Archive for the ‘Correction’ Category

This Time With The Vocals

February 1, 2012

Originally posted February 22, 2009

Oops!

In Friday’s post, I shared what I thought was my regular copy of the Platters’ “With This Ring.” It turns out I had mislabeled and misfiled what seems to be a karaoke version of the song: No vocals.

I have a few karaoke versions like that, and I keep them in another file. This one – through my carelessness – escaped and was mislabeled. I’m sorry.

Thanks to reader Magkfingrs for pointing out the problem. I’m uploading the correct song to that post, and to this brief Sunday post. (Sorry about the lower bitrate; I’m in the process of upgrading as many of the 128 kbps mp3s – ripped from CDs or vinyl long before I thought about blogging – as I can to 192 kbps, and I haven’t gotten to the Platters yet.)

“With This Ring” by the Platters [Musicor 1229, 1967]

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A Baker’s Dozen from 1966, Vol. 3

July 20, 2011

Originally posted July 21, 2008

One of the joys of music blogging is the occasional discussion that rises up, either here or at other blogs I visit. One of the questions that almost always sparks discussion is an attempt to identify the perfect single. I’ve joined in that conversation at several blogs over the past eighteen months, and my candidate for the perfect pop-rock single is always the same: “Cherish” by the Association.

It’s got a gorgeous melody, wonderfully glistening production (by Curt Boettcher, if I’m not mistaken), and its lyric tells a tale of unrequited love accepted sadly and with grace, probably far more grace than almost any of us could muster when faced with the reality that our beloved will never stand next to us.

I came to know the song in the autumn of 1966, when it was No. 1 for three weeks. It was a record that could not be avoided, even by those who were not particularly enamored of pop and rock. I liked it even though I had no real understanding of its lyric. That came three years later during my junior year. The young lady was kind but made it very clear that her interests were not congruent with mine. The next time I heard “Cherish,” I understood it much better.

It’s one of those songs perfectly crafted to provide teen-age solace: While so many songs about love embraced can be tabbed by happy young couples as “their” song, “Cherish” is one of very few records that a loving yet solitary young person could hold as his own, with the substance and eloquence of the lyric providing both consolation and the awareness – maybe for the first time – that love unreturned is not love in vain.

A Baker’s Dozen from 1966, Vol. 3
“Cherish” by the Association, Valiant single 747

“Loving You Takes All Of My Time” by the Debonaires, Solid Hit single 102

“Can’t You See” by the Countdowns, N-Joy single 1015

“Hey Joe” by the Leaves, Mira single 222

“Sweet Wine” by Cream from Fresh Cream

“Must I Holler” by Jamo Thomas, Chess single 1971

“Love Is A Hurtin’ Thing” by Lou Rawls, Capitol single 5709

“At the River’s Edge” by the New Colony Six, Centaur single 1202

“Searching For My Love” by Bobby Moore & the Rhythm Aces, Checker single 1129

“Stanyan Street, Revisited” by Glenn Yarbrough from The Lonely Things

“Cherry, Cherry” by Neil Diamond, Bang single 528

“Happenings Times Ten Years Ago” by the Yardbirds, Epic single 10094

“Pushin’ Too Hard” by the Seeds, GNP Crescendo single 372

A few notes:

The Debonaires – mistakenly listed as the “Debonairs” when “Loving You Takes All Of My Time” was originally released – were Joyce Vincent Wilson and Telma Hopkins, two Detroit-area cousins, and a few other people who, according to All-Music Guide, have never been identified. The group released a number of records on a number of Detroit-area labels in the early to mid-1960s, but never had a single reach the Top 40. Wilson and Hopkins ended up performing with Tony Orlando as Dawn, beginning with Dawn’s second hit, “Knock Three Times” in 1970.

The Leaves’ version of “Hey Joe” may not be the first recording of the song – the song’s lineage is one of those difficult to trace – but it was the first version to chart, reaching No. 31 during the summer of 1966.

The New Colony Six was from Chicago, a decent group that ended up putting two records into the Top 40: “I Will Always Think About You” in 1968 and “Things I’d Like To Say” in 1969. A college friend of mine was from the Windy City and took every opportunity he could during beer-fueled evenings in Denmark to let us know how good the New Colony Six was.

I’ve written here a few times about my affection for two of Glenn Yarbrough’s mid-1960s albums: For Emily Whenever I May Find Her and The Lonely Things. I acquired the first of those on CD some time ago and found the latter online recently. “Stanyan Street, Revisited” is sentimental – with Rod McKuen providing the lyric, how could it not be? – and its production values are clearly more in line with traditional pop than with rock. But set aside irony and give it a listen.

This set ended up with some good garage-y sounds: the Countdowns, the Leaves, the post-Clapton Yardbirds and the Seeds. The Countdowns’ single didn’t chart, and – as noted above – “Hey Joe” went to No. 31. The Yardbirds’ single went to No. 30, and “Pushin’ Too Hard” reached No. 36.

Corrections and clarifications:
I got a note this morning from Patti Dahlstrom, who gently corrected a few errors in my piece on her fourth album, Livin’ It Thru, which I posted here a week ago. She wrote: “Though I did play piano on stage for a song or two, I never played on my records.” The keyboard parts on Livin’ It Thru, she said, came from Larry Knechtel, Michael Omartian, Craig Doerge and Jerry Peters. The credits listed at West Coast Music, which I used as a jumping-off point, are incorrect in listing Daryl Dragon as playing keyboards on the record; Patti said he arranged the background vocals.

She also answered two questions I had: First, the astounding harp solo on the track “Lookin’ For Love” was by Knechtel. And second, Jay Cooper, who was listed in the credits on the record jacket, is Patti’s attorney and has been since 1967, “a powerful man with great heart and integrity . . . quite an unusual combination.”

Edited slightly from original posting.

Simply Red & Northern Lights

July 20, 2011

Originally posted July 17, 2008

The Simply Red song, “Money$ Too Tight (To Mention),” which popped up in a random Baker’s Dozen yesterday, is a good record, but my favorite song by the British group is the melancholy “Holding Back The Years,” also from 1985’s Picture Book album. (Both were released in 1986 as singles in the U.S., with “Money$ Too Tight (To Mention)” reaching No. 28 and “Holding Back The Years” going to No. 1.

Here’s a video for “Holding Back The Years.”

Staying within yesterday’s Baker’s Dozen, I looked at – but cannot post here – the video that was put together for Northern Lights’ anti-famine song, “Tears Are Not Enough.” Among the Canadian artists in the video, I recognized Gordon Lightfoot (who opens the song), Anne Murray, Joni Mitchell, Neil Young and Bryan Adams. I also think I saw k. d. lang in there, but I’m not sure. Who else?

Note
When I wrote about Joan Baez’ album Any Day Now earlier this month, I said, “I think that Joan Baez’ Any Day Now was the first album made up entirely of covers of songs by Bob Dylan.”

Well, I was wrong.

I’d forgotten the 1965 album Odetta Sings Dylan, which I’ve seen mentioned occasionally but have never heard. And the All-Music Guide entry on that album – which it rates as very good – mentions an earlier album of Dylan covers, Linda Mason’s 1964 release, How Many Seas Must a White Dove Sail?

Does anybody know of any others?

Correction

April 24, 2011

Originally posted July 2, 2007

In my post a few weeks ago about the song “Rock and Roll Heaven” and its two versions, I wrote – based on an exchange of emails with Alan O’Day, one of the co-writers of the song – that the producers of the Righteous Brothers’ 1974 hit version of the song re-wrote the song’s second verse without consulting O’Day or his co-writer, John Stevenson.

I got a courteous note from Alan O’Day this week, pointing out that I had misread a point in one of the emails we exchanged while I was researching the post.

“If you re-read my email,” Alan wrote to me, “you’ll see that it was the Righteous Brothers (probably Bill [Medley]) who, much later, did a re-write without contacting us.”

He adds that he has “nothing but praise” for the Righteous Brothers’ version of the song as well as for the “very honorable dealings with us” of the Righteous Brothers’ producers, Dennis Lambert and Brian Potter.

My apologies for the error, and my thanks to Alan O’Day for pointing it out.