Any Major Dude With Half A Heart

In the first volume of “baby-making music” I suggested that the mix need not necessarily lead up to the carnal act. On volume 2, the mix literally climaxes with copulation.

The indications for where this collection of songs will lead to are there at the start, with Billy Paul’s suggestion to go and make a baby. I don’t suppose that proposal works for purposes of more casual and less consequential sexual relations. Readers who might employ this mix for such purposes might want to skip track 1 in their endeavours, lest the opening song sends the wrong message. If, however, procreation is the objective, you could express your appreciation by naming the resultant bundle of joy Halfhearteddude (if it’s a boy) or Amdwhah (for a girl).

Minnie Riperton’s song, which follows Billy Paul’s bright idea, likewise leaves little doubt as to the destination of our journey here. But when Minnie asks her man to come inside her, she means more than just the obvious thing. Here, the idea of sex is unitive, not prurient.

Teddy Pendergrass is another advocate of letting things lead up to copulation, but admirably he places a premium on hygiene accompanying the passionate goings-on. Whereas Sylvia – who was owner of the record label that launched rap music on vinyl – just gets dirty.

But not everything here is just sex. Some tracks here have lyrics that preclude the idea of proceedings ending up in whoopee. The Rolling Stones’ Angie is one such song (“with no living in our souls”!). The sex is in the past tense. Yet, it has the sound of eroticism.

One singer on this collection breaks my one-artist-per-series rule: Roberta Flack, who on her own can provide for a whole making-out music mix on her own.

As ever, this mix is timed to fit on a standard CD-R, and includes home-groaned covers.

1. Billy Paul – Let’s Make A Baby (1975)
2. Minnie Riperton – Inside My Love (1975)
3. Boz Scaggs – Harbor Lights (1976)
4. Roberta Flack & Donny Hathaway – Closer I Get To You (1977)
5. Santa Esmeralda – You’re My Everything (1977)
6. Rolling Stones – Angie (1973)
7. Jimi Hendrix – Angel (1970)
8. Gary Moore – Parisienne Walkways (1978)
9. Tony Toni Toné – Lay Your Head On My Pillow (1993)
10. Alexander O’Neal – If You Were Here Tonight (1985)
11. Teddy Pendergrass – Turn Off The Lights (1979)
12. Sylvia – Pillow Talk (1973)
13. Cameo – I’ll Never Look For Love (1985)
14. Bob Seger – Good For Me (1980)
15. Eagles – Take It To The Limit (1975)
16. Jane Birkin & Serge Gainsbourg – Je t’aime moi non plus (1969)

GET IT! or HERE!

More Mix-CD-Rs

This edition of The Originals covers the Rock & Roll Years: the 1950s and very early 1960s.  Not every song is rock & roll, but the better-known versions of these songs would have been bought by those who also bought rock & roll records. And, having already covered the lesser-known originals of Elvis Presley hits (Vol. 1 and Vol. 2), the story must begin with Bill Haley & His Comets. Poor yourself a cup of coffee, or a long drink, sit back, and read about the lesser-known covers of the Rock & Roll Years.

Rock Around The Clock
It is indisputable that Bill Haley was a key figure in converting rock & roll into the mainstream — or, if we prefer to stray from euphemistic rationalisation, make a black genre infused with some country sensibility palatable to white audiences (so that’s a doctoral thesis delivered in 13 glib words). Haley was no more the father of rock & roll as the Bee Gees were the “Kings of Disco”. Rock Around The Clock wasn’t the first rock & roll single either (if there is such an originating record; on the original label it is categorised as a foxtrot), or even Haley’s first rock & roll song.

But it was the first rock & roll #1 hit, and the song’s pivotal influence is undeniable, even if it ripped off a 1947 hit, Hank Williams’ Move It On Over (which Chuck Berry also seems to have borrowed from for Roll Over Beethoven).

Rock Around The Clock was written for Haley, but due to various complications involving a feud between record company and authors, it was recorded first by Sonny Dae and His Knights, an Italian-American band, released on a label co-owned by Haley. The original version — quite distinct from the more famous version — made no impression, and there is no evidence that Haley referred to it in his interpretation. Indeed Haley and his Comets played it frequently on stage before they recorded it.

Haley’s Rock Around The Clock (recorded on 12 April 1954 as Sammy Davis Jr sat outside the studio awaiting his turn in the studio) features one of the great guitar solos of the era, by Danny Cedrone. Alas, Cedrone didn’t live to see his work become a seminal moment in music history — he died on 17 June 1954 in a fall, three days short of his 34rd birthday. Perhaps Cedrone might be regarded as the first rock & roll death. Which would give the Rock & Roll Hall of Fame two reasons to admit him.

As a footnote, Rock-A-Beatin’ Boogie, which also features here, was written by Haley in 1952, but was first recorded by Cedrone’s band The Esquires. Haley recorded, to greater commercial effect, after Cedrone’s death, in 1955.

Shake, Rattle And Roll
In its original version by Big Joe Turner, Shake Rattle And Roll is a salacious song about sexual intercourse (“a one-eyed cat peepin’ in a seafood store”). Haley — a man who did not particularly inspire thoughts of wild sex — defanged the song of its carnal suggestions and made it acceptable to halfway respectable folks.

The song was written by Jesse Stone (under a pseudonym), who also wrote The Drifters’ breakthrough hit Money Honey and arranged The Crew Cuts mega-hit Sh-Boom.  Turner recorded it for Atlantic on February 15, 1954, with Sam “The Man” Taylor on saxophone (he also played on the mentioned Jesse Stone-produced tracks). Stone, and Atlantic bosses Jerry Wexler and Ahmet Ertegün did the backing vocals.

It was released in April 1954 and did respectable business. Haley’s version, released in August that year, made it a classic. One night think that Turner would have resented the white guy getting the big success with the song. But the two soon became close friends, with Haley later helping out a struggling Turner.

Turner, who had enjoyed a career as a blues act in the 1940s (he was Esquire magazine’s male vocalist in 1945) and was a huge influence on rock & roll pioneers like Little Richard and Buddy Holly, died in 1985 at the age of 74.

See You Later Alligator
See You Later Alligator, the final of Haley’s trilogy of million-sellers, was a cover of Bobby Charles’ Cajun blues number. Born Robert Charles Guidry in Louisiana, Charles recorded the song as Later Alligator in 1955 at the age of 17. It was released in November 1955 without making much of a commercial impact. His hero, Fats Domino, also recorded a couple of his songs, first Before I Grow Too Old and in 1960 the hit Walking To New Orleans.

Haley recorded See You Later Alligator on December 12, 1955, apparently allowing his drummer Ralph Jones to play on it, instead of the customary random session musician. Released in January 1956, Haley’s version sold more than a million copies, but reached only #6 in the Billboard charts.

Contrary to popular perception, the catchphrase “See you later, alligator”— with the response “in a while, crocodile”— was not coined by the song, neither in Bobby Charles’ nor Bill Haley’s version. It was an old turn of phrase, used by the jazz set already in the 1930s, along the same lines as “What’s the story, morning glory?”, “What’s your song, King Kong?” and “What’s the plan, Charlie Chan?”. It was, however, due to Haley’s hit that the phrase spread more widely throughout the US and internationally.

Whole Lotta Shakin’ Going On
One day in 1956, Jerry Lee Lewis and his father Elmo were passing through Memphis. Aware of how Elvis Presley had emerged from Sam Philips’ Sun studio, Jerry Lee decided to drop in and audition, at the suggestion of his cousin Mickey Gilley (who later would become a big country star; another cousin, Jimmy Swaggart would become a notorious televangelist).

The audition didn’t go very well: nobody wanted a piano player. According to sound engineer Cowboy Jack Clement, Lewis sounded like country guitar legend Chet Atkins on piano. Jerry Lee was dynamic, to be sure, but he was country and boogie woogie — not rock & roll. A month later Lewis returned, with Clement’s encouragement. This time Sam Philips was in the studio. Lewis played a country hit, Ray Price’s Crazy Arms, in blues style. Philips was sold. Before too long, Lewis’ version of Crazy Arms became his debut single, on Sun.

In May 1957, Clement and Philips were seeking a follow-up single. The session to record the Clement composition I’ll Be Me did not go well. During a break, bassist JW Brown — Jerry’s cousin and future father-in-law (13-year-old Myra Gale’s dad) — suggested they play A Whole Lotta Shakin’ Going On, a cover of a song that had gone over well live. It took just one take for a pivotal moment in rock & roll to be created.

A Whole Lotta Shakin’ had been written by Dave “Curlee” Williams, half black and half Native American, and Roy Hall, a nightclub owner from Nashville who had been recording intermittently in the country genre for 11 years. Or maybe Roy Hall didn’t write it; as so often with songs in the 1950s, there’s no single accepted narrative.

The song became a minor hit in 1955 after the R&B singer Big Maybelle (real name Mabel Louise Smith) recorded it, produced by a young Quincy Jones. Though Big Maybelle’s version was better known, Lewis had picked up the song from a version by Hall, whom he had seen performing it with country star Webb Pierce in Nashville.

Perhaps more than any rock & roll classic, A Whole Lotta Shakin’ embodies the spirit of the nascent genre: a song created by a multi-racial team which first was a rockabilly number, then an R&B song, and then became something different altogether when performed by a singer who had a love for country, blues, and gospel and infused the stew with his own unique anarchic sensibility and lecherous sexuality.

Initially the song was banned, but after Lewis appeared on the Steve Allen Show, which had also provided Elvis with an early platform, the airplay ban was gradually lifted, and the song became a big hit. Suitably, it topped both R&B and country charts.

Walkin’ In The Rain
Not many pop classics were written in jail. Johnny Bragg and Robert Riley were incarcerated in 1952 at the Tennessee State Penitentiary when a chance conversation about the wet weather — Bragg, the story goes Read more…

This week it will be the 50^th anniversary of the Woodstock Festival. No reader of this site needs to be lectured about the cultural impact of the festival, though musically the Monterrey festival two years earlier offered much greater rewards, and musical impact, than Woodstock (which, it must be said, was a bit light on black music).

The genius of Woodstock didn’t reside so much in the music as it did in the nature of the event: nearly half a million people coming together and just getting along with one another and helping the neighbour — even in times of crisis, such as the rainstorm or the food crisis.

Remarkable, when food ran out, the local people collected food to feed these crowds of the counterculture; their political opposites. Imagine that today!

Woodstock made idealism come alive, if only for three days, amid rain, mud, food shortages, unsanitary conditions, traffic chaos, incompetent organisation, financial ruin (for the organisers), and bad smells.

The present mix includes songs of every artist who appeared at Woodstock, in the order they performed. Most of the songs here were played at Woodstock, though here and there I inserted tracks recorded around the time of the festival (some put to record or released after Woodstock but performed at the festival). So this isn’t some kind of recreation of the setlist — which can be read HERE) but more of a selective snapshot of rock music around the time, taking the Woodstock line-up as a framework.

A couple of songs were recorded after Woodstock about the festival: one of the two included by Crosby, Stills, Nash & Young, obviously, as well as those by Mountain (sort of), Melanie and Bert Sommer.

Getting to Woodstock was difficult, for patrons and acts alike. Traffic to the Max Yasgur’s farm at White Lake in Bethel (which is 70km or 43 miles from Woodstock) was gridlocked, not helped by the rotten weather.

The traffic and rain also played havoc with the organisation. Richie Havens opened the festival at 17:07 on August 15 with the featured song, replacing the act originally slated to kick off the proceedings, Sweetwater, who were still stuck in traffic. Folk singer Melanie, who was unbilled, took to the stage at 22:05 during a rainstorm because the Incredible String Band refused to for obvious reasons of safety.

Next day, Country Joe McDonald had to fill in with an acoustic set for Santana, who were unready to take the stage. Country Joe’s improvised set — he returned later with his band  — was a triumph; three months before Sesame Street debuted, he offered spelling lessons as when he introduced his Feel Like I’m Fixing To Die Rag. It’s one of the few actual Woodstock performances included here, alongside the tracks by Jimi Hendrix (with that breathtaking version of the US anthem, which evokes the horrors of the Vietnam War), Canned Heat, Sha-Na-Na and John Sebastian.

John Sebastian, formerly of Lovin’ Spoonful, was at Woodstock as a spectator. But as organisers waited for scheduled acts to arrive (some by helicopter), he was put on stage for a 25-minute set. Later, the Grateful Dead had to cut short their set when an amp blew. It was just as well, because they had overrun their slot. Creedence Clearwater Revival, who were up next, were unimpressed.

But consider that night: the Dead played into the new day. At half past midnight, CCR took over. At 02:00 Janis Joplin came on; at 3:30 Sly & The Family Stone; at 5:00 The Who, and at 8 in the morning, Jefferson Airplane. No need for sleep.

The show resumed less than six hours later with Joe Cocker’s set and closed at 11:10 next morning when Jimi Hendrix played his encore of Hey Joe. By then the once 400,000-strong crowd had shrunk to 30,000…

As mentioned above, Woodstock didn’t take place at Woodstock at all. The festival had the name before a venue was even found, though initial plans were to stage it around the New York state town of Woodstock as a promotional event for a recording studio that was never built.

And Max Yasgur, on whose farm the licentious vibe and anti-war sentiment found expression… he was a Republican who supported the Vietnam War. But he also supported freedom of thought.

Before the festival, he told the Bethel town council: “I hear you are considering changing the zoning law to prevent the festival. I hear you don’t like the look of the kids who are working at the site. I hear you don’t like their lifestyle. I hear you don’t like they are against the war and that they say so very loudly… I don’t particularly like the looks of some of those kids either. I don’t particularly like their lifestyle, especially the drugs and free love. And I don’t like what some of them are saying about our government.

“However, if I know my American history, tens of thousands of Americans in uniform gave their lives in war after war just so those kids would have the freedom to do exactly what they are doing. That’s what this country is all about and I am not going to let you throw them out of our town just because you don’t like their dress or their hair or the way they live or what they believe. This is America and they are going to have their festival.”

Until his death as 52 less than three years after the festival, Yasgur remained an unpopular man in town for having allowed these hippies on his farm.

Woodstock was a celebration of good vibes, the final hurrah of hippie sensibilities (unlike the 20th anniversary event in 1999, no sexual assaults were reported) that became emblematic of the 1960s counterculture. Less than half a year later, as the 1960s were about to give way to the 1970s, Altamont gave flower power the final stamp in the dirt. I wonder how many of those idealistic hippies of Woodstock turned out to be besuited neo-liberals…

This mix is timed to fit on two standard CD-R discs, with two home-grooved covers. PW in comments.

1. Richie Havens – From The Prison (1967)
2. Sweetwater – Why Oh Why (1968)
3. Bert Sommer – We’re All Playing In The Same Band (1969)
4. Tim Hardin – Don’t Make Promises (1966)
5. Ravi Shankar – Improvisation On Charly Theme (5:14)
6. Melanie (with The Edwin Hawkins Singers) – Lay Down (Candles In The Rain) (1970)
7. Arlo Guthrie – Oh, In The Morning (1969)
8. Joan Baez – I Shall Be Released (1968)
9. Quill – Too Late (1970)
10. Country Joe McDonald – Feel Like I’m Fixing To Die Rag (Live at Woodstock, 1969)
11. Santana – Jin-Go-Lo-Ba (1969)
12. John Sebastian – Younger Generation (Live at Woodstock, 1969)
13. Keef Hartley Band – Too Much Thinking (1969)
14. Incredible String Band – This Moment (1970)
15. Canned Heat – Woodstock Boogie (Live at Woodstock, 1969)

16. Mountain – For Yasgur’s Farm 1970)
17. Grateful Dead – St. Stephen (1969)
18. Creedence Clearwater Revival – Born On The Bayou (1969)
19. Janis Joplin – Piece Of My Heart (1968)
20. Sly and the Family Stone – Stand! (1969)
21. The Who – Pinball Wizard (1969)
22. Jefferson Airplane – Volunteers (1969)
23. Joe Cocker – Let’s Go Get Stoned (1970)
24. Country Joe And The Fish – Silver And Gold (1970)
25. Ten Years After – Love Like A Man (1970)
26. The Band – The Weight (1968)
27. Johnny Winter – Mean Town Blues (1969)
28. Blood, Sweat & Tears – I Love You More Than You’ll Ever Know (1968)
29. Crosby, Stills & Nash – Long Time Gone (1969)
30. Crosby, Stills, Nash & Young – Woodstock (1970)
31. The Butterfield Blues Band – Morning Sunrise (1969)
32. Sha-Na-Na – At The Hop (Live at Woodstock, 1969)
33. Jimi Hendrix – Star Spangled Banner (Live at Woodstock, 1969)
34. Jimi Hendrix – Hey Joe (Live at Woodstock, 1969)

GET IT! or HERE!

More CD-R Mixes

This month it will be 30 years since I saw When Harry Met Sally in the cinema. I love almost everything about the film, including the wonderful soundtrack of standards (the soundtrack album by Harry Connick Jr was superb, too).

So I got it into my mind that a doing a compilation of hits from 1944 — 75 years ago — would be great fun. I wasn’t wrong. Putting together this mix of songs that were US hits in the penultimate year of World War II was hugely enjoyable; and I hope listening to it will be agreeable as well.

Maybe you know somebody who was around then. They might well love hearing some favourites and some long forgotten tunes. I’m thinking here of reader Johnny Diego (whom I haven’t heard from for a long while, alas) who played his 90-something year old German-raised mother the mixes of German hits between 1930 and 1945 I posted a few years ago (1930-37 and 1938-45). He reported that she was deeply touched by revisiting her youth.

As for the music, some of it is timeless, and some is much of its time. The joy to be derived from the firmer is self-evident; the joy in the latter resides in its anthropological values.

Two songs here are about the war: Bing Crosby and the Andrew Sisters are imagining the fun ass-kicking the Nazis will receive when the GIs march into Berlin (in the event, the Soviets got there first, and their version of ass-kicking was fun for nobody).

Where Bing and the Sisters are waxing patriotically with a light heart, Red Foley’s Smoke On The Water is pretty nasty in its jingoism. And it is fairly prescient when Foley predicts of Japan’s fate: “There’ll be nothing left but vultures to inhabit all that land, when our modern ships and bombers
make a graveyard of Japan…” Well, of two cities in Japan. File that song’s inclusion under anthropological value.

Talking of 1944 hits with the titles of future rock classics: Rosalita (Come Out Tonight)… what were the chances?

This mix is presented as a collection of hits of 1944. The concept of “hit” is a little stretched in the case of Stan Kenton’s Artistry In Rhythm, which was first recorded in 1943 and released on Capitol in February the following year. It was later re-recorded and issued to more successful effect, but in 1944 the single was a bit of a flop. Still, the track, which fuses jazz and (modern) classical music, shows musical innovation amid all the mainstream stuff.

As ever, the mix is timed to fit on a standard CD-R and includes home-manufactured covers. PW in covers.

1. Woody Herman And His Orchestra – Do Nothin’ Till You Hear From Me
2. King Cole Trio – Straighten Up And Fly Right
3. Guy Lombardo feat. Skip Nelson – It’s Love-Love-Love
4. Louis Prima And His Orchestra – Angelina
5. Ella Mae Morse – Milkman Keep Those Bottles Quiet
6. Ink Spots & Ella Fitzgerald – Into Each Life Some Rain Must Fall
7. Mills Brothers – Till Then
8. Louis Jordan – Is You Is Or Is You Ain’t My Baby
9. Cozy Cole Allstars – Jump Street
10. Dick Haymes & Helen Forrest – It Had To Be You
11. Frank Sinatra – Night And Day
12. Les Brown And His Orchestra – Twilight Time
13. Judy Garland – The Trolley Song
14. Jo Stafford – It Could Happen To You
15. Al Dexter & His Troopers – Rosalita (Come Out Tonight)
16. Red Foley – Smoke On The Water
17. The Merry Macs – Mairzy Doats
18. Evelyn Knight – Dance With A Dolly (With A Hole In Her Stocking)
19. Dinah Shore – I’ll Walk Alone
20. Andy Russell – What A Difference A Day Made
21. Jimmy Dorsey & His Orchestra feat. Kitty Kallen & Bob Jimmy – Besame Mucho
22. Glen Gray And Casa Loma Orchestra – My Heart Tells Me
23. Stan Kenton And His Orchestra – Artistry In Rhythm
24. Bing Crosby & The Andrews Sisters – (There’ll Be) A Hot Time In The Town Of Berlin
25. Benny Carter And His Orchestra feat. Dick Gray – I’m Lost
26. Russ Morgan – Goodnight Wherever You Are

GET IT!

More Mixes
More A Year In Hits
More Music in Black & White

In one month, both Brazil and South Africa lost game-changing icons of their respective music scene. And this little corner of the Interwebs lost a brief friend: a singer who commented on a post in which her had featured.

The Bossa Nova Boss
In the 1950s in Brazil, a father had his son committed to a psychiatric facility because the lad wanted to become a musician and was singing in a strange way. That strange singer’s voice is the first you hear on the timeless classic The Girl From Ipanema, accompanied by his guitar before his wife joins in. João Gilberto, who has died at 88, had been a pioneer of bossa nova long before that iconic song and the album from which it came, a collaboration with US jazz saxophonist Stan Getz, made the genre world famous. That collaboration cost João his marriage with Astrud Gilberto. The story of The Girl From Ipanema and a song-swarm of the song ran in 2016.

The Apartheid Slayer
Few artists have exerted such cultural influence that they could change society. English-born South African musician Johnny Clegg certainly made a difference. At the height of apartheid, Clegg fused Zulu music and dance with Western pop and rock with his band Juluka. With that, and his sincere embrace of Zulu culture, he provided his mostly white fanbase with an alternative to the racism of apartheid. In the age of South Africa’s cultural exclusion, Juluka concerts (and later those of Clegg’s next band, Savuka) were an event, comparable to a Springsteen concert. One could not emerge from the experience as a full-blown, die-hard racist (though it would be naïve to claim that all patrons were cured of all their racism). Clegg’s death of cancer was met with near-universal grief in South Africa; in a society still divided by race, Clegg’s legacy briefly united the nation. Few artists have had such power…

The Funky Neville
Just over a year ago, we still had all four Neville Brothers with us. With the death of Charles last year and in July of eldest brother and keyboardist Art Neville, only half remain. Aaron might the best-known of them, but Art probably had the best output. In the 1950s and ’60s, Art released a bunch of fine R&B/soul records either side of serving in the navy between 1958 and 1962. He the formed the first incarnation of the family-name band, The Neville Sounds, with Aaron and youngest brother Cyril, among others. Having pioneered the New Orleans funk, Art then founded The Meters (later The Funky Meters), a hugely influential instrumental funk outfit. In 1978, he and his brothers formed The Neville Brothers, whose genre-defying style won them many fans — and many others who didn’t get it. Inbetween, Art also did session work, most famously on LaBelle’s Lady Marmalade. Art was the father of Fox News anchor Arthel Neville.

The Commenter
On rare occasions do people who feature on this site comment on posts. One such artist was Jerry Lawson, the lead singer of the a cappella band The Persuasions, who has died at 75. In 2009 he thanked me for featuring The Persuasions’ version of He Ain’t Heavy, He’s My Brother. “Thanks again for your support. Read more…