We all like to think we are in the know.
We know important things.
Things that those not in the know don’t even know they don’t know.
A few code words and we know from their reaction, or lack of it, if others are in the know or not.
We soon know if they know.
We know whether or not they merit entry into the In Crowd.
If it’s square, brother we ain’t there!
In music, especially, there are communities of In Crowds.
I know some of these communities very well.
The Bluegrass buffs who can list, alphabetically, chronologically or by instrument every member of every incarnation of Bill Monroe’s Blue Grass Boys.
The Jazzbos who can do the same for Art Blakey’s Jazz Messengers.
The walkin’ talkin’, don’t interrupt me, Beatles completists who tell you solemnly that if you weren’t at their Port Sunlight show on 18 August 1962 (Ringo’s debut of course) then you really don’t know much about The Beatles.
The matrix number alchemists.
The, yes but have you got the Swedish pressing with the alternate take of track 3 on the EP, show offs.
The, of course, I’ve got The Complete Basement Tapes including the song where Bob …
OK, OK, OK.
I know those communities because in many respects I’m a paid up, card carrying, got the T Shirt and the embossed programme, member of those communities.
And, of course, if you’re reading The Immortal Jukebox then you are most definitely in with The In Crowd.
Dobie Gray is an In Crowd artist par excellence.
Covered by everyone from Ray Charles to Bruce Springsteen and revered by fans of Country, Soul, R & B and Pop Music (not to mention the fanatical devotees of Northern Soul) he recorded a series of classic songs in the 60s and 70s that will always launch the argument as to whether the original is really still the greatest.
Written by Barry Page and arranged by the brilliant Gene Page, ‘In Crowd’ was top 20 in the USA and top 30 in Britain in 1965.
I’m sure it was Gene who so artfully blended the brass flourishes and The just so backing vocals.
The tempo is just right for dancers – uptempo but not frantic with crescendos allowing for those so inclined to demonstrate their athleticism by spinning and pirouetting all the way to the fade out.
Dobie’s vocal has an Olympian, above it all, quality ideally suited to the song’s theme.
The thing about great Dance songs like this is that when you’re living inside one you dance with heightened senses and you really do make every minute and second count.
Dobie, born in 1940, came from a Texas sharecropping family with a Father who was a Baptist Minister. So, as for so many, the first songs he sang were Gospel standards.
But, of course, the radio beamed in R&B, Country and Pop and Dobie liked them all and found his warm vocal tones could easily cope with the demands of the different genres.
In the dawn of the 60s in Los Angles, in pursuit of a career in acting or singing, he hooked up with Sonny Bono (always an In Crowd Hombre) who got him his first recording contract.
By 1963 he had his first minor hit ‘Look at Me’.
The name Dobie came from the popular TV show, ‘The Many Lives of Dobie Gillis’ (there is much debate about Dobie’s original name but I’m going with Lawrence Darrow Brown).
Dobie wasn’t able to find a hit follow up despite some excellent recordings. Showing his versatility he switched to acting and was a cast member in, ‘Look Homeward, Angel’, ‘A Raisin in the Sun’ and had a two year run in the definitive 60s Musical, ‘Hair’.
Meanwhile, over in Britain, the son of a Northumbrian Coal Miner who looked after the Pit Ponies, Bryan Ferry, became an art student and connoisseur of black dance music.
I think it’s fair to say that Bryan most definitely set out to be in with The In Crowd and that few have had such a complete sucess in achieving their goal.
Flushed with the artistic, critical and commercial success of Roxy Music in his early solo records he revisited the records that had electrified his youth.
It’s not hard to see the attraction, ‘In Crowd’ had for Bryan.
His version had a crepuscular 1970s urgency signalled by the growling aggressive guitar with Bryan’s vocal walking the razors edge between witty reflection and self satisfaction.
Bryan, by now, knew all about those other guys striving to imitate him!
The final version I’m showcasing today comes courtesy of The Ramsey Lewis Trio and Nettie Gray. Nettie Grey? Well, as In Crowders know Nettie was the Washington DC waitress who played, ‘In Crowd’ for Ramsey on her coffee shop Jukebox suggesting that it might make a rousing set closer.
Sensibly, Ramsey took her advice and the live version cut at Bohemian Caverns became his biggest ever hit (top 5 Billboard).
I’m not going to say anything about this version beyond the fact that it always has me throwing a whole series of shapes that are most definitely not recommended by any osteopath or chiropractor but which afford me an enormous sense of well being
When his time in, ‘Hair’ concluded Dobie met the songwriting Brothers Paul and Mentor Williams.
It was Mentor who wrote and produced Dobie’s greatest record, ‘Drift Away’. I’m loath to call any record perfect but I’m making an exception here to prove the rule.
The incandescent warmth of Dobie’s vocal and the shimmering production really does sweep you away into an ambrosial reverie.
A song that is played on Pop, Soul and Country Stations every day and will do so as long as humans need to get that beat and drift away (which is to say until the day we turn into Replicants).
Drift Away was recorded in Nashville at Quadrafonic Studios in early 1973.
No praise can be too high for the team of musicans who lift Drift Away into the stratosphere.
David Briggs on Keyboards, Mike Leach on Bass, Kenny Malone on Drums and Reggie Young on Guitar were very much a Nashville A Team with extraordinary musical alertness and empathy.
I must mention the lovely, pellucid guitar figures played by Reggie Young for the intro and doubled up throughout the song. Now that’s a hook!
And, what about the wonderfully right and resonant sound Kenny Malone produces on a field marching drum!
Engineer Gene Eichelberger managed to balance all the elements so perfectly that you imagine all present exhaling a sigh of complete satisfaction when the track was played back in the studio.
Perfect, perfect, perfect!
The song, of course, sold more than a million copies as it became a top 5 hit and eternal radio staple.
Now, you can say all kinds of laudatory and derogatory things about Rod Stewart’s career but one thing everyone should agree on is that Rod is one hell of a judge of a good song.
So, it was almost inevitable that Rod would pick up on Drift Away and give it the full tartan scarves waving on the terraces treatment. And that’s
meant as a compliment – its rare that someone can be simultaneously part of the crowd and step out from it to lead it as Rod did so brilliantly in the 1970s).
After Drift Away Dobie continued to record quality material without troubling the charts. He earned favour in the music business through a productive songwriting partnership with Troy Seals.
George Jones, Ray Charles and Don Williams among others queued up to record their material .
Dobie died just before Christmas in 2011.
His songs will always last because rhythm and rhyme and harmony never go out of fashion.
Because, confused though we often are we will always seek solace in melodies that move us.
No one understands all the things they do.
But, one thing we do know.
One thing we do know.
Music can carry us through.
Carry us through.
Dobie’s ‘Greatest Hits’ should be in every collection. I would draw your attention in particular to the dance classic, ‘Out on the Floor’ and his gorgeous version of, ‘Loving Arms’.
I have a special fondness for his album, ‘Soul Days’ produced by Norbert Putnam for its wonderfully relaxed and glowing treatment of soul standards like, ‘People Get Ready’.
There are a staggering number of versions of ‘Drift Away’.
My favourites are by The Neville Brothers and Tom Rush.