‘Love’s not Time’s fool, through rosy lips and cheeks
Within his bending sickle’s compass come;
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom’.

(William Shakespeare)

‘In Spain, the best upper sets do it
Lithuanians and Letts do it
Let’s do it, let’s fall in love’

(Cole Porter)

‘And in the end, the love you take
Is equal to the love you make’

(Lennon/MacCartney)

Love, despite the wisdom enshrined in The Beatles, ‘All You Need Is Love’ is not ALL you need – shelter, good health and enough food to feed your family are also necessary components of the life we would all wish to lead.

That said nothing is more necessary for life to flourish than the experience of love which acts as a kind of spiritual and emotional battery affording you the resilience to face the daily vicissitudes of life.

The song I have chosen to feature on the Jukebox today is the pop/rhythm and blues classic, ‘Love is Strange’.

It was in November 1956 that Mickey (Baker) and Sylvia (Vanderpool) had their incandescent take on the song issued as a 45 on Bob Rolontz’s Groove label.

It made an immediate mark on its time ascending to Number 1 in the R&B charts and just missing the national top 10 of the pop charts.

The song has been included in the Grammy Hall Of Fame and has featured in numerous films – most famously in, ‘Dirty Dancing’.

What a record!

As soon as the stylus hits the vinyl this is a guaranteed massive hit as Mickey Baker’s brilliant guitar intro explodes from the radio or Jukebox speakers brooking no inattention (guitar players all over the globe were instantly sent reeling and bound to a course of finger busting hours attempting to match Mickey here).

Love Is Strange prominently features Mickey’s razor sharp, irresistibly insistent, shining silver blues licks which continue to flash and gleam throughout the duration of the record.

Mickey was a technically accomplished player who had no problem melding bolero and calypso rhythms here to make the song glide and flow so beautifully.

The duet vocal is charming and unabashedly erotic with Sylvia’s imploring youthful female tones being matched with Mickey’s masculine forcefulness.

Perhaps, as so often happens in life, it is the hunter who gets captured by the game!

Neither Mickey nor Sylvia were great singers but that only adds to the allure of their performance. It’s clear that they are in the grip of a force stronger and stranger than themselves.

Love, as they embody in their performance here, is something you never want to lose once you’ve had it.

You never want to quit though time may toll that you may have just put yourself in the way of an awful fix. You are in this fix once you realise that love is indeed more important than money in the hand and though it can give you the thrills of a roller-coaster it is far too important to classed merely as a game.

Apart from Mickey’s stellar guitar work the most memorable passage in the record is the flirtatious conversation between Mickey and Sylvia about how you should most effectively call your lover to your side.

Sylvia’s vocal here with its witty mixture of urgent command and come-hither mellifluousness would surely have any errant swain frantically scrambling towards her at top speed!

As Mickey takes the record on home with his final guitar flourishes you sense that the couple will now deliriously continue their mating dance long into the night.

Mickey and Sylvia’s record has inspired scores of cover version in many musical genres in the decades since it was issued.

Today here on the Jukebox I want to draw your attention to a characteristically gorgeous version from 1992 by the English duo of Ben Watt and Tracey Thorn known collectively as, ‘Everything But The Girl’.

The flawless marriage of guitar, strings and voices on this track provides the listener with seamless pleasure.

I hear this version evoking a drowsy, warm English summer meadow atmosphere. As the trees bend in the light breeze you can almost hear the distant call of the Thrush, the Blackbird and the Nightingale.

Somewhere, off to the side, the mayflies harmonise as they too seek to engage in the strange mysteries of love.

Everything But The Girl are distinguished as writers and performers by a rare combination of musical and emotional intelligence.

With their take on, ‘Love Is Strange’ they simultaneously suggest an edenic innocence and a reflective, almost rueful, over-the-shoulder look back at that former paradise from the vantage point of a later maturity.

Tracey Thorn has a heart-winning voice that convinces by its modesty of expression.

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As she sings you feel you have been privileged to eavesdrop as she spins out silken threads of song. She is adept at gently inviting the listener to ponder the stories and range of emotions contained in her songs so that you may be surprised at how deeply they have entered your consciousness.

Ben Watt quiet excellence as a musician, songwriter and harmonist gives their work together a longevity and depth of field that will repay close attention.

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Poets, Princes, Paupers and regular folks like you and me will always dream about, sing about and gaze wonderingly into the night sky pondering the eternal mystery of love. All I can do in conclusion is to echo Bob Dylan and say:

‘Love is all there is, it makes the world go around
Love and only love it can’t be denied
No matter what you think about it
You just won’t be able to do without it …’

Notes:

Who wrote, ‘Love Is Strange’?

As the saying goes, ‘Where there’s a hit there’s a writ!’

Most authorities agree that the glistening guitar riff threaded through the song owes a lot to the work of the flamboyantly talented blues guitarist Jody Williams especially on the record, ‘Billy’s Blues’ by Billy Stewart.

Jody was a protege of the great Bo Diddley who is generally credited with authorship of, ‘Love Is Strange’ (though under the name of his wife Ethel Smith for tangled business reasons!).

Bo did in fact record the song first – some 5 months before Mickey&Sylvia though they claim to be responsible for the lyrics!

Also Bo’s version was not released until the 21st century.

So record label students may see everybody (except poor Jody) credited at one time or another. Since the record has sold millions of copies this matters!

Other Versions:

I listened to too many versions of this song before writing this post!

Only two would enter my personal pantheon of greatness.

The first is the magnificently sung version by the Everly Brothers which shows them yet again to be untouchably the greatest duet singers of all time.

The second is a an unutterably poignant, fragmentary solo version lasting less than two minutes, sung by Buddy Holly in his New York City apartment in the last months before his untimely death in early 1959.

It would take a stony heart not to be moved to tears by this performance.

Mickey Baker (McHouston Baker):

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Mickey was certainly one of the most gifted and adaptable guitarists of his era. To take just two examples of his enduring musical impact consider his timeless work on the Coasters, ‘I’m A Hog For You Baby’ and Big Joe Turner’s, ‘Shake, Rattle And Roll’.

Mickey spent many years in France where his fluent musicianship was much appreciated.

In addition to his impressive track record as a guitarist for hire, often with the Atlantic and Savoy labels, he also produced intriguing LP’s with fellow European residents Champion Jack Dupree and Memphis Slim. Mickey Baker was a class act.

Sylvia Robinson (nee Vanderpool)

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Sylvia (1936-2011) was a very sharp woman who had success as a writer, performer, producer and label boss in over half a century of involvement in the music business.

In addition to fostering the careers of The Moments (Sexy Mama, Look At Me I’m In Love’) and Shirley and Company (the wondrous dance floor filler, ‘Shame, Shame, Shame’) she had a great fat hit of her own with, ‘Pillow Talk’ which won worldwide sales in 1972/73.

As if that was not enough she founded and was the early driving force behind the Sugar Hill label which can fairly claim to have introduced the rap genre to the world with the records of The Sugar Hill Gang, ‘Rapper’s Delight’ and Grandmaster Flash with the still potent, ‘The Message’.

Everything But The Girl:

EBTG functioned as a band between 1982 and the end of the century after which both Ben Watt and Tracey Thorn have pursued intriguing solo projects (though remaining together as a couple in their private life).

The EBGT catalogue, reissued by Demon/Edsel in the UK, contains many treasures I urge you to explore.

Equally their solo work has yielded impressive results.

I am especially taken with Tracey’s CDs, the deeply felt, ‘Love and It’s Opposite’ and her idiosyncratic Christmas record, ‘Tinsel and Lights’. Ben’s solo record, ‘Hendra’ the first he has issued for three decades has a corpus of affecting and beautifully crafted songs which linger long in the mind.

Both Ben and Tracey are accomplished writers of memoir.

Tracey’s, ‘Bedsit Disco Queen’ is wonderfully alive, witty and keenly intelligent. Ben’s, ‘Patient’ is a clear eyed, thoughtful and moving examinations of his own period of serious ill-health (which he is now happily recovered from).

His latest book, ‘Romany and Tom’ is a moving, emotionally searching, history of the lives of his parents which does them great honour.