Any Major Dude With Half A Heart

Here are five more lesser-known originals, covered in four entries: Wild Thing, Sunny, Angel Of The Morning, Under The Influence Of Love and It May Be Winter Outside. Incidentally, look at the tabs on top to find an alphabetical index of Originals that have featured so far, with links to the relevant posts.

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The Wild Ones – Wild Thing (1965).mp3
The Troggs – Wild Thing (1966).mp3
Senator Bobby – Wild Thing (1968)
Jimi Hendrix – Wild Thing.mp3
Marsha Hunt – Wild Thing (1971).mp3
One of rock’s most iconic songs was written by actor Jon Voight’s younger brother,  James Wesley, who took the name Chip Taylor. He had a prolific songwriting career before turning to recording records himself in 1971 as a country artist. The first version of Wild Thing, by the New York band The Wild Ones, was released in 1965. Headed by one Jordan Christopher, they are said to have been the houseband of what has been called New York’s first disco, The Office. Taylor wrote Wild Thing for them as a favour for A&R man Gerry Granagan.

It’s not very good, certainly not in comparison to The Troggs version, which replaced the Wild Ones’ whistle interlude with an ocarina solo (the ocarina is an ancient ceramic wind instrument). Taylor has recalled that he wrote the song in a few minutes (“the pauses and the hesitations are a result of not knowing what I was going to do next”) and had a low opinion of it. Likewise, The Troggs recorded it in 20 minutes, during the same session that produced their follow-up hit With A Girl Like You. They worked from Taylor’s demo, rather than the Wild Ones’ version.  Due to a licensing issue, The Troggs’ version of Wild Thing was released on two labels, Fontana and Atco. It is the only time a record has topped the US charts under the simultaneous banner of two labels.

Wild Thing was covered frequently after that. Jimi Hendrix famously set his guitar on fire at Monterey after playing his version of it. In 1968 the comedy troupe The Hardly Worthit Players released a version of Wild Thing being performed by “Bobby Kennedy”, with a producer giving him instructions. Robert F Kennedy was voiced by the comedian Bill Minkin (it’s a myth that it was Jon Voight). That novelty record  was one of the last releases by the Cameo-Parkway label, a noteworthy footnote in light of the next song. Marsha Hunt’s version featured on the Covered In Soul Vol 2 mix.

Also recorded by: The Capitols (1966), The Standells (1966), The Kingsmen (1966), Manfred Mann (1966), Geno Washington & the Ram Jam Band (1967), The Memphis Three (1968), Fancy (1974), The Goodies (1976), The Runaways (1977), The Creatures (1981), The Meteors (1983), X (1984), Cold Chisel (1984), La Muerte (1984), Sister Carol (1986), Amanda Lear (1987), Unrest (1987), Sam Kinison with Jessica Hahn (1988), Cheap Trick (1992), Divinyls (1993), Stoned Age (1994), Hank Williams, Jr (1995), The Muppets (1995), Acid Drinkers (1995), Chip Taylor (1996), Popa Chubby (1996), Danny and the Nightmares (1999), Sky Sunlight Saxon (2008), Trash Cans (2010)

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Evie Sands – Angel Of The Morning (1967).mp3
Merrilee Rush and the Turnabouts  - Angel Of The Morning (1968).mp3
P.P. Arnold – Angel Of The Morning (1968).mp3
Skeeter Davis  – Angel Of The Morning (1969).mp3
Nina Simone – Angel Of The Morning (1971).mp3
Juice Newton – Angel of the Morning (1981).mp3
The one-night stand anthem was also written by Chip Taylor (perhaps the angel of the morning was last night’s wild thing). Indeed, he told Mojo magazine in its September 2008 edition that Angel is Wild Thing slowed down: “I heard some guy playing Wild Thing real slow on a guitar. It sounded nice. So I did the same, lifting one of my fingers off a chord to create a suspension.” He also credited the Rolling Stones’ Ruby Tuesday for inspiration.

The song was first recorded in 1967 by New York singer-songwriter Evie Sands (pictured), for whom Taylor wrote several songs (he also wrote I Can’t Let Go for her; it became a hit for The Hollies). It was on its way to becoming a hit, with good radio airplay and 10,000 copies selling fast. Then the label, Cameo-Parkway (of the Bobby Kennedy novelty record above) went bankrupt, and Sands’ record sank. A few months later, Memphis producer Chips Moman picked up Angel Of The Morning (which in the interim had also been recorded by English singer Billie Davies) and had the unknown Merrilee Rush record it, backed by the same session crew that played with Elvis during his famous Memphis sessions that produced hits such as Suspicious Minds (itself a cover, as detailed in The Orignals Vol. 21). The Seattle-born singer had a massive hit with it, even receiving a Grammy nomination. It soon was covered prodigiously, with P.P. Arnold scoring a UK hit with it in 1968.

Angel Of The Morning was revived in 1981 by Juice Newton, who previously featured in The Originals Vol. 26 with her cover of Queen Of Hearts.  Her version sold a million copies in the US and reached #4 in the US charts. Like Rush, Newton was Grammy-nominated for her performance.

Also recorded by: Billie Davis (1967), Joya Landis (1968), Percy Faith (1968), Ray Conniff (1968), Liliane Saint Pierre (as Au revoir et à demain, 1968), I Profeti (as Gli occhi verdi dell’amore, 1968), Dusty Springfield (1969), Skeeter Davis (1969), Bettye Swann (1969), Connie Eaton (1970), Olivia Newton-John (1973), Merrilee Rush (re-recording, 1977), Guys n’ Dolls (1977), Mary Mason (as part of a medley, 1977), Thelma Jones (1978), Rita Remington (1978), Melba Montgomery (1978), Pat Kelly (1978), Elisabeth Andreassen (as En enda morgon, 1981), The Tremeloes (1987), Barnyard Slut (1993), Chip Taylor (1994), The Pretenders (1994), Ace Cannon (1994), Position (1997), Juice Newton (re-recording, 1998), Bonnie Tyler (1998), Thunderbugs (1999), Shaggy (as Angel, 2000), Maggie Reilly (2002), Blackman & The Butterfly (2003), The Shocker (2003), Chip Davis & Carrie Rodriguez (2006), Girlyman (2007), Jill Johnson (2007), Vagiant (2007), Gypsy Butterfly (2008), Barb Jungr (2008), Michelle (2008), Randy Crawford with Joe Sample (2008), Iván (as Angel de la mañana, 2009)

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Felice Taylor – It May Be Winter Outside (But In My Heart It’s Spring) (1967).mp3
Felice Taylor – I’m Under The Influence Of Love (1967).mp3
Love Unlimited – It May Be Winter Outside, But In My Heart It’s Spring (1973).mp3
Love Unlimited – Under The Influence Of Love (1973).mp3
Before becoming an icon of baby-making music, Barry White was something of an impresario. He discovered and produced the girl band Love Unlimited (which included White’s future wife Glodean James), whose success in 1972 set him off on his successful solo career. Just a decade or so earlier, White had been in jail for stealing the tyres of a Cadillac (he credited hearing Elvis Presley singing It’s Now Or Never for turning his life around). After leaving jail, he started to work in record production, mostly as an arranger. Among his early arrangement credits was Bob & Earl’s 1963 song Harlem Shuffle. By 1967, White worked for the Mustang label, owned by Rob Keane, the man who first signed Sam Cooke, Richie Valens and Frank Zappa. In that job, White wrote for Bobby Fuller (of I Fought The Law fame), Viola Wills and  a young soul singer named Felice Taylor.

Felice Taylor, born in 1948 in Richmond, California, had previously released a single as part of a trio with her sisters, The Sweets, and a solo single under the name Florian Taylor. White’s It May Be Winter Outside provided Taylor with her only US hit, reaching #42 in the pop charts. It is a rather lovely version that sounds a lot like a Supremes song (with a break stolen from the Four Tops’ Reach Out I’ll Be There). White also wrote and arranged Taylor’s I’m Under The Influence Of Love. The arrangement and Taylor’s vocals are inferior, and the single failed to make an impact. Taylor’s biggest success was with another White song, I Feel Love Comin’ On, a bubblegum pop number that reached #11 in the UK charts in late 1967.

By the early 1970s Taylor had ceased to record. In 1973 Love Unlimited recorded totally reworked, luscious versions of It May Be Winter Outside and (title shortened) Under The Influence Of Love for the sophomore album. Both were released as singles, with Winter reaching #11 in the UK charts.

Also recorded by: (Under The Influence) Lori Hampton (1968), Kylie Minogue (2000)

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Mieko Hirota – Sunny (1965).mp3
Chris Montez – Sunny (1966).mp3
Bobby Hebb – Sunny (1966).mp3
Dusty Springfield – Sunny (1967).mp3
Johnny Rivers –  Sunny (1967).mp3
Stevie Wonder – Sunny (1968).mp3
Boney M. – Sunny (1976).mp3
Bobby Hebb died on Tuesday, August 3 at the age of 72. The man had a quite remarkable early life. Born to blind parents, both musicians, Nashville-born Robert Von Hebb progressed from being a child musician to becoming  one of the earlier musicians to play at the Grand Ole Opry, as part of Ray Acuff’s band. In the early 1960s Hebb even had a minor hit with a country standard recorded by Acuff, among others, Night Train To Memphis. Subsequently, afer the success of Sunny, he headlined the 1966 Beatles tour.

The genesis for Sunny was in a dual tragedy: the assassination of John F Kennedy and soon after  the fatal stabbing in a mugging of Hebb’s older brother Harold, with whom he had performed in childhood. The song was a conscious statement of meeting the trauma of these events with a defiantly positive disposition. In 2007, he told the Assiociated Press about writing Sunny: “I was intoxicated. I came home and started playing the guitar. I looked up and saw what looked like a purple sky. I started writing because I’d never seen that before.”

Still, it would be almost three years before Hebb would release the song himself. It was first recorded by the Japanese singer Mieko “Miko” Hirota who made her debut in her home country in 1962 with a cover of Connie Francis’ Vacation. Within three years, the by now 18-year-old singer became the first Japanese artist to appear at the Newport Jazz Festival (the line-up of which included Frank Sinatra), having just recently discovered her talent for the genre thanks to a chance meeting with American jazz promoter  George Wein. The same year, in October 1965, she was the first of many to release Sunny, scoring a hit with it in Japan with her rather lovely jazzy version. By the time Hebb got around to releasing it, apparently having recorded it as an after-thought at the end of a session, there already were a few versions, including Chris Montez’s featured here. Hebb’s rightly became the definitive and most successful version, though Boney M scored a huge hit with it in Europe ten years later.

Also recorded by: John Schroeder Orchestra (1966), Cher (1966), Chris Montez (1966), Del Shannon (1966), Dave Pike (1966), Georgie Fame (1966), The Young-Holt Trio (1966), Roger Williams (1966), Richard Anthiny (1966), James Darren (1967), Horacio Malvicino (1967), Billy Preston (1967), Herbie Mann & Tamiko Jones (1967), Johnny Mathis (1967), Andy Williams (1967), Sam Baker (1967), John Davidson (1967), The Amazing Dancing Band (1967), Jackie Trent (1967), Booker T. & The M.G.’s (1967), Gordon Beck (1967), Joe Torres (1967), Nancy Wilson (1967), Dusty Springfield (1967), The Ventures (1967), Shirley Bassey (1968), Eddy Arnold (1968), Leonard Nimoy (1968), Frankie Valli (1968), José Feliciano (1968), Bill Cosby (1968), Mary Wells (1968), Frank Sinatra & Duke Ellington (1968), Paul Mauriat (1968), Gary Lewis & the Playboys (1968), Stevie Wonder (1968), Ray Conniff (1968), George Nenson (1968),  The Head Shop (1969), Herb Alpert & the Tijuana Brass (1969), The Electric Flag (1969), Classics IV (1969), Ray Nance (1969), The Lettermen (1969), Ella Fitzgerald (1970), Del Shannon (1971), Pat Martino (1972), Bobby Hebb (as Sunny ’76, 1975), Hampton Hawes (1976), Boney M. (1976), Stanley Jordan (1987), Cosmoalpha (1994), Günther Neefs (1997), Ottottrio (1998), Kazuo Yashiro Trio (2000), Clementine (2000), Twinset (2003), Christophe Willem (2006), Michael Sagmeister (2006), Dwight Adams (2007), Cris Barber (2008), Giuliano Palma & the Bluebeaters (2009) a.o.

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More Originals

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The last ever photo of the Beatles together, as far as I know. Ringo and Paul wave goodbye, George looks exceedingly pleased, and John looks for Yoko (or perhaps Allen Klein).

Tomorrow, 10 April, marks the 40th anniversary of Paul McCartney announcing the official disbandment of The Beatles. Of course, the Beatles were finished long before that. The final session for the Abbey Road album was, as the song had it, The End. And the guys knew it. Still, nothing was announced until 10 April 1970, when Paul unilaterally declared the Beatles kaputt. There was one post-Abbey Road recording: Harrison’s I Me Mine, which was finished in January 1970 and appeared on Let It Be (which therefore is correctly identified as the Beatles’ final album, even if almost all of it was recorded before Abbey Road, and the end of the group’s activity is accurately dated 1970, and even if John’s final contribution was in 1969).

I have featured The Beatles at length on this blog. First there two sets of album tracks and b-sides (here and here), then three post-split albums compiled from the Fabs’ solo carrer ( 1972, 1975 and 1981). On top of that, I’ve featured Beatles curiosities and curious covers, with more of that still in store, studied my favourite Beatles LP sleeves, and discussed songs that inspired the Beatles and that the Beatles inspired. Add to that a couple of originals of songs the Beatles covered, there seems to be only one significant gap in my Beatles coverage.

So here is the first of three compilations of good covers of Beatles songs. The first takes the songs of the 1962-66 period, up to Revolver. The tracklisting runs in a rough order in which the Beatles released these songs; I hope that despite the eclectic mix the sequencing is smooth.

Some of the featured songs are fairly rare. The Supremes’ version of I Saw Her Standing There, with the lovely and tragic Florence Ballard taking lead vocals, was recorded for their 1964 A Bit Of Liverpool album, but was not used for it. It was finally released in 2008. Likewise, the Carpenters’ splendid cover of Can’t Buy Me Love never was an album release. It appeared on a 1970 interview recording which also includes live-in-the-studio takes of 12 songs (including Can’t Buy Me Love, Help, Ticket To Ride and Come Together). The Bee Gee’s version of You Won’t See Me apparently was recorded in Australia (possibly for the Spicks And Specks sessions), shortly before the future purveyors of toothy hirsuteness broke through internationally.

Some songs presented an obvious problem: to select one of several great covers. The choice was the hardest between Jackie Wilson’s and Ray Charles’ versions of Eleanor Rigby, from 1969 and ’68 respectively. I have often cited the latter as a great example of a cover eclipsing the Beatles (the other, featured here, is Earth, Wind & Fire’s Got To Get You Into My Life). In the end I opted for Wilson’s lesser known version. Likewise, I was torn between Grady Tate’s version of And I Love Her and Esther Philips And I Love Him. Tate’s voice is one of my favourites in popular music, so he got in. It seems appropriate to close the set with a track from a song-for-song covers album, Taxman from the Don Randi Trio’s 1966 jazz-rock re-imagining of Revolver.

I have tried to keep the length of this mix to the standard CD-R length. Here, however, I had no choice but to exceed that length. It was a question of leaving out Deep Purple’s excellent 6-minute version of Help. I have left it in, so the running time is about 1h25min.

TRACKLISTING
1. Keely Smith – Do You Want To Know A Secret (1965)
2. The Supremes – I Saw Him Standing There (1964)
3. The Mamas & The Papas – I Call Your Name (1966)
4. Nils Lofgren – Anytime At All (1981)
5. Carpenters - Can’t Buy Me Love (1970)
6. Ramsey Lewis Trio – A Hard Day’s Night (1965)
7. Rosanne Cash – I Don’t Want To Spoil The Party (1989)
8. Grady Tate - And I Love Her (1974)
9. Marianne Faithfull – I’m A Loser (1965)
10. Pearl Jam – You’ve Got To Hide Your Love Away (2003)
11. The Dillards – I’ve Just Seen A Face (1968)
12. Smokey Robinson & The Miracles – Yesterday (1968)
13. ‘Wee’ Willie Walker – Ticket To Ride (1967)
14. Deep Purple - Help (1968)
15. Stevie Wonder – We Can Work It Out (1970)
16. Cheap Trick – Day Tripper (1982)
17. Johnny Rivers – Run For Your Life (1966)
18. Bee Gees – You Won’t See Me (1966)
19. Paul Westerberg – Nowhere Man (2001)
20. Miriam Makeba – In My Life (1970)
21. Bud Shank - Girl (1966)
22. Jonah Jones – Michelle (1969)
23. Earth, Wind & Fire – Got To Get You Into My Life (1978)
24. Jackie Wilson – Eleanor Rigby (1969)
25. Emmylou Harris – Here There And Everywhere (1975)
26. The Vines – I’m Only Sleeping (2001)
27. Don Randi Trio – Taxman (1966)

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If I had any concerns that I might not be able to cover the 1980s with great soul music, then I was entirely mistaken. This series will go up to 1988-89 (at which point I’ll consider whether 1990-91 is worth covering). The 1982/83 season saw the continued rise of the Quiet Storm, corporate smooth soul stuff which would eventually choker the genre. There isn’t much of that on this collection (and where there is, such as Beau Williams’ Elvina, it’s great).

Opening track Time Is appeared on veteran funk group New Birth’s swansong album, I’m Back, a title that proved terminally temporary. Put together in the late 1960s by Harvey Fuqua, New Birth scored a number of R&B hits throughout the ’70s.

The LIVE Band, from New York City, released only one album (on The Sound of Brooklyn label). The title feature here sounds a lot like a Maze song, especially Joy And Pain, with the vocalist doing his best to emulate Frankie Beverley’s phrasing. It would be horribly unfair to call this a pastiche, though. It’s a great track from a fine album.
Gayle Adams represents the Washington D.C. soul scene here. Like so many other artists on this set, her career was relatively short-lived. Perhaps best-known for her cover of the Four Tops’ Baby I Need Your Loving or possibly the dance hit Love Fever, both from the album featuring Don’t Jump To Conclusion, the sets one mid-tempo number, with a rather nice guitar solo.

Among the bonus tracks for Any Major Soul 1978-79 were Switch, which included two brothers of the DeBarge clan, Bobby and Tommy. Through their good office the younger siblings, led by El DeBarge, landed a contract with Motown subsidiary Gordy. It would be an injustice if the group’s reputation were to hinge on the chart-fodder Rhythm Of The Night; the group produced some excellent soul music. Check out the acoustic guitar solo on All This Love.

I have been unable to find out anything about Lenard Lidell, or even if he ever released anything else but his 1983 four-track EP, Afternoon Affair, from which the lovely Sweetie Pie comes. It was released by the L.A.-based Jara Records. Likewise, I have no information on The Vosonics, other than that they apparently recorded in Oakland, California.
Beau Williams was going to become a replacement member of the Temptations, but was rejected because at 5’8” he was considered too short. In reparation, of sorts, the Temps appeared on George Benson protégé Williams’ 1983 debut album Stay With Me, on which Elvina appeared. The song is a classic in some Cape Town karaoke bars, invariably causing much distress to singer and listeners when it comes to the high note at 4:20.
Fred Parris was one of doo wop group Five Satins, who recorded the original version of In The Still Of The Night, and he still tours with an incarnation of the group. In the 1980s, he led the now unnumbered Satins on a very nice soul album. Homepage here.
Windjammer, from New Orleans, are probably best remembered for the 1984 hit Tossin’ And Turnin’. Stay is from their self-titled debut, released 1982. Five years earlier, guitarist Ken McLin had ambushed Tito Jackson on a hotel escalator with a Windjammer demo. To his credit, Tito listened to the tape, and two years later that charming man Joe Jackson became their manager.
Like Windjammer, Atlantic Starr were for a while produced by Jimmy Jam and Terry Lewis, a period that produced gems like Silver Shadow and Let The Sun In as well as MOR ballads like Always. Circles preceded that period, with James Anthony Carmichael doing producing duty, with Sharon Bryant still with the Lewis brothers before leaving and replaced with Barbara Weathers.

TRACKLISTING
1. The New Birth – Time Is
2. Vernon Burch – Simply Love
3. The LIVE Band - A Chance For Hope
4. O.T. Sykes - Lonelines Inside Of Me
5. Roberta Flack – I’m The One
6. Gayle Adams – Don’t Jump To Conclusions
7. DeBarge – All This Love
8. Lenard Lidell – Sweetie Pie
9. Beau Williams – Elvina
10. Bloodstone – Go On And Cry
11. Fred Parris and the Satins – Let Me Be The Last One
12. Windjammer – Stay
13. Randy Crawford – In Real Life
14. The Vosonics – Set My Soul On Fire
15. Gwen Guthrie - It Should Have Been You
16. Atlantic Starr – Circles
17. Mtume – Would You Like To Fool Around

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As usual, here are a few bonus tracks of songs I was particularly disappointed to exclude from the mix (those not worried about the customary CD-R time limit of these mixes might want to add the bonus tracks to their playlist).

Randy Crawford appears on the mix; here she gets another outing in duet with Al Jarreau in their gorgeous version of Marvin Gaye & Tammi Terrell’s Your Precious Love, recorded with the Yellow Jackets at the Montreaux Jazz Festival. The first side of the 1982 album of the festival, Casino Lights, consists of Crawford and Jarreau dueting (plus a rather nice version of Imagine by Crawford solo).
Keni Burke had initial success as one of the Five Stairsteps (Ooh Child) before going solo on George Harrison’s Dark Horse label, where he was produced by Billy Preston. He wasn’t very successful, and so worked as a session bass player for the likes of Curtis Mayfield, Gladys Knight, Bill Withers and Ramsey Lewis. In the early 1980s Burke signed with RCA on which he released two albums, including 1982’s excellent Changes, on which the oft-sampled Risin’ To The Top appeared.

Margie Joseph’s career went back to the 1960s, when she was a soul singer in the Aretha mould on Stax and then, under Jerry Wexler’s tutelage, Atlantic. Modest success followed in the 1970s until an album she recorded for Philly’s WMOT Records went unreleased because the label went bankrupt. Joseph briefly taught elocution at a school before making a comeback with her 1982 Knockout album, showing Aretha Franklin that you can do dance records without screaming.
Do I Do was Stevie Wonder’s final masterpiece before drowning himself in the schlock of I Just Called To Say… This is the full, ten-and-a-half-minute workout from his Original Musiquarium collection (which one cannot describe as a “best of” compilation, because a double album could never cover Stevie’s best), with Dizzy Gillespie guesting.
Anita Baker achieved her breakthrough with 1986 outstanding Rapture album. Angel comes from her 1983 debut, which never was much promoted. In fact, Baker was told early in her career to pack in the singing gig because she supposedly had no good voice. Whoever offered that piece of advice was not the brightest light on the A&R switchboard.
Finally, Melba Moore shows that she has lungs: check out that note she holds for 36 seconds at the end of The Other Side Of The Rainbow. And if you think 36 seconds is not very long, listen again.

Al Jarreau & Randy Crawford – Your Precious Love.mp3
Keni Burke – Risin’ To The Top.mp3
Con Funk Shun – Love’s Train.mp3
Womack & Womack – Baby I’m Scared Of You Baby.mp3
Melba Moore – The Other Side Of The Rainbow.mp3
Anita Baker – Angel.mp3
Margie Joseph – Knockout.mp3
Stevie Wonder – Do I Do.mp3

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More ’80s Soul
’70s Soul

Generally I’m wary of cover versions, especially if the song being covered is already well known in its original form or is otherwise identified with a particular artist. There is not much you can do to improve on, say, Bridge Over Troubled Water other than to strip the song down and rework it completely. Not many artists have succeeded in doing so. But for an example of how a well-known song can be totally reworked, one might look to Otis Redding’s version of Try A Little Tenderness (originally recorded by Bing Crosby). Or listen to what Donny Hathaway does with the standard Misty on this mix.

The songs covered by soul artists come almost exclusively from a non-soul tradition. Some are standards (Don’t Fence Me In, Misty, Nature Boy), some country (King Of The Road, Harper Valley P.T.A.), some were pop or rock hits. Only two songs here were originally soul numbers, though For Once In My Life had traversed genres before Gladys Knight & the Pips released their take in 1973 (see HERE). The other, originally by Smokey Robinson & the Miracles, is redone here by Chic man Bernie Edwards in a rather nice poppy way. Merry Clayton (whom we last encountered HERE) may be covering a Rolling Stones song, but it is she who sang on the Stones in the first place, so it’s really half a cover.

I’d be interested to know which covers worked for the listener, and which fell flat. As always, the mix is timed to fit on a standard CD-R , and a front and back cover is included.

TRACKLISTING
1. The Isley Brothers – Listen To The Music (1973)
2. Merry Clayton – Gimme Shelter (1970)
3. Erma Franklin – Light My Fire (1969)
4. Stevie Wonder - Bang Bang (1966)
5. Jackie Wilson – Eleanor Rigby 1969)
6. The Dells - Wichita Lineman/By The Time I Get To Phoenix (1969)
7. Isaac Hayes - It’s Too Late (1973)
8. The Delfonics – Alfie (1968)
9. Donny Hathaway – Misty (1970)
10. Grady Tate - Don’t Fence Me In (1974)
11. Joe Tex – King Of The Road (1965)
12. Vivian Reed – Harper Valley P.T.A. (1970)
13. Flaming Ember – Spinning Wheel (1971)
14. The Supremes & The Temptation - Got To Get You Into My Life (1968)
15. George Benson - Nature Boy (1977)
16. Bernard Edwards feat. Jocelyn Brown – You’ve Really Got A Hold On Me (1983)
17. Charles Brimmer – We’ve Only Just Begun (1976)
18. Gladys Knight & The Pips – For Once In My Life (1973)
19. Roberta Flack – Hey, That’s No Way To Say Goodbye (1969)
20. Billy Paul - Mrs. Robinson (1970)
21. Voices Of East Harlem - For What It’s Worth (1970)

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And here we come to an end of the 1970s in the Any Major Soul series. There are two mixes covering ’80s soul HERE and HERE. Still, the years 1980/81 and possibly 1982/83 were good enough to yield any major mixes; I’ve not thought about later years.

It’s tempting to dismiss the soul music produced in the disco era. I think this mix shows that it was still a golden era for soul, if not of quite the incredible standards a few years earlier when there was the happy confluence of the influences exerted by the likes of Philly, Motown, Hi, Muscle Shoals, Atlantic, and the Chicago scene. 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…

Few things at once delight and annoy the music fan as much as spotting a melody, a riff or a lyric lifted from another song. The delight resides in the act of knowing; the more obscure the source, the greater the pleasure. The irritation rests in the suspicion that an artist we admire has committed an act of plagiarism. How can one listen now to many Led Zeppelin classics knowing that Page and Plant didn’t just draw inspiration from other people’s composition, but irrefutably plagiarised artists they claimed to admire, and not give them a credit (except, belatedly, under the duress of legal action)?

Not all similarities in songs are plagiarism, of course. Some reference another piece of music with a knowing nod and a wink, as George Harrison did when he too inspiration from the Ed Hawkins Singers’ Oh Happy Day for My Sweet Lord (of course, we can’t know to what extent he knowingly plagiarised the Chiffons’ He’s So Fine — see here for more on that). It is quite possible that more than one people might have had the same good idea (it might well be that somebody has written this exact sentence before me in a similar context). It is plausible that a melody, riff or hook heard a long time ago has worked itself into the composer’s subconscious, and thus internalised emerges as something original, or at least presumed original. When Paul McCartney woke up with the melody for Yesterday in his head, he asked anyone who’d listen whether it sounded familiar to them. It didn’t. McCartney was scrupulous in ascertaining that the idea was indeed his. Not everybody is.

Timothy English wrote a fascinating book on songs that copy, borrow and steal, titled Sounds Like Teen Spirit (Website and Buy), which inspires this new series. And I will liberally draw ideas from it (having been in contact with Timothy I know he won’t mind). And since this blog is named after a Steely Dan song from the Pretzel Logic album, it seems right that this new series should kick off with a song from that album. The second segment does not feature in Sounds Like Teen Spirit, the scope of which excluded reference to works from the world of classical music.

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Horace Silver – Song For My Father.mp3
Steely Dan – Rikki Don’t Lose That Number.mp3
Stevie Wonder – Don’t You Worry ’Bout A Thing.mp3
Yes, Steely Dan’s biggest hit borrows liberally. The opening keyboard riff that runs throughout the song was lifted was lifted from the title track of jazz legend Horace Silver’s 1964 album, released on Blue Note (and featuring Silver’s Cape Verde-born father on the cover). Silver was a pioneer of the percussive hard bop form of jazz, but Song For My Father, written after a visit to Brazil, has more of a funky bossa nova vibe.

Steely Dan’s Donald Fagen and Walter Becker famously fused their jazz sensibilities with their rock direction, so it seems appropriate that their biggest hit, reaching #4 in the US, should have borrowed from a jazz classic. Evidently sampling a riff so faithfully, even from a piece regarded by many as a classic, did not qualify its creator for a co-writer credit: Horace Silver is not credited on Rikki Don’t Lose That Number. The titular Rikki, incidentally, may be the writer Rikki Ducornet, who claims that Fagen, whom she knew in college, once did giver her his number at a party (Fagen has not commented).

Had Silver sued Steely Dan, he probably would have won. Writers have secured credits for much less (and others have gotten away with much more!). He also might have succeeded in litigating against Stevie Wonder’s use of Song For My Father’s horn riff as an inspiration for the melody of 1973’s Don’t You Worry ’Bout A Thing.

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Sibelius – 5th Symphony 3rd Movement.mp3
The First Class – Beach Baby.mp3
Strawberry Switchblade – Since Yesterday.mp3
Only nostalgists and one-hit wonder devotees might remember The First Class or Strawberry Switchblade. Beach Baby was The First Class’ only hit, in 1974. The First Class was one of the names under which British singer Tony Burrows and songwriters John Carter and Ken Lewis released some of their songs. While Beach Baby was The First Class’ only hit, Lewis and Carter were behind other one hit wonders. They were the Flowerpot Men, who had a solitary hit with Let’s Go To San Francisco in 1967, while Burrows fronted Edison Lighthouse, who had a massive hit in 1970 with Love Goes Where My Rosemary Goes, as well as with White Plains (My Baby Loves Lovin’) and Brotherhood Of Men before they hit the Eurovision trail. Carter had previously also enjoyed chart success as a founder-member of The Ivy League (Tossin’ And Turnin’).

Strawberry Switchblade, one of the few acts I ever caught live before they had a hit (The Housemartins and R.E.M. are the others; besides them, I was a jinx to every unknown act I saw), emerged from Glasgow’s punk scene to make some beautiful pop in the mid-‘80s, produced by John Deacon of Queen (so much for the punk revolution). Since Yesterday was released in November 1984, but hit the UK top 5 only in February 1985. They released only one LP and a couple of singles in Japan before splitting and disappearing.

Jean Sibelius contemplates creating another pop riff.

As the attentive reader may have worked out, both pop songs sample from Sibelius 5th symphony. The horn riff that opens Since Yesterday so gorgeously appeared a decade earlier in an interlude on Beach Baby (at 3:05) which unashamedly and deliberately recreates the sound of the Beach Boys, producing a rather good pastiche.

Jean Sibelius wrote his 5th Symphony in 1915 at the request of the Finnish government which wanted to mark the composer’s 50th birthday by declaring it a public holiday. It was revised twice, and it is the final revision from 1919 that is most commonly performed. Sibelius said the recurring horn motif which the two pop bands would adopt more than half a century later was inspired by the sound of swan calls. For both acts, the songs that used Sibelius’ swan call represented — and you know that I can never resist a criminally bad pun — their swansong.

This time, we’re looking at the originals (and, in some cases, more than one covers) of For Once In My Life, Dancing In The Moonlight, Money’s Too Tight (To Mention), Georgia On My Mind and Rainy Night In Georgia.

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Jean DuShon – For Once In My Life (1966).mp3
Barbara McNair – For Once In My Life (1966).mp3
Stevie Wonder – For Once In My Life (1967/68).mp3

Jean DuShon

Ron Miller and Orlando Murden were staff writers for the Jobete publishing company which was owned by Motown. In 1966 they wrote For Once In My Life, but were still struggling with it. Miller asked the little-known singer, signed to Chess Records but then performing in a nightclub, singer Jean DuShon to work with him on the vocal arrangement. He was so impressed with DuShon’s interpretation that he had her record and release the record on Chess. Sadly Chess didn’t promote the record (some say due to pressure by Motown boss Berry Gordy), and it flopped. Hearing that the songwriters had given the song to a non-Motown artist, Berry Gordy insisted that it be immediately recorded by an act on his label. The song was given to Barbara McNair (whose stint at Motown was brief and who never was a priority for Gordy), and over the next few months was recorded by non-Motown artists, including Tony Bennett, who had a minor pop but decent easy listening charts hit with it.

Motown regularly produced the same songs by different artists. In summer 1967, the Temptations recorded For Once In My Life, and included their take — like all the others, read as a ballad — in their live repertoire. At about the same time Stevie Wonder, still a teenager, gave it an exuberant, uptempo treatment. Gordy didn’t like Stevie’s versions and declined to release it. When, at the bidding of Billie Jean Brown, head of Motown’s Quality Control Department (!), it was released as a single (and title song of Stevie’s new LP) in late 1968, it became a massive hit, peaking at #2 (topping the charts was another Motown hit Gordy had previously vetoed, Marvin Gaye’s I Heard It Through The Grapevine).

Ron Miller wrote other hits for Stevie Wonder: Heaven Help Us All, Yester-Me Yester-You Yesterday, and A Place In The Sun. But before Stevie had a hit with For Once In My Life, it was considered Tony Bennett’s song. When Ella Fitzgerald introduced it on her 1968 Live in Berlin album (recorded before Stevie’s version was issued), she described it as Bennett’s song. A few years ago, Bennett and Wonder finally sang the song together, on the former’s album of duets. The pair took Grammies home for their efforts, and performed the song at the awards ceremony where Stevie dedicated it to his recently deceased mother and Bennett to…his sponsors.

Also recorded by: Barbara McNair (1966), Tony Bennett (1967, Carmen McRae (1967), Nancy Wilson (1968), Ella Fitzgerald (1968), Vikki Carr (1968), Dorothy Squires (1969), Jim Nabors (1969), Mantovani (1969), Erma Franklin (1969), Charlie Byrd (1969), Nancy Sinatra (1969), Andy Williams (1969), Slim Jim (1969), O.C. Smith (1969), Frank Sinatra (1969), Sammy Davis Jr. (1970), Bill Medley (1970), James Brown (1970), Kiki Dee (1970), Cilla Black (1970), Dean Martin (1971), John Farnham (1971), The Rance Allen Group (1973), Gladys Knight & The Pips (1973), Peter Nero (1974), Roberto Carlos (1979), Dean Martin (1986), Pia Zadora (1986), Frank Sinatra, Gladys Knight & Stevie Wonder (1994), Dionne Farris (1996), Jack Jones (1998), Patti Austin (1999), Trijntje Oosterhuis (1999), Vonda Shephered (2001), Justin Guarini (2002), Michael Bublé (2003), Natalia (2003), Harry Connick Jr (2004), Stefan Gwildis (as Es kommt eine Zeit, 2005), Michael Fucking Bolton (2006), Gilbert Montagné (2006), Michael McDonald (2008) a.o.

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Boffalongo – Dancing In The Moonlight (1970).mp3
King Harvest – Dancing In The Moonlight (1972).mp3
When Toploader had a UK top 10 hit with Dancing In The Moonlight in 2000, the question of who originally recorded the song became a popular piece of trivia. Most self-appointed quiz masters got it wrong. Dancing In The Moonlight was written by Sherman Kelly of the not very successful American band Boffalongo, which recorded the song in 1970. Sherman’s brother Wells was the drummer for King Harvest (named after the song by The Band), and introduced the song to his group, which recorded it in 1972 and had their one big hit with it.

The Toploader version, which I see no cause for featuring here, was a bit of a joke in that the singer even copied the frog-in-the-mouth diction of King Harvest singer (evraburdy’s dancin’ in moonlight). The Boffalongo version, it may be noted, also features some serious drawling.

Also recorded by: Young Generation (1973), Liza Minnelli (1973), The Keane Brothers (1979), M.O.T.O. (1991), Baha Man (1994), Joe Esposito (1996), Toploader (2000), Aswad (2002), David Kitt (2005), Orleans (2005), Jack Wagner (2005) a.o.
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The Valentine Brothers – Money’s Too Tight (To Mention) (1982).mp3
Simply Red – Money’s Too Tight (To Mention) (1985).mp3
The lyrics of this song have recovered pertinence in the aftermath of greedy capitalist bastards selling the world economy down the toilet. The economy was not in a great state in the early ’80s, so money was pretty tight then.

Money’s Too Tight To Mention was Simply Red’s breakthrough hit in the summer of 1985, creating what seemed to be a fresh take on an old soul number. It was, in fact, a cover of a song barely three years old (the Reaganomics reference, of course, hints at that). But even in its original form, the track sounds like a ’60s throwback, musically and lyrically. The narrative borrows from down-on-luck numbers such as Sam Cooke’s A Change Is Gonna Come (absent the trace of optimism), and musically you can imagine Otis Redding singing it. Simply Red’s take is not wildly different from the funkier Valentine Brothers’ version. And the iconic exclamation, “Cut-back!” is there in the original.

The Valentine Brothers, a duo from Ohio (one of whom, Billy, had been a member of jazz trio Young-Holt Unlimited), never enjoyed much success, their career fizzling out after a couple of albums. Billy Valentine still seems to be recording and writing. I’ve once read that, happily, the brothers didn’t sell the right to Money’s Too Tight, which will have brought in a fair amount of royalties.

Also recorded by: Nobody I could find
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Hoagy Carmichael – Georgia On My Mind (1930).mp3
Mildred Bailey – Georgia On My Mind (1931).mp3
Billie Holiday – Georgia On My Mind (1941).mp3
Ray Charles – Georgia On My Mind (1960).mp3
Georgia On My Mind was a standard long before Ray Charles recorded it, but when he did, he made the song his own. It was written by Hoagy Carmichael and lyricist Stuart Gorrell in 1930. The Georgia of the title was originally intended to refer to Hoagy’s sister, but realising that the words could apply also to the southern US state, Carmichael and Gorrell were happy to keep things ambiguous. The plan worked: the song was a massive hit especially in the South, and since 1979 it has been the state song of Georgia (a better choice than the tourist-unfriendly Rainy Night In Georgia, the loser-comes-home Midnight Train To Georgia, or the infrastructure-deficient The Lights Went Out In Georgia).

Carmichael’s version features jazz legend Bix Beiderbecke on cornet. He died a few months later at 28, but Carmichael went on to enjoy a long career, and is perhaps even better known for Stardust and Heart And Soul than he is for Georgia (which he nonetheless re-recorded a few times). Frankie Trumbauer scored a hit with the song in 1931, as did Mildred Bailey with her very appealing version.

Ray Charles, who was born in Georgia but grew up in Florida, recorded his version in 1960, reportedly at the advice of his driver who had heard Ray sing it to himself in the car. It was an instant hit, topping the US charts, and became something of a signature tune for Ray. When Georgia adopted the song, two years before Hoagy’s death, it was Ray Charles who performed it at ceremony in Atlanta. Willie Nelson sang Georgia On My Mind at Ray’s funeral.

Also recorded by: Frankie Trumbauer & his Orchestra (1931), Milded Bailey (1932), Louis Armstrong (1932), Gene Krupa (1941), Billie Holiday (1941), Artie Shaw & his Orchestra (1942), Fats Waller (1942), Jo Stafford (1946), Peggy Lee (1946), Frankie Laine (1953), Dean Martin (1955), Eddy Arnold (1958), Lawrence Welk (1960), Rusty Draper (1960), Oscar Peterson Trio (1962), Lou Rawls (1963), Richard Chamberlain (1963), The Righteous Brothers (1963), Jimmy Smith (1963), Jackie Wilson (1965), The Spencer Davis Group (1965), Doc Severinsen (1966), Tom Jones (1966), Gonks (1966), Wes Montgomery (1968), Anita Kerr (1968), Jerry Reed (1969), Bobby ‘Blue’ Bland (1969), James Brown (1970), Geoff & Maria Muldaur (1970), Herbie Mann (1973), Glenn Barber (1974), The Band (1976), Mike Auldridge (1976), Deep Purple (1976), Jerry Lee Lewis (1977), Jerry Lee Lewis (1977), Willie Nelson (1978), Cold Chisel (1978), Mina (1978), Willie Nelson (1980), Nat Gonella (1981), Ella Fitzgerald & Joe Pass (1983), Stanley Jordan (1987), Michael Fucking Bolton (1989), George Adams (1989), Maceo Parker (1992), James Brown (1992), Bobby Kimball (1993), Shirley Horn (1993), Emilio Aragón & Greta (1996), Günther Neefs (1997), Crystal Gayle (1999), Roderick Paulin (1999), Coco Schumann (1999), Boston Brass (2001), Van Morrison (2002), Booker T. & the MG’s (previously unreleased, 2003), Steve Tyrell (2003), Joeri (2004), John Scofield (2005), Nicoletta (2006), Gerald Albright (2006), Jools Holland and His Rhythm & Blues feat. india.arie (2006), Willie Nelson & Wynton Marsalis (2008), Russell Watson (2008) a.o.
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Tony Joe White – Rainy Night In Georgia (1969).mp3
Brook Benton – Rainy Night In Georgia (1970).mp3
Ray Charles – Rainy Night In Georgia (1972).mp3
Randy Crawford – Rainy Night In Georgia (1981).mp3
Louisiana-born “swamp rocker” Tony Joe White was only19 when he wrote Rainy Night In Georgia in 1962. He didn’t release the song until seven later, and even then it was his Polk Salad Annie which grabbed all the attention (covered to good effect by Elvis). At the same time, deep-voiced soul veteran Brook Benton was looking for a hit to launch his comeback on an Atlantic subsidiary, Cottillion Records. The legendary Jerry Wexler alerted Benton to White’s song, and the singer scored a massive 1970 hit with his version, produced by the great Arif Mardin.

Rainy Night In Georgia has been recorded many times (ex-Temptations singer David Ruffin put down a version at about the same time as Benton did; it was not released until 2004), as soul and as country songs. Ray Charles (1972) put his own blues spin on it, taking the tune to unexpected places. But my favourite version is that from 1981 by Randy Crawford, one of soul’s finest but least appreciated singers, whose clear and warm voice captures the resigned spirit of the lyrics exquisitely.

Also recorded by: Nat Stuckey (1970), Boots Randolph (1970), Johnny Rivers (1970), Ken Parker (1970), Wynn Stewart (1970), Tennessee Ernie Ford (1971), Hank Williams Jr (1974), John Holt (1977), Tony Worsley (1990), Amos Garrett (1992), Ross Hanniford Trio (1994), Sam Moore & Conway Twitty (1994), Beaucoup Blue (2005), Boozoo Bajou (2006), Hem (2006), Aaron Neville feat. Chris Botti (2006) a.o.

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More Originals

This mix is not a representative overview of ’60s soul. Some essential artists are not represented here: Sam Cooke, James Brown, Temptations, Four Tops, Marvin Gaye, Curtis Mayfield (well, he is very much present on Major Lance’s deceptively titled track. And the Five Stairsteps, with a song released four years before their famous Ooh Ooh Child, evidently have heard a Curtis song or two before). There are some well-known tracks on here – hopefully not too obvious, though – complementing some less famous tracks. Perhaps some songs will provide surprises. Dionne Warwick takes time out from bacharaching to provide a nearly camp girl-band type song. Johnny Adams gives Release Me, most famous in its Engelbert Humperdinck rancid cheese version, the soul treatment, showing that this is in fact a great song. Read more…

Here are a few more perfect pop records which brings the number of featured songs up up to 100 (by my rough count).

Stevie Wonder – You Are The Sunshine Of My Life.mp3
This song has been covered a zillion times and by some of the finest singers ever to commit their voices to record (Sinatra, Fitzgerald). And every one of these covers has failed to translate the sweet vitality of the original. It is a shame that this gem of a song has become a muzak staple; few major songs have been as poorly understood at this one. Written when Stevie was just 20, this mid-tempo samba number seems unassuming, until you listen to Stevie’s vocal inflections and, even more carefully, the deceptively simple arrangement. This song needs no big orchestration to fix its simplicity; indeed, strings or a big band treatment poison its sweet intimacy. And this is the key: it is a loveletter, not an epic declaration. Give it an orchestra, and the sentiment is varnished with cliché. All Stevie needs is keyboard, bass, drums and percussions. And the joyous exuberance of his voice (with the help of Jim Gilstrap and Lani Groves, who sing the first verse; listen to it over earphones). Stevie sounds like he is in love, because he is: with Gloria Barley, who sings backing vocals here. And isn’t that lovely?
Best bit: “Mmm-mmm-hmmm-mmm (2:22)

Frankie Valli – Can’t Take My Eyes Of You.mp3
The Four Seasons had a number of great pop songs, but Valli’s finest moment came as a solo performer, albeit with the help of his old pals Bob Crewe and Bob Gaudio, who wrote this song. Can’t Take My Eyes Of You begins as a mid-tempo ballad, unremarkable except for Valli’s beautiful phrasing, frequently lagging half a note behind the beat, enunciating some vowels as if to provide an off-beat percussion. Suddenly staccato notes signal a change in tempo; jolly strings (not unlike those used on many disco records a decade later) suggest that Frankie is going to get quite excited now. And then Valli launches into a giddy chorus. He’s in love all right, but our fears that it may not be reciprocal, hinted at in the first verse (“but if you feel like I feel…”, “You’d be like heaven to touch”) are realised as the chorus tails off, and Frankie gently, anxiously asks: “let me love you”. We return to the mid-tempo verse, and are quite aware of Frankie’s doubts and that the giddiness (thanking God he’s alive) may just be the oxytocin talking.
Best bit: The way Frankie chews the final vowel in touch (2:17)

Jens Lekman – Your Are The Light.mp3
Among indie-pop fans, the Swede Jens Lekman is a semi-deity. He writes catchy, quirky tunes. His lyrics are invariably hugely entertaining, sometimes touching, sometimes off-beat. You Are The Light has a great tune, introduced by a Earth, Wind & Fire-ish clarion call and supported by a beat that seems just a little too fast for the song. The chorus is proper singalong stuff. The melody and arrangement, with its occasional blasts of horn now and harmonica there, are hugely attractive. But it is the lyrics that captivate. In the opening verse, he uses his one phone call from jail to dedicate a song to his girl (who landed him in this predicament in first place) on the radio. Later the cops are “sad” because they can’t prove his act of delinquency. This song has much by way of completely likable charm — which sets it apart from much of contemporary pop.
Best bit: The horn intro (0:01)

Matt Monro – We’re Gonna Change The World.mp3
If Barack Obama was into the British crooners of the ’60s and ’70s, he might well have adopted this as his campaign anthem. Monro, whom Sinatra described as the only British singer, might have been an easy listening merchant, but this song has a socially conscious edge which was not usually reflected in the genre, even in the late ’60s (the song itself was released in 1970). The song tells of three women, two of them going on a protest march, presumably for peace, while another sees the demonstration but doesn’t join. In the punchline, the non-joiner is a war widow, crying in her office over her dead husband. Monro’s chorus suggests that her option is the wrong one as he calls, as if from within the throng of marchers: “So, come with us, run with us! We’re gonna change the world. You’ll be amazed, so full of praise, when we’ve rearranged your world. We’re gonna change your world.” And don’t these words sum up the message Obama has been trying to sell? Add to that a wonderfully jaunty tune – try not be lifted by it – and Monro’s enthusiastic vocals, and you have a perfect campaign pop song.
Best bit: Monro nearly shouts the word “run” in his call to action (2:54)

Elvis Presley – Hound Dog.mp3
Big Mama Thornton – Hound Dog.mp3
Jerry Leiber and Mike Stoller wrote Hound Dog as teenagers for Big Mama Thornton, apparently in ten minutes. Meditate on that for a minute. A couple of teenagers write what will become a timeless classic for an intimidating blues singer, and do the job in ten minutes. The way Thornton sings it is the way the composers conceived it. Hound Dog became a local hit, and inspired a plagiarised response song, which turned out to be the first ever record released by Sun Records, Sam Phillips’ label which would go on to produce Jerry Lee Lewis, Johnny Cash and, of course, Elvis Presley. It took Elvis a few years to get around to Hound Dog, which had been brutalised in a series of covers which dismantled the original lyrics and added doggerel to it (such as the rabbit line) to become the nonsense we know today. In the 31rd take we know today, Elvis made no attempt to sing the lyrics, symbolised by the way he chews up the pronunciation of the title. He shouts and sneers through the song with his band rocking to the beat of the handclaps, while the Jordannaires gamely try to instill some civility over the raucous guitar solo. Guitarist Scotty Moore’s final chords are a breath of post-orgasmic release. It seems clear while Hound Dog threatened the USA’s repressed sexual morality: Elvis is fingering America’s daughters right there.
Best bit: Drum roll, Elvis groans something, and a guitar chord closes the song (2:09)

Sex Pistols – Pretty Vacant.mp3
The Sex Pistols were the poster boys for the British punk revolution; more than their music, it was their exploits and, more to the point, their image that made Middle England nervous. They swore on TV; they insulted Her Majesty with a song that was banned from radio and yet reached #2 on the UK charts (some have smelled a conspiracy to keep the Pistols off #1, to the benefit of Rod Stewart’s I Don’t Want To Talk About It); they used a naughty word in their album title (it was later established in court that “bollocks” is a non-vulgar Olde English word) . And now hear how Johnny Rotten supposedly pronounces the second syllable of the title’s second word. Ooooh, the threat. Ooooh, the publicity! The Sex Pistols invented punk as much as Elvis invented rock & roll. In many ways, they were the Spice Girls of their day: a phenomenon managed by a clever svengali, whose music was secondary to the image. That’s why Glenn Matlock, the really talented one, could be replaced by a disorientated thug who’d become the most pathetic junkie in rock history. It was all about presentation. But that also glosses over the music. While the primary sales pitch was the image, the product – the music – was very good too. For all the punk posturing, the Sex Pistols had some fine pop tunes. Other than John Lydon’s hysterically sneering delivery and the nature of the lyrics he sneered, there was little revolutionary about the Pisxtols’ music. Never Mind The Bollocks, a very well produced LP, was a harder-edged, faster version of glam rock, with an additional debt to the likes of the Kinks. Of the handful of hits, Pretty Vacant has was the best pop song. Shook your head at the glam reference? Matlock said the riff was based on Abba’s S.O.S.
Best bit: “And we don’t caaaaaaaahre” (1:44)

Human League – (Keep Feeling) Fascination.mp3
The Human League’s Dare probably was the most perfect pop album of its era. But when I pondered which Human League song to feature, I kept coming back to Fascination, which was a single release only. An EP featuring to mixes of Fascination came out later (it also included the excellent preceding single, Mirror Man). Fascination kicks off proper with the swirling, horn-like synth hook which runs through the song and, in the intro, instructs the listeners to get on their feet and dance. The band members take turns singing lines, including even guitarist/keyoardist Jo Callis.
Best bit: “…and so the conversation turned, until the sun went down” (1:00)

Nirvana – Smells Like Teen Spirit.mp3
Paul Anka – Smells Like Teen Spirit.mp3*
Cobain’s Pixies moment (he admitted consciously copying them) sounds as much as the uncles of grunge as it sounds like an angry glam rock song. Cobain tried to write a pop song, and succeeded. Tori Amos might have fucked it up, but when Paul Anka covered it as a big band swing number in 2005, the pop sensibilities of Teen Spirit revealed themselves from beneath the grime of discontent. The anthem of non-conformity had, by dint of its over-exposure on MTV and radio, acquired the status of conformity; much of what came after – all the “feel my pain” emo gubbins – was no more non-conformist than the industry and its hit machines Teen Spirit was railing against. Anka stripped the song of its suburban rebellion sheen, turned it into a swing song, and perpetrated an act of subversion one hopes Cobain would have approved of: turning on its head the conformity of Nirvana’s own followers. It may not be the best Nirvana song, but it certainly is their best pop song.
Best bit: Apologies for being boring, but it’s the “yay” bits (1:31)

More Perfect Pop