Any Major Dude With Half A Heart

This edition in the Covered With Soul series might be one of the best so far. Here we have covers of songs better known by Free, The Rolling Stones, The Young Rascals, Frank Sinatra, The Beatles, Bob Dylan, Stephen Stills, Bobby Hebb, The Carpenters, Matt Monro, James Taylor, Simon & Garfunkel, Blood Sweat & Tears, The Bee Gees, The Box Tops, Joe Cocker (covering The Beatles), Gil Scott-Heron, Judy Garland, Frankie Valli, and Nat ‘King’ Cole.

Some of these versions rework the songs so thoroughly, one might imagine they have always been soul songs. Just check out what Bobby Womack does with Fly Me To The Moon. Or how Kimberley Briggs (more on that name in a minute) turns The Box Tops’ under-two-minutes hit The Letter into a six-minute work-out that incorporates soul, a hint of funk and a touch of psychedelia. Hear Maxine Weldon do It Ain’t Me Babe, and you forget it’s a Dylan song, and in Lea Roberts’ hands, the hoary rock anthem All Right Now gets some soul.

Kimberley Briggs is better known as Kim Tolliver, one of those underrated soul singers who have a huge reputation among soul aficionados. Poor Kim toiled away for years, starting in the 1960s, without breaking through. After a while she left the business and became a real estate agent. Sadly, she died in 2007. The album is very rare and was never made into a CD. Soul blogging legend Mr Moo shared it, and so much more, with the Internet.

One song that is not as well known as the others is Gil Scott-Heron’s Lady Day & John Coltrane; soul/jazz singer Penny Goodwin blows Gil’s version out of the water. The Milwaukee singer – her style is reminiscent of Marlena Shaw  – never had the big breakthrough her talented merited. At a later stage I will have to feature her quite incredible version of What’s Going On.

Lea Roberts also had a limited career, releasing three albums between 1973 and 1982. Her version of All Right Now is from her sophomore album, produced by Reggie Lucas and Mtume.

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

 TRACKLISTING:
1. Lea Roberts – All Right Now (1975)
2. Tina Turner – Let’s Spend The Night Together (1975)
3. Marvin Gaye – Groovin’ (1970)
4. Bobby Womack – Fly Me To The Moon (In Other Words) (1969)
5. Chairmen Of The Board – Come Together (1970)
6. Maxine Weldon – It Ain’t Me Babe (1970)
7. The Three Degrees – Love The One You’re With (1975)
8. Melba Moore – Sunny (1970)
9. Freda Payne – Rainy Days And Mondays (1973)
10. The Whispers – Speak Softly Love (The Godfather) (1972)
11. Labelle – You’ve Got A Friend (1971)
12. Merry Clayton – Bridge Over Troubled Water (1970)
13. Lou Rawls – You’ve Made Me So Very Happy (1970)
14. Sunday’s Child – To Love Somebody (1970)
15. Kimberley Briggs – The Letter (1972)
16. Penny Goodwin – Lady Day & John Coltrane (1973)
17. The Undisputed Truth – With a Little Help From My Friends (1973)
18. Ohio Players – Over The Rainbow (1968)
19. O.C. Smith – Can’t Take My Eyes Off You (1969)
20. Isaac Hayes – When I Fall In Love (1967)

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In 1973 there was no indication that one day Elton John would become one of the leading Friends of Dorothy, but he unintentionally hinted at the yet-to-be-invented codeword with the metaphors in the title and on the cover of his double album.

The album’s title, also the name of the lead single, seems to be at odds the artwork on the cover. Both, song and cover, take their imagery from The Wizard Of Oz, in which the yellow brick road played as much a central role as any thoroughfare ever did in the movies. Where the song tells of disillusion at the end of that bright road, the cover promises the beginning of an escape from reality as Elton – spangly mauve platforms instead of ruby slippers – steps into a poster and on to a yellow brick road.

The poster is on a tatty wall, covering a previous poster (the font of which suggests that it might have advertised a music hall), with chimneys in the background telling of a drab existence, quite at odds with Elton’s flamboyant get-up.

The cover was drawn by the illustrator Ian Beck, who was 26 at the time. Beck has since illustrated magazines, greeting cards, packaging and a few children’s books. He has also written a few novels.

Beck came to LP cover design through John Kosh, whose credits included the Abbey Road cover. They shared a studio at 6 Garrick Street in London’s Covent Garden when Kosh arranged for Beck to do illustrations for an LP cover he was designing for Irish folk singer Jonathan Kelly, Wait Till They Change The Backdrop.

Elton John bought that album on strength of the cover, and wanted the same graphic for his new album. Beck told him that this was not possible but offered to create new artwork for the cover.

He was given tapes of the songs (which included future classics like Benny And The Jets, Saturday Night Is Alright For Fighting, Candle In The Wind and the title track), and typed lyrics sheets, and began working on a concept. His friend, fashion illustrator Leslie McKinley Howell, stood in as a model for Elton John in polaroids which Beck took (hence the long legs) in preparation for his watercolour, pastel, and coloured crayon pencils artwork. The piano on the front cove and the teddy bear at the back were placed there at the request of Elsie, as Beck only later realised Elton was known to his staff.

It was the last LP cover Ian Beck designed, though this had nothing to do with his experience of creating the iconic sleeve for one of the great double albums in a decade of many double albums.

The album is regarded by many as Elton John’s finest work. It is indeed filled with many great songs, too many to be released on single, and too many to find inclusion on retrospectives. Songs like Sweet Painted Lady (a song Paul McCartney might have written), I’ve Seen That Movie Too, This Song Has No Title, Roy Rogers and Harmony could have been hits (and Harmony was intended to be the album’s fourth single release); now they are remembered only by fans of the album.

The Who – Saturday Night’s Alright (For Fighting) (1991).mp3
Sandy Denny – Candle In The Wind (1977).mp3
Dream Theater – Funeral For A Friend – Love Lies Bleeding (1995).mp3
Sarah Blasko – Goodbye Yellow Brick Road (2006).mp3
Beastie Boys feat. Biz Markie – Bennie And The Jets (live, 1995).mp3 (R.I.P. MCA)
Elton John – Harmony (1973).mp3

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Previous great covers

The name Andrew Love will probably mean little to most music fans; but as a leader of the Memphis Horns (with Wayne Jackson), everybody will know at least some tunes the tenor saxophonist played on. The Memphis Horns were part of Stax’s session crew, and they also recorded on Hi Records. You’ll know them from tracks such as Elvis Presley’s Suspicious Minds, Neil Diamond’s Sweet Caroline, Al Green’s Let’s Stay Together and Dusty Springfield’s Son Of A Preacher Man. They are believed to have played on something like fifty #1 singles! This year they received the Grammy Lifetime Achievement Award, sadly an award that is now mentioned only as an aside.

The marquee death of the month probably was that of US TV icon Dick Clark, a man who in the music industry seems to have engendered respect more than affection. No doubt his American Bandstand show helped make rock & roll mainstream, and probably a bit more square. Clark acknowledged that, but defended it in 1985: “But I knew at the time that if we didn’t make the presentation to the older generation palatable, it could kill it.”

Finally, the collector of Bruce Springsteen curiosities might enjoy The Dictator’s Faster & Louder: he provides the count-in.

Jimmy Little, 75, Australian singer, on April 1

Barney McKenna, 72,  member of Irish folk group The Dubliners, on April 5
The Dubliners  & The Pogues – Rare Old Mountain Dew (1987)

Jim Marshall, 88, founder of Marshall amplifiers, on April 5

Cynthia Dall, 41, singer songwriter, on April 5
Cynthia Dall – Aaron Matthew (1996)

Jim Niven, keyboard player of Australian groups The Sports and The Captain Matchbox Whoopee Band, on April 9
The Sports – Who Listens To The Radio (1979)

José Guardiola, 81, Spanish crooner, on April 9

Richie Teeter, 61, drummer of The Dictators, on April 10
The Dictators – Faster & Louder (1978)

Hal McKusick, 87, American jazz saxophonist, clarinetist and flautist, on April 11
Dinah Washington – Someone’s Rocking My Dreamboat (1958, on alto saxophone)

Andrew Love, 70, half of the Memphis Horns, on April 12
Otis Redding – Try A Little Tenderness (1966)
Dusty Springfield – Son Of A Preacher Man (1969)
The Memphis Horns – What The Funk (1977)

Rodgers Grant, 76. jazz pianist, on April 12
Mongo Santamaria – Yeh-Yeh (1963, as co-writer and pianist)

Teddy Charles, 84, jazz vibraphonist, keyboardist and drummer, on April 16

Chris Gambles (aka Slip), 49, singer of English band Audio Rush, on April 16
Audio Rush – She’s Got Them Looks (2004)

Dick Clark, 82, legendary TV producer, on April 18
Chuck Berry – Sweet Little Sixteen (1958, American Bandstand reference)

Levon Helm, 71, singer, drummer and composer, member of The Band, on April 19
The Band – The Weight (1978)
Levon Helm – No Depression In Heaven (2011, recorded 2008, vocals by Sheryl Crow)

Greg Ham, 58, flautist and saxophonist of Men at Work, body found on April 19
Men At Work – Who Can It Be Now? (1981)

Bert Weedon, 91, English guitar pioneer and composer, on April 20
Bert Weedon – Guitar Boogie Shuffle (1959)

Duke Dawson, 83, blues drummer, on April 20

Joe Muranyi, 84, jazz clarinettist and producer, on April 20
The Village Stompers – Washington Square (1963)

Iküzöne, 46, bassist of Japanese rap group Dragon Ash, on April 21

Tom ‘Pops’ Carter, 92, blues musician, on April 22

Chris Ethridge, 65, bassist of The Flying Burrito Brothers, on April 23
The Flying Burrito Brothers – Lazy Day (1970)

Tommy Marth, 33, backing saxophonist with The Killers, suicide on April 23

Billy Bryans, 62, Canadian producer and drummer of the Parachute Club, on April 23
Parachute Club – Rise Up (1983)

Éric Charden, 69, French singer and songwriter, on April 29
Éric Charden – Le monde est gris le monde est bleu (1967)

Kenny Roberts, 84, country singer, on April 29
Kenny Roberts – She Taught Me To Yodel (1965)

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“But I knew at the time that if we didn’t make the presentation to the older generation palatable, it could kill it.”

I have a few specific memories of the final quarter of 1980, but one stands out, as it probably does for most western teenagers growing up in 1980. On 9 December the radio alarm clock went off. I was just rising when the announcer said that John Lennon had been shot dead while we were sleeping. On my turntable was the second LP from The Beatles 1967-70 collection, which I had listened to, for the first time in a long while, just the previous evening, when Lennon was still alive. That bitterly cold morning at school my fellow Beatles fan Thorsten and I were greeted by our more cynical mates with “congratulations” on the death of John Lennon. For Thorsten and me, and probably millions others, the next few months were our generation’s version of Beatlemania. I quickly completed my collection of Beatles LPs, buying a few on a post-Christmas holiday in Greece, and the US releases on Japanese pressings.

Robert Palmer – Johnny & Mary.mp3
I had been a bit of a Robert Palmer fan, so I was quite excited by Johnny & Mary, a song that bought into the nascent New Wave Zeitgeist, with its liberal use of the synth and Palmer’s cool lyrics. Remember that Visage, Human League and Ultravox had not yet had their synth-based hits; these would come in 1981. So Johnny And Mary sounded quite exciting at the time. Moreover, the song has no chorus, which was rare in 1980 (and still is), and the vocals are delivered in a laconic monotone, which was also unusual in pop. On strength of Johnny & Mary, Palmers Clues album made it on to my Christmas wishlist of LPs. And when I opened my gifts at Christmas, it was among them. Listening to it I had the sinking feeling one gets when the lead single is the only really good track on an LP. Palmer totally lost me a few years later with his Addicted To Love, a song with an over-praised sexist video which I still despise.

Kate Bush – Army Dreamers.mp3
Kate Bush’s Never For Ever album was also in that bunch of Christmas present LPs. I loved lead single Babooshka, with its sound of breaking glass that was created by a synthesizer, but I had real affection for Army Dreamers, a song that didn’t get as much attention as Babooshka. Of course, I had recorded both off the radio. I was politically engaged, and naturally opposed to all things military (I didn’t even like war movies), so an anti-martial song appealed to me, especially one with an unusual waltz tempo. I didn’t know the promo video for the song yet, but it seems to have made quite an impact at the time. It is indeed striking. That thing she does with her eyes is particularly good. (HERE)    *

Bots – Sieben Tage Lang.mp3
Bots was a Dutch folk-rock group of the left-wing protest song variety. Their Sieben Tage Lang was a hit, of sorts, in West Germany in 1980, a cover of their Dutch original from 1976 which in turn was based on the traditional Breton drinking song Son ar Chistr which in 1971 was a minor hit for the harpist Alan Stivell. The drum beat is martial, and the lyrics offer a vision of socialist revolution.

The German lyrics were co-written by the investigative journalist Günter Wallraff, who by reputation is Germany’s equivalent of Michael Moore, but without the populist polemic. Wallraff made a name for himself in the 1970s by infiltrating the mass-circulation Bild daily newspaper, a reactionary rag that trades in sensation, gossip, tits and sports. It would not be unfair to say that Bild’s ethics, at least in the 1970s and ’80s, were on the level of those now exposed in Rupert Murdoch’s media empire; perhaps even worse. The newspaper cheerfully destroyed lives with lies. It was widely called “das Lügenblatt” (the rag of lies). Wallraff exposed all that.

Co-writing the German lyrics with Wallraff was one Lerryn, the pseudonym of leftist songwriter and manager Dieter Dehm. After the reunification of Germany it was alleged that Dehm had reported to East Germany’s secret service, the Stasi, on the activities of another leftist songwriter, Wolf Biermann (stepfather of Nina Hagen), before the communist regime expelled Biermann from the GDR. Dehm denies having spied for the Stasi.

Paul Simon – Late In The Evening (YouTube live clip)
Paul Simon’s One Trick Pony LP was another Christmas present LP which I had wanted on strength of a great lead single and never really enjoyed. Which means that the album title is quite ironic itself — it had only one trick. Ah, but what a trick. It has a casual drug reference, which didn’t get the song banned! The fantastic Latin horn part was arranged by Dave Grusin, who did the instrumental score for the soundtrack for The Graduate, which Simon & Garfunkel had significantly contributed to.  And check out the exquisite drumming by Steve Gadd. Then there are the masterful percussions of Ralph MacDonald, who died in December, and the guitar work of the late Eric Gale. And on backing vocals is Lani Groves, who sang the opening verse of Stevie Wonder’s You Are The Sunshine Of My Life with Jim Gilstrap. (The MP3 file was found and zapped before the post was even up. Hence the YouTube clip.)

Air Supply – All Out Of Love.mp3
I always stress that in this series, the songs are chosen because they have the power to transport me back to the time when they came out, not because I endorse them. This one can in an instance recreate in me that nagging teenage feeling in the stomach, the desire for romance, and the smell of my bedroom. I don’t really want to endorse the song; on the contrary, I want to hate it as the spineless power ballad it really is. And still – and I don’t know if it is the nostalgia for an unhappy youth or my advancing age – listening to it as I’m writing this, I rather enjoy it. So much so, that I’ll play it again. But then, I have previously publicly defended Chicago’s If You Leave Me Now, an act that has earned me some derision, so I might as well confess my (no longer) secret affection for wimpy power ballads.

Karat – Über sieben Brücken mußt du gehn.mp3
On my family’s periodic visits to East Germany, I would try and satisfy my record-buying impulse by purchasing albums by local rock bands. It was also a good way of spending East German marks, which was quite challenge in a country which did not go in for quality consumer goods. You couldn’t even buy a replica Dynamo Dresden football shirt (just as you couldn’t buy a Dukla Prague away shirt in Czechoslovakia; though you could do so from western mail order companies). And that’s how I came to own LPs by the likes of City and the Puhdys. I never really listened to them. But the biggest East German band, Karat, had passed me by until they suddenly had a hit in West Germany with Über sieben Brücken mußt du gehn (You’ll have to cross seven bridges). The rather lovely prog-rock ballad, originally released in East Germany in 1978, was covered by Peter Maffay, one of West Germany’s biggest stars who styled himself (and still does) as a bit of an outlaw. Maffay had the bigger hit with it, but in the slipstream of his version’s success, Karat’s original received much radio airplay (by East German law they were not allowed to appear on West German TV). I preferred the Karat version.

David Bowie – Up The Hill Backwards.mp3
Here’s another Christmas present album, which made my wishlist on strength of Ashes To Ashes and the even more fabulous Fashion. Unlike the LPs by Palmer and Simon, I liked the Scary Monsters LP a lot, and I particularly loved Up The Hill Backwards with its anthemic vocals, Robert Fripp’s crazy guitars and the staccato drumming. Bruce Springsteen’s piano man Roy Bittan did ivory tinkling duty here, as he did on Ashes To Ashes and Teenage Wildlife, and the album’s co-producer, Tony Visconti played the acoustic guitar. Up The Hill Backwards was released as the album’s fourth single in Britain. It stalled at #32, not entirely surprisingly, because it is not really commercial.

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More Stepping Back

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The 1980s were the MTV years; as radio once helped spread country beyond its natural habitat, so did TV channels dedicated to broadcasting country music disseminate the new crop of stars. As importantly, for the first time since Jennings and Nelson attracted the attention of rock fans, some country singers, such as Earle and Yoakam, were acknowledged by the rock press. County, or at least some strands of it, was hip again. The rock press also rediscovered legends such as George Jones and Dolly Parton. So Parton’s collaboration with Emmylou Harris and Linda Ronstadt was celebrated as a music event well outside country circles.

At the same time, some acts were reviled for what was seen as their insipidity — most of all country-rockers Alabama, who nonetheless have continued to shift huge amounts of records to the present day, more than three decades since the demise of The Eagles and The Marshall Tucker Band, whose blueprints Alabama predicated their career on. And just as Strait and Skaggs shaped the rise of the cowboy-hatted superstars, and Earle, Lovett and Yoakam inspired alt.country, so did Alabama and Restless Heart give rise to a cluster of country-rock bands, such as Atlanta (by then naming a band after a city should have been declared illegal in some form of anti-cliché law), Highway 101 and Shenandoah.

Fans of the Originals will appreciate Whitey Shafer’s incipient version of the George Strait hit All My Ex’s Live In Texas (an earworm if ever there was one). As always, the mix is timed to fit on a standard CD-R, and homebaked front and back covers are included.

TRACKLISTING
1. Ricky Skaggs – Country Boy
2. The Judds – Girls Night Out
3. The Highwaymen – The Last Cowboy Song
4. Reba McEntire – Somebody Should Leave
5. John Prine – Speed Of The Sound Of Loneliness
6. Lyle Lovett – Closing Time
7. Randy Travis – 1982
8. Lionel Richie with Alabama – Deep River Woman
9. Emmylou Harris – Who Will Sing For Me
10. Ricky Van Shelton – Life Turned Her That Way
11. Whitey Shafer – All My Ex’s Live In Texas
12. Hank Williams Jr. – Born To Boogie
13. Dwight Yoakam – I Sang Dixie
14. Steve Earle – Copperhead Road
15. Rodney Crowell – I Couldn’t Leave You If I Tried
16. Earl Thomas Conley – What I’d Say
17. Keith Whitley – I’m No Stranger To The Rain
18. Merle Haggard – Wouldn’t That Be Something
19. Shenandoah – The Church On Cumberland Road
20. Patty Loveless – Chains
21. Clint Black – A Better Man
22. Steve Wariner – Where Did I Go Wrong
23. Travis Tritt – Country Club

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Previously in A History of Country
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Sunday, 15 April, will see the centenary of the sinking of the Titanic. There is little need for me to go into the story of that most famous of all maritime disasters. Movies will be shown on TV (including a new mini-series), the History Channel will take time off from Nazis, aliens and truckers to provide all sorts of perspectives, and all kinds of background and new insights will be offered in newspaper, magazine and Internet articles.

So, here I add to the saturation with a mix of songs about maritime disasters, including several that record the sinking of the monument to hubris.

Ex-Byrds man Roger McGuinn’s adaptation of the folk number Titanic was recorded especially for the Folk Den website in reaction to the sinking earlier this year of the Costa Concordia on the Italian coast. One Titanic song that has been recorded many times under different titles features twice here, first by The Sacred Shakers and then by marvellous Ruthie Foster, though in quite different interpretations.

The strangest of the Titanic songs here must be Jamie Brockett’s extensive rant about the African-American boxing champ Jack Johnson being barred from travelling on the Titanic, and how that relates to the ocean liner’s unhappy fate.

The mix ends with the hymn Nearer My God To Thee, in a version recorded as close to 1912 as I could find, sung by the renowned Irish tenor John McCormack. This, of course, is what the band is said to have played as the Titanic was sinking, though it isn’t clear whether it was to the melody favoured in England or the one more commonly used in the United States. McCormack’s version is, I think, the Bethany tune from 1859, which is the version better known in the US.

One can argue about the meaning of Procol Harum’s Salty Dog; its haunting melody suggests some sort of nautical distress.

As always, the mix is timed to fit on a standard CD-R; home-brewed covers are included.

TRACKLISTING:
1. Roger McGuinn – Titanic (2012)
2. The Sacred Shakers – Titanic (2008)
3. Cisco Houston & Woody Guthrie – What Did the Deep Sea Say (1944)
4. Johnny Horton – Sink The Bismarck (1960)
5. The Dixon Brothers – Down With The Old Canoe (1938)
6. Ruthie Foster – The Titanic (God Moves On The Water) (2012)
7. Sinead O’Connor - Lord Franklin (2002)
8. Hans Theessink – Titanic (2005)
9. Gordon Lightfoot – The Wreck Of The Edmund Fitzgerald (1976)
10. Procol Harum – Salty Dog (1969)
11. Son Volt – Sultana (2009)
12. The Pogues – Turkish Song Of The Damned (1988)
13. The Ventures – Cruel Sea (1964)
14. Frank Hutchison – The Last Scene Of The Titanic (1927)
15. Blind Alfred Reed – The Wreck Of The Virginian (1927)
16. The Highwaymen – The Sinking Of The Reuben James (1964)
17. Jamie Brockett – Legend Of The U.S.S. Titanic (2005)
18. John McCormack – Nearer My God To Thee (1914)

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With Easter approaching, here’s a third mix of songs that relate in some way or another to the Christian faith, following the Saved! 1 and Saved! 2 mixes. The first drew from verious ages and genres of music, the second comprised soul musicians doing God music. This lot comes from rock, folk, country and indie backgrounds.

Some artists featured here are devout believers, some are sceptics, some are people one wouldn’t necessarily have down as being even remotely religious (Cave, Waits). Most are original songs, a few are covers (for example, Wilco covers Woody Guthrie, and Emmylou Harris covers Bob Dylan). All are, in my view, beautifully performed. And even the most devout atheist must feel what it feels like to have faith when they hear Alison Krauss’ voice on A Loving Prayer.

As always, the mix is timed to fit on a standard CD-R, and includes home-sanctified covers. To those who believe, have a happy Easter; to those who don’t, enjoy the chocolates and this excelent mix.

TRACKLISTING:
1. Prefab Sprout – Earth, The Story So Far (2009)
2. Wilco – Airline To Heaven (live) (2005)
3. Bap Kennedy – Please Return To Jesus (2012)
4. Mindy Smith – Come To Jesus (2004)
5. Tift Merritt – Tender Branch (2008)
6. Emmylou Harris – Every Grain Of Sand (1995)
7. Nick Cave And The Bad Seeds – Bless His Ever Loving Heart (2001)
8. Natalie Merchant with Karen Paris – When They Ring The Golden Bells (1998)
9. Sufjan Stevens – To Be Alone With You (2001)
10. Iron & Wine – Jezebel (2005)
11. Rosanne Cash – God Is In the Roses (2006)
12. Tom Waits – Come Up To The House (1999)
13. Lyle Lovett – Church (1992)
14. Johnny Cash – Oh, Bury Me Not (1994)
15. Ralph Stanley – He Suffered For My Reward (2011)
16. Maria Doyle Kennedy & Kieran Kennedy – To The Work (2011)
17. Steve Earle and the Del McCoury Band – Pilgrim (1999)
18. Alison Krauss – A Living Prayer (2004)
19. The Welcome Wagon – But For You Who Fear My Name (2008)

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More God music
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The Grim Reaper took it relatively easy this month. The headline deaths were those of bluegrass legend Earl Scruggs and Robert B Sherman, who with his brother wrote Disney standards for films such as 101 Dalmations, The Jungle Book and Mary Poppins. The idea for Let’s Go Fly A Kite, from Mary Poppins, apparently was inspired by the Sherman brothers’ father, Al Sherman, who was a songwriter and hobby kitemaker.

But perhaps the most interesting lifestory to reach its end in March was that of Australian musician and AIDS activist Vince Lovegrove, who as a young man in the 1960s played in a group with Bon Scott, whom he is said to have introduced to AC/DC. He worked as a journalist and as a manager. His clients included the Divinyls, before they found international fame with I Touch Myself. Lovegrove resigned from management to care for his wife, Sue Sidewinder, and little son Troy who were HIV-infected. A 1987 documentary on their struggle, which premiered just a few weeks after Sue’s death, has been credited with doing much to overcome the false notion of AIDS as a “gay disease”. Troy died in 1993 at the age of eight, also just before a screening of a documentary about him. Lovegrove made international headlines when in a biography on INXS frontman Michael Hutchence he claimed that Paula Yates entrapped the singer with a pregnancy. A libel case was settled out of court.

Lucio Dalla, 68, Italian singer-songwriter and musician, on March 1
Josh Groban – Caruso (2003, as composer)

Ronnie Montrose, 64, guitarist of hard rock group Montrose and session musician (Van Morrison, Gary Wright a.o.), on March 3
Edgar Winter Group – Freeride (1972, as guitarist)

Frank Marocco, 81, accordionist, arranger and composer, on March 3
Frank Marocco Group – Just Friends (2002)

Robert B. Sherman, 86, Tin Pan Alley and Disney film songwriter, on March 5
Johnny Burnette – You’re Sixteen (1960)
Mary Poppins – Let’s Go Fly A Kite (1964)
The Jungle Book (Louis Prima) – I Wanna Be Like You (1966)

Joe Byrd, 78, jazz piano and bass player (brother of Charlie Byrd), on March 6
Joe Byrd Trio – Saw Your Old Lady (2001)

Jimmy Ellis, 74, singer of soul group The Trammps, on March 8
The Trammps – Penguin / Zing! Went The Strings Of My Heart (1972)

Buddy ‘Bugs’ Henderson, 68, blues guitarist, on March 8

Terry Teene, 70, rockabilly singer and clown (creating a template for Ronald McDonald), on March 9

Michael Hossack, 65, drummer of The Doobie Brothers, on March 12
The Doobie Brothers – Rockin’ Down The Highway (1972)

Eddie King, 73, blues guitarist and singer, on March 13

Cedric Sharpley, 59, drummer for Gary Numan/Tubeway Army, on March 13

Karl Roy, 43, singer of Filipino rock bands P.O.T. and Kapatid, on March 13

Gary Cornell, 34, singer of Australian rock band Pyramid of the Coyote, on stage on March 18

Johnny McCauley, 86, Irish folk singer and songwriter, on March 22

Eric Lowen, 60, songwriter and member of Lowen & Navarro, on March 23
Pat Benatar – We Belong (1984, as co-writer)

Nick Noble, 85, country and easy listening singer, on March 24
Nick Noble – Moonlight Swim (1957)

Marion Marlowe, 83, singer and actress, on March 24
Marion Marlowe – Whither Thou Goest (1954)

Vince Lovegrove, 65, Australian musician, manager, journalist and Aids activist, in a car crash on March 24

Tom Wells, 70, television composer (Buffalo Bill, WKRP in Cincinnati, Open All Night), on March 26
Steve Carlisle – WKRP In Cincinnati (1978, full version  of the theme)

Earl Scruggs, 88, bluegrass banjo legend, on March 28
Lester Flatt & Earl Scruggs  – Why Don’t You Tell Me So? (1949)
Lester Flatt & Earl Scruggs-Like A Rolling Stone (1968)
Earl Scruggs – Honky Tonk Women (1971)

Jerry ‘Boogie’ McCain, 81, blues musician, on March 28
Jerry McCain – My Next Door Neighbor (1955)

Zoran Romic, guitarist with Australian rock group Chocolate Starfish, on March 31

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In this instalment in the Covered With Soul series we have a second selection of soul songs covered by soul acts. We have met most of the featured artists before, perhaps none more so than Erma Franklin. Here we have Erma covering a song originally performed by her bigger sister, Aretha Franklin (whose 70th birthday we have just celebrated). One act here is quite unlike any of the others we have heard in this series: Una Valli was not only white (as were the Flaming Embers), but also  South African, having some local success as a soul singer in the late 1960s – and, boy, did she have soul!

So, in this mix there are covers of songs that were hits for Eddie Floyd, The Temptations, Jackie Wilson, Clarence Carter, Bill Withers, Sam Cooke, Harold Melvin & the Bluenotes, Al Green, Freda Payne, Gladys Knight and the Pips, Friends Of Distinction, Aretha Franklin (three of them), Willie Mitchell, Ike & Tina Turner, Sly & the Family Stone, Marvin Gaye, Luther Ingram, Sam & Dave (two of them, though the Rotary Connection version is barely recognisable as their song), Eddied Holman, and Ray Charles.

TRACKLISTING:
1. Archie Bell & the Drells – Knock On Wood (1968)
2. Marvin Gaye – I Wish It Would Rain (1970)
3. The Dells – (Your Love Keeps Lifting Me) Higher And Higher (1968)
4. The Chairmen Of The Board – Patches (1970)
5. Denise LaSalle – Lean On Me (1973)
6. Mavis Staples – You Send Me (1969)
7. Lyn Collins – If You Don’t Know Me By Know (1975)
8. Margie Joseph – Let’s Stay Together (1973)
9. Ronnie Dyson – Band Of Gold (1970)
10. The Persuaders – Best Thing That Ever Happened To Me (1974)
11. Flaming Ember – Going In Circles (1971)
12. Tina Britt – Dr. Feelgood (1969)
13. Madeline Bell – Mercy, Mercy, Mercy (1968)
14. Rosetta Hightower – River Deep And Mountain High (1971)
15. Erma Franklin – Baby I Love You (1969)
16. Hearts Of Stone – ‘Thank You’ Falettinme Be Mice Elf Agin (1970)
17. Marlena Shaw – Save The Children (1972)
18. Millie Jackson – (If Loving You Is Wrong) I Don’t Want To Be Right (1974)
19. Una Valli – I Never Loved A Man The Way I Loved You (1968)
20. Spooky & Sue – When Something Is Wrong With My Baby (1975)
21. The Glass House – Hey There Lonely Girl (1971)
22. Gene Chandler – Hallelujah, I Love Her So (1970)
23. Rotary Connection – Soul Man (1967)

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This is a mini song swarm of versions of These Boots Are Made For Walking, whose melody does not really lend itself to great radical reinterpretation in the way previous song-swarmed songs — Light My Fire, Georgia On My Mind, By The Time I Get To Phoenix  and Blue Moon – do. Instead of allowing itself to be remoulded, These Boots invites idiosyncratic delivery, partly perhaps because the song is something of a novelty number (and, of course, a great pop song with fantastic lyrics). Most versions retain the quite bizarre saxophone outro, the brainwave of the orgina arranger, Billy Strange, who died in February at the age of 84.

So what we hear today are 11 covers that are rather (or very) unusual. Not all of them are good, and a few might make your ears bleed. But all are, I think, worth hearing at least once.

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Lee Hazlewood – These Boots Are Made For Walkin’ (1966).mp3
The great song by the guy who wrote it. Hazlewood introduces it as “a little song bout boots and a darlin’ named Nancy”, and as he sings it he ad libs a few lines about the production of Nancy Sinatra’s version (“and here is the part of the record where everybody said ‘oh it can’t be number one’”).

Symarip – These Boots Are Made For Walking (1969).mp3
Their name might sound like a piece of computer Shareware that is advertised as free but once installed reveals itself to contain all sorts of limitations that render it useless for your purpose unless you buy the full version. But Symarip was in fact a ska-reggae group from Jamaica recorded in Britain and released an LP titled Skinhead Moonstomp before decamping under a different name to West Germany. Symarip were one of the earliest bands to serve the skinhead market, long before shaved heads became associated with neo-Nazis. Nevertheless, the adapted lyrics hint at a culture in which recreational violence was not entirely condemned: “These boots are made for stamping” indeed.

Crispin Hellion Glover – These Boots Are Made For Walking (1989).mp3
In 1989 George McFly released one of the most demented albums I have ever heard. Bizarre spoken bits intersperse some of the worst singing (more like whining) ever committed to record. And all that performed with apparent seriousness. Ironists have ordained the unsnappily-titled The Big Problem Does Not Equal the Solution. The Solution = Let It Be. a cult album, but the real question is how anybody thought it would be a good idea to release it. Glover’s vocals of These Boots are delivered through the medium of crying. The arrangement is quite good though, and the trumpet riff at the end is brilliant. An appalling version which nonetheless every music collection should include.

British Electric Foundation – These Boots Are Made For Walking (1982).mp3
Paula Yates, the former Mrs Bob Geldof and mother of whichever strange-named daughters of theirs are celebrities now, was a British TV presenter. But in 1982 she appeared on the British Electric Foundation’s modestly titled album Music of Quality and Distinction Volume One, which also featured a pre-comeback-in-fishnets Tina Turner. BEF was a project of future Heaven 17 members Martyn Ware and Ian Craig Marsh, and on evidence of their version of These Boots, the BEF’s claim of quality and distinction might have been exaggerated. The arrangement is sparse, dominated by a funk guitar, occasional backing interjections which Duran Duran possibly borrowed for Wild Boys, and some fun with the synth. And then there are the vocals by Yates, who died in 2000 at 41. Let’s just say that there were good reasons why she did not pursue a career in singing.

Teddy and Darrel – These Boots Are Made For Walking (1966).mp3
Teddy and Darrell are believed to be Theodore Charach, a film scriptwriter and producer, and Mike Curb. The latter is the ultra-conservative producer and record company executive on the MGM label who once fired a roster of artists whom he knew to be drug users, including Frank Zappa and the Velvet Underground. Whoever Teddy and Darrell were, they made an album of intentionally horrible spoof of pop hits. Regardless of your level of irony, their version of These Boots is one of the worst records ever, with one, presumably Teddy, half-singing in a camp voice and the other fool groaning in way that suggests he had listened to too many Peter Sellers records.

Eileen – Die stiefel sind zum wandern (1966).mp3
The German version of These Boots, delivered by someone called Eileen who clearly was not a native German speaker, though her diction is pretty good. The lyrics and arrangement are faithful to the original. “Stiefel, seit bereit? Wandert!”

Loretta Lynn – These Boots Are Made For Walking (1966).mp3
Think about it: The lyrics of These Boots are totally country, if sung by sassy women who won’t submissively stand by their shitty men. And Loretta, as you’ll now from the movie, takes no crap from anyone, least of all men who are lying when they ought to be truthing. Her version of These Boots is really good, in a honky tonk kinda way.

Marianne Ascher – These Boots Are Made For Walking (1980).mp3
For the new wave fix of These Boots, Canadian songstress Marianne Asher is your woman. To the backing of a dreamy synth of the kind you’d hear on records by Ultravox and a hardworking drum machine, Ascher channels such vocal innovators as Toyah and Hazel O’Connor, with the unnecessary squeals and lack of discernible charm.  The thing is topped off by a tinny saxophone solo.

Amanda Lear – These Boots Are Made For Walking (1977).mp3
French-born Amanda Lear is probably best known for being an alleged transsexual (she once published nude photos of herself to prove that she was all woman), but her life story transcends speculation about her sex. A former girlfriend of Salvadore Dali, Bryan Ferry (it is her on the cover of Roxy Music’s For Your Pleasure LP) and David Bowie, the deep-voiced vamp became an Euro- disco singer with hits such as Queen Of Chinatown, Blood And Honey and Follow Me. It was high camp for the masses – just as These Boots is a song of high camp. One might debate the merits of Lear’s voice and the arrangement, but this is a very entertaining version.

Mrs Miller – These Boots Are Made For Walkin’ (1966).mp3
Of all the songs on her optimistically titled Greatest Hits album, it’s on These Boots that dear Mrs Miller manages to hold the tune, for the most part. Having mastered to more or less sing in tune, Mrs Miller decides to inject some personality into this not very difficult to sing number. And that personality is, as you’d want from Mrs Miller, of sultry character. Oh yes, Mrs Miller – though at this point you might want to call her Elva, unless you wish to sound like Dustin Hoffman in The Graduate – gets her sexy on with some throaty purring. When she encourages those boots to start walking – and to keep walking – I don’t think she is talking about podriatic motion any longer…

Adriano Celentano – Bisogna far qualcosa (1984).mp3
He might not be a man of attractive political ideology, but Adriano Celentano was Italy’s original rock ’n’ roller. Taking the Elvis route, he proceeded to become a crooner of banalities, dotting that artistic decline with the occasional gem. In the late 1960s he recorded what to me is the quintessential San Remo-type hit, Azzuro. In 1972 he released the strangest record of his career, the quasi rap number Prisencolinensinainciusol (which sounds like a heavy duty drug to control a rare form pancreatic leakage, but was really an appeal for universal love which anticipated Malcolm McLaren 1980s hits and indeed hip hop). And in 1984 he finally got around to covering, in Italian, These Boots. Italian is one of the most beautiful and romantic languages in the world. You can read Mein Kamof in Italian and it would sound like a florid love letter. But Adriano Celentano proves one thing: Italiant was not made to give words to These Boots Are Made For Walking.

Nancy Sinatra – These Boots Are Made For Walking (1966).mp3
Do you really need it at this point? But in case you do…

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Song Swarms