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The Originals Vol. 43

August 11th, 2011 Leave a comment Go to comments

In this instalment we look at the lesser known originals for five hits from the 1970s. Regular readers with exceptionally good memories might have a déjà vu movement: two of the songs I’ve done before. But I was not satisfied with one, and recently was sent by a kind soul a crucial sound file for the other.

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Johnny Bristol – Love Me For A Reason (1974).mp3
The Osmonds – Love Me For A Reason (1974).mp3

Johnny Bristol is probably best-remembered for his excellent mid-’70s soul hit Hang On In There Baby. We have encountered him previously in this series, in The Originals Vol. 37, as one of Johnny & Jackie who co-wrote and recorded the first version of Diana Ross and The Supremes’ Someday We’ll Be Together.

A producer of many Motown records and after 1973 for CBS (where he produced such acts as Randy Crawford, Boz Scaggs and Marlena Shaw), he resumed his recording career in 1974. Among the tracks on his rather good Hang On In There, Baby album was Love Me For A Reason, a song Bristol co-wrote with David Jones and Wade Bowen.

Bristol recorded on MGM records where the prolific producer and arranger Mike Curb ran he show. Curb was, it is fair to say, a man of uncompromising conservative opinion. He later became a Republican politician, but while at MGM, he fired a reported 18 acts from the label for using or supposedly promoting drugs. Among them were Frank Zappa and The Velvet Underground.

One act in no danger of Curb’s axe was The Osmonds, the squeaky clean and impossibly toothy Mormon brothers who had produced a string of hits for MGM. Their version of Johnny Bristol’s hit became a US #10 pop hit in 1974 – their last. In Britain it topped the charts (and they’d have another top 5 hit there in 1975), inspiring a hugely successful cover version 20 years later by Boyzone, the Ronan Keating-led band that traded in unwelcome remakes of old hits.

Also recorded by: The Hiltonaires (1974), Boyzone (1994), Studio 99 (1999), As We Speak (1994), State Of The Heart (1996), Bruno Bertone (2000), Fabulous 5 (2003)

Gene Cotton – Let Your Flow (1975)
Bellamy Brothers – Let Your Flow (1976)

It might have been a hit for Neil Diamond. Written by one of the lamé-jacketed star’s roadies, Larry E Williams, it was offered first to Diamond. He declined to record it (as did Johnny Rivers), which perhaps was just as well. Instead the song came to country/folk singer-songwriter Gene Cotton, who recorded it for his 1975 album For All The Young Writers.

While Cotton’s version went nowhere, Neil Diamond’s drummer suggested it to his friends David and Howard Bellamy, the country duo The Bellamy Brothers. Their recording became one of the biggest hits of the decade and gave the brothers’ their international breakthrough hit. In West Germany Let Your Love Flow topped the charts in summer 1976 for six weeks until it was knocked off by its German version by Jürgen Drews, formerly of the Les Humphries Singers, which went by the peculiar title Ein Bett im Kornfeld (A bed in the wheat field).

Also recorded by: Conway Twitty & Loretta Lynn (1976), Jürgen Drews (as Ein Bett im Kornfeld, 1976), Roy Etzel (1976), Les Humphries Singers And Orchestra (1976), Lynn Anderson (1977), Del Reeves & Billie Jo Spears (1977), Karel Gott (as Běž za svou láskou, 1978),Joan Baez (1979), John Holt (1982), Ray Charles (1983), Audrey Landers (1986), Solomon Burke (1993), Tom Jones (1998), John Davidson (1999), Dana Winner (2001), Jan Keizer (2001), Tamra Rosanes (2002), Dream Dance, Inc. (2005), Collin Raye (2005), Fenders (2006) a.o.

Art Reynolds Singers – Jesus Is Just Alright (1966)
The Byrds – Jesus Is Just All Right (1969)
The Doobie Brothers – Jesus Is Just All Right (1972)

In the 1970s there was a fashion of rock groups singing songs about Jesus. Perhaps it was a fashion inspired by the musicals Jesus Christ Superstar and Godspell. Or maybe some really were just into Jesus. So the Doobie Brothers, a band named after a synonym for a joint, had a hit with Jesus Is Just All Right in 1972.

The original of the song was recorded by the Art Reynolds Singers in 1966. It was written by the band’s leader, Arthur Reid Reynolds, apparently as a riposte to John Lennon’s “The Beatles are more popular than Jesus” comment. Present at that recording session was Gene Parsons, the drummer of The Byrds, who introduced the song to his bandmates who in turn recorded it for their 1969 LP Ballad Of Easy Rider.

The Byrds’ version provided the template for the Doobie Brothers 1972 cover. The Doobies added a middle section to the original, with new, even more emphatically Christ-supporting lyric, sung by guitarist Pat Simmons: “Jesus, He’s my friend; Jesus, He’s my friend; He took me by the hand, far from this land; Jesus, He’s my friend.” Oddly enough, none of the Doobies were known to be Christians, but the Christians loved it, throwing Bibles on to the stage at Doobie Brothers gigs and making the One Way (up) handsigns.

Also recorded by: The Underground Sunshine (1970), 1776 (1970), Sister Kate Taylor (1971), Ronnie Dyson (1972), Exile (1973), DC Talk (1992), Shelagh McDonald (2005), Robert Randolph & The Family Band feat Eric Clapton (2006), Eric McFadden (2010)

Jim Weatherly – Midnight Plain To Houston (1972)
Cissy Houston  – Midnight Train To Georgia (1973)
Gladys Knight & the Pips – Midnight Train To Georgia (1973)
Neil Diamond – Midnight Train To Georgia (2010)

In 1972 former All-American quarterback Jim Weatherly released a country song that told of a girl whose fading dream of stardom in Los Angeles led not to a life of waitressing or pornography, but ended on a plane back to her home in Texas. In fact, Weatherley initially wanted his protagonist’s dreams shattered in Nashville, for his genre was country music.

The choice of Houston as the failed star’s home was inspired, according to Weatherley, by the actress Farrah Fawcett, who at the time was more famous for dating Lee Majors than her thespian accomplishments. “One day I called Lee and Farrah answered the phone,” Weatherly later told songfacts.com. “We were just talking and she said she was packing. She was gonna take the midnight plane to Houston to visit her folks. So, it just stayed with me. After I got off the phone, I sat down and wrote the song probably in about 30 to 45 minutes.”

Some months later, the Janus label sought permission to record the song with Cissy Houston, but asked whether they could adapt the lyrics to make the destination Georgia (seeing as Ms Houston going to Houston might seem a bit awkward). Weatherly accepted that, as well as a change in the mode of transport.

Whitney’s mom’s lovely performance became a minor hit in 1973. Gladys Knight heard it and decided to record it with her Pips. Houston’s endearing version might have been the template, but Knights’ cover demonstrates the genius of the sometimes unjustly ridiculed Pips. What would Gladys Knight’s interpretation be without the interplay with and interjections by her backing singers: “A superstar, well he didn’t get far”, “I know you will”, “Gotta go, gonna board the midnight train…” and, of course, the choo-choo “Hoo hoo”s?

It was fortuitous that Georgia was also Knight’s homestate. The song also sparked a collaboration with Weatherley with whose songs Knight populated the Imagination album on which Midnight Train appears.

Also recorded by: Ferrante & Teicher (1974), Connie Eaton (1974), Lynn Anderson (1982), Indigo Girls (1995), Sandra Bernhard (1998), Renee Geyer (2003), Jasmine Trias (2004), Paris Bennett (2006), Human Nature (2006), Joan Osborne (2007), Emma Wood (2009), Neil Diamond (2010), Sandrine (2010) a.o.

Larry Weiss – Rhinestone Cowboy (1974)
Glen Campbell – Rhinestone Cowboy (1975)

Larry Weiss was, and still is, a prolific songwriter (we read about him recently as one of the singers of the theme of Who’s The Boss). In the 1960s, he co-wrote hits such as Bend Me Shape Me, Hi Ho Silver Lining and Spooky Tooth’s Evil Woman. Sporadically he also recorded his own songs. One of these was Rhinestone Cowboy, inspired by a phrase he had overheard in a conversation. The song appeared on Weiss’ Black And Blue Suite album, and it was released as a single (at least in West Germany).

The story goes that Glen Campbell heard the song on the car radio as he was on his way to a meeting with his record company, and thought about suggesting to record it. But before he had the opportunity to do so, the record company presented their own bright idea: how about this Rhinestone Cowboy song by Larry Weiss.

In the original version, Weiss sounds much like his old Brill Building chum Neil Diamond. Campbell made the song his own, with that soaring voice which expresses such a forfeit of hope. Released in May 1975, it went on to top the pop and country charts simultaneously, the first time that had been done since 1961.

In 1984, Weiss finally got a project he had been working on realised – a movie starring Dolly Parton and Sylvester Stallone. Its title: Rhinestone.

Also recorded by: Slim Whitman (1976), Bert Kaempfert (1976), Charley Pride (1977), Tony Christie (1978), White Town (1997), David Hasselhoff (2004), Jan Keizer (2004) a.o.

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  1. Douglas
    August 12th, 2011 at 18:33 | #1

    Never knew most of these were remakes…..thanks again Dude!

  2. Rhod
    August 12th, 2011 at 23:00 | #2

    Thanks for the great original tunes. It is real education to know the real roots of these popular songs.

    Great work once again

    Regards

    Rhod

  3. Rob
    August 16th, 2011 at 07:48 | #3

    i think Andrew Lloyd Webber
    ‘borrowed’ the opening of
    Rhinestone Cowboy for this
    song from Evita:
    http://www.youtube.com/watch?v=1FW-G8GX7ZU&feature=fvst
    : )
    ®

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