JOHN MAYALL & THE BLUESBREAKERS - Blues Breakers with Eric Clapton 1966

Before talking about this album, let's talk first about the man behind it.

Where would music be without John Mayall. Let me help you. It would be sadly lacking. Apart from the undeniable talent of the man himself, he has an uncanny knack of surrounding himself with the best musicians and in many cases he was instrumental in setting them up to achieve fame and fortune after serving their time as 'Bluesbreakers'. The revolving door of band members reads like a who's who of names synonymous with greatness.

This album makes mention of Eric Clapton, but apart from him and Mayall, the other 2 members of the group at the time were equally of note. One was Hughie Flint on drums, later to be one of the title members of McGuiness Flint along with Tom McGuiness, ex-Manfred Mann. The other was John McVie, destined to become the 'Mac' in Fleetwood Mac. That came about because at one point McVie, Peter Green and Mick Fleetwood were members of the Bluesbreakers at the same time. I've written about this previously. (Fleetwood Mac - Vinyl Vault 25 July 2020).

Jack Bruce was a Bluesbreaker, which is where he met Clapton. He'd already played with Ginger Baker when they were both in The Graham Bond Organisation - we all know what Bruce, Clapton and Baker became. (Cream - Vinyl Vault 7 June 2020).  

Prior to becoming a Rolling Stone, Mick Taylor hitched his wagon to the Bluesbreakers between '67-'69. The list goes on, and the people who appeared on albums as 'guests' is staggering. 

Now to the featured album. Although it's John Mayalls second album, it's his debut studio production. His first release in 1965, 'John Mayall Plays John Mayall' was the 1964 live recording of his appearance at the Klooks Kleek club. This second album was also going to be live, in fact some recording was made at the Flamingo Club with Jack Bruce on bass, but unfortunately the quality wasn't good enough so the idea was abandoned and they headed for the studio instead - without Jack. The did have Gus Dudgeon as producer though. The same Gus who went on to produce many of Elton John's most popular works.

Just a note on the record cover. Clapton had joined the Bluesbreakers having come from 2 years with The Yardbirds - and he was still only 19 !!! Showing his teenage attitude, he decided, in his own words, to be "uncooperative" for the photo shoot, so picked up and pretended to read a comic. Because of that, the LP is often referred to as 'The Beano Album'. The guitar Clapton used was a 1960 Gibson Les Paul, but was later known as the 'Blues Breaker' or the 'Beano', presumably from it's use on this album.

Talking of Clapton, despite being with the Yardbirds he'd only ever done backup singing, or at best, shared vocals. The Robert Johnson song ' Ramblin' On My Mind' on this LP was his first recorded lead vocal. Maybe that was in the back of his mind when he released his solo album "Me and Mr. Johnson" in 2004.

There's a couple of overlaps on this album, one that's well documented and others that I just discovered on replaying it after many years. The well-known one is track 6 on side one. This is the Ray Charles classic 'What'd I Say'. After a middle drum solo by Flint, Clapton and the band come back in but instead of picking up the original, at 3.30 Clapton breaks into an unmistakable homage to The Beatles 'Day Tripper'. The Beatles released their song the year before, so it is most definitely a tribute.

The others are possibly only obvious to me, but they resonate strongly. The instrumental 'Hideaway' has a short section at 40 secs. Compare that with the intro to the song 'Beltane Walk' released 6 years later by T. Rex on their album "Bolan Boogie". Then the Mayall composition 'Key to Love' sounds eerily like the Holland, Dozier, Holland song 'Can I Get A Witness' as done by the Stones on their debut eponymous 1964 album (Rolling Stones - Vinyl Vault 25 June 2020).

John Mayall takes most of the vocals, piano and Hammond organ on the album, but occasionally you get treated to his harmonica and it is spine-tingling. The album was designed to showcase Claptons guitar playing, but to me it's a total ensemble piece with John Mayall leading, guiding and retreating in all the right places.

John Mayall continues to amaze and astound. The last album I got of his was "Nobody Told Me" released in 2019 when the man was 85 years old !! As he has done all his career, he assembled some of the best to include on the album. Todd Rundgren, Steven Van Zandt (Little Steven from Bruce Springsteen and The Sopranos fame), Alex Lifeson from Rush and long time associate Joe Boamassa.

Can I pick a favourite? It's not easy. I have to go with probably one of his more obscure tracks and certainly one that doesn't fit with the perception of Mayall music. It comes from an album I bought years ago in 1975 called "New Year, New Band, New Company". The track is 'Step in the Sun' with Dee McKinnie sharing the vocals. It's different, quirky and unexpected and for those reasons I love it. Please click the link and play it - at least once.

Step in the Sun

All Your Love

What'd I Say

BOB DYLAN - Blind Willie McTell 2021 release

 "Them charcoal gypsy maidens
Can strut their feathers well
But nobody can sing the blues like Blind Wille McTell"

At last count I have 12 recordings of this song by Dylan, varying in length from around 4½ mins to just over 7 mins. 2 recordings are on official albums, 3 are on promo CD's and 7 are bootlegs. And now there's this. This 7" vinyl has "two previously unreleased versions" of this classic, but I'm pretty sure I already have them from 'unofficial' sources.

Even so, I just bought my first 45 r.p.m. record in .. I don't know how many years .. 20? 30? could even be 40. The listing from Third Man Records says "The recordings on this single feature a formidable line-up of session musicians, including Mark Knopfler, Mick Taylor, Sly Dunbar and Robbie Shakespeare. The A-side (take 1) is exclusive to this single, while the B-side (take 5) will be included as part of Springtime In New York: The Bootleg Series, Vol. 16 (1980-1985)."

Dylan spent a lot of time working on this song during the 'Infidels' album sessions in 1983 but it was never included on the final cut. It wasn't until 1991 when Dylan began publishing his previously unavailable material officially that it was put out on "The Bootleg Series Vol. 1-3: [Rare & Unreleased] 1961-1991". This is the Dylan and Mark Knopfler acoustic piano/guitar version. The same cut was included on the 2007 3-album Deluxe Edition compilation 'Dylan'. 

As far as the man himself is concerned, Blind Willie McTell is deserving of Dylan's adulation. If you listen to nothing else by him, 'Statesboro Blues' is a must. See if you can pick the part that influenced Canned Heat. I'll give you a clue ..

"Goin' up the country, Mama, don't you want to go?". 

I have the Taj Mahal recording and the Allman Brothers live performance of this song from their 1971 Filmore East show which is described as the 'definitive' version, but to be true to it's roots, play Blind Willie and enjoy.

In a betrayal to Vinyl Vault I must admit that the only recording I have of Blind Willie is on CD. Between 1993 and 1997 I bought a fortnightly magazine called 'The Blues Collection' where each issue featured a different artist and included a CD of their work. Issue 43 was the one shown here, a worthy addition to any collection in any format. 

So it's been a good day. I've added to my Dylan collection, rekindled an appreciation for Blind Willie and blown the dust off the Allman Brothers - and it's not even dinner time yet !!

Blind Willie McTell - Dylan

Statesboro Blues - McTell

SUPERTRAMP - Indelibly Stamped 1971

 It's not quite 6am and already I feel I'm part of a Supertramp back catalogue ..

"It was an early morning yesterday, I was up before the dawn". Hurricane Henri is beating against the windows so "It's raining again" and I'm about to have my "Breakfast in America".

Two things about this post. Firstly, it's because of another reader request, this time from a fellow Yorkshireman. Secondly, this is a bait and switch. 

Although the heading and photograph are for 'Indelibly Stamped' - because that is the only Supertramp vinyl album I have - the ramble is going to be more generically Supertramp. What I will say about 'Indelibly Stamped' is that the cover is VERY distinctive and the graphic on the inner sleeve was very nice. The photo of the heavily tattooed lady is believed to be Marion Hollier who had the inking done in the 60's. The music inside is unmistakably a newer version of Supertramp from their first album but with only one single release coming from the LP, 'Your Poppa Don't Mind' which didn't make the charts, it was a bit of a flop all around. It was only years later that it grew in acclaim.

Before Supertramp formed there was The Joint. They were a group backed by a Dutch millionaire, 'Sam' Miesegaes. He became disillusioned with them but thought the keyboard player, Rick Davies, had hidden talents. He switched his monetary backing to Rick on condition that Rick formed a group, so after advertising in the Melody Maker (the bible for musicians and fans alike) he gathered Roger Hodgson on bass, Keith Baker on percussion and Richard Palmer on guitars, with everyone having a go at vocals. Rick and Roger immediately fell into the role of songwriters and it stayed that way throughout. In 1970 they flew over to Munich to play a few concerts at the P.N. Club. At the time they were calling themselves 'Daddy' and as luck would have it, a filmmaker by the name of Haro Senft captured them doing a 10 minute version of Dylan's 'All Along the Watchtower' (I love it when I can sneak in a Dylan reference). Keith Baker left shortly afterwards and was replaced by Robert Millar and around the same time they dropped the name 'Daddy' (there was a band called Daddy Longlegs) and adopted a new name, Supertramp.

That was the line-up they used for their 1970 debut eponymous album. By 71's 'Indelibly Stamped' Davies and Hodgson were the only 2 originals with 3 new members. In 1974 for 'Crime of the Century' the line-up had changed again with Davies and Hodgson joined by a different 3 extras, John Helliwell, Bob Siebenberg (a.k.a. Bob C. Benberg) and Dougie Thompson. That formation remained intact for quite a few years and albums, including my favourite 'Breakfast in America'.   

If you thought the cover of 'Indelibly ..' was striking, check out the cover of 'Breakfast ..'. It's amazing. So amazing in fact that it won the 1980 Grammy for Best Recording Package. Lower Manhattan as a selection of plates, salt and pepper pots, cereal boxes and so much more. Then add Kate Murtagh doing an impression of the Statue of Liberty while dressed as a waitress holding a glass of orange juice and a menu all seen through an airplane window.

Apart from the aesthetic, the album also produced no less than four charting singles - 'The Logical Song', 'Goodbye Stranger', 'Take the Long Way Home' and the title track 'Breakfast in America'. That title track, and in fact the album title itself could have been totally different. Roger Hodgson wrote the song and Rick Davies didn't like the opening line "Take a look at my girlfriend, she's the only one I got." He also didn't want the album named after the song. Looks like he lost on both counts ! 

It's often thought that 'Goodbye Stranger' has references to giving up pot. "Goodbye Mary, goodbye Jane" .. Mary Jane, slang for whacky baccy .. ??

'The Logical Song' apart from being deep and meaningful (IMHO) also has a subtle sound effect that easily gets missed. Just after the line "d-d-digital" near the end of the track there's a sound byte from a Mattel handheld football game. It's a layered bleep. It very nicely fits in with the mindset of the singer, in the game it indicates that the player has lost control of the football.

Although 'Breakfast ..' may be my pick of the albums I think 'From Now On' from 'Even In the Quietest Moments' is probably my pick of the singles. Musically it has depth, stylistically it has variety and for a song that last more than 6 minutes it has enough to hold my interest until the end. John Helliwell's saxophone is magical, up there with Raphael Ravenscroft on 'Baker Street' and Clarence Clemons on anything by Springsteen.

Supertramp is one of those groups who peppered their albums with commercial singles and so unless you are a devotee and want to collect everything, some form of compilation is needed. To stay with vinyl there was the 1986 release 'The Autobiography of Supertramp' or you could jump ship and go to the dark side with a CD, in which case the 1989 'Very Best of ..' is a good deal.

Everybody knows one or many Supertramp songs and just as there's a rousing chorus of "Five gold rings" when singing Christmas tunes, so it is that the whole room yells out ..

"Right (right), you're bloody well right, You got a bloody right to say" when Supertramp let loose.

All along the watchtower

From Now On

LORDE - Solar Power 2021

 I've posted about Lorde before, reviewing her second album 'Melodrama' and mentioning her first 'Pure Heroine' (VV 31 July 2020). This is more of the same - but in a very different way.

Lorde seems to do the equivalent of vocal olympics .. four years between the first and second albums, another four years between the second and this one. 

Released just one day ago, I'm on my third run through. I still need to get familiar with most of it, apart from the title track that has had pre-release exposure, where she tells us in no uncertain terms ...
"I'm kinda like a prettier Jesus".

It is distinctively Lorde, mellower in parts but with her signature ethereal backing vocals and electronics. In my first posting I said she seemed to me to be a mix between Kate Bush and Laurie Anderson. Some of that remains, there's even a little Marianne Faithfull there, thinking of the way Marianne breaks her words in songs like 'Working Class Hero' and 'Broken English'. Lorde does that too, noticeably on this album in 'Fallen Fruit'. I had strong feelings of Laurie Anderson at the 2.30 mark of 'Secrets From a Girl (Who's Seen It All)'. At that point the song has a spoken vocal from guest Robyn Carlsson. I immediately got a sense of Laurie's 'From The Air' where the captain comes on to tell everyone he's going to attempt a crash landing.

I need to keep listening to this album. I could come back in a week or two and write more, but I probably won't. I'll listen, enjoy and keep it to myself. You should do the same.

Secrets from a Girl (Who's Seen it All)

SERGE GAINSBOURG - Je t'aime, moi non plus 1967

 Todays post isn't an album, it's a song. A very notorious song, with some surprising covers.

I was back home in Harrogate in 1969 and I spent a lot of time hanging around the Transport Cafe in New Park. The jukebox had an amazing selection of all the latest and popular songs (1969 was a brilliant year for music) and included on the playlist were three records that were banned on the BBC, so obviously they were played more times than anything else.

One of the songs was 'Wet Dream' by Max Romeo. It was a catchy singalong reggae tune released in Jamaica in '68 but made famous in England in '69. Despite Max claiming the song was about a leaky roof !! (yeah, right) it had the line "give the fanny to me" which removed all doubt as to it's real meaning.

Another was 'Take Off Your Clothes' by Peter Sarstedt (reviewed in VV 13 June 2020). It was in fact the b-side of 'As Though It Were A Movie' but because of it's title and lyrics it got more jukebox time than the a-side.

And then there was 'Je T'aime ... Moi Non Plus'. Translated as either "I love you ... me neither" or "I love you ... neither do I" it was written by Serge Gainsbourg in 1967 at the request of his then girlfriend the legendary Brigitte Bardot. She wanted Serge to write "the most beautiful love song" and after writing it the two of them recorded it in a steamy two hour session. Brigitte was still married to Gunter Sachs at the time and after he got wind of the recording Serge decided not to release it. Ten years later it did get released and these days it can easily be found on YouTube !

The rather odd title was apparently suggested by a quote from Salvador Dali when he was talking about Picasso. He said "Picasso is Spanish, me too. Picasso is a genius, me too. Picasso is a Communist, me neither."

The following year, 1968, Serge began a relationship with Jane Birkin, an English actress he met on the set of the movie 'Slogan'. She knew of the Bardot version but when Serge asked her to record it she initially said no. Then she relented, in her words "I only sang it because I didn't want anybody else to sing it". I'm not sure if she was aware that Serge also asked Marianne Faithfull who also refused but didn't relent. As Marianne said later, she was with Mick Jagger and he wouldn't have liked it.

So it was that Serge and Jane went into the studio and came out with the finished article. Jane admitted that she really went over the top when it came to all the heavy breathing, and the same rumours went around as they had with Bardot - that this was the sound of the pair actually making love whilst recording. Gainsbourg's response to that was "Thank goodness it wasn't, otherwise I hope it would have been a long-playing record." This version was and is the most popular, but many others have been done since.

Because of the notoriety of the vocal, almost immediately a studio group called Sounds Nice put out an instrumental retitled 'Love at First Sight'. Rumour has it that the groups name came from Paul McCartney, who upon hearing the instrumental said "sounds nice". Who knows.

At last count there have been over 100 covers of this song, including from the likes of Malcolm McLaren and The Pet Shop Boys. One cover that stands out though would have to be from Donna Summer. It probably shouldn't have been a surprise that Donna would record it at some point, her single 'Love To Love You Baby' had also been banned by the BBC for much the same reason - basically an orgasm set to music. Her version of 'Je t'aime ..' came on the 3-disc soundtrack 'Thank God It's Friday' from the movie of the same name. The third disc was only single-sided, one side obviously being Donna's 'Je t'aime' and the other side was blank with a label stating "Special one-sided record (play other side)". I've never seen a 3-disc 5 sided set before - very odd. The other distinctive feature of this recording was it's length. It went on for 15m51s. Serge would have approved I'm sure. The title on the record inner also included *BPM 112 which stood for 112 beats per minute. This album was amongst the "estate sale collection" I was recently given, which prompted me to do this post.

Brigitte Bardot version 1967

Jane Birkin version 1969

Donna Summer version 1978

LESLEY GORE - I'll Cry If I Want To 1963

 Over the weekend a friend gave me some old albums she thought might be of interest. She's a realtor and they were part of an estate sale. This is one of the albums. I am interested, but not only in the music. This post is split into two parts, the first dealing with the album artist, the second part with the album packaging. 

ALBUM ARTIST

Lesley Goldstein, who for some obscure reason decided her Mother's maiden name 'Gore' sounded better, was 17 years old when Quincey Jones got her into a studio to record 'It's My Party'. Despite being recorded by The Chiffons and Helen Shapiro, Lesley's version was the one that took off, becoming a #1 just about everywhere except the UK. Oddly, that happened in 1981 when Dave Stewart (no, not the Eurythmics guy) and Barbara Gaskin did a remake that got to the top spot.

Lesley's follow up to 'It's My Party' was a continuation of the same story. After her boyfriend went off with Judy and Judy came back wearing Johnny's ring, poor Lesley dissolved in tears at her own party. However, that was all turned around in the second song, 'Judy's Turn To Cry' when Lesley kissed someone else and Johnny got pissed off and hit him. Johnny and Lesley then got back together. Basically we have two extremely popular songs about some two-timing violent cheat who goes off with another girl but beats up the guy who's interested in his ex. OK, got it.

Based on those two songs the record company in it's wisdom raced out a full LP using that same theme for the whole album - crying. Lesley was about to cry more than anyone since Johnnie Ray in the early 50's. (If you're too young, Google him). In fact the album contains Johnnie Ray's hit song 'Cry' along with 'Cry Me A River', 'Cry And You Cry Alone' and after all that crying, thankfully 'No More Tears'.

Lesley did redeem herself from this world of pain and heartache though. By the end of 1963 and after 3 charting singles, the two mentioned above and a third about unrequited love, she briefly abandoned her bubble-gum image and recorded what was and still is one of the most powerful feminist anthems ever written, 'You Don't Own Me'. To be sung by this 17 year old from Tenafly New Jersey, straight out of High School, made it even more striking. It was also recorded by one of England's most amazing female artists, Dusty Springfield. She did a chilling version for her LP 'A Girl Called Dusty' in 1964. 

ALBUM PACKAGING

It pays to remember that some of the music technology and production used on this album was still quite new in the early 60's and so terminology and technical details were part of the magic and mystique associated with holding this piece of vinyl in your hand. On the back of the album cover there is a note from Quincy Jones giving all the 'HIFInformation' for the recording, followed by a blurb from Mercury themselves with more technobabble. The album label was emblazoned in large letters with the words 'LONG PLAYING HIGH FIDELITY' to make sure you knew you weren't getting an old scratchy 78rpm bit of shellac.

The inner sleeves of LP's have been used for a variety of reasons over the years. Band details, lyric sheets, catalogues of other artists and albums available on the same record label. This inner really does take the cake. One side tells you how thorough Mercury has been in producing this fine work and below are step by step instructions on how to handle, clean and store your records. The other side of the inner sleeve is a masterclass in advertising. Taking two record players made by Philips and rebranding them they offer portable take-anywhere phonographs for the mobile audiophile. A single player and an auto-changer, both with turn-over cartridges to play your latest mono and stereo records and the pile of 78's you've got stored in the attic.

This album is a total package typifying what it meant to be a record buyer 60 years ago. It was an audio, visual and tactile experience that included the aroma of freshly pressed vinyl. Sight, sound, touch and smell. If you licked the record it covered all five senses.

You Don't Own Me

ROD STEWART - Never a Dull Moment 1972

 If I was on Desert Island Discs and I was limited to only one Rod Stewart album I would never be able to decide. I would probably need to take at least three. I spoke about his 1970 release 'Gasoline Alley' previously (VV 6 June 2020) and one day soon I'll probably take a look at 1971's 'Every Picture Tells a Story', but for now I've been re-playing this piece of vinyl and I can't get past it.

Between the Rod Stewart/Ronnie Wood originals and the hand-picked excellent selection of covers, this is an album of quality. Hot on the heels of 'Maggie May' Rod was still incorporating violins, organ and mandolin into his songs and for some reason the mix of those instruments with not only the ballads but the driving rock tracks just gives a distinctive feel and sound to this early 70's album that no-one else had.

Rod needs no introduction or essays written by me - he's been around long enough that we all know where he came from and how he travelled. From Steampacket blues, Rod the Mod, Faces rock 'n' roller, balladeer, soul-singer and 5 albums of The Great American Songbook, Rod has done it all.  It's good to look back at some of these earlier works.

The album kicks off with 2 great tracks, both Stewart/Wood compositions. 'True Blue' starts off with Rod basically denying everything he's got or that he is on the verge of getting ..
"Never been a millionaire
And I tell you mama I don't care
Never gonna own a race-horse
Or a fast back mid-engine Porsche"
.. ah Rod, brace yourself. He ends the song by lamenting that ..
"I gotta get on home
I gotta get home as soon as I can"

Next up is one of my favourites, a great blend of electric, acoustic, tambourine, Mexican flair and good old rock all built on a folksy intro. It's a story of love and escape.
'Lost Paraguayos'.
He likes her laugh, her romance and her sense of humour but wants to get away without her ..
"Honey don't even ask me if you can come along
Down at the border you need to be older
And you sure don't look like my daughter
Your ridiculous age, start a state outrage
And I'll end up in a Mexican jail
Darling please don't cry you know I wouldn't tell you no lie"
and then he laughs .. dispelling the myth that he wouldn't tell her a lie.

As with his previous two albums, Rod picks a Dylan song as one of the covers. This time he chooses 'Mama You Been On My Mind'. This was a bold move because it had not been released by Dylan at that point. All anyone had heard were other covers done by a variety of artists. Dylan recorded it for his 1964 album 'Another Side of Bob Dylan' but didn't include it on the release and it wasn't available by him until 1991 when he started his official 'Bootleg Series'.

Some have described 'Italian Girls' - another Stewart/Wood collaboration - as a Stonesy rocker, but 3 minutes in the whole thing slows down to mandolins and violins and heartfelt refrains of 'she broke my heart, she broke my heart ..'.

Jimi Hendrix wrote 'Angel' about seeing his mother in a dream. The song went through various incarnations and he recorded his final version in 1970 just months before he died. It was released on his posthumous album 'The Cry of Love'. I'd never heard Jimi's version and so after knowing Rod's rendition so well it was a surprise and a joy to hear the original. Rod sings it with sympathy and does an admirable job.

After the plaintive 'Angel' comes a short instrumental followed by Rod and Martin Quittenton's #1 hit 'You Wear It Well'. The approach to the song on the album mirrored the approach to 'Maggie May' on 'Every Picture Tells A Story'. Much as 'O Henry' was basically Martin Quittenton's 30 odd second instrumental lead-in to 'Maggie May', so the Art Wood 40 second 'Interludings' leads the way for 'You Wear It Well'. In what could have devolved into a 'Maggie May part two' the song has enough identity to stand on it's own two feet and was worthy of it's popularity.

Rod's version of the Etta James classic 'I'd Rather Go Blind' is a great interpretation, but I have to say it's not my favourite rendition. The first time I ever heard this song was in 1969 by the British blues group Chicken Shack and that has always stayed with me. Taking lead on the vocals for Chicken Shack was the beautiful voice of the aptly named Christine Perfect, later to become Christine McVie and claim fame as a member of Fleetwood Mac.

What better way to end the album than with a reworking of a classic. Sam Cooke released 'Twistin' the Night Away' in 1962. We had the 45rpm, we played it to death. It was and is a brilliant song - AND - it has a great mondegreen in it. The song tells us about a man in evening clothes ..
"He's dancin' with the chick in slacks
She's a movin' up and back
Oh man, there ain't nothin' like
Twistin' the night away"
But not everyone heard that version. For many people it sounded like ..
"He's dancing with the chicken slacks"  !! A whole urban dictionary was created around that mis-heard lyric. None of that detracts from Rod's driving happy singalong to end a really really great album. 

Sir Rod is still going as strong as ever, in fact he has almost as many albums as he does wives and kids !! He was once quoted as saying  "Instead of getting married again, I'm going to find a woman I don't like and just give her a house."

Just a word on the album cover - it's a 70's release, so of course the cover is a little over-the-top. It opens out to not one, not two but 3 full size illustrations. One of the photos falls back on Rod's love of football (soccer for my US friends) with him and others framed by the goalposts.

Keep on keeping on Rod, you're just getting better with age.

Lost Paraguayos

You Wear It Well

AMERICA - History: America's Greatest Hits 1975

 Three US Air Force kids whose fathers were stationed in England, Dewey Bunnell, Dan Peek and Gerry Beckley, went to the same London Central High School and after graduating they formed a trio. That's pretty much it in a nutshell. They had been playing in different bands at school but their harmonies and musicality lent itself to joining forces and playing together. Not wanting to be thought of as a British group trying to effect accents they called themselves America to make their backgrounds clear. The irony is that Dewey Bunnell, although born of an American father, had an English mother and was born in my home town of Harrogate, Yorkshire !! 

I bought this compilation album when it came out in 1975, but let's go back to 1972 when America released their first single 'A Horse With No Name'.

In '72 I was still in the Australian Army, sharing a flat on the Queensland Gold Coast with a couple of other guys from my unit, 109 Transport Company in Canungra. One of those guys was originally from Sydney. He owned a little red VW Beetle. He wanted to go to a party in Sydney one weekend but didn't want to be tired when he got there, so I volunteered to drive him. A trip of around 550 miles each way and for most of it he slept and I listened to 'A Horse With No Name' on every radio station that I picked up on the journey.

When Americas eponymous debut album was first recorded and released in the UK it didn't include 'Horse ..'. It was only when it was reissued later in the USA that the track was included. The song was written by Dewey Bunnell and originally called 'Desert Song'. He played it at studio rehearsals at Arthur Brown's house (Crazy World of Arthur Brown reviewed VV 5 Nov 2020) and a few days later it was played in public for the first time at the Harrogate Festival in the hometown shared by me and Dewey. After a bit of promo and a title change the song became a #1 in the US, Canada and France and charted around the world. One guest musician on the track was famed percussionist Ray Cooper. Apart from 'Horse ..' that first album spawned 2 other charting songs, 'Sandman' also written by Bunnell, which was actually the b-side of 'Horse ..' but gained recognition under it's own steam and 'I Need You' which was a Gerry Beckley composition.

Between 1971 and 1974 they released 2 more albums, 'Homecoming' and 'Hat Trick' which between them put out 6 more singles, amongst them the ever popular 'Ventura Highway' and the slightly offbeat 'Muskrat Love'. Fortunately 'Muskrat Love' became a bigger hit in 1976 for Captain & Tennille so many people don't associate it with America. Both versions were covers of the Willis Alan Ramsey original entitled 'Muskrat Candlelight'.

The 'Hat Trick' album wasn't as popular as their first two and so by 1974 when they recorded their 4th album 'Holiday' they'd grown in reputation to the point where George Martin (the fifth Beatle) came onboard as producer. Not only did he produce the album, he also played piano on stand-out #1 single 'Tin Man'. Because of the chorus ...
"Oz never did give nothing to the Tin Man
That he didn't, didn't already have"
... the song on the surface seems to be some sort of Wizard of Oz thing, but it runs deeper than that. Written by Dewey Bunnell, Dan Peek says of the song ""quintessential Dewey, easy stream of consciousness" and when you realise that the Oz/Tin Man lyric is a double negative and that 'the Tropic of Sir Galahad' doesn't make any sense at all then the whole song takes on a strange and intricate meaning - go figure.

George Martin went on to produce a few more of America's albums and when this compilation was released the first 7 tracks had been recorded before he took over as producer, so he took those tracks and remixed them. That gives the whole album a fresh take and a bit of extra magic.

The other striking thing about this album is the cover. It was designed by Phil Hartman (named Hartmann on the liner notes) who had his own graphic arts business at the time. He did over 40 album covers including the iconic album 'Aja' for Steely Dan. (VV review 15 Oct 2020). Phil is more commonly remembered for his long run on 'Saturday Night Live', his TV sitcom 'News Radio', voiceing characters on 'The Simpsons' and his tragic death after being shot by his wife in 1998. 

After their heights in the mid-70s, America went through a bit of a dry spell. They were still releasing albums and singles, but not getting the same level of success. In 1977 Dan Peek left the group - there are conflicting accounts of exactly why he left - but that meant Beckley and Bunnell carried on as a duo. In 1979 they had moderate recognition with a cover of The Mamas & The Papas 'California Dreamin'', but it wasn't until 1982's 'You Can Do Magic' that people remembered who they were. Having always written their own songs, after Peek left and the duo failed to get a hit they began taking songs from other writers. This track was a Russ Ballard composition and he deliberately put in a vocal break that was reminiscent of the CSN track 'Suite Judy Blue Eyes'.

Dan Peek passed away in 2011 at the age of 60, but Gerry Beckley and Dewey Bunnell continue as a duo backed by a variety of touring musicians. In line with singing other people's songs, in 2011 they released an album called 'Back Pages', 12 cover tracks as diverse as Rod Argent's 'Time of the Season', Mark Knopflers 'Sailing to Philadelphia' and Dylan's 'My Back Pages' (hence the album title).   

You can revel in the past glory of America's music or keep up with some later works, either way, you will be rewarded.

Ventura Highway

Tin Man

THE LOVIN' SPOONFUL - Hums of the Lovin' Spoonful 1966

 By the time I bought into the Lovin' Spoonful they'd already released 6 singles and four albums. I'd sung along to all the radio songs but the first 45rpm I got was 'Nashville Cats'. It wasn't their most commercially successful track, but I have to tell you, it was catchy ! On the strength of that and it's b-side 'Full Measure' I went out and got 'Hums of the Lovin' Spoonful', the album those songs came from. The bonus of course was that the album also included 2 previous single releases, the lovely lilting 'Rain on the Roof' and the international #1 'Summer in the City'  

*ADULT CONTENT*

Much the same as some other bands, The Lovin' Spoonful got their name from a very tongue-in-cheek source (perhaps tongue-in-something, not necessarily cheek).
10cc took their name from a slightly larger than average amount of male ejaculate.
Steely Dan used the name of a strap-on dildo from William S. Burroughs novel 'Naked Lunch'.
The Lovin' Spoonful's name came from 'Coffee Blues', a song by the legendary Mississippi John Hurt (reviewed in VV 10 August 2020). John Sebastian had been performing with Hurt and when he told Fritz Richmond he was getting a new band together, Fritz suggested the name. The song itself had the term 'lovin' spoonful repeated throughout. Supposedly singing about Maxwell House coffee and that it can "Do me much good as two or three cups this other coffee" it soon becomes clear that the song isn't so much about coffee as it is about the girl who makes it for him -
"Good mornin', baby, how you do this mornin'?
Well, please, ma'am, just a lovin' spoon, just a lovin' spoonful
I declare, I got to have my lovin' spoonful"
John Sebastian maintains the song is about cunnilingus, although as with 10cc, "lovin' spoonful" has been conjectured as referring to the amount of ejaculate released by a human male during a typical orgasm. Maybe it was just coincidence, let's give them the benefit of the doubt, but most of The Lovin' Spoonfuls music was released on just one record label.
Kama Sutra.

*END OF ADULT CONTENT - AS YOU WERE*

John Sebastian was brought up in Greenwich Village amongst all the artists and musicians who gravitated there. His father played classical harmonica and so his music roots were a given. When John formed The Lovin' Spoonful he took guitarist Zal Yanovsky from a folk group called the Mugwumps and shortly after two other members of that group left. Mama Cass and Denny Doherty became one Mama and one Papa. For anyone who has ever listened to The Mamas & The Papas singing 'Creque Alley' you will have heard all about it ..
'When Denny met Cass he gave her love bumps
Called John and Zal and that was the Mugwumps .....
.... Sebastian and Zal formed the Spoonful
Michelle, John, and Denny gettin' very tuneful"

I mentioned the record label that the Lovin' Spoonful released most of their songs on. Originally though they signed with Elektra, but there are only 4 songs on the Elektra label and they form part of a compilation with other early recordings by The Paul Butterfield Blues Band and Eric Clapton and the Powerhouse. The album was called 'What's Shakin'' and came out in 1966. By then they'd had over half a dozen charting hits, 'Do You Believe in Magic', 'You Didn't Have to be so Nice', 'Did You Ever Have to Make up Your Mind' and of course 'Daydream'. 

'Daydream' proved to be popular with both Lennon and McCartney. The single was on Lennon's personal jukebox and McCartney said that 'Good Day Sunshine' was his attempt to write something similar to 'Daydream'. The last of their single releases to resonate with me was the 1967 track 'Darling Be Home Soon'. As much as I like the Spoonful's version, it's the Joe Cocker rendering on his album 'Cocker Happy' (reviewed VV 27 October 2020) that really does it for me. Joe gives it a different, gutsier feel and really drives it home. He can even make sense of the ludicrous lyric that was thrown in to rhyme with ...
"I couldn't bear to wait an extra minute if you dawdled".
The best that John Sebastian came up with was ...
"It's not just these few hours, but I've been waiting since I toddled"
TODDLED .. really?

John left the group in 1968 and apart from appearing with the other originals in Paul Simon's film 'One-Trick Pony' in 1980 and a single song at the 2000 Rock and Roll Hall of Fame induction he hasn't performed with the group since.

He did a solo set at Woodstock in 1969 where he sang a few Spoonful songs and some from his upcoming solo album. Despite everything else he's done under his own name though, perhaps he's best known for one song - the theme to the TV show 'Welcome Back, Kotter' aptly named 'Welcome Back'.

There are those acts whose music you hear from time to time and sometimes think .. 'Oh, that's a great song' but can't for the life of you remember who sings it. As likely as not, it's The Lovin' Spoonful or John Sebastian. 

Lovin' Spoonful - Nashville Cats

Lovin' Spoonful - Rain on the Roof

John Sebastian - Welcome Back

THE EASYBEATS - Easy 1965

 Today's entry is a change of plan. I had an album ready to go but then I got a request. Long time listener, first time caller John Birrer put in a bid for The Easybeats.

I departed England for Australia at the end of September 1964 and left some great music behind. I had no idea what was ahead of me 12,000 miles away at the bottom of the world. The only Australian music we'd heard up to that time was stuff like Frank Ifield's 'She Taught Me To Yodel', the now discredited Rolf Harris singing about 'Tie Me Kangaroo Down, Sport' and Slim Dusty lamenting about his 'Pub With No Beer'.

Bobbing about on the immigrant ship as we got ever closer to the west coast of Australia I'd go up on deck with my portable radio and try to pick up a signal. One day towards the end of October, after almost 4 weeks at sea, through the crackle and static and interference I heard faintly, but so happily, the sounds of Roy Orbison singing 'Oh, Pretty Woman'. I knew then that life still had meaning.

We settled in Brisbane and my portable radio that once tuned in to Radio Luxembourg and Radio Caroline was now jumping between 4BC, 4BH and 4IP to pick up the music I was missing. Lots of British and American stuff but there was something else. Australian music !! Gradually, names started to become familiar. Even by 1964, Johnny O'Keefe was part of the old guard of rockers. Novelty songs by Lucky Starr, Rob E.G.'s big instrumental '55 Days at Peking' and sneaking over from next door neighbour New Zealand was Ray Columbus and the Invaders. By the following year, 1965, The Seekers gained some international fame but on home turf it was people like Billy Thorpe and Normie Rowe who kept the hope alive. Then suddenly, through the speaker of my trusty little radio came a choppy guitar, a cymbal and a primaeval scream.
"I woke up bright and early this mornin'
My little girl was not in sight
I been lookin' everywhere
Mornin', noon and daylight"

The Easybeats were here. This wasn't their first single, that was 'For My Woman' but this one, 'She's So Fine' made it's mark, reaching #3 on the Australian chart. On the strength of that they put out their first album - 'Easy' which had the distinction of being one of the earliest Australian albums where all the songs were written by members of the group. Most prolific amongst them was Stevie Wright and George Young. Between them they wrote or co-wrote 8 of the 14 tracks.

The Easybeats were adopted and claimed by Australia but in fact they were the very epitome of the Australian immigration policy. There were five founder members, George Young (rhythm guitar) was Scottish, Stevie Wright (vocalist) and Gordon 'Snowy' Fleet (drummer) were English and Dick Diamonde (bass) and Harry Vanda (lead guitar) were Dutch. In the true spirit of "New Australians" the 5 of them formed the band while they were all living at the Villawood Migrant Hostel. 

Along came 1966. That's when I went to see The Loved Ones in concert in Brisbane supporting Eric Burdon & the Animals. They were raw and wild and finally here was a group that embraced the times and the changes. Things were looking up - Normie and Johnny and Billy were almost as bland as Frank Ifield compared to these guys. Then, not long after came a familiar sound. After minor hits with 'Wedding Ring' and the slower 'Sad, Lonely & Blue' here was more choppy choppy strumming and a catchy hook going into a roughly sung lyric -
"Mailman came this morning
Brought a message by
Said it was from my babe
Think I know just why"

The Easybeats were back with 'Sorry'. This was the one they'd been aiming for. This was their first Australian #1. Due to the close proximity it also hit #4 in New Zealand, but there was still no international success (that wasn't too far away). Because this was still the age of the extended play 45rpm, they also had a #1 hit with their fourth EP 'Easyfever', only the second time an EP had made it to the top of the charts.

1966 both in Australia and overseas had a very eclectic mix of hit songs. In between The Beatles giving us early experimentation with 'Norwegian Wood', The Rolling Stones telling us to 'Paint It Black' and Reg Presley leading the Troggs with 'Wild Thing' there were still the old school and novelty songs. The Seekers 'The Carnival is Over', Peter & Gordon's 'Lady Godiva', New Vaudeville Band's 'Winchester Cathedral' and in Australia, Bobby and Laurie were on the road with 'Hitch Hiker'. 

Something was needed, something gritty. Sometimes referred to as a'working class anthem' there was a song primed and ready to become a rock standard, a classic, recorded, rejected and then released worldwide by a bunch of Australian immigrants. 'Friday on my Mind' had arrived.

The Easybeats went to the U.K. in July 1966 and initially recorded at Abbey Road but United Artists didn't like the stuff and dumped their producer. Shel Talmy, who had worked with among others The Kinks and The Who listened to some of their work. When they got to the Young/Vanda composition 'Friday on my Mind' Shel sat up and took notice. The rest, as they say, is history. In the few years that The Easybeats existed, this was by far their most successful release. #1 in Australia (obviously), #2 in New Zealand, #6 in the U.K., #16 in the U.S. and #19 in Canada, it cemented it's place in the musical timeline. As an aside, although there have been other covers of the song, my favourite is David Bowie's version from his 1973 album 'Pin Ups'.

1969 saw The Easybeats go in different directions. 'Snowy' Fleet had already gone by 1967 and been replaced by Tony Cahill and they both, along with Dick Diamonde, eventually retired from music. Tony Cahill died in 2014 from a brain tumour.

Stevie Wright had a brief solo career after touring with the Australian cast of 'Jesus Christ Superstar'. His most recognised song is the 1974 opus 'Evie (parts 1,2 & 3)' which is believed to be the first 11 minute song ever to reach #1. Sadly Stevie's personal life was a mix of drug addiction, therapy and even attempted housebreaking and he passed away in 2015 officially from pneumonia.

Harry Vanda and George Young on the other hand kept up their collaboration as artists and songwriters, composing hits for other Australian singers as well as performing themselves. Famously they wrote John Paul Young's hit 'Love is in the Air' and the aforementioned 'Evie (parts 1,2 & 3)' for Stevie. As well as that, they recorded studio-only songs under the pseudonym Flash and the Pan, notably 'Down Among the Dead Men'. Add to that the fact that George is the brother of AC/DC's Malcolm and Angus Young and produced 6 of Acka-Dacka's albums and you begin to appreciate the musical heritage. Sadly George and Malcolm have since passed away.

A nice bit of trivia here. The "Guitar George" and "Harry" who are mentioned in the Dire Straits hit song "Sultans of Swing" are George Young and Harry Vanda.

On 28 May 2001, the Australasian Performing Right Association (APRA) celebrated its 75th anniversary by naming 'Friday on my Mind' the Best Australian Song of all time, as decided by a 100 strong industry panel.

I'm sure that John, who suggested this post and has lived in Australia all his life knows far more than I ever will about the later career of these guys, but for the sake of this review I can only speak to what I know, and what I know is that The Easybeats gave me joy in the sunburnt landscape of my 1960's Australia and spread that joy throughout the world. All it took was one song. 

Sorry

Friday on my Mind

SANTANA - Abraxas 1970 - Caravanserai 1972

 Named after their founder, Carlos Santana, the group began in San Francisco in 1966. There was no way they could escape the fusion, experimentation and radical looseness of music that came from those times in that place. My first taste of Santana was when I bought the original triple album of Woodstock when it was released in 1970. After a 3 minute 'Crowd Rain Chant' Santana came in with a live extended version of 'Soul Sacrifice' from their debut eponymous 1969 album. That was enough to make me go and buy 'Abraxas' when it came out later that year. 

'Abraxas' was only the bands second album but hit #1 on the US album charts almost immediately. After leading off with 'Singing Winds, Crying Beasts', a Michael Carabello composition (he was the groups percussionist) the album then goes into probably two of Santanas best known tracks, 'Black Magic Woman/Gypsy Queen' and 'Oye Como Va'. Both of these songs though were cover versions. The 'Gypsy Queen' part of the track was written by Hungarian Gábor Szabó but 'Black Magic Woman' was by Peter Green of Fleetwood Mac fame. It was played throughout 1968 and then put on their 1969 album 'English Rose'. Carlos Santana heard Peter play and wanted to include that song on this album. Fleetwood Mac's version got to #37 whereas Santanas cover single made it to #4.

The next track is another cover but this one goes further back. Originally written and recorded by Tito Puente in 1962, 'Oye Como Va' is probably one of the best known Spanish phrases next to Speedy Gonzales shouting "arriba, arriba … andale, andale". 

My favourite track comes a little further into the album. 'Samba Pa Ti' is an instrumental by Santana and it has always reminded me of another Peter Green composition, 'Albatross', again from the early Fleetwood Mac days. I'm sure that musicologists and musicians will probably disagree with me and say the two pieces are totally dissimilar, but to me the beginning of 'Samba Pa Ti' takes me right back to listening to 'Albatross' on the transport cafe jukebox in my home town of Harrogate - a long way from the seascape of one and the Spanish influence of the other. Three songs from 'Abraxas' were released as singles in 1970/71 but 'Samba Pa Ti' didn't become a single until 1973. It was Santana's first single to chart in the U.K. making it to #27. In 1982 José Feliciano wrote lyrics to the tune, and with Carlos himself duetting, José recorded it on his album 'Escenas De Amor'.

I skipped their third album and went straight to the 1972 release 'Caravanserai'. I have to be perfectly honest, I think I bought this on the strength of the album cover and the exotic name. I knew nothing of the album tracks and in the interests of full disclosure, I wasn't initially impressed. It is acknowledged that this 4th album was a change from the previous 3 and contained more jazz, jazz fusion and experimental flavours than anything that came before. Alex Henderson commented "this pearl ... requires a number of listenings in order to be absorbed and fully appreciated". He is right. Almost 50 years later I dip back into this album and each time I gain a little more from it. Over the same 50 years a lot has changed. I've moved geographically closer to the source, Latin music in all it's forms has become more mainstream and familiar and as I've grown older my tastes have matured.

A great example of more recent (albeit already 20 years ago) music is the collaboration between Santana and Rob Thomas from Matchbox Twenty. 'Smooth' turned out to be a massive hit at the beginning of the 2000's, being the last #1 of the 1990's and the first of the 2000's, being #1 on the Billboard 100 for 12 weeks. It's also one of my wife's favourite songs, so how could I not mention it. 

The current circumstances aside, Carlos Santana, the only original member of the group that bears his name, is still heading a powerful line-up of musicians continuing to innovate and entertain.

1970 Santana - Samba Pa Ti

1999 Santana - Smooth ft. Rob Thomas