Any Major Dude With Half A Heart

Last year we had two compilations of classic Christmas soul (plus one featuring newer stuff); here is a third volume. It kicks off with a spoken intro by The Jackson 5. Jermaine is crying – and the manner in which that is established always makes my smile – and he needs yuletide comforting. Wonderful stuff.

Towards the middle we get socially conscious. Stevie Wonder, still just 17 years old, hopes for no hunger and no tears, but for peace and equality of man. Then the Harlem Children’s Choir, who sound rather older than children, provides some seasonal black consciousness from the ghetto, with an inevitable riff on notions of white Christmas.

The Shurfine Singers borrow a concept from Simon & Garfunkel as they sing Silent Night as a news broadcast runs in the background, speaking of war, protest and strife. As on the Simon & Garfunkel track, the news (now at 11pm, not at 7) becomes increasingly louder to drown out the hymn of peace. Unlike the S&G version, the news cast ends with an editorialising Christmas wish.

This is followed by two examples of a genre that was fairly popular at one point: the Vietnam Christmas song. We previously encountered Change Of Pace on Covered With Soul Vol 5 covering Freda Payne’s Bring The Boys Home as the more alliterative Bring My Buddies Back; here they send a letter from Vietnam, explaining that they won’t be home this Christmas. Johnny & Jon’s Christmas In Vietnam is representative of the anger African Americans felt at the disproportionate number of young black man drafted for the war. So, where in a country song the lament of an unhappy Christmas because “there’s Vietcong all around me” might provoke defiant flag waving, this sombre Southern Soul number seethes with resigned anger.

Things soon become Christmassy again, and we come across a pre-fame Luther Vandross with his band Luther, who perform a song he wrote (two years earlier, he had co-written David Bowie’s Fascination). Vandross clearly didn’t like the two Luther LPs; he later bought the rights to them and prevented their re-release.

James Brown closes the set with the second song called Soul Christmas; needless to say, it’s not the same song as Count Sidney’s. I rather enjoy JB thanking and loving his fans (“people like you don’t grow on trees”) for their support, urging them to come to his next show. So it’s a bit ironic that the man should have died on Christmas Day…

This is the first of three Christmas sets I’ll post this year: the others will cover country music and the acoustic lot. All are timed to fit on a standard CD-R, and I’m making front and back covers for all.

TRACKLISTING
1. Jackson 5 – Christmas Won’t Be The Same This Year (1970)
2. Count Sidney and his Dukes – Soul Christmas (1967)
3. Clarence Carter – Back Door Santa (1968)
4. Otis Redding & Carla Thomas – New Year’s Resolution (1967)
5. Mack Rice – Santa Claus Wants Some Lovin’ (1972)
6. Brook Benton – You’re All I Want For Christmas (1963)
7. George Grant and the Castelles – At Christmas Time (1960)
8. The Staple Singers – The Last Month Of The Year (1962)
9. Aretha Franklin – The Christmas Song (1964)
10. The Temptations – My Christmas Tree (1970)
11. Stevie Wonder – Someday At Christmas (1967)
12. Harlem Children’s Chorus – Black Christmas (1973)
13. The Shurfine Singers – Silent Night & The 11 O’Clock News (1968)
14. Change Of Pace – Hello Darling (1971)
15. Johnny & Jon – Christmas In Viet Nam (1965)
16. Margie Joseph – Christmas Gift (1976)
17. Bill Withers – The Gift Of Giving (1972)
18. Donnie Hathaway – This Christmas (1970)
19. Luther – May Christmas Bring You Happiness (1976)
20. Smokey Robinson – A Child Is Waiting (1970)
21. Linda Lewis – Winter Wonderland (1976)
22. The Impressions – I Saw Mommy Kissing Santa Claus (1976)
23. The Supremes – White Christmas (1965)
24. Booker T. & The MG’s – Santa Claus Is Coming To Town (1966)
25. James Brown – Soulful Christmas (1968)

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I noticed only after uploading this mix that I replicated a track from Any Major Christmas Soul Vol. 1. Ah well, the hazards of spreading things out over a year…

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CHRISTMAS MIXES WITH WORKING LINKS:
Any Christmas Soul Vol. 1
Any Christmas Soul Vol. 2
Any Smooth Christmas (2010)
Any Christmas In Black & White
More Christmas In Black & White
Christmas Mix, Not For Mother
Any Major X-Mas Mix
PLUS: Rudolph, a victim of prejudice

More Christmas Mixes
More Mixes

I was going to post another mix today, but when one of your favourite songwriters dies, priorities take over. And much as I love Jerry Leiber’s repository of great lyrics – he was he Cole Porter of rock & roll – my tribute is for Nickolas Ashford, who with his wife Valerie Simpson wrote, produced and recorded over their career of five decades some of the finest soul music.

They deserve a lifetime achievement award alone for that string of wonderful songs they wrote and produced for Marvin Gaye & Tammi Terrell: Ain’t Nothing Like The Real Thing, Your Precious Love, You’re All I Need To Get By, The Onion Song, Keep On Lovin’ Me Honey and, of course,  Ain’t No Mountain High Enough. The Onion Song is rumoured to have used Valerie Simpson’s voice to stand in for the ailing Terrell (Simpson has denied it).

The inclusion of Kenny Lattimore and Chanté Moore’s version of You’re All I Need To Get By – it was that or that by Martha Reeves and GC Cameron – is rather nice, I think. Lattimore and Moore are a married couple, hopefully as solid (yeah!) as the writers of the song.

Then there were the Diana Ross songs: Reach Out And Touch (Somebody’s Hand), Surrender Remember Me, The Boss, It’s My House etc. Or the double-whammy for Ray Charles: I Don’t Need No Doctor and Let’s Go Get Stoned.

One clarifying note: the version of Reach Out And Touch Somebody’s Hand was the first hit for Diana Ross after she left The Supremes; the version here is that by the Ross-less Supremes with The Four Tops. This is, of course, the song which Ashford & Simpson sang at Live Aid with Teddy Pendegrass.

Well, let the music do the talking. Here is a mix of Ashford & Simpson songs (which is so good, it did not need the inclusion of their great hit, Solid).

Nick Ashford died of cancer on August 22, 2011. He was 69. May he rest in peace.

TRACKLISTING:
1. Ashford & Simpson – It Seems To Hang On (1978)
2. Quincy Jones with Chaka Khan – Stuff Like That (1981)
3. Diana Ross – It’s My House (1979)
4. Al Jarreau & Randy Crawford – Your Precious Love (1982)
5. Marvin Gaye & Tammi Terrell – Keep On Lovin’ Me Honey (1968)
6. The Marvelettes – Destination Anywhere (1968)
7. Ray Charles – Let’s Go Get Stoned (1966)
8. John Mayer & John Scofield – I Don’t Need No Doctor (2010)
9. Marlena Shaw – California Soul (1969)
10. Rosetta Hightower – Remember Me (1971)
11. Aretha Franklin – Ain’t Nothing Like The Real Thing (1974)
12. Gladys Knight & The Pips – Didn’t You Know (You’d Have To Cry Sometime) (1969)
13. Marvin Gaye & Tammi Terrell – The Onion Song (1969)
14. The Four Tops & The Supremes – Reach Out And Touch (Somebody’s Hand) (1970)
15. Chaka Khan - I’m Every Woman (1978)
16. Diana Ross – Ain’t No Mountain High Enough (1970)
17. Kenny Lattimore & Chanté Moore – You’re All I Need To Get By (2003)
18. Roberta Flack – Uh-Uh Ooh-Ooh Look Out (Here It Comes) (1989)
19. Brothers Johnson – Ride-O-Rocket (1978)
20. Ashford & Simpson – Found A Cure (1979)

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Easter is coming, so it seems righteous to post the first in a series of great Christian music that, I hope, will lift the spirits of the believer, and make those who don’t believe wish they would, if even for the duration of a song.

This mix comprises gospel, soul, blues, funk and country, stretching from the late 1920s to the early 1970s. Some of the featured artists will be better known in other genres, some of them got their start in gospel music. Among them is Sly Stone, who as Sylvester Stewart was a child member of The Sylvester Four, a band of brothers who in 1952 released their only single. Another child star was Shirley Caesar, whose contribution here was recorded when she was 13 years old. Now in her 70s, she is still performing.

Like the future Sly Stone, soul pioneer Ann Cole also made a start as a member of a family band, under her birthname Cynthia Coleman with The Colemanaires.

Aretha Franklin’s secular career started slowly, with a string of unsatisfactory record in the early ’60s before she broke through on Atlantic in the latter half of that decade. Before all that, in 1957 she released an album of sacred songs, Songs Of Faith, on which Yield Not To Temptation appeared.

Before Motown produced The Temptations, The Supremes and The Four Tops there were the optimistically named Gospel Stars. He Lifted Me, released in 1961, was Motown’s first gospel record (Gordy later founded the Divinity subsidiary for religious stuff), and their debut album, even more optimistically titled The Great Gospel Stars, was the label’s first ever album release. Also recorded for Motown, Marvin Gaye’s No Greater Love remained unreleased for 21 years till the 1986 cash-in of Marvin’s leftovers. Most of it was awful, but No Greater Love is just beautiful.

A couple of songs here were released by Sun Records. Alas, not much is known about Brother James Anderson. But The Prisonaires have featured here before, as the original performers of Johnny Ray’s Just Walkin’ In The Rain. As their name suggests, The Prisonaires were inmates, recording while they were guests of the Tennessee correctional services (more about them in The Originals Vol. 29).

The mix ends on a funky note, with The Winston’s instrumental of Jester Hairston’s Amen, the gospel number written specifically for Sydney Poitier’s character in the film Lilies In The Field (one of the few covers recorded by The Impressions). Recorded by The Winstons in 1969 as the b-side of the Grammy-winning Color Him Father, it is said to be perhaps the most sampled record ever, specifically Gregory Coleman’s brief drum solo (at 1:23). Check out the list of some of the records that sampled the Amen break (watch the fascinating video as well).

This compilations, and those that will follow, is titled Saved!, after the track that leads the mix. Try to keep still while playing LaVerne Baker’s thumping song; if you succeed, consult a doctor because you might well be dead.

As always, the mix is timed to fit on a standard CD-R, and cover artwork is included.

TRACKLISTING:
1. LaVern Baker – Saved (1961)
2. The Staple Singers – Don’t Knock (1960)
3. Marie Knight – What Could I Do (1947)
4. Sam Cooke with the Soul Stirrers – Wonderful (1959)
5. The Sylvester Four (with Sly Stone) – Walking In Jesus Name (1952)
6. Lightnin’ Hopkins, Brownie McGhee and Sonny Terry – Down By The Riverside (1965)
7. Brother James Anderson – Where Can I Go (1967)
8. Elvis Presley – Run On (1967)
9. The Original Five Blind Boys of Alabama – Our Father’s Praying Ground (1970)
10. Merle Haggard & Bonnie Owens – Turn Your Radio On (1971)
11. The Louvin Brothers – The Angels Rejoiced Last Night (1961)
12. Hank Williams - (I’m Gonna) Sing, Sing, Sing (released in 1956)
13. The Carter Family – Can The Circle Be Unbroken (Bye And Bye) (1935)
14. Karl and Harty – Gospel Cannon Ball (1941)
15. Golden Gate Jubilee Quartett – Golden Gate Gospel Train (1937)
16. Barbeque Bob – When The Saints Go Marching In (1927)
17. Blind Alfred Reed – There’ll Be No Distinction There (1929)
18. Deep River Boys - I’m Tramping (1946)
19. Sister Rosetta Tharpe – This Train (1943)
20. Brother Joe May – When The Lord Gets Ready (1959)
21. Shirley Caesar – I’d Rather Serve Jesus (1951)
22. The Colemanaires – Out On The Ocean Sailing (1954)
23. The Prisionaires – Softly And Tenderly (1953)
24. Claude Jeter and the Swan Silverstones – Jesus Remembers (1956)
25. Aretha Franklin – Yield Not To Temptation (1956)
26. The Gospel Stars – He Lifted Me (1961)
27. Marvin Gaye – No Greater Love (1965)
28. Rotary Connection – Amen (1967)
29. The Winstons – Amen Brother (1969)

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The two soul Christmas mixes focussed on soul from the 1960s and ’70s. This mix, the third for Christmas, covers mostly the era from the 1980s to the present (I think the Sweet Divines’ version of Everyday Will Be Like A Holiday is the most recent recording on this mix). One song, I’ll Be Home For Christmas, is represented twice here, but in two very different versions.

The packed file includes a front and back cover, and the mix is timed, as always to fit on a standard CD-R (plus a bonus track, which wouldn’t fit on the notional CD).

Wishing all a joyful Christmas!

TRACKLISTING
1. Graham Parker & Nona Henryx – Soul Christmas
2. Al Green – It Feels Like Christmas
3. The O’Jays – Merry Christmas Baby
4. Lou Rawls – Have Yourself A Merry Little Christmas
5. Bobby Womack – Dear Santa Claus
6. Patti Austin – Christmas Time Is Here
7. Roberta Flack – The Christmas Song
8. The Isley Brothers – Special Gift
9. SWV - Christmas Ain’t Christmas (Without You)
10. Diana Ross – This Christmas
11. The Whispers – Santa Claus Is Coming To Town
12. The Temptations – White Christmas
13. Diane Schuur – I’ll Be Home For Christmas
14. Vanessa Williams – What Child Is This
15. Martha Reeves – O Holy Night
16. The Sweet Divines – Everyday Will Be Like A Holiday
17. The Stylistics – I’ll Be Home For Christmas
18. Voyce Boxing – Let There Be Peace On Earth
19. Four Tops feat Aretha Franklin – Christmas Here With You
20. Gladys Knight & The Pips – Jingle Bells
Bonus track: Luther Vandross – This Is Christmas

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Previous Christmas mixes:
Any Major Christmas Soul Vol. 1
Any Major Christmas Soul Vol. 2
Any Major Christmas in Black & White
More X-Mas in Black & White
Christmas Mix (Not For Mother)
Any Major Christmas Mix
Rudolph – Victim of Prejudice

This year I won’t be doing a Halloween mix. For those who missed last year’s mixes, take a look at Any Major Halloween Vol. 1 (creepy stuff) and Any Major Halloween Vol. 2 (less creepy stuff). Meanwhile, fortify yourself with some soul music.

Of all the mixes that I compile for this blog, I think doing the soul covers is my favourite. For one thing, as I go through my collection of music, I get to listen to some gorgeous soul albums I had badly neglected. For another, it’s great fun to hear how different artists, even contemporaries working in the same genre, arrive at very different interpretations of the same song. Some of the songs featured on this mix have appeared on the first three mixes.

But do compare the wonderful Zulema’s take on A Whiter Shade Of Pale with that of The Dells on Volume 2, or Vessie Simmons’ lovely version of Dedicated To The One I Love to that of The Temprees on Volume 3,

My favourite on this lot probably is Anna King’s soul-storming remake of the country song Tennessee Waltz, in which King shows just why she was a backing singer for James Brown. Though Laura Lee’s version of the standard Since I Fell For You is also quite astonishing (compare that to Mavis Staples rendition last time).

Soul fans will note the irony of Clarence Carter singing I’d Rather Go Blind…

TRACKLISTING
1.   Zulema - A Whiter Shade Of Pale (1972)
2.   Vessie Simmons – Dedicated To The One I Love (1971)
3.   Anna King – Tennessee Waltz (1964)
4.   Mary Wells – 500 Miles (1968)
5.   Clarence Carter – I’d Rather Go Blind (1969)
6.   Mavis Staples – Son Of A Preacher Man (1969)
7.   Freddie North – Rainy Night in Georgia (1975)
8.   Donny Hathaway – Misty (1970)
9.   Tyrone Davis – It’s All In The Game (1973)
10. Laura Lee – Since I Fell For You (1972)
11. Isaac Hayes – For The Good Times (1971)
12. Aretha Franklin – The Weight (1969)
13. Marsha Hunt – Keep The Customer Satisfied (1971)
14. Jerry Butler – Something In The Way (She Moves) (1970)
15. Roberta Flack – Just Like A Woman (1970)
16. Walter Jackson – Someone Saved My Life Today (1976)
17. Ronnie Dyson – Bridge Over Troubled Waters (1970)
18. Junior Parker – Tomorrow Never Knows (1971)

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In the fourth instalment of this series we’ll look at Chuck Berry’s hit that deliberately borrowed from a country tune, a song that made a four-stage transition from crooner standard to soul classic, and Bob Marley’s possibly unintended homage to a kids’ TV show. I should stress that I’m not suggesting plagiarism or other unethical actions by anybody (let’s save that for the inevitable mammoth Led Zep post).

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Dykes Magic City Trio – Ida Red (1927).mp3
Bob Wills & his Texas Playboys – Ida Red (1938).mp3
Bob Wills & his Texas Playboys – Ida Red Likes The Boogie (1949).mp3
Chuck Berry – Maybellene (1955).mp3
Chuck Berry himself said that he based Maybellene, his debut record, on country musician Bob Wills’ vocal version of the traditional fiddle number Ida Red, recorded in 1938. Released on Chess in July 1955, Maybellene was a breakthrough song for the nascent rock & roll genre. Berry’s debut single was the first rock & roll record performed by a black musician to break the Billboard top 10 (those were pioneer days; bear in mind that Elvis was still a regional star and yet to sign with RCA).

Playing the piano at that session was Johnny Johnson, who had given Berry something of a break in 1952 when he let him join his Sir John Trio, and to whose prodigious drinking Berry’s later hit Johnny B. Goode was dedicated. One of the trio’s staple songs was a take on Ida Red, based on Wills’ 1938 recording. Berry, already brimming with charisma and showmanship, had taken that song to Chess in Chicago, and signed for the label as a solo artist. Pragmatically, Johnson and the third member of the trio, drummer Ebby Hardy, became members of Berry’s backing band. Now Leo Chess suggested that Ida Red be remodelled as a 12-bar blues, with different lyrics. Johnson reworked the arrangements, and Berry came up with the lyrics about the car and a girl, those rock & roll staples.

Bob Wills claimed that he played rock & roll decades before the genre was invented. He can’t have meant the sound itself, but the fusion of musical influences from across the racial divide, and the innovative use of instrumentation in the western swing sub-genre of country which Wills helped pioneer. On Ida Red, which preceded Wills breakthrough hit New San Antonio Rose by two years, Wills used drums, which were very unusual in country music (a term which wasn’t even known yet). The song, one of several riffing on the Ida Red character, had first been recorded  in 1924 by Fiddlin’ Powers & Family, and to greater public attention by the Dykes Magic City Trio in 1927. Wills put the tune to a 2/4 beat and gave the it new lyrics, which borrowed from a 1878 song called Sunday Night, written by Frederick W Root. In 1949, Wills revisited Ida Red with a sequel titled Ida Red Likes The Boogie.  Berry and Johnson may well have known that version, and one can imagine how it might have served to inspire Maybellene (just listen to the guitar), but it is the 1938 recording only which they have credited as the template for the song.

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Ruth Etting – Try A Little Tenderness (1933).mp3
Bing Crosby – Try A Little Tenderness (1933).mp3
Little Miss Cornshucks – Try A Little Tenderness (1952).mp3
Aretha Franklin – Try A Little Tenderness (1962).mp3
Sam Cooke – Medley-Try A Little Tenderness/(I Love You) For Sentimental Reasons/ You Send Me (1964).mp3
Otis Redding – Try A Little Tenderness (1966).mp3
Before it became a soul standard, Try A Little Tenderness was a standard, first recorded by Ray Noble and his Orchestra in 1932, and a year later by Ruth Etting, then by Bing Crosby, and subsequently by vocalists ranging from Frank Sinatra to Jimmy Durante.  Otis Redding is being credited with reinventing the sing as a soul tune, but his take was only the fourth (and final) stage of the tune’s evolution as a soul classic.

Before Otis, Sam Cooke recorded a fragment of the song as part of a rather lovely medley on his 1964 Sam Cooke At The Copa album. It was in fact that fragment which gave Stax executives the idea that Redding should cover it in 1966. Otis did so with great reluctance, not because he hated the song, but because he felt he could not measure up to his by now deceased hero Cooke. Produced by Isaac Hayes and backed by Booker T & the MGs, Redding did all he could to mess up the song so that it could not be released. He failed, and the song is now irrevocably his.

Redding apparently knew only Coke’s version (hence the abridged lyrics). Cooke in turn had decided to include Tenderness in his medley having heard the song on Aretha Franklin’s 1962 album The Tender, The Moving, The Swinging Aretha Franklin. As fine as an interpreter of songs as Franklin would become (and already was at the age of 20), her version — soul-inflected vocals backed with an easy listening string arrangement — seems to have drawn from that by the forgotten Little Miss Cornshucks, whose 1951 recording was the first to Try A Little Tenderness the R&B treatment.

Born Mildred Cummings in Dayton, Ohio, in 1923, Little Miss Cornshucks came to the notice of future Atlantic Records founder Ahmet Ertegun while performing in a Washington club during her 1943 US tour, where her stage appearance was based on the rural shtick her name suggests, wearing the shabby dress she would later sing about. She was the first artist he recorded, and thereby the impetus for what would eventually become Atlantic Records (on which Aretha Franklin would record, though in 1962 she was on Columbia). Little Miss Cornshucks broke through as a recording artist in the latter years of the 1940s, particularly with her signature song So Long. Soon her star faded. In 1952 she recorded on three different labels, including Columbia. Her version of Try A Little Tenderness, however, was released in late May on Coral, a subsidiary of Decca, for whom she had recorded So Long.  Little Miss Cornshucks soon drifted away, just as her imitator Miss Sharecropper started to find success on Atlantic as LaVerne Baker. She died in 1999. (Read the full story of Little Miss Cornshucks at the excellent No Depression archives)

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Banana Splits – The Tra La La Song (One Banana, Two Banana) (1968).mp3
Bob Marley – Buffalo Soldier (1980).mp3
This series was inspired by Timothy English’s books Sounds Like Teen Spirit (website and buy), a collection of “stolen melodies, ripped-off riffs”. The book includes a number of surprising instances of soundalikes. One of the least expected is the connection between the theme song of a late 1960s US television kids’ show and a Bob Marley hit.

Buffalo Soldiers, a song about a regiment of black soldiers who fought in wars against Native Americans on the side of their oppressor, was recorded during the 1980 sessions for  Marley’s Uprising album (it was a posthumous hit in 1983 after inclusion on the Legend album). English writes that “in the middle, and again at the end of Buffalo Soldier, Marley breaks into a wordless note-for-note rendition of – of all things – the Banana Splits Theme.” He is referring to the woy-yoy-yoy ad lib, which does indeed sound exactly like the beginning and chorus of the theme song, written by Mark Barkan, who also wrote Manfred Mann’s Pretty Flamingo, and Richie Adams, both of whom also contributed to The Monkees and The Archies (other writers for the Banana Splits show included Gene Pitney, Al Kooper and Barry White).

The Banana Splits Adventure Hour was a late ’60s kids’ TV show modelled loosely on Rowan & Martin’s Laugh-In and The Monkees, with stuffed animals taking the parts of the musicians (yeah, I know). English alleges no plagiarism on Marley’s part, but speculates that a little known passage in the life of Robert Nesta Marley  might have implanted the relatively obscure TV theme — it just scraped into the Billboard top 100, peaking at #96 in February 1969 — in the great man’s head. Periodically, the pre-fame Marley would live with his mother Cedella in Wilmington, Delaware, working at the Chrysler assembly line. One such spell, with his kids in tow, was half a year from April to October 1969, just as the Banana Splits show was running on Saturday morning TV and its theme possibly received some residual radio airplay…

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More Copy Borrow Steal

The cull to bring the 1976/77 mix down to CD-R length was more brutal than I had anticipated. So much good music that failed to make the cut (hence all the bonus tracks)! Here then is a mix of a few fairly well-known songs, a couple of album tracks, and a handful of quite rare — and certainly not familiar — numbers. A few of these rarities are not of great sound quality; I hope the excellence of the music compensates for that. Read more…

When in the introduction for the 1970 instalment I said that I had become interested in music that year, by 1971 I was showing the first signs of the devotion to popular music which today finds expression on this blog. I attribute that to three events. Firstly, I began to catch a greater number of music programmes on TV, especially the ZDF Hitparade (about which more later) and Disco, presented by the rather absurd Illja Richter and featuring German and international acts. Secondly, for my fifth birthday in April I was presented with a portable record player (the type where the lid doubles as a speaker). Thirdly, I bought my first record. As always, inclusion of a song here does not imply my endorsement (especially not with all that Schlager dross in this lot; trust me, things will get better after 1977). Read more…

Some people will reel in disbelief and perhaps go on by shouting out the first names of assorted soul deities as I proclaim: The 1970s were the golden age of soul music. Of course, ’60s soul was fantastic, as the two volumes of Any Major’60s Soul compilations proved (Vol. 1 and Vol. 2). But by the late 1960s and early ’70s soul had acquired such a breadth of variety which the still nascent form of the previous decade did not have, by force of progress. The soul shouters were giving way to smooth guys, often singing in falsetto, and the Muscle Shoal horns went out and the string arrangements came in. And Motown and Stax had lost their way. As smooth as ’70s often was, however, it still retained depth. For the first half of the decade at least, soul produced some of the most gorgeous sounds ever in music. Read more…

Golden Earring's flautist takes centre stage.

Initially I had intended to post two flute mixes, but not only do I have enough for a pretty good third volume, but even great material for a fine fourth mix, if there is still demand for that. Some tracks here are recommendations from readers (including two songs sent to me by kind people).

I had noted down songs featuring the flute for about a year, and I still stumble across flutes that had previously passed me by, even in songs I know very well, such as Kris Kristofferson’s Loving Her Was Easier (Than Anything I Ever Did Before) and The 5th Dimension’s Up Up And Away, a song I have loved since I was a little boy, yet I picked up the flute only recently while watching a clip of the song being performed on the Ed Sullivan Show). I fully expect to discover more flutesome songs…
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1. Van McCoy – The Hustle (1975)
Flute moment: 0:35 Well, this is a the soul anthem of flutology which everyone knows how to whistle, straight after chanting “Do the hustle!”

2. The 5th Dimension – Up-Up And Away (1967)
Flute moment: 1:43  The flute creeps in almost unnoticed in the background at 0:52, disappears and then asserts itself almost a minute later.

3. Dusty Springfield – I Can’t Wait Until I See My Baby’s Face (1967)
Flute moment: 0:01 The alto flute sets up the song with a 17-second intro. The job done it lets Dusty do her lovely thing. Check out the wonderful The Songs That People Sing blog for Baby Washington’s equally flutetastic version.

4. Aretha Franklin – Until You Come Back to Me (1973)
Flute moment: 2:27   On Aretha’s cover version of Stevie Wonder’s much-neglected song, the flute serves as an occasional member of the rhythm section until it gets to show off its solo chops in the final third.

5. The Style Council – How She Threw It All Away (1988)
Flute moment:0:01  The flute comes in right away and returns periodically throughout, and gets a cool 15-second solo at 2:01, and from 3:41 stays with us till the end.

6. The National – So Far Around The Bend (2009)
Flute moment: 0:49  In 2009, The National show that the flute is not out of fashion. It has the flute (well, I’m not totally convinced it’s a flute, but something flute-ish) AND the xylophone. Reader Itallstarted suggested this track in the comments section; thanks for alerting me to my new current favourite song.

7. Mercury Rev – Something For Joey (1993)
Flute moment: 1:57  Amid all the multi-instrumental wall of sound, the flute pipes up merrily, as was Mercury Rev’s wont.

8. Golden Earring – Back Home (1970)
Flute moments: 0:10 & 2:38  Traffic did it. Jethro Tull did it. Moody Blues did it. Why shouldn’t hoary Dutch rock acts?

9. Jeremy Steig – Howling For Judy (1969)
Flute moment: All of it. It is cheating a bit to include a flute-jazz track here, but this is fantastic and more rock than jazz: two flutes and a bit of bass. Steig, along among jazz flautists, remained faithful to only the metal flute we are dedicated to here. Thanks to my friend RH for sending this to me.

10. Joe Walsh – Days Gone By (1973)
Flute moment: 3:55   The future Eagle kicks off with flute, returning to the flute hook periodically before giving the instrument the opportunity to take over for a minute. Thanks to Johnny Bacardi for sending this to me.

11. Blood, Sweat & Tears – Sometimes In Winter (1969)
Flute moment:0:22  The flute is with us from the start, but really helps set the scene after 22 seconds, staying prominently with us through out the first minute, taking a break for another minute, and returning after the 2-minute mark and never leaves us again. I’ve borrowed this, with permission, from this post by Echoes In The Wind.

12. Kris Kristofferson – Loving Her Was Easier (1971)
Flute moment: 0:20  Blink and you might miss it. For a long time, I did not take notice of the three moments of brief flutesomeness, all within in the first minute. And I have listened to this song, an all-time favourite, more than most in my collection over the past four years.

13. The Dillards – Listen To The Sound (1968)
Flute moment:0:01  The flute is not particularly big in country. But here we’ve had KK and now the Dillards, the hugely influential but largely forgotten country/bluegrass band.

14. The Association – Windy (1967)
Flute moment: 1:07  Flute solo! And the flute returns at 2:27, staying until the song fades out. Come to think of it, like the Dillards, the Association is also not widely enough remembered.

15. Billy Joel – Get It Right The First Time (1977)
Flute moment: 0:16  This is possibly the only Billy Joel that features the flute. I can’t think of any other. Funny then that it is my least favourite song from The Stranger.

16. The Isley Brothers – For The Love Of You (1975)
Flute moment: 0:01  Early ’70s oul music frequently incorporated the flute to great profit. For The Love Of You signalled the advent of the much-maligned Quiet Storm genre (named after the Smokey Robinson album, the title track of which will feature in Volume 4). The lovely flute hook accompanies the song discreetly throughout.

17. S.O.U.L. – Burning Spear (1973)
Flute moment: 0:18  Where the flute was inhibited on the previous song, on this funk instrumental it takes the centre stage and sounds as sexy as any wind instrument ever did (oh dear, one could manufacture a terrible double entrendez from that statement).

18. Procol Harum – Pandora’s Box (1975)
Flute moment: 1:39  Borrowing liberally from the Tull, the rock legends turn to the flute in an interplay with the guitar.

19. Stackridge – To The Sun And Moon (1974)
Flute moment: 1:19   Fun fact: Folk outfit Stackridge were the first act to play at the very first Glastonbury Festival. A flute-friendly act, they take their time to bring in the instrument here.

20. Focus – Hocus Pocus (1971)
Flute moment: 4:14  When I asked earlier why Dutch rock bands shouldn’t use the flute, I merely restated what Focus pondered almost 40 years ago. The flute takes its time to turn up in this entirely strange strong which includes prodigious yodelling, a momentary lapse of the singer’s mental faculties as he does speaking in tongues, and all manner of other madness. Odd then that it is the flutes that are best remembered — after the yodels, obviously.

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Any Major Flute Vol. 1
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