Linda Ronstadt, Mike Nesmith, P P Arnold : Different Drum

It seems like music has always been in the air around you and in your head.

Folk Music, Country Music, Rock ‘n’ Roll.

And, you write poems, lyrics if you will, that maybe could be songs.

Along comes the Guitar and those poems really do sound like songs.

There’s something about the sound of the 12 string especially that frees up the spirit.

Listened to a lot of music in Texas growing up and in the Service the radio was always a lifeline.

Now you’re back in civilian life it’s time to see if any of these songs have a life outside your head.

Head West Young Man!

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Los Angeles has quite a scene.

There’s a club, The Troubadour, in West Hollywood that has a Monday night Hootenanny where all kinds of songs get played by folks desperate to get their songs sung and heard.

Some of these singers are really building a following and some have even got record deals.

Now if I could just get someone like that to sing and record one of my songs I’d be launched as a songwriter and maybe people would take the time to listen to me singing my other songs.

Might even make a few bucks!

There’s this guy, John Herald, heads up a bluegrass outfit, The Greenbriar Boys, and we get along fine – play each other our songs.

He thinks, ‘Different Drum’ has got that something a song has to have so that it sticks in people’s minds and has them singing along before they even realise they are doing it.

Well, praise be!, John only went and recorded, ‘Different Drum’ and put it out on their album, ‘Better Late than Never!’

Now I have an official song writing credit!

But, I wont be needing a truck to haul away my royalties!

John and the Boys slowed the song down and their version sounds a little worthy to me; a hit for the Hoot crowd but nowhere else.

But, all songwriters will tell you, once a song is out there on record and on the radio, its like a message in a bottle and there’s no knowing whose feet it will wash up at.

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Turns out there’s this group called The Stone Poneys and that the girl in the group, Linda Ronstadt, heard the Greenbriar Boys take on, ‘Different Drum’ and thought here, finally, was a song that would suit her.

I got to say that anyone who has ever seen The Stone Poneys knows that while Kenny Edwards and Bobby Kimmel love their music they are very low watt bulbs in comparison to the brilliance that surrounds Linda.

She’s hotter than Mojave and she has a true voice that pierces the heart.

So, one day, I turn on the radio and Hallelujah!

Different Drum blasting out and no doubt about it a sure fire hit.

Got to say Linda has given the song a sweetness and sensuality that even surprises me.

Amazing how good a song can sound when its sung by a singer like Linda supported by musicians who can really play directed by a Producer who can make a song fly off those vinyl grooves.

I did some research and it seems Linda was the only Stone Poney on the record.

Nick Venet, the Producer, twigged that the song shouldn’t be one more of the thousands of pretty acoustic ballads out there.

Give it a stylish arrangement, add in the chops of first rate musicians to match Linda’s shining vocals and you’ve got a record that will have people turning up their radio’s and saying, ‘Who is that?’ and hot footing it to their nearest record store.

So, Jimmy Bond plays the hell out of the Bass – he’s got all that Jazz training and he knows the studio – how else did he get to be part of the Wrecking Crew!

Al Viola and Bernie Leadon played those sweet guitar parts.

Jim Gordon, the Jim Gordon, made the song swing from the Drum stool.

Add in a little magic from Sid Sharp’s strings and Don Randi’s Harpsichord and I defy anyone not to sing along with gusto!

This time the royalties really did flow in!

Now, some of you might know, that for a few years in the late 60s, I became something of a celebrity, heard someone call the group I was in, ‘The Monkees’ a Pop phenomenon indeed!

Of course, all the while the TV Show and the recording and  tours were in full spate I never lost track of the fact that at heart I was a singer songwriter and that when all this frenzy finished (as it always must sooner or later) I would pick up the 12 String and find a new audience.

You know, ‘Different Drum’ has been pretty good to me so I figured let’s see how it sounds with Red Rhodes on the pedal steel and me taking a mellow meander through the song.

Now songwriters love all their songs and I ain’t no different but Different Drum is close to my heart and it seems to keep finding new singers who want to put their own stamp on it.

Listen here to Susanna Hoffs (wasn’t she in a group that was something of a modest pop phenomenon in the 80s?).

Don’t she and Matthew Sweet charm us all!

That’s my kind of Hootennany right there.

One of the greatest gifts a songwriter can ever get is to hear one of their songs completely reimagined so that it comes up anew shining bright and dazzling a new audience.

That happened to me when I heard P P Arnold take on Different Drum with a bunch of English musicians.

Most everybody knows her as a backing singer or for cutting the original of Cat Stevens’ ‘First Cut is the Deepest’ but the more you investigate her career you realise she’s a magnificent soul singer and that any writer ought to be real proud to have her cover one of their songs.

Once heard you won’t forget this.

She can flat out sing!

Compared to Linda and Susanna and P P Arnold I can’t sing at all.

But, Over the years I have learned how to tell a story and make co-conspirators of an audience.

Different Drum is an old friend now and I like to make sure I don’t rush through it pretending I was still in my 20s.

A story needs to be properly framed and told for maximum impact.

So now it goes something like this :

Long as I can make it up on stage I’m going to be singing that song.

Time to close out with a tribute to the person who sent this song soaring into so many hearts.

Linda’s health doesn’t let her sing anymore but a voice like she had will always be lifting spirits and touching souls.

Van Morrison & Mark Knopfler : Last Laugh (Happy Birthday Van!)

You’ve either got it or you haven’t.

Presence.

Some things you just can’t buy.

Presence.

Coaches and Gurus and Snake Oil salesmen will portentously promise to reveal the secret to you.

Better save your money and your time and learn the things that can be taught – vocal exercises, relaxation, the whole assembly of skills that adds up to Technique.

But Presence?

No way.

You’ve either got it or you haven’t.

The gods or muses dispose as they will.

Hard to define but easy to recognise.

Greta Garbo.

Marlon Brando.

Rudolph Nureyev.

Maria Callas.

Miles Davis.

Muhammad Ali.

Van Morrison.

Intensity.

Impact.

Cultural, emotional and spiritual impact.

You’ll recognise it when you confront it.

Mark Knopfler is a gifted songwriter and as a guitar player has undoubted Presence.

He is also canny enough to know that some songs require an extra ingredient that he does not possess.

A voice with Presence.

So, for his Song, ‘The Last Laugh’ he called up Van Morrison.

There must have been a moment in the studio as they listened back when Mark exhaled and smiled deeply as the sound of Van’s voice at the beginning of the second verse lifted the work to a wholly new level.

Presence.

Emotional and Spiritual impact.

Van Morrison.

Sing it Van!

Games you thought you’d learned
You neither lost nor won
Dreams have crashed and burned
But you’re still going on
Out on the highway with the road gang working
Up on the mountain with the cold wind blowing
Out on the highway with the road gang working
But the last laugh, baby is yours
And don’t you love the sound
Of the last laugh going down

Very few singers merit the Bold and the Italics.

Van Morrison always has and always will.

Don’t you love the Sound!

Presence.

Cultural, Emotional and Spiritual Impact.

Demonstrated time after time in studios and on stages from Belfast to Buffalo.

Hey Girl! Baby Blue. Brown Eyed Girl. Sweet Thing. Moondance..

Linden Arden.

Listen to The Lion.

The Healing has begun.

No Guru. No Method. No Teacher.

Just Van and that Voice.

It ain’t why, why, why, it just IS.

A voice capable of transcendence as only the rarest voices are.

A voice that reaches up to the Moon.

Don’t you love the Sound!

Van is 74 this week.

So, Happy Birthday Van!

A heartfelt thanks for all the Songs and all the Singing.

 

May your Song always be Sung.

if this is your visit to The Immortal Jukebox you are very welcome!

Sign up for email alerts or follow me on Twitter @thomhickey55 and you’ll never miss a post!

There are more Posts about Van than any other artist here on The Jukebox so, in case you missed one or would like to be reminded of an old favourite here’s the Van Compendium for your delectation and delight!

Brown Eyed Girl’.

An introduction telling the tale of my headlong plunge into obsession following my first hearing of Van’s best known song.

http://wp.me/p4pE0N-2L

Don’t Look Back’.

A meditation on Time featuring 2 astounding versions of John Lee Hooker’s tender Blues Ballad. One a reaching for the stars take of a teenager the second the work of a fully realised master musician.

http://wp.me/p4pE0N-3k

Carrickfergus‘.

A meditation on family, friendship and loss. How the shadows lengthen! Sung with infinite tenderness and bardic authority.

http://wp.me/p4pE0N-7J

In The Days Before Rock ‘n’ Roll’.

A miraculous meditation on the persistence of memory, the power of the radio and the post war world as seen by a young Irish mystic.

http://wp.me/p4pE0N-bi

Tupelo Honey’.

A rhapsodic meditation on the nurturing, redemptive power of Love. A Hallelujah!

http://wp.me/p4pE0N-fr

All in the Game‘.

A meditation on the carousel we all ride. It’s been sung by many singers but never like this!

http://wp.me/p4pE0N-jY

Domino’ .

A Founding Father joyously celebrated by a Master from the next generation.

http://wp.me/p4pE0N-pH

Sometimes We Cry‘.

Bringing it all back home to singing on the street corner Days. The sweetness of Doo-Wop seasoned with wry maturity.

http://wp.me/p4pE0N-sf

I Cover the Waterfront’.

Van and John Lee Hooker, Blues Brothers and Soul Friends, conjure up ancient tides.

http://wp.me/p4pE0N-tq

Buona Sera Signorina‘.

Van puts his party hat on and romps through the Louis Prima classic.

http://wp.me/p4pE0N-Xg

Hey Girl’.

Van takes a stroll along the strand and suspends Time.

http://wp.me/p4pE0N-1cA

Gloria! Gloria!’

Once, Now and Ever.

http://wp.me/p4pE0N-1dh

Coney Island 

A Pilgrim’s glimpses of Eternity in the everyday.

https://wp.me/p4pE0N-1OQ

Brand New Day

Born again each Day with The Dawn.

https://wp.me/p4pE0N-1kL

And It Stoned Me

A mystic dweller on the threshold shows us the wonder ever present everywhere.

Happy Birthday Van!

Rod Stewart, Carole King, Aretha Franklin : Oh No, Not My Baby

Featuring :

Rod Stewart, Carole King, Aretha Franklin, Maxine Brown & She & Him

The news is out.

All over town.

Your True love has been seen runnin’ around with someone new.

And, don’t some of your, ‘Friends’ love to tell you so!

They’ll tell you, with a theatrical sigh, that you’ve been led on.

They’ll shake their heads and say you’ve been told big, black Lies.

Even your Mama, trying to protect you, will counsel you beware – consider that there might be truth in those ugly rumours.

But. You have Faith.

Faith.

Whatever they say, whatever their motive, You Know.

You Know.

You don’t believe a single word is true.

Not a single word.

Your Love is not like the others.

Not at all.

Oh, no, not my sweet baby.

Oh, no, not my sweet baby.

My sweet baby.

From the heart and soul of Carole King and Gerry Goffin another guaranteed Pop/Soul classic from 1964.

The song was first given to The Shirelles who recorded a version with alternating lead vocals.

Scepter/Wand Reciords Exec Stan Greenberg thought that their version didn’t work because the beauty of the melody and poignancy of the song was obscured by the multiplicity of voices.

But, there was nothing wrong with the backing track so he called up Maxine Brown and told her to take away The Shirelles version and come back with a Hit!

Maxine, listened over and over and as she did she noticed that a group of young girls playing a skipping game outside her apartment had zeroed in on the hook as they skipped and sang ;

Oh, no, not my baby
Oh, no, not my sweet baby
Oh, no, not my baby
Oh, no, not my sweet baby

So, into the studio to overdub her tender, truthful vocal ( with Dee Dee Warwick helping out on the chorus) and Voila!

A sure fire Hit!

Seven weeks on the Billboard Top 40.

Now, the thing about Carole King melodies is that they enter your dreams.

They seem to be contain echoes of half remembered lullabies from your cradle days.

They are both fresh and familiar at first and thousandth hearing.

And, if you are a singer in want of a killer ballad (as singers always are) you inevitably turn to the Goffin/King Songbook because their songs rooted in universal emotions can never go out of style.

Never.

When it comes to singing a killer ballad The Jukebox will brook no argument that Rod Stewart in his early 70’s pomp with The Faces was absolutely as good as it got.

Ronnie Wood providing the tasty guitar licks.

Ian McLagan, Kenney Jones and above all Ronnie Lane providing the rugged but oh so right Rock ‘n’ Roll/Soul musical mash up.

Rod, of course, knew that when it came to breaking hearts there millions practiced in the art.

Yet, he brings total conviction to the lover’s cri de couer :

Not my baby, not my baby, not my baby, Oh, No, Not My Baby!

Rod, in those days had sensitivity as well as swagger.

I’m sure that the music press of those times would have described Rod as a, ‘Rock God’ along with Robert Plant and several other extravagantly maned stage strutters.

But, when it came to the Soul arena there was only ever one Queen.

Aretha Franklin.

The key word here is Faith.

Incarnating on record and in performance the attractions of the flesh and faith and giving each realm its proper due was Aretha’s special gift.

Whatever she sang she sang with a Believer’s passion.

Oh, no, not my baby
Oh, no, not my sweet baby
Oh, no, not my baby
Oh, no, not my sweet baby

Alongside the majestic vocal listen to the testifying of Cornell Dupree and Eddie Hinton on Guitar, Barry Beckett on Keyboards, David Hood on Bass and Roger Hawkins on Drums.

Not my baby, not my baby, not my baby, Oh, No, Not My Baby!

Now tell me you don’t Believe!

Remember the mantra, ‘A Goffin/King song never goes out of style’?

Well, from just a few years ago here’s the proof.

Music chameleon M Ward and Actor/Singer Zooey Deschanel are together ‘She & Him’.

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And together on their CD, ‘Classics’ they have recorded an utterly charming version of, ‘Oh, No, Not My Baby’.

 

Well, you might have had a last minute fling

But In am sure it didn’t mean a thing

‘Cause yesterday you gave me your ring

And I’m so glad I kept right on saying :

Oh, no, not my baby
Oh, no, not my sweet baby
Oh, no, not my baby
Oh, no, not my sweet baby

To conclude let’s go back to the Source.

Carole King at the piano slaying us all with a deep heart’s core take on her own masterpiece :

Wonderful the first time you hear it and wonderful as long as people can say, with Hope and Faith to all the doubters :

Oh, no, not my baby
Oh, no, not my sweet baby
Oh, no, not my baby
Oh, no, not my sweet baby

 

On John Lennon’s Jukebox – Bruce Channel : Hey Baby!

Featuring memories of the Summer of 1975 & an all you can eat ‘Hey Baby’ Buffet with :

Bruce Channel, Delbert McClinton,  Arthur Alexander, NRBQ, Buckwheat Zydeco, The Holmes Brothers, Juice Newton and Jimmy Vaughan. 

(As always if corporate czars block any of the clips appearing here you will be able to find them by a trawl of YouTube).

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Last week I had to visit our local civic centre to fill out some official forms.

This involved, as encounters with officialdom almost always do, a lot of waiting about in uncomfortable chairs while my details were checked and double checked before eventually my application was approved.

Normally, I would plug in my earphones and pass the time listening to a fine selection of expertly curated Immortal Jukebox tunes.

However, it turned out that I had left home without either my phone or iPad so I became a captive of the building’s playlist.

But, wouldn’t you just know it – the very first song played was, ‘Hey Baby!’ by Bruce Channel, a favourite of mine for many a decade.

Indeed, as soon as the distinctive harmonica riff (played by Delbert McClinton) announced itself I was transported back to a summer job in 1975.

My Dad was a long term employee of a civil engineering firm so he was able to secure me a job on a site not too far from home.

Through his good offices I also got a lift each morning at 6.30 from Dave, a trainee Quantity Surveyor, in his ‘Deux Chevaux’ Citroën 2CV, a car which made up for in charm what it lacked in speed and power.

Its been more than 4 decades since I travelled with Dave so I must confess that i have forgotten his surname.

But, I remember the important things.

To whit – he had ginger hair and proudly sported a, ‘Zapata’ moustache.

He was witty when commenting on world events and kind when commenting on people he knew directly.

And, most importantly for our friendship he was a self proclaimed music fanatic with particular interests in Motown and American Pop Hits of the early 1960s before the British Invasion.

Dave had made a series of cassettes showcasing his enthusiasms and we enthusiastically sang along to these on our half hour journey to work.

To establish my bona tides as a true lover of music rather than a passive listener Dave casually asked what was the common thread linking the last three songs we had harmonised to :  ‘Jimmy Mack’, ‘Reach Out I’ll Be There’ and, ‘My Guy’ ?

He was quick to say I would get no points for saying they all featured the same crew of musicians; the legendary Funk Brothers.

Fair enough I said and won his approval by saying the other link was the backing vocalists:  those barely known and critically unsung heroines of Hitsville USA, ‘The Andantes’ (Jackie Hicks, Marlene Barrow, and Louvain Demps).

Next as he cued up the tape labelled, ‘Hits 1962’ he asked as the once heard never forgotten harmonica intro to, ‘Hey Baby’ blasted out into the West London fume filled streets – Who’s playing that harmonica?

Not only did I know that it was Delbert McClinton I said I had just bought his new Album, ‘Victim of Life’s Circumstances’ and would lend it to him to tape.

From that day on as I got into the 2CV it was always, ‘Hey Baby’ at maximum volume that greeted me.

Thus was our friendship cemented.

At the end of that Summer he moved to Scotland and I never saw him again.

But I will never forget those 2CV/Motown/Hey Baby days so wherever you are Dave this one’s for you.

I hope you still thrill to the sound of Young America and sing with all your might whenever you hear Bruce Channel’s vocal and Delbert’s harmonica light up the airwaves :

Hey, heybaby
I want to know if you’ll be my girl

Hey, heybaby
I want to know if you’ll be my girl

Now, as Major Bill Smith, who recorded, ‘Hey Baby’ was heard to remark :

’Cotton Picker, that’s sure one Cotton Pickin’ Hit!’

And he was perfectly cotton pickin’ right.

Sales of more than a million with 3 weeks atop the Billboard Chart and Number 2 in the UK.

And, permanently lodged in the memories of several generations of musicians across many genres.

Hey Baby is endlessly adaptable (as we shall see and hear) whether you are approaching it  as Rock ‘n’ Roll, Blues, Country, Cajun/Zydeco or pure Pop!

The original benefits from Bruce’s relaxed vocal set to an addictive shuffle beat provided by Jim Rogers and Ray Torres on Drums and Bass.

Bob Jones and Billy Sanders Guitars fill out the sound.

But, the undoubted signature sound of the song is provided by Delbert McClinton’s Harmonica.

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Musicians recognised this as one catchy lick!

One of those was none other than John Lennon who met Delbert in person when The Beatles supported Bruce Channel at The Tower Ballroom New Brighton on the 21st of June 1962.

John certainly remembered that lick when The Fab Four got into Abbey Road to record, ‘Love Me Do’.

And, he never forgot, ‘Hey Baby!’ as is clear from its presence on his own Jukebox.

That Jukebox also contained work by our next artist – Arthur Alexander.

John recognised that Arthur was a great singer who could add a shadowy blue tone to any song.

Sing it Arthur!

Next up an utterly charming version by the NRBQ from their dazzlingly diverse 1969 debut LP.

The NRBQ, then Terry Adams (keyboards), Steve Ferguson (guitar), Joey Spampinato (bass), Frank Gadler (vocals) and Tom Staley (drums), obviously had a riotously good time recording, ‘Hey Baby’ and that shows in every groove.

Set yourself down on your porch swing and uncork something smooth and sweet!

Mercy!

OK, time to paddle our pirogue down to Louisiana.

So, we will replace the harmonica with the accordion and make sure our boots are on properly because we are about to really fly around the floor dancing to this version from Buckwheat Zydeco!

Laissez les bons temps rouler!

Listing the genres Hey Baby! could be adapted to I unforgivably omitted Gospel.

It is clear that The Holmes Brothers bring something of the backwoods Country Church to  our party here.

Sherman and Wendell sure get an Amen from me!

Testify! Testify!

Righteous!

Now we turn to a much overlooked talent – Judy ‘Juice’ Newton who always brings the warmth of a summer breeze to her performances.

When you are bringing out that home made lemonade for your Summer BBQ I strongly recommend you look out some of her records.

Youll find you’ll float across the lawn (even if you haven’t laced the lemonade with something a little stronger!).

Back to Texas for our concluding take.

I feel like putting my shades on as I groove to this slinky version by Jimmy Vaughan.

Let’s not pretend we went anywhere near Lemonade as that one prowled around our minds!

No, got to be something with a powerful kick and an after burn.

I don’t know what Jimmy, Mike Flanigin and Frosty Smith go for but I’m going for the Kentucky Straight!

Having done so I’m ready to dig out my harmonica and lead you all in:

Hey, heybaby
I want to know if you’ll be my girl
Hey, hey baby
I want to know if you’ll be my girl
When I saw you walking down the street
I said that’s a kind of girl I’d like to meet
She’s so pretty, Lord, she’s fine
I’m gonna make her mine, all mine
Hey, Hey Baby!

Bobby Darin : Tragedy, Trauma & Triumph – Dream Lover

It’s a one time shot, this life, and you don’t get any second chances’ 

‘Boy, I’m pressing my luck – but I’m going to double up!’

‘I’ll go to sleep and dream again, that’s the only thing to do, Till all my lover’s dreams come true’.

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Tragedy :

How long have you got before the grim reaper swings his sharp scythe?

A lot longer, we all hope, whatever age we are now.

Not so for Bobby Darin who lived from childhood with the consciousness that because of heart problems it was no good planning for the long term.

Because, at any time, probably soon, his heart would give up the battle and beat no more.

This in the bones knowledge gave him a ferocious, ‘don’t tell me what I can or can’t do’, determination to extract the last full measure from his prodigious talents and have a hell of a time while doing so!

In the end all Bobby got was 450 months.

A little over 37 years before Death came a calling.

I think we might all agree there is a tragic element to such a life.

Trauma

In addition to spending a great deal of his childhood with the pain of rheumatic fever and the dread that death might creep up on him at any moment Bobby Darin discovered just after his marriage to Sandra Dee had ended that the bedrock of his life – his relationships with his Mother and Sister had been based on an elaborate lie.

Bobby had thought his Father was Saverio Antonio “Big Sam Curly” Cassotto, who had died in prison before his birth.

But, Big Sam was not Darin’s Father.

In fact Bobby would go to his grave never knowing the identity of his real Father.

He would die knowing the identity of his Mother and Grandmother but he would have to come to terms with the knowledge that the beloved Sister of his youth was in fact his Mother and the adored Mother who had brought him up was in fact his Grandmother!

I think we can properly say those were traumatic circumstances which would leave a deep brand on the psyche.

Triumph

450 Months.

37 Years.

How much can you achieve in the time?

Well, the statisticians will tell you that he had 22 Billboard Top 40 Hits with 2 of those hitting the Number One spot and three further discs lodging in the top 5 – success which was replicated all around the record buying world.

Rock ‘n’ Roll novelties like, ‘Splish, Splash’ and, ‘Queen of the Hop’ which immediately took up residence in your brain and had you singing your own karaoke version as you travelled to school.

Swingin’ Big Band belters like, ‘Mack The Knife’ (Sinatra, not given to extravagant compliments dubbed Bobby’s version definitive) and, ‘Beyond The Sea’ which won him kudos from professional musicians and several generations of fans senior to him.

Blues drenched workouts like his version of Ray Charles’ ‘What’d I Say’.

Folk Rock tender tones like his version of Tim Hardin’s, ‘If I Were a Carpenter’ and his own, ‘Simple Song of Freedom’.

Oh, and he acted in more than a dozen movies writing two full scores and five title songs.

And, he broke the house attendance records in a string of Las Vegas’ clubs outdrawing legends of show business with decades more experience and exposure.

He seemed to be permanently in the studio when he wasn’t on the road or on the TV or Film Set.

Top selling Album followed Album in every imaginable style – Pop, Rock ‘n’ Roll, Jazz, Rhythm and Blues, Broadway Shows, Folk and Singer-Songwriter and storming finger clickin’, jive talkin’, audience rousin’ live shows.

Bobby Darin never limited his ambition and worked obsessively to meet and surpass those ambitions.

Researching this post I was taken aback at the depth and breadth of his talent and resolved that there will have to be many more Posts here about him if I am to do justice to the scale of his achievements.

Yet, when I think of Bobby Darin I always come back to one song – Dream Lover.

Dream Lover, written by Bobby, was the song that turned him from a here today/forgotten tomorrow teen sensation into a songwriter and performer for the ages.

If you can write a song which calls out to every yearning innocent heart (and we all once had and remember our innocent heart) you are certain of immortality.

Every night I hope and pray a dream lover will come my way.

I want a dream lover so I don’t have to dream alone.

Dream lover where are you?

Some day, I don’t know how.

And the hand that I can hold to feel you near as I grow old.

Until then I’ll go to sleep and dream again.

Till all my lover’s dreams come true.

Till all my lover’s dreams come true.

There’s nobody alive or dead who hasn’t hoped and prayed a dream lover would come their way.

Bobby Darin’s song writing career properly started out of a tiny office (more accurately a broom cupboard) he shared with Nick Venet in New York’s legendary Brill Building.

Riding in the lift or seated at the lunch counter you might find yourself next to Carole King, Burt Bacharach or Leiber & Stoller (love those Latin rhythms they use!).

Songs, Hits about to Hit, filed the corridors, who’s that pudgy kid on the piano – Neil Sedaka you say – OK let’s remember him if we ever get to make a record.

So, Bobby began to dream of a song, a yearning song. with a Latin rhythm, which incorporated the sweetness of Doo-Wop and the drive of Rock ‘n Roll.

That’s when he made the wonderful Demo below featuring the guitar of Fred Neil.

There’s a tender magic about this version which I find immensely affecting.

Bobby’s singing his heart out here.

Dream lover where are you?

 

This Demo convinced the powers that be at Atlantic Records (Ahmet Ertegun and Jerry Wexler) that there was a huge Hit here.

So ace Engineer Tom Dowd was at the board as Neil Sedaka played the piano and Bobby sang for all his worth.

Number 2 in the US. Number 1 for 4 weeks in the UK.

And, a song that’s had hundreds of covers though none can match Bobby (that said look out for Rick nelson’s take).

Dream Lover is one of those songs that’s always hovering somewhere in your heart.

As soon as it emerges from the ether you’ll find yourself, with a wry smile on your face, remembering that innocent heart, singing :

Every night I hope and pray a dream lover will come my way …….

 

 

In memory of Walden Robert Cassotto (Bobby Darin) May 1936 to December 1973.

Sleep well Bobby, sleep well.

 

George Harrison, James Ray : Got My Mind Set on You

‘It’s gonna take time, a whole lot of precious time ….’ (Rudy Clark/James Ray)

‘A true message always gets through – sometimes it just takes a while’ (Immortal Jukebox)

On 7 February 1964 Pan Am Flight 101 took off from London’s Heathrow Airport bound for New York City.

Thousands of young women, barely controlled by massed ranks of British Bobbies in blue, screamed and sobbed as the plane took off.

For this was no ordinary flight.

No, for Pan Am 101 was carrying a very special group of passengers whose arrival in America that day would change the course of History.

Those passengers were John Lennon, Paul McCartney, George Harrison and Ringo Starr – The Beatles!

When they touched down at JFK they were greeted by scenes of pandemonium as fans and the media pushed and shoved to get their first glimpse of the Fab Four.

The ‘British Invasion’ had begun and from that day on for the rest of the decade there was no question about who the most popular and successful group in the world was and who were the most famous and instantly recognisable faces on the entire planet.

But, before an invasion there is usually a reconnaissance.

You send a scout ahead.

And, for The Beatles, the scout was George Harrison.

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For though The Beatles didn’t land on the soil of the Promised Land until February 1964 George had spent two weeks there in September 1963.

How come?

Well, George was the youngest of the three Harrison siblings.

Brother Peter was three years older than George but Sister Louise was 12 years older and long before The Beatles were even a madcap dream in the minds of John and Paul she had left the grim austerity of post War Liverpool to travel the world with her mining engineer husband.

And, in September 1963, she was living at 113 McCann Street, Benton, Illinois a coal town with a population of under 10, 000 souls.

After the release of ‘She Loves You’ in Britain in August 1963 Brain Epstein decided that in view of the immense workload they had already completed and the even more taxing plans he had for their future it was time The Beatles took a break.

John went to Paris while Paul and Ringo jetted off to Greece.

George, with brother Peter, went to Benton to visit Louise, arriving there on September 16th.

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His time in Benton would be for George, as Paris and Greece would be for his fellow Beatles, the last time they could ever walk the streets of any town or city without being instantly recognised and/or mobbed.

George would always remember his first, incognito, exposure to American culture and wonder at the freedom of being able to wander at will wherever he pleased.

On that trip he bought a Rickenbacker at the Fenton Music Store at 601 South 10th Street, Mt Vernon, IL for $400.

He would play this on the pioneering UK TV Show, Ready, Steady, Go’ on 4 October.

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Along with Louise he hitchhiked to Radio Station WFRX and presented them with a mint copy of, ‘She Loves You’.

He also hooked up with a guy called Gabe McCarty a member of a local group called the Four Vests and on 28 September George took the stage with them at The Veterans Hall in Eldorado.

The patrons that night were the first Americans to hear George rip into, ‘Johnny B Goode’, ‘Matchbox’ and ‘Roll Over Beethoven’.

George flew back to England on October 3rd.

In his luggage, along with the precious Rickenbacker, was more treasure in the form of vinyl.

George, a true fan of music as well as a musician, had haunted the record stores in Illinois and NYC looking for gems that were hard to find at home.

No one in the stores had ever heard of The Beatles but the shelves groaned with records that George had only ever read about in magazines or heard about from American musicians he had met in Hamburg.

He bought a lot of premium Blues and R&B sides by the likes of Booker T and the MGs and Bobby Bland.

His eye was particularly caught by an LP bearing the name of James Ray on the Caprice Label.

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He knew the name because The Beatles had been regularly featuring Ray’s hauntingly other-worldly, ‘If You Gotta Make a Fool of Somebody’ since Paul had found a copy at Brian Epstein’s NEMS Record Shop.

Spinning the platter back at 113 McCann he became especially fond of one track in particular – ‘I’ve Got My Mind Set On You’ and his love and admiration for the song would survive the madness of Beatlemania and the glory days of his solo career.

George could instantly recognise that there was a keening, spiritual, quality in James’ voice that gave a profound allure to everything he sang.

Sing it James!

 

The song was written by Rudy Clark who had written, ‘If You Gotta ..’ and would go on to write, ‘Good Lovin’, ‘Its in His Kiss’, and, ‘Everybody plays The Fool’ among other Hits.

The, ‘Let’s try everything we can think of’ arrangement was by Hutch Davie who had played the piano on, ‘Green Door’ and arranged Santo & Johnny’s wonderful guitar instrumental, ‘Sleepwalk’.

What lifts the track beyond a novelty of its time is James Rays’ stunning vocal.

James can really sing.

There is a yearning, as long as I’m singing this song I can make it through, quality to James’ voice which makes me hit the repeat button repeatedly every time I play any side he ever cut (and tragically there are probably less than 30).

You get the sense that there are ghosts hovering round James whispering secrets from beyond the veil and that James can’t help but hear even though he knows those voices are calling him to follow to the lands across the Styx.

We know so little about this wonderful artist.

It seems he was born James Ray Raymond in Washington D.C in 1941 and that he served some time in the Military.

He first appears on record in 1959 as, ‘Little Jimmy Ray’ (he was all of 5ft tall on tip toe) but it is not until he hooked up with Rudy Clark and Gerry Granahan at Caprice Records that he made anything that stirred the airwaves or set the nickels flowing on The Jukeboxes.

‘If You Gotta Make a Fool of Somebody’ has been recorded by Aretha Franklin, Bonnie Raitt, Ben E King, Lou Rawls and Bobby Gentry – superb artists all – yet not one of them has approached the spectral grace of James’ version (I plan to write a dedicated Post on the song later this year).

It seems that James had a drug problem and that when he was, ‘discovered’ by Rudy Clark he was homeless and finding such shelter as he could on apartment block rooftops.

He only recorded one LP and even the date and place of his death and where he is buried are unknown.

It seems likely that he was already dead when The Beatles landed at JFK.

In a business filled with tragic tales James’ tale is among the most tragic.

Yet, thanks to George Harrison and the other luminaries his name lives on at least for those who read sleeve notes and song writing credits.

George recorded his take on  ‘I’ve Got My Mind Set On You’ some 24 years after he first encountered it back in Benton.

His version is considerably more upbeat in tone than James’.

The song was recorded in George’s home studio within Friary Park his 120 room neo-gothic mansion.

Stellar musicians like Jim Keltner on Drums and Jim Horn on Saxophone feature on a characteristically multi layered production by Jeff Lynne who also provides creamy backing vocals.

This record is very much a 1980s record with a big sound that along with the winning video demolished all hesitation in the record buying public.

A Number One Hit!

It is not inconceivable that many seeing the song on MTV did not know this George Harrison fellow’s History!

Certainly not one in 10,000 who bought the record knew anything about James Ray.

But George did and I can’t help but think he had a thought for James as he recorded it and when he played it live.

 

 

Talking of live action here’s George giving the song the full lash in Japan backed by Eric Clapton’s ensemble.

Now, I love George’s version but it’s not the one I sometimes wake up singing.

No, it’s James Ray’s version which lingers like morning mist in my imagination.

James Ray’s voice was stilled some sad day in the mid 1960s but the eerie sound of his voice will always echo on and on.

Sing it James.

 

Notes and Call for Information!

There’s an excellent website toppermost,co.uk (Twitter @AgeingRaver) which publishes highly informative and entertaining top 10s on many artists beloved by The Jukebox.

The entry on James Ray written by the learned Dave Stephens (Twitter @DangerousDaveXX) is excellent.

The only CD I can find for James Ray is, ‘If You Gotta Make A Fool Of Somebody – Golden Classics’ on the Gotham Label. Only 12 tracks and poorly presented but every track demands your attention.

If anyone knows anything more about James Ray’s life and death please let me know.

Also there’s surely a great documentary to be made about George’s time in Benton and about the fellow passengers on Pan Am 101 – again anyone who has any stories let me know!

The Kinks : Waterloo Sunset – An Unfading Glory!

 

I woke up this holiday weekend to the sound of magnificent birds hosannaing the dawn.

As the coffee brewed I switched on my radio and learned that 52 years ago to the day The  Kinks released what will always be my favourite 45rpm single of all time.

The cultural historians of a thousand years hence will without question point to this Ray Davies masterpiece when they want to demonstrate the beauty those 1960s troubadours were capable of achieving.

So, today, 52 years on, The Jukebox punches once again the button and the unfading glory that is Waterloo Sunset floods the heart, mind and spirit with light and hope.

Ray Davies said :

It’s about how innocence will prevail over adversity. It starts out delicate, but by the end has become awesome in its power. Those triumphant chords come in, and the angels tell you everything is going to be OK”.

Everything is going to be OK.

And, that’s a message that will always be welcome.

All shall be well, and all shall be well, and all manner of thing shall be well.

Thank you Ray and God Bless The Kinks!

 

‘The most beautiful song in the English language’ (Robert Christgau)

‘Divine … a masterpiece’ (Pete Townsend)

‘As long as I gaze on Waterloo sunset I am in paradise’ (Ray Davies)

A song about : London, The River, A Lonely Man and Two Lovers by A Great Songwriter leading a great Group.

The Voice of London:

It is, of course, a song about London.

Londinium. The Capital. The Big Smoke.

Now, there are other fine cities on other great rivers in this nation.

But, but, there is only one London.

And, if you want to find out who you are, not who you’ve been told you are, and how far you can go – well then, London, London, is the place to be.

Nowhere else. Nowhere else.

Kings and Conquerors. Poets and Peasants. Saints, Sinners and Scholars.

Those looking for the limelight and others looking to hide out – they’re all drawn to London.

Thinkers and Tinkers. Songwriters and Singers.

Look around! They’re all here.

All here telling stories. Making dramas.

Tired of London, tired of life.

Come for joy, jasper of jocunditie.

Come for a mighty mass of brick and smoke and shipping.

Treasures in its depths.

Confront your counterparts – hero or villain, mountebank or mystic.

Find yourself. Get lost.

Work, work, work or lounge and idle away your days.

All around you beautiful idiots and brilliant lunatics and the one, the one, just waiting for you.

For you.

Ray Davies. A watchful London boy who became a watchful London man and artist.

Alive to all the sights and sounds and atmospheres on the breeze, in the fog, in the streets and alleyways of his home town.

Watching the people. Watching the taxi lights shine so bright.

Aware of the lovers meeting on Friday night and the lonely friendless souls in the chilly, chilly, evening time.

Aware of the dirty old river flowing, flowing into the night.

Aware that the same world can be frightening and a paradise at the same time – it all depends where you are standing and what you see.

Lovers finding each other and finding themselves.

Making plans to stay. Making plans to leave.

Somewhere they’ll be safe and sound. Together.

Millions swarming round Waterloo Underground.

Every one with a story.

Every one dizzy with the possibilities of London Town.

Every one looking to be found and to be safe and sound as the chilly, chilly, evening descends.

Every one feeling London, London, all around them.

Day flows into night. Spring flows into Summer. Summer flows into Autumn and on and on, always, into Winter.

Chilly, chilly, is evening time.

But, but, look up, look around!

Gaze out on the Sunset.

The Waterloo Sunset.

Bathing London in balm.

Flooding the heart and soul with feeling.

A Feeling more powerful than all your fears.

As long as Londoners can gaze out on Waterloo Sunset they are in paradise.

Paradise. Paradise.

It is, of course, a Song about London.

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The Voice of The River:

It is, of course, a Song about The River.

The Thames. Father Thames.

Rivers make Cities. Before the City there’s always The River.

Flowing through the ages. Flowing, flowing through time.

Carving out the landscape.

Liquid History. Liquid History.

Long before London, millennia before London, the River flowed.

The dark waters of River flow by the bridges and the burial grounds.

Past the wharfs and the jetties.

Past the piers and the palaces.

The River flows on when the roads are blocked.

The River flows on as the houses crumble into dust when the bombs fall.

The River flows on as the Romans arrrve and leave.

As the Vikings arrive and leave.

As Kings build palaces to rule for evermore.

As parliaments of men and women overthrow the divine right of monarchs.

They build walls round cities.

The River flows on. Free.

When the fires burn and the earth buckles and splits turn to The River.

The River will always flow on as long as the world turns.

Come to the River. Come to the River.

Mystics and Mudllarks.

Poets and Pirates.

Novelists and Ne’er do Wells.

Songwriters and Singers.

I will flow through your heart and soul.

I will fill your imagination to the brim.

Turner and Canaletto. Monet and Whistler. Stanley Spencer.

River Painters. Haunted by waters.

Humans are haunted by waters.

Haunted.

Dickens and Kenneth Grahame. Pepys and Conrad.

Wordsworth and Eliot.

River Writers. River Writers.

The River glideth at its own sweet will.

The River sweats oil and tar.

Stand by the River.

As the chilly, chilly, evening descends.

Look around. Look at your life.

Wipe your eyes. Wipe your eyes.

Try not to notice you’ve fallen in love (or out of love).

Breathe. Breathe.

Ray Davies. Looking out on the River from the terraces of St Thomas’ Hospital when he was just 13.

Watching the River flow. Flowing on through the day into the night.

Watching the yellow fog settle over the River’s dark waters.

The River.

Always the same. Always different. Like his life.

A River he walked by waiting to become the artist he knew he was.

The River he walked by with melodies and words dancing in his head.

The River he walked by making plans for a future for himself, his wife and his family.

Walking, dreaming, by those dark waters.

Watching the River flowing, flowing, flowing.

Watching the lights reflected in the River’s dark waters.

Watching Lovers crossing over the River.

Looking for somewhere to be safe and sound.

Watching the Lovers looking deep into the dark waters looking for a glimpse of their future together.

Watching Lovers seeking the River’s blessing.

Watching the friendless lonely souls gazing out over the River.

Watching the millions of souls emerging from Waterloo Underground waiting to cross The River.

Watching them turn up their collars against the chilly, chilly, evening time as the wind blows in off the River.

Watching them look deep into the dark waters looking for an answer to questions too secret to ask out loud.

Watching them watching the River flow on. Flow on.

Watching the Sunset, the Waterloo Sunset, sink over the River.

Flooding the heart and soul with golden light.

The River flows on through Spring and Summer into Autumn and on and on, always into Winter.

Chilly, Chilly, is evening time.

But, but, stand by The River.

As the dark waters flow look into the sunset.

The Waterloo Sunset.

Bathing The River in balm.

Flooding, flooding, the heart and soul with feeling.

A feeling more powerful than all your fears.

As long as you can stand by the River and those dark waters and gaze out on Waterloo Sunset you are in paradise.

Paradise. Paradise.

It is, of course, a Song about The River.

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The Voice of a Lonely Man:

It is, of course, a Song of a Lonely Man.

I’m a Londoner all my life. I’ve lived by The River all my life.

Seventy five years.

1967 now.

I was born in the 1800’s!

London and The River. Always the same. Always different.

London, The River and me. We’ve been through a lot.

We’ve seen two World Wars. I fought in the First one.

They call that The Great War. I lost a lot of pals, London pals.

Men who worked on the River with me.

It can make you lonely thinking of them.

Sometimes, as the chilly evening descends and I look into the dark waters of the River I think I can see them still, as they were, young men with bright smiles, bright smiles, making plans for after the War.

War teaches you that God laughs at your plans.

War teaches you fear and teaches you friends can lose their heartbeat in one of yours.

London was a hard old place in the 1930s.

Depression. They called it the Great Depression.

No work. For year after year after year.

Amazing we didn’t have a Revolution.

Still, somehow we got through.

I met Daisy, my wife, walking across Waterloo Bridge.

We were both looking down into the dark waters.

Watching the River flow on into the night.

Watching the taxi lights shining as the chilly evening descended.

I suppose we were both lost until we found each other.

Then, suddenly, we were safe and sound.

When we were courting (no one uses that word anymore!) we used to meet every Friday night at Waterloo Station.

There must be millions, millions, passing through there every day.

Funny though, as soon as I saw Daisy it always seemed as if they was just the two of us.

Safe and sound together.

Together, we didn’t need no friends and no matter how dark the times or chilly the evening we didn’t feel afraid.

We had each other.

Until the Second War.

A bomb can fall out of the sky and in a heartbeat your heart is broken and never the same again.

Never the same.

I did my best with the Nipper. But a girl, especially, needs a Mother.

She went out to Australia on one of those Assisted Passages.

A Tenner taking you tens of thousands of miles!

I get a card at Christmas and she says she’ll visit in a year or so.

Maybe, she’ll get married and I’ll be a Grandfather. I’d like that.

They say I’m lucky to have a flat in this block.

I preferred it when you had a garden and streets on the ground not in the sky.

Especially when the lifts break down.

One thing I will say. You get fantastic views out the window from the tenth floor.

I like listening to the radio and watching the football on the TV.

But mainly I like to look at the world from my window. From my window.

There’s a lot going on if you take the time to look.

The River keeps on flowing.

Always the same always different.

Something to do with the way it reflects to the light.

It’s a dirty old River. Oil and tar. But, it’s my River.

They say this Clean Air Act will have it sparkling again – alive with Fish.

Not sure I will be around for that day.

People are so busy these days.

They must make themselves dizzy rushing about.

Never time to stop and stare or to say hello to an old man looking into the dark waters of the River.

I like it when the chilly evening descends.

The taxi lights shine bright and somehow people look well in the dark.

I’ve noticed a couple meeting every Friday night just like me and Daisy did.

I call them Terry and Julie after that song on the radio about the Sunset.

Waterloo Sunset.

I don’t know much about this beat music but the chap who wrote that song knows a lot about London and The River and Love and Loneliness.

It’s a song that has happiness and sadness running right through it like a river.

You can tell they love each other and that they feel safe and sound when they’re together.

I stay home at night. But I don’t feel feel afraid.

I don’t need no friends anymore.

I got my memories.

And, no matter how chilly the evening there’s warmth in the Sunset.

So I am safe and sound.

And, I know that today will flow on into tomorrow and that Spring will flow into Summer and on into Autumn and always, always into Winter.

Of course the evening is chilly.

But, looking out my window I can gaze on the Sunset.

Friends or no friends.

I gaze on the Sunset.

The Waterloo Sunset.

And, somehow, that Sunset is more powerful than any fear.

As long as I can gaze out on Waterloo Sunset I am in paradise.

Paradise. Paradise.

That song. Well, of course, it’s about a Lonely Man.

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The Voice of Two Lovers:

Well, of course, it’s a Song about two Lovers. Us.

What else could it be about?

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When you’re in love the River flows and the chilly evening and dark waters are your friends.

Terry and Julie. Our names just sound right together.

We meet every Friday night at Waterloo Underground.

Sometimes we just walk across the bridge.

Have a drink by the River and watch the Sunset.

The Waterloo Sunset.

And, it seems we are in paradise.

Paradise.

We’re glad there’s a song about us.

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A Song by a great Songwriter leading a great Group:

Ray Davies is a Londoner.

A Londoner who grew up in a house filled with music and the laughter and warmth generated by loving parents and six older sisters.

Yet, a boy and a man, who needed solitude to give birth to the dreams, the melodies and words in his head.

A young man who found that he had a peculiarly English gift for expressing the bitter sweet aspects of life.

A writer who had been taken by his father to see the Festival of Britain on the South Bank of the River in 1951 where visions of a brave new world offered unlimited promise for the decades ahead.

A writer who seeing these new worlds being born could feel and express the loss as well as the gain in the new glittering times.

A writer who could evoke dreams in black and white as well as colour.

A writer who could evoke the flow of the River, the warmth of the Sunset and the chill of the evening.

A writer who could craft a song that had love and loneliness running through it like a river.

A writer who had as much in common with John Betjeman as he did with Chuck Berry.

The Laureate of English Pop Music.

A writer who could capture the light and the shadows of the world around him.

A world he watched with deep attention.

He took in the dirty old River, it’s dark waters and the glitter of the taxi lights.

The song of The River and the view from the windows above.

He gave voice to the young lovers and the lonely old man holding them in the embrace of his voice, his words and his aching melody.

A writer and performer who could make dark waters and the chilly, chilly, evening alive before us.

A writer who could tell the story of two lovers out of the millions of people emerging from Waterloo Underground.

Ray Davies was also a bandleader and producer who could capture all those elements in a record that will live as long as the dark waters flow and the sun sets over the River.

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To do this he needed the skill and commitment of his brother Dave Davies and brothers in arms Pete Quaife and Mick Avory.

He needed The Kinks.

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Together they created in the studio a great record from a great song.

The lovely bass line moves through the song like a stately barge ploughing through the tide of the River.

Dave Davies’ guitar using tape delay echo has a melancholy grace holding us in thrall throughout.

Mick Avory’s drums flow on like the River and alert us to the crescendos of feeling as the song moves to its climax.

Together The Kinks with Rsy’s first wife, Rasa, give us perhaps the most heart rending harmony vocals of the era.

So, it’s a song about London.

About The River.

About a Lonely Man.

About Two Lovers.

A song that flows on through the decades.

A song that will always flow on because Rivers always flow and evenings always get chilly.

Because, as long as we can listen to Waterloo Sunset we can, for those few minutes, be in
paradise.

In Paradise.

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Time to hear it again:

Ray Davies is reported to have said that he was sure he had written the best song of the year in 1967.

I’ll go further.

I think in Waterloo Sunset he wrote the finest English song of the entire 1960s.

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