ Down (1970)
28 (—-) Gil Scott-Heron – The Needle’s Eye (1971)
27 (72) AC/DC – Whole Lotta Rosie (live, 1978)
26 (52) Queen – Don’t Stop Me Now (1978)
25 (39) David Bowie – Changes (1971)
24 (21) Otis Redding – I’ve Been Loving You Too Long (1965)
23 (10) Ray Charles – What’d I Say (1959)
22  (6)  Jimi Hendrix – The Wind Cries Mary (1967)
21  (5)  Chuck Berry – Brown Eyed Handsome Man (1956)
20 (42) Van Morrison – And It Stoned Me (1970)
19 (—-) Earth, Wind & Fire – Reasons (live, 1975)
18 (35) Michael Jackson – Rock With You (1979)

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More CD-R Mixes
More Any Major Top 75

Lately my Gmail account has been swamped with spam, mostly of the variety that urges me to diet, lift weights or eat sourdough bread. I’m telling you this not because I consider the nature of my spam to be of global interest, but because I fear that in the anthill that is my inbox, I quite likely overlooked some emails from kind people who have bought me cups of coffee (to go with the sourdough bread?) whom I should have liked to thank for their benevolence.

So, if you have bought me “coffee” and I haven’t thanked you personally, I apologise and take this route to thank you very kindly for keeping me duly caffeinated (I’m referring, of course, to the Buy Me A Coffee thingy you find at www.buymeacoffee.com). I truly appreciate it.

And seeing as there are good people have bought me coffee, let me return the favour by offering this third mix of songs about coffee. For the purpose of this mix, I revisited the first two coffee mixes, which I posted in 2016. I hadn’t listened to them for a while; I was surprised by just good they are. Grab Any Major Coffee Vol. 1 and Any Major Coffee Vol. 2.

I hope this third mix matches the quality of the first two. Here I have slightly relaxed my rule that the songs have to be about actual coffee and allowed a couple of tracks that use coffee as a metaphor (still, no You’re So Vain, great song though it is). One of those, the deceptively simply-titled song by David Allen Coe, might best not be played around children, your granny or Mike Pence. Let’s just say that Coe had a lot of fun making coffee sound salacious. I’ve added a bonus track which you could replace the Coe song with, in case gran or Mike Pence come to visit.

And, as I said in the text for the first mix: If you are a coffee-drinker and this mix — or the mere reminder of caffeine — motivates you to go out in search for a fix, please do me a kindness and seek out an independent coffee shop/café. These independents are being squeezed out by the franchise stores, led by the unaccountably popular Starbucks. And Covid has turned the screws on them further. Help keep the independent coffeeshops and cafés going.

As always, the mix is timed to fit on a standard CD-R and includes home-caffeinated covers.

1. Emmylou Harris & Rodney Crowell – Black Caffeine (2013)
2. Nazareth – Java Blues (1981)
3. Ike & Tina Turner – Black Coffee (1972)
4. Hank Ballard – The Coffee Grind (1960)
5. Mississippi John Hurt – Coffee Blues (1966)
6. Brook Benton – Another Cup Of Coffee (1964)
7. Curtis Gordon – Caffeine And Nicotine (1954)
8. Glen Glenn – One Cup Of Coffee (And A Cigarette) (1958)
9. Mike Pedicin – Burnt Toast And Black Coffee (1961)
10. Eddie Marshall – Coffee, Cigarettes And Tears (1951)
11. Bobby Darin – Black Coffee (1959)
12. Abbey Lincoln – A Lonesome Cup Of Coffee (1957)
13. Frank Sinatra – The Coffee Song (1967)
14. The Andrews Sisters – Proper Cup Of Coffee (1958)
15. Michael O’Brien – Low Fat Latte (2007)
16. Ron Sexsmith & Don Kerr – Raindrops In My Coffee (2005)
17. Mark Heard – Nod Over Coffee (1991)
18. Amos Lee – Night Train (2006)
19. Squeeze – Black Coffee In Bed (1981)
20. Ben Folds – Free Coffee (2008)
21. Mischief Brew – Coffee, God, And Cigarettes (2006)
22. David Allen Coe – Coffee (1990)
23. Bill Anderson – Sugar In Your Coffee (1972)
24. Tom T. Hall – Don’t Forget The Coffee, Billie Joe (1973)
25. Conway Twitty – I’ll Have Another Cup Of Coffee (Then I’ll Go) (1966)

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More Mix-CD-Rs
More Coffee Mixes

The Reaper continued his furious ways for the first half of the month, culminating in 16 deaths in four days, between February 16-19. After that, things eased up a little. And while I was preparing the February round-up, news came of the death of Bunny Wailer, who’ll feature next month.

The Supreme
In 1959, Detroit teenager Betty McGlown was roped in by her boyfriend Paul Williams to form a singing group. Betty recruited the talented local teenager Florence Ballard, who then recruited her friend Mary Wilson, and Mary in turn recruited a girl from her school called Diane. Finally Betty herself joined, but soon left again. The new group was called The Primettes, to support a boy band who called themselves The Primes, with guitarist Marvin Tarplin backing the girls.

You know how the story ends: The Primes became The Temptations, the group Betty, Florence and Mary founded became The Supremes, and Diane became Diana. Soon enough, Florence and Mary were reduced to be Diana’s backing singers, even though there are those who credit them with being as good, or even better, singers than Diana (but not as good interpreters of lyrics). Still, the trio had success like no girl group had ever had.

Eventually Florence would be thrown out of the band, and Diana would make a diva-like exit, but Wilson stuck it out with new line-ups, even enjoying a few hits without Diana (despite Motown’s less-than-enthusiastic promotion), until the group split in 1977. Wilson was a constant throughout the life of The Supremes. In 1979 she released a solo album, which was not bad and certainly showed that Mary really could sing. Motown didn’t promote it, and dropped Wilson while she was recording a follow-up.

Wilson worked in the theatre in the 1980s, and published her bestselling memoirs in 1986 in which she refers to Ross only as “Diane”, and generally took a dimmer view of her old friend than she would in later years. Wilson, who suffered personal tragedy in 1994 when her 14-year-old son died in a car accident, recorded intermittently, with her final outing in 2015. In 2019 she featured on the Dancing With the Stars TV show. She still planned for future when she suddenly died at 76.

The Fusion Pioneer
Without Chick Corea, who knows how jazz might have developed, especially in its fusion forms? Corea had a guiding hand in Miles Davis’ pioneering work in jazz-rock fusion. In his own work, he was always seeking, experimenting and breaking ground. Corea could be free-jazzing as well as producing works of exquisite melodic beauty, and even creating modern classical music.

Born Armando Corea, the son of a jazz musician was already in his early 20s played with pioneers such as Mongo Santamaria, Willie Bobo, Cal Tjader, Blue Mitchell, Herbie Mann, Hubert Laws, and Stan Getz. Corea won 23 Grammys and was nominated for 60, which is impressive, even if one regards those awards dimly.

The Knight Writer
Even if you don’t know the name of Jim Weatherly, the country singer-songwriter (and one-time all-star quarterback) who has died at 77, you’ll probably know his most famous three songs. All three were big hits for Gladys Knight & The Pips, who recorded a dozen of Weatherly compositions. There’s the gorgeous Best Thing That Ever Happened To Me, the heartbreaking Neither One Of Us, and the most famous one of them: Midnight Train To Georgia. That song wasn’t called that when Weatherly first wrote and recorded it. Then it was Midnight Plane To Houston (that was changed when, ironically enough, Cissy Houston covered it). The story and Weatherley’s original version, as well as the original of Best Thing That Ever Happened To Me by Steve Lawrence, is in The Originals – Soul Vol. 1. Neither One Of Us features on The Originals – Soul Vol. 2, which was in the works when Weatherly died.

The Salsa Pioneer
In the world of Latin music, Johnny Pacheco was a pivotal figure. Born in the Dominican Republic, Pacheco helped develop the salsa scene, fusing it with other Latin rhythms, especially Cuban styles. He even lent part of his name to a dancestyle and subgenre in the late 1950s, the Pachenga, which became hugely popular in the United States in the early 1960s.

Pacheco, a percussionist who came to the US at 11, co-founded a record label, Fania, in 1964. It became the premium producer of salsa records, while Pachega led its house band in jam sessions (descargas) with sine of the greatest names in Latin jazz, under the Fania All-Stars banner (among those playing on the featured track are Mongo Santamaria, Jan Hammer, Manu Dibango, Bobby Valentin and guitarist Jorge Santana). Pachega, who was also a prolific songwriter, was awarded the Latin Grammy Lifetime Achievement Award in 2005, and the Dominican Republic’s Presidential Medal of Honour.The Electric Light Conductor
Do you remember the Hooked On Classics series in the 1980s? Sort of based on the Stars on 45 model, it was created and produced by English arranger and conductor Louis Clark. If that doesn’t impress you (and it’s OK if it doesn’t), his marvellous work with the Electric Light Orchestra should. All those wonderful string arrangements on ELO songs were co-created by Clark. Later, in 1983, he played keyboards for ELO on tour. After ELO and the Royal Philharmonic hooking us on the classics, Clark arranged for the likes of Ozzy Osborne, Roy Orbison, Asia, Kiki Dee, and others.

The Producer
If you own a Neil Young record made between 1971 and 1992, chances are that producer and engineer Elliot Mazer had a hand in it. Before he hooked up with Young, he had worked with acts as diverse as Chubby Checker, Janis Joplin and Gordon Lightfoot. For Joplin he produced tracks like Try (Just A Little Bit Harder); for Lightfoot he produced If I Could. He produced and engineered Linda Ronstadt’s debut Silk Purse, and then set to work assembling the Stray Gators, the backing band for Neil Young with which they’d record the Harvest album (with the classics Heart Of Gold and The Needle And The Damage Done). He later produced acts such as Barclay James Harvest, Frankie Miller, Juice Newton, David Soul, and the Dead Kennedys.

The Silence Of Music
By cruel coincidence, The Sound of Music’s original London stage Maria, Jean Bayless, and the film’s Captain von Trapp died on the same day. Spookily, on that very day I learnt that Edelweiss was the last song Oscar Hammerstein ever wrote. In the film, it’s not Christopher Plummer who sings that song; it was dubbed. Plummer hated The Sound of Music with a special passion anyway. So the song included here as the tribute to him is from the stage musical Cyrano. Whereas Bayless gets the title song of the musical she helped inaugurate.

The Emcee
You’ll have watched, and probably admired, Danny Ray if you have ever watched James Brown’s theatrics during his performances of Please Please Please. Brown is led off in a state of emotional exhaustion, and Ray dotingly drapes a vape over his boss’ shoulders, whereupon Brown explodes with a burst of energy to restate his plea to the object of his affection to please not go. The scene repeats itself to comic effect.

Ray was the show’s emcee, so the introductions and outros (and occasional interjections) during Brown’s shows from the 1960s till the singer’s death in 2006 was his work. At Brown’s funeral, Ray draped a gold cape over the coffin of his boss, who had finally departed the stage.

As always, this post is reproduced in PDF format in the package, which also includes my personal playlist of the featured tracks. PW in comments.

Danny Ray, 85, James Brown’s emcee, on Feb. 2
Danny Ray – Introduction Of The J.B.s (1972)

Aaron Wegelin, ex-drummer of indie band Elf Power, on Feb. 2
Elf Power – Jane (1999)

Jim Weatherly, 77, country singer-songwriter, on Feb. 3
Cissy Houston – Midnight Train To Georgia (1972, as writer)
Jim Weatherly – Where Peaceful Waters Flow (1973, also as writer)
Gladys Knight & The Pips – Best Thing That Ever Happened To Me (1973, as writer)
Jim Weatherly – All That Keeps Me Going (1977, also as writer)

Anne Feeney, 69, folk singer-songwriter, on Feb. 3
Anne Feeney – Have You Been To Jail for Justice? (1969)

Kris De Bruyne, 70, Belgian singer, on Feb. 3

Nolan Porter, 71, soul singer-songwriter, on Feb. 3
N.F. Porter – Keep On Keeping On (1971)

Gil Saunders, soul singer with Harold Melvin & the Blue Notes, on Feb 3
Harold Melvin & The Blue Notes – Today’s Your Lucky Day (1984, on lead vocals)

Jaime Murrell, 71, Panamanian Christian singer-songwriter, on Feb. 4

Matt Harris, bassist of rock band The Posies, on Feb. 4
The Posies – Second Time Around (2005)

Stefan Cush, 60, singer with UK folk-punk group The Men They Couldn’t Hang, on Feb. 4
The Men They Couldn’t Hang – Ironmaster (1975)
The Men They Couldn’t Hang – The Colours (1988)

Örs Siklósi, 29, singer of Hungarian metal band AWS, on Feb. 5

Christopher Plummer, 91, Canadian actor and stage singer, on Feb. 5
Christopher Plummer – Roxana (1973, from the musical Cyrano)

Jean Bayless, 88, British actress and original Sound of Music Maria, on Feb. 5
Jean Bayless – The Sound Of Music (1961)

Douglas Miller, 71, gospel singer, on Jan. 5

Elliot Mazer, 79, producer and engineer, on Feb. 7
Linda Ronstadt – Long Long Time (1970, as producer)
Neil Young – Old Man (1972, as co-producer)
Frankie Miller – A Fool In Love (1976, as producer)

Corrado Francia, 73, Italian singer, on Feb. 8

Mary Wilson, 76, soul singer with The Supremes, on Feb. 8
The Supremes – Our Day Will Come (1965, on lead vocals)
The Supremes – Floy Joy (1971, on lead vocals)
Mary Wilson – Pick Up The Pieces (1979)
Mary Wilson – Time To Move On (2015)

Servando Cano Rodríguez, 78, Mexican singer-songwriter and producer, on Feb. 8

Cedrick Cotton, 46, singer with R&B band Ideal, fatally stabbed on Feb. 9
Ideal – Get Gone (1999)

Chick Corea, 79, jazz keyboardist and songwriter, on Feb. 9
Hubert Laws – All Soul (1964, on piano as Armando Corea)
Chick Corea – Spain (1972, also as composer)
Chick Corea – The One Step (1978, also as composer)

Richie Albright, 81, drummer of Waylon Jennings’ group Waymore’s Outlaws, on Feb. 9
Jessi Colter – For The First Time (1975, on drums)
Waylon & Willie – Mammas Don’t Let Your Babies Grow Up To Be Cowboys (1978, on drums)

Lee Sexton, 92, banjo player, on Feb. 10

Jon Mark (Burchell), 77, English folk singer-songwriter and guitarist, on Feb. 10
Jon Mark – Paris Bells (1965)

Antonis Kalogiannis, 80, Greek singer, on Feb. 11

Milford Graves, 79, pioneering free jazz drummer, on Feb. 12

Louis Clark, 73, English arranger, conductor and keyboardist, on Feb. 13
Electric Light Orchestra – Mr. Blue Sky (1977, orchestral arranger)
Asia – Rock And Roll Dream (1985, as orchestral conductor)

Sydney Devine, 81, Scottish singer, on Feb. 13

Ari Gold, 47, American singer-songwriter, on Feb. 14
Ari Gold – Love Wasn’t Built In A Day (2007)

Erriquez, 60, singer, guitarist with Italian folk band Bandabardò, on Feb. 14

Raymond Lévesque, 92, Canadian singer-songwriter, actor, on Feb. 15
Raymond Lévesque – Quand les hommes vivront d’amour (1956, also as writer)

Johnny Pacheco, 85, Dominican salsa musician and label executive, on Feb. 15
Pacheco Y Su Charanga – La Malanga (1961)
Johnny Pacheco with Pete Rodriguez – Alto Songo (1971)
Celia Cruz & Johnny Pacheco – Toro Mata (1974)
Fania All Stars – El Raton (1974)

Soul Jah Love, 31, Zimbabwean reggae singer, on Feb. 16

Tonton David, 53, French reggae singer, on Feb. 16
Tonton David – Pretoria (1991)

Erik Swanson, 57, Western swing musician, on Feb. 16

U-Roy, 78, Jamaican reggae singer, on Feb. 17
Hugh Roy & John Holt – Wear You To The Ball (1970)

Omar Moreno Palacios, 82, Argentine folk singer-songwriter, guitarist, on Feb. 17

Andrea Lo Vecchio, 78, Italian singer, songwriter, producer, on Feb. 17
Andrea Lo Vecchio – Dorme la città (1964)

Marc Ellington, 75, Scottish folk-rock singer-songwriter, on Feb. 17
Marc Ellington – Oh No, It Can’t Be So (1971)

Françoise Cactus, 56, French musician with Berlin duo Stereo Total, on Feb. 17
Stereo Total – L’amour à trois (2001)

Gaston Georis, 79, keyboardist of surf rock band The Sandals, on Feb. 17
The Sandals – Theme from Endless Summer (1964, also as co-writer)

Prince Markie Dee, 52, rapper with The Fat Boys, on Feb. 18
Fat Boys – Can You Feel It (1984)
Prince Markie Dee -Typical Reasons (Swing My Way) (1992)

Miles Seaton, 41, member of folk-rock group Akron/Family, announced Feb. 18
Akron/Family – Until The Morning (2013, on vocals)

Mark Ellen, drummer of Vanity Fare (1972-2015), on Feb. 18

James Burke, 70, singer with soul band Five Stairsteps, on Feb. 19
The Five Stairsteps – Don’t Waste Your Time (1966)
The Five Stairsteps – We Must Be in Love (1969)

Đorđe Balašević, 67, Serbian singer-songwriter, on Feb. 19

Philippe Chatel, 72, French singer-songwriter, on Feb. 19
Philippe Chatel – Ma lycéenne (1979)

Luigi Albertelli, 86, Italian songwriter, on Feb. 19
Bobby Solo – Zingara (1969, as co-writer)

Gene Taylor, 68, rock and blues keyboardist and guitarist, on Feb. 20
The Fabulous Thunderbirds – Roll Of The Dice (1995, on piano)

Chris Ajilo, 91, Nigerian highlife musician, on Feb. 20
Chris Ajilo & His Cubanos – Afro Mood (early 1960s)

Hélène Martin, 92, French singer and songwriter, on Feb. 21
Hélène Martin – Le condamné à mort (1968)

Sean Kennedy, 35, Australian metal bassist, suicide on Feb. 23

Peter Ostroushko, 67, folk-violinist and mandolinist, on Feb. 24
Bob Dylan – If You See Her, Say Hello (1975, on mandolin)
Peter Ostroushko – Heart Of The Heartland (1995)

Bob James, 68, singer-songwriter with rock band Montrose, on Feb. 26
Montrose – Let’s Go (1976, on lead vocals and as co-writer)

Danilo Rustici, 72, guitarist of Italian prog-rock band Osanna, on Feb. 27
Osanna – L’uomo (1971)

Ian North, 68, founder of power pop band Milk ‘N’ Cookies, on Feb. 28
Milk ‘N’ Cookies – The Last Letter (1975)

Anna Kast, 39, singer with Russian rave band Little Big, on Feb. 28

Jorge Oñate, 71, Colombian folk singer, on Feb. 28
Jorge Oñate & Nicolas ‘Colacho’ Mendoza – Ausencia (1977)

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Previous In Memoriams

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In part 2 of the lesser-known originals of soul classics, we look at the sources of two of Roberta Flack’s most famous songs, a few more originals of Gladys Knight hits, how the Pointer Sisters got to cover a Springsteen song he never recorded, the first version of ‘60s classic Tell Him, and much more… And when you hear the Kim Weston song, listen to the background vocals: they are by the trio known at Motown as The No-Hit Supremes. If you don’t feel like reading all this now, the package includes an illustrated PDF booklet with all the text below.

Tell Him
A few months before The Exciters had their 1963 hit with Tell Him, a singer named Gil Hamilton, one-time touring member of The Drifters, tried his luck with the first recording of what is now a quintessential girl-band song. Gil Hamilton had no hit with the Bert Berns-written track. Nor did he have any luck with his other two singles. Then he changed his name Johnny Thunder, made himself nine years younger, and had a 1963 hit with the novelty R&B number Loop de Loop (itself a cover), backed by The Bobettes, who featured on the ABC of the 1950s mix. It was his only hit of significance.

The Exciters had their hit in early 1963, with the production by Jerry Leiber and Mike Stoller, recorded in October 1962, five months after Hamilton did. It would be their only Top 10, but apparently their version inspired Dusty Springfield to try her hand at a solo career.

Killing Me Softly With His Song
There are two stories describing the genesis of Killing Me Softly With His Song. The more widely-spread story has folk-singer Lori Lieberman so moved by Don McLean’s live performance of the song Empty Chairs that she wrote a poem about it, with the title Killing Me Softly With His Blues. The composers Charles Fox and Norman Gimbel, who were taking time out from their impressive TV theme production line (such as Happy Days) to write songs for Lieberman’s self-titled debut album, used her poem as the basis for the song which she would be the first to record in 1971, releasing it the following year.

That is the version of Lieberman. Gimbel’s recollection is very different. In an e-mail to this blog some years ago, he explained how it was an unnamed book he was referred to years earlier by composer Lalo Shifre that featured the line “Killing Me Softly With His Blues” (the title of the poem Lieberman says she wrote). He liked the idea and stored it away for a few years until he needed lyrics for the Lieberman album, changing the word “blues” to “song”. Gimbel died in December 2018.

Which of these two versions is the correct one? Who can say? Lieberman didn’t score a big hit with the song, but Roberta Flack stumbled upon it in 1972 while reading about Lieberman in the TWA airline magazine. Her interest piqued by the title of the song, she tuned into it on the in-flight radio, and decided to record it herself. Over a period of three months, Flack experimented with and rearranged the song, changing the chord structure, adding the soaring ad libs and ending the song on a major chord where Lieberman did it with a minor. Her remake made an immediate impression, topping the US charts for four weeks and reaching #6 in Britain. Her version won Grammys for Song of the Year, Record of the Year and Best Pop Vocal Performance.

Almost a quarter of a century later, in 1996, Killing Me Softly – its full title by now routinely and redundantly castrated – made a return to the album charts in the form of the Fugees’ cover (it wasn’t released as a single so as to boost album sales). Lauryn Hill’s vocals are fine, though the hip hop arrangement negates the confessional intimacy of Flack’s, or indeed Lieberman’s, version. And that would be adequate; the mood of a lyric often is disengaged from a song’s sound to little detriment (think of all the great upbeat numbers with morose lyrics). Besides, the Fugees had conceived of the song as an anti-drug anthem with the revised title Killing Him Softly, a plan that was abandoned when they were denied permission for such modification.

The whole exercise becomes something of a prank, however, thanks to Wyclef Jean’s repeated intonation of “one time” and “two time”, as though he was auditioning for the role of parody DJ on Sesame Street. No matter how affecting Hill’s vocals, Wycount von Count’s antics render the Fugees’ version one of the most deplorable covers in pop.

The First Time Ever I Saw Your Face
The first time ever we heard this song probably was in the version by Roberta Flack, whose performance on her 1969 debut album was barely noticed until it was included in Clint Eastwood’s 1971 film Play Misty For Me. Those who dig deeper will know that it was written in the 1950s by British folk legend Ewan MacColl, for Peggy Seeger (Pete’s half-sister) with whom he was having an affair and who would become his third wife. She sang it on the song’s first recording, released in 1962.

For MacColl, the political troubadour, the song is a radical departure, supporting the notion that he didn’t just write it for inclusion in Peggy’s repertoire but as the intimate declaration of love it is. Followers of the 1960s folk scene might have known the song before they heard the Flack version; it was a staple of the genre. The Kingston Trio even cleaned up the lyrics, changing the line “The first time ever I lay with you…” to the more prissy “…ever I held you near”. After the success of Flack’s intense, tender, sensual, touching and definitive version — which captures the experience of being with somebody you love better than most other songs — there was an explosion of covers, with Elvis Presley’s bombastic version especially infuriating MacColl, who compared it to Romeo singing up at Juliet on the Post Office tower.

It does seem that he did not take kindly to the intimacy of his song being spread widely and, indeed, corrupted. And Peggy Seeger never sang the song again after Ewan’s death in 1989.

Neither One Of Us
In February this year we lost Jim Weatherley, who wrote Neither One Of Us, as well as Midnight Train To Georgia (featured on The Originals Soul Edition Vol. 1) and Best Thing That Ever Happened To Me, all hits for Gladys Knight & The Pips — who recorded a total of 12 Weatherley songs. Neither One Of Us was the first of them, giving Knight and Pips their biggest hit to date — with their final record on Motown before their fertile move to Buddah.

Neither One Of Us was first recorded by Weatherley, an ex-football player turned country singer-songwriter, and appeared on his eponymous debut album in 1972, which also featured the song then still known Midnight Plane To Houston, before its mode of transport and destination were changed.

I’ve Got To Use My Imagination
The move to Buddha was good for Gladys Knight & The Pips. Treated like unwanted stepchildren on Motown, they now enjoyed a string of hits. One of these was I’ve Got To Use My Imagination, which was written by Gerry Goffin (Carole King’s ex-partner) with blues musician Barry Goldberg, who released the song a month before it appeared on Knight’s Imagination album in November 1973. The single was the follow-up to the chart-topper Midnight Train To Georgia, and reached #4 in the US. Their next single was Weatherley’s Best Thing That Ever Happened To Me (the original version, by Steve Lawrence featured on the Soul Originals Vol. 1).

Goldberg’s version is very different from Gladys’ smooth interpretation. His blues background is very much evident. A decade earlier, Goldberg had played with Muddy Waters, Otis Rush, and Howlin’ Wolf. He then played keyboards with the Paul Butterfield Blues Band, in which capacity he was part of the backing band as Bob Dylan went electric at the 1965 Newport Folk Festival. In 1967 he founded The Electric Flag with Mike Bloomfield, and then formed a band with Steve Miller.

Fire
We don’t really regard Bruce Springsteen as the writer of classic soul songs, and he wasn’t best pleased when The Pointer Sisters had a 1979 hit with the song that had failed to make the cut for his Darkness On The Edge Of Town album. While Springsteen was still searching for his first big hit, a year earlier Patti Smith scored a global smash with his Because The Night (another Darkness reject), and before that Manfred Mann’s Earthband had a hit with his Blinded By The Light. Now even a group of soul sisters had a hit with one of his songs. Springsteen would finally have a hit with Hungry Heart in 1980 — a song he had written with the Ramones in mind.

Springsteen didn’t record Fire, though it was part of his live setlist in the late 1970s. Instead he gave the song to a friend of E Street Band bassist Garry Talent, a rockabilly singer named Robert Gordon. Springsteen had seen Gordon on stage with guitarist Link Wray, and evidently thought that this singer would give the song the appropriate treatment. Gordon and Wray recorded it in December 1977.

The Pointer Sisters came to Fire through their producer, Richard Perry, who had a cassette bootleg of Springsteen singing it in concert. He thought it would make a great song for Anita Pointer — and the song’s success proved him right. Fire was released in October 1978 as the lead single for the Sisters’ Energy album. Springsteen finally had a hit with Fire in 1987, with a live recording from December 1978…

I’m In Love
Here’s one song that ties in three legends of soul: Bobby Womack, who wrote I’m In Love during his enforced social and professional exile for marrying Sam Cooke’s widow, as a declaration of the authenticity of his love for the erstwhile Mrs Cooke. But Womack gave the song to Wilson Pickett who recorded it in 1967. Just after Pickett’s version was released, Womack also recorded his version. Pickett’s version did fairly good business, reaching #4 on the R&B charts, and #45 on the Billboard Hot 100.

In 1974 Aretha Franklin released her marvellous version and had greater success with it, topping the R&B charts and reaching #19 on the Hit 100.

It Hurts So Good
Written by soul singer-songwriter and producer Philip Mitchell, It Hurts So Good was one of the signature songs for Millie Jackson and a 1975 hit for Susan Cadogan & The Diamonds. But first it was recorded in 1971 by Katie Love and The Four Shades of Black, for whom it was the only record. Katie Love would release one more single in 1973, and that was it for her recording career.

In Millie Jackson’s version, It Hurts So Good reached #3 the R&B charts and #24 on the US Billboard Hot 100 pop chart (it also featured in the blaxploitation film Cleopatra Jones). It was the first time Jackson’s appeared in her real voice — on her debut album, the producers sped up her deep voice to make it sound higher. So on the follow-up, Jackson was a co-producer, preventing any meddling with her natural voice.…

Due to Jackson’s raunchy image, people with impure minds have suggested that the song was about the joys of the kind of intercourse that could get you arrested in many states. It’s not, but if it was, I hope Millie’s partner did not “bounce me like a rubber ball”.

Love On A Two-Way Street
The song which The Moments recorded in 1968 and had a hit with two years later has been given second and third lives, first by the 1981 hit version by Stacy Lattislaw and later by way of the instantly recognisable sample on the Alicia Keys & Jay-Z hit Empire State of Mind. But before The Moments got around to it, a singer named Lezli Valentine recorded Love On A Two-Way Street (with the sample Jay-Z would lift from The Moments’ version). It was one of just three records she released, all on the All Platinum label, owned by future sex-song siren and hip-hop impresario Sylvia Robinson.

Robinson shares the writing credit with Bert Keyes, who had co-written Nat King Cole’s 1958 hit Angel Smile. But Valentine insisted that she should have received a writing credit, too, for contributing a significant chunk of the lyrics. Legal steps she took apparently amounted to nothing.

Show And Tell
It’s quite a coincidence that on the album on which Johnny Mathis gives us an original, he also covered two songs featured here: Neither One Of Us and Killing Me Softly With Her Song, the title track of his 1972 LP. Written by Jerry Fuller (whose biggest songwriting hit was Gary Puckett & Union Gap’s Young Girl), Show And Tell gave Mathis a minor Easy Listening hit.

In 1973, the song was covered by soul singer Al Wilson, who topped the US charts with in January 1974. It later was also a R&B hit for Peabo Bryson.

Ai No Corrida
It’s a far way from England’s gritty post-punk scene to the shiny LA studios governed by Quincy Jones, but so it was with Ai No Corrida. The song was first recorded by Chaz Jankel, erstwhile member of Ian Dury’s Blockheads, who co-wrote it with US songwriter Kenny Young, who sadly featured in the In Memoriam – April 2020 post.

Ai No Corrida was inspired by the Japanese 1976 film In the Realm of the Senses, originally titled Ai no Korīda (“Bullfight of Love”), a film that was precluded from general release due to scenes of unsimulated sex.

Somehow Jankel’s version came to the attention of Quincy Jones, who polished it up, handed the lead vocals to a singer going by the name of Dune (with Patti Austin assisting), and put it on his The Duke album, whence it became a global hit.

As always, CD-R length, home-basslined covers, all the above text in an illustrated PDF booklet, PW in comments. PLUS: three surprise bonus tracks of originals of future hits by Aretha Franklin!

1. Chaz Jankel – Ai No Corrida (1980)
The Usurper: Quincy Jones (1981)

2. Average White Band – What Cha’ Gonna Do For Me (1980)
The Usurper: Chaka Khan (1981)

3. Turley Richards – You Might Need Somebody (1979)
The Usurpers: Randy Crawford (1981), Shola Ama (1997)

4. Jim Weatherly – Neither One Of Us (Wants To Be The First To Say Good-bye) (1972)
The Usurpers: Gladys Knight & The Pips (1972), Bob Luman (1973)

5. Lori Lieberman – Killing Me Softly With His Song (1972)
The Usurpers: Roberta Flack (1968), The Fugees (1996)

6. Eddy Arnold – You Don’t Know Me (1956)
The Usurpers: Ray Charles (1962), Mickey Gilley (1981)

7. Sonny Thompson with Lula Reed – I’ll Drown In My Tears (1952)
The Usurpers: Ray Charles (1956), Aretha Franklin (1967), Simply Red (1986)

8. Al Braggs – Cigarettes And Coffee (1962)
The Usurper: Otis Redding (1966)

9. Arthur Prysock – My Special Prayer (1964)
The Usurper: Percy Sledge (1969)

10. Dan Penn – I’m Your Puppet (1965)
The Usurper: James & Bobby Purify (1966)

11. Jerry Butler – I Stand Accused (1964)
The Usurper: Isaac Hayes (1970)

12. Dyke & the Blazers – Funky Broadway (Part 1) (1966)
The Usurper: Wilson Pickett (1967)

13. Wilson Pickett – I’m In Love (1967)
The Usurper: Aretha Franklin (1974)

14. Katie Love and the Four Shades – It Hurts So Good (1971)
The Usurpers: Millie Jackson (1973), Susan Cadogan (1974), Jimmy Somerville (1995)

15. Lezli Valentine – Love On A Two Way Street (1968)
The Usurper: The Moments (1970), Stacy Lattisaw (1981)

16. Johnny Mathis – Show And Tell (1972)
The Usurper: Al Wilson (1973), Peabo Bryson (1989)

17. David Oliver – Love TKO (1980)
The Usurper: Teddy Pendergrass (1980)

18. Ruby and the Romantics – Hey There Lonely Boy (1963)
The Usurpers: Eddie Holman (as Hey There Lonely Girl, 1970)

19. Gil Hamilton – Tell Her (1962)
The Usurpers: The Exciters (as Tell Him, 1962), Billie Davis (as Tell Him, 1962)
Claude François (as Dis-lui, 1963), Hello (1974)

20. Kim Weston – It Should Have Been Me (1963)
The Usurper: Gladys Knight & the Pips (1967), Yvonne Fair (1975), Adeva (1991)

21. Barry Goldberg – I’ve Got To Use My Imagination (1973)
The Usurper: Gladys Knight & The Pips (1974)

22. Robert Gordon with Link Wray – Fire (1978)
The Usurper: The Pointer Sisters (1978)

23. Cheryl Ladd – I Know I’ll Never Love This Way Again (1978)
The Usurper: Dionne Warwick (1979)

24. Ewan MacColl & Peggy Seeger – The First Time Ever I Saw Your Face (1962)
The Usurper: Roberta Flack (1968)

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More Originals:
The Originals: The Classics
The Originals: Soul
The Originals: Motown
The Originals: Country
The Originals: The Rock & Roll Years
The Originals: 1960s Vol. 1
The Originals: 1960s Vol. 2
The Originals: 1970s Vol. 1
The Originals: 1970s Vol. 2
The Originals: 1980s Vol. 1
The Originals: 1980s Vol. 2
The Originals: 1990s & 2000s
The Originals: Beatles edition
The Originals: Elvis Presley Edition Vol. 1
The Originals:  Elvis Presley Edition Vol. 2
The Originals: Carpenters Edition
The Originals: Burt Bacharach Edition
The Originals: Rat Pack Edition
The Originals: Schlager Edition
The Originals: Christmas Edition

Here’s the second instalment of our countdown of pop’s Top 75 acts. The first lot brought us down to #57; here we tumble up the charts to #35.

I described the method of rankings in the first part. To jog your memory, it’s a combination of Rolling Stone magazine’s Top 100, my own Top 75, plus bonus points for the level of influence an act has had on pop history or their genre, and more bonus points for how many albums of each at I own (because the list should skew in some way to my taste).

Each act on the list is represented by my nominal favourite song of their output. Choosing songs is sometimes very easy, and other times a question of changing and substituting original choices. So there is no question that of all the Al Green songs, I love none as much as the obvious one: Let’s Stay Together. Other acts I agonised over: for Warren Zevon, John Prine and Bill Withers I must have selected and then replaced about five songs each. It reveals the futile nature of the concept of a “favourite song”, even as my Al Green example confirms the possibility of having absolute favourites.

By an act of serendipity, Muddy Waters and Led Zeppelin ended up in the same group. It so happens that the Muddy Waters track I like best is the one which Led Zep plagiarised for A Whole Lotta Love.As I made the home-hyped cover, I noticed that I had previously written about the artwork of a number of albums featured on this mix: Carole King’s Tapestry, the Clash’s London Calling, the Mama’s and The Papa’s bathroom extravaganza. The first of these I reposted last week.

The mix, timed to fit on a standard CD-R, runs in a more logical sequence than the rankings below. So, let’s count down from #56 to #35. Figures in brackets indicate the particular act’s standing in the Rolling Stone’s Top 100.

56 (28) The Clash (London Calling)
55 (25) Fats Domino (I’m Walking)
54 (24) Jerry Lee Lewis (Geat Balls Of Fire)
53 (—) Warren Zevon (Lawyers, Guns And Money)
52 (—) Bill Withers (Grandma’s Hands)
51 (20) Bo Diddley (Who Do You Love?)
50 (19) Velvet Underground (Sunday Morning)
49 (17) Muddy Waters (You Need Love)
48 (14) Led Zeppelin (Immigrant Song)
47 (26) Ramones (Rockaway Beach)
46 (—) The Mama’s and The Papa’s (Monday, Monday)
45 (84) James Taylor (Sweet Baby James)
44 (66) Al Green (Let’s Stay Together)
43 (—) Luther Vandross (A House Is Not A Home)
42 (51) Pink Floyd (Wish You Were Here)
41 (32) Smokey Robinson and The Miracles (Ooo Baby Baby)
40 (—) Crowded House (When You Come)
39 (—) Carole King (So Far Away)
38 (—) John Prine (All The Best)
37 (—) Carpenters (Goodbye To Love)
36 (75) Eagles (Take It Easy)
35 (68) The Temptations (I Wish It Would Rain)

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More CD-R Mixes
More Any Major Top 75

February 10 marks the 50th anniversary of the great Tapestry album by Carole King, prompting the repost of this piece from 2012. It is one of the defining LPs of the early 1970s, and for me one of the go-to albums, perhaps the go-to album, if I do not know what else to play.

By the time Carole King released Tapestry she already was a veteran in the music business, having been a teenage songwriter for Aldon Music at 1650 Broadway (and the subject of Neil Sedaka’s hit Oh Carol; she responded with an answer record titled Oh Neil). She was 18 when she had her first #1 as a songwriter, with The Shirelles’ version of Will You Still Love Me Tomorrow in 1961. In the ten years between that and the release of Tapestry she had a prolific songwriting career, but as a recording artist she had only a minor hit with It Might As Well Rain Till September. Her uneven 1970 debut album, Writer, was a commercial disappointment; it has many bright spots, but cannot nearly compare with the sublime perfection of Tapestry.

So when Tapestry became a critical triumph and a mammoth hit after its release in February 1971, topping the US album charts for 15 weeks, it was something of a surprise.

Jim McCrary in 1978

The cover photo was taken by Jim McCrary (who died in 2012) in the living room of her house at 8815 Appian Way in Laurel Canyon (McCrary’s website says it was at Wonderland Avenue; he also took the photo of the cover for Music, the location of which he identified as being on Appian Way). At first sight it is an unremarkable shot. A woman in her late 20s sits on a windowsill. The photo is in soft focus. And yet, the image is compelling. Viewing it feels like an intrusion into an intimate moment, a woman feeling at peace in her domain. Her bare feet suggest that we are not really invited into this domestic scene; if we came knocking at her door, she might put on footwear and her serene body language might change. And the cat would scram and hide.

The feline, who went by the name of Telemachus, was not there by accident, as it would appear. It may spoil the enjoyment of the cover a little to know that the tabby was a spontaneously employed prop. McCrary later recalled seeing Telemachus sleeping on his pillow across the room. Recalling a Kodak survey which revealed that after children, cats were the most popular photo subject, he asked King whether he could use the cat in a photo. “I saw a cat, and I wanted to get something good,” he remembered. Having ascertained that the cat was tame, he carried Telemachus on his pillow to the window ledge. He managed to take three photos before the cat, no doubt annoyed at having been awoken, had enough and made tracks. But McCrary had the perfect shot: the barefoot Carole with sunlight filtering upon her, holding a tapestry that she was busy creating, and her cat sitting in front of her, as if guarding the singer.

A remastered version of Tapestry was re-released in 2008 with a bonus CD featuring all but one of the tracks of the album in live versions, recorded between 1973 and 1976. It is highly recommended. The back-cover of it (pictured above) features another photo from the McCrary session.Here’s a mix of cover versions of the songs of Tapestry, with an appearance by Carole King from that bonus CD, in their original tracklisting order. Given my bias for soul covers, many of them are of that genre. Most were recorded soon after the release of Tapestry. One of the exceptions is the cover of Way Over Yonder by David Roe, a New Orleans street musician. Fans of The Originals will be interested in Kate Taylor’s version of Home Again, which was released shortly before Tapestry came out. Finally, the vocals on the Quincy Jones version of Smackwater Jack are by, unusually, Quincy himself.

TRACKLISTING
1. Carole King – I Feel The Earth Move (live) (1973)
2. Marlena Shaw – So Far Away (1972)
3. Mike James Kirkland – It’s Too Late (1972)
4. Kate Taylor – Home Again (1971)
5. Barbra Streisand – Beautiful (1971)
6. David Roe – Way Over Yonder (2004)
7. Roberta Flack & Donny Hathaway – You’ve Got A Friend (1972)
8. Faith Hill – Where You Lead (1995)
9. Zulema – Will You Still Love Me Tomorrow (1972)
10. Quincy Jones – Smackwater Jack (1971)
11. Jackie & Roy – Tapestry (1972)
12. Laura Nyro & Labelle – (You Make Me Feel Like) A Natural Woman (Live) (1971)
BONUS: The Isley Brothers – It’s Too Late (1972)

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