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The Originals Vol. 39

August 6th, 2010 7 comments

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.

More Originals

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Perfect Pop – Vol.2

March 26th, 2008 7 comments

Here is the second installment of Perfect Pop. For the criteria, look up the introduction to the first part of the series. One commenter rightly suggested the inclusion of The La’s, which I happily already had on my shortlist. Tell us which songs you think constitute perfect pop.

The Troggs – Wild Thing.mp3
A bit like “Louie Louie”, featured in the first part of this series, there is something gloriously shambolic going on here, understandably so if one knows that it was recorded in 20 minutes as an afterthought to a recording session. Singer Reg Presley not just sounds lewd, he is fucking the listener none too gently. Which is quite a contrast to later, milder Troggs hits (Love Is All Around; With A Girl Like You), but quite in keeping with the famous recording of the Troggs’ having an animated discussion in the studio.
Best bit: The ocarina solo (1:11)

The La’s – There She Goes.mp3
Had the Troggs been 20 years younger, they might well have sounded like the La’s (a name I’ve always hated). Allegedly about heroin, this song has a catchy tune and beautifully jangling guitars which surely helped influence dozens of US Indie groups in the ’90s. And it was only in the ’90s that this song, originally released in 1988, became a hit.
Best bit: After the slow bridge, “She calls my name” (1:46)

Roy Orbison – Only The Lonely.mp3
My mother had the single of this: it was the song she and her teenage sweetheart shared. It’s a good “our song” if your love is being split up by disapproving parents, I think (he was working class, my mother the rebellious princess of upper middle-class parents; you know the deal). On many songs, Orbison’s voice annoys me (hence my utter hatred for the Travelling Wilburys), on a few it is perfect. Only The Lonely, where he sounds a lot like Elvis at times, is one of those.
Best bit: Orbison hits the falsetto (2:08)

Pilot – Magic.mp3
Unjustly never a hit in Britain, this is one of the finest bubble gum pop songs of the ’70s. It’s so full of lovely little touches. Listen to the quirks of the guitar, the sporadic handclaps, the intermittent strings, the soft backing la-la-la-las. And then there is the rich chorus; it’s all rather brilliant.
Best bit: The handclaps during the guitar solo (2:16)

The Cure – In Between Days.mp3
The Cure have a surprising number of straight pop songs; easy to forget if one listens too much to the weird or depressing stuff Robert Smith and pals have produced. This, the first of two outstanding singles from 1985’s The Head On The Door, is a quick, bubbly burst of perfect pop. New Order might have taken notes about the value of brevity in pop.
Best bit: Bob laments over the outro: “Without you!” (2:35)

Van McCoy – The Hustle.mp3*
Tune! Disco guitars, strings, flute, horns, a killer bassline, while friendly ladies and commanding gentlemen invite us to do The Hustle. Do it!
Best bit: The guitar demands to be heard (1:02)

Plastic Bertrand – Ça Plane Pour Moi.mp3*
Belgian punk, thankfully in French and not Flemish. It’s all very audacious, probably borrowing less from the Sex Pistols and more from the Small Faces, whose Sha-la-la-la-lee Plastic Bertrand covered on his debut album) than Sex Pistols. I have never bothered to establish what the man is singing about. I don’t think I want to. As long as I can sing the title and the ou-ooou-eeooou, I’m happy.
Best bit: Whatever he sings after being the king of the divan (1:12)

Mel & Kim – Respectable.mp3
Take them or leave them, but the much reviled Stock Aitken Waterman hit factory of the ’80s created some respectable pop. This song found SAW more or less at a crossroad: their formula was starting to take hold (with Rick Astley’s Never Gonna Give You Up becoming a hit just six months later), but there remains enough of the Hi-NRG-cum-pop sound which propelled songs such as Dead Or Alive’s “You Spin Me Round” to pop classicdom. The “tay-tay-tay-tay” intro is an iconic ’80s moment. Sadly Mel Appleby died of cancerin 1990, just three years after Respectable (and the equally fine Showing Out).
Best bit: The House break (2:07)

ELO – Shine A Little Love.mp3
Jeff Lynne’s pop orchestra could get a little too prog, but 1979’s Discovery album was a jewel of great pop. I might as well have chosen Don’t Let Me Down (with its power chords and the bwoosh sound) or Confusion (with its lovely keyboard riff), but it always seems to me that Shine A Little Love tends to be overlooked. The urgent, swirling opening passage and the chorus with the strings and the woooo’s qualify this as a piece of perfect pop.
Best bit: “Ooh, ooh…ooh-ba-ooh-ba-ooh-ba” (1:37)

Georgie Fame – Yeh Yeh.mp3
2:47 minutes of pure joy. I think this is perfect kitchen pop: try not to dance to it while doing the dishes. Or while you sail a boat. The famous British pirate broadcaster Radio Caroline was launched because no other station wanted to play Yeh Yeh, on account of it sounding “too black”, according to its founder, Ronan O’Rahilly. Read the full story of that here.
Best bit: The slow build-up to the chorus: “We play a melody…” (0:49)

Soft Cell – Say Hello, Wave Goodbye.mp3
Oh man, that opening line: “Standing in the door of the Pink Flamingo, crying in the rain”! The lyrics, the lament of a gay man who can’t pull through a relationship because he is shackled in the closet, are incredibly sad, scored by a gorgeous melody, Marc Almond’s luscious vocals and some of the best synth pop lines we’re ever likely to hear. And, please, never listen to David Gray’s excruciatingly poor cover (or never do that again)!
Best bit: “We’re strangers meeting for the first time, okay? Just smile and say hello…” (3:40)