Posts Tagged ‘Association [The]’

Memorial Day, 2009

June 28, 2013

Originally posted May 25, 2009

It’s another Memorial Day, another day to reflect. We’ve been told that some of our soldiers will this year begin to come home. Let’s hope that’s true. We’ve also been told that more of our soldiers are required to fight elsewhere. Let’s hope that’s for a brief time. These are the same songs as last year and the year before; if that’s a disappointment, I’m sorry. These are the songs that remind me of those whom we are supposed to remember today.

“Requiem for the Masses” by the Association, Warner Bros. single 7074 [1967]

“I Ain’t Marchin’ Anymore” by Phil Ochs from Rehearsals For Retirement [1969]

“War” by Edwin Starr, Gordy single 7101 [1970]

“Where Have All The Flowers Gone” by Peter, Paul & Mary from Peter, Paul & Mary [1962]

“One Tin Soldier (The Legend of Billy Jack)” by Coven, Warner Bros. single 7509 [1971]

“Universal Soldier” by Buffy Sainte-Marie from It’s My Way! [1964]

“Masters of War” by Bob Dylan from Freewheelin’ Bob Dylan [1962]

“Give Peace A Chance” by the Plastic Ono Band (John Lennon), Apple single 1809 [1969]

“2+2=?” by the Bob Seger System from Ramblin’ Gamblin’ Man [1968]

“Handsome Johnny” by Richie Havens from Mixed Bag [1967]

“Bring The Boys Home” by Freda Payne, Invictus single 909 [1971]

“All The Young Women” by the Cuff Links from Tracy [1970]

“Bring ’Em Home” by Bruce Springsteen from We Shall Overcome: The Seeger Sessions (American Land Edition) [live, most likely in Detroit, 2006]

As I’ve noted the past two years, times have changed enough since Freda Payne, the Cuff Links and Peter, Paul & Mary recorded their songs that we now need to also bring the girls home, and we need to grieve as well with all the young men who have lost loved ones.

As The End Of The Year Draws Near

August 5, 2011

Originally posted August 27, 2008

As August enters its last days, we’re coming to the end of another year.

Forget that December 31/January 1 stuff. That’s bookkeeping. For me – and for many, I think – the years turn over sometime during the first weeks of September.

During my school days, for thirteen years, the new year began on the day after Labor Day with the first day of school. For another six years – I went to college on the extended plan – the year began sometime in September when the fall quarter started. If I’d pondered that sense of timing at all in those days, I would have expected it to change when I went into the adult world. But it didn’t. Years still turned as August ended and September began.

Part of that was because of my work: Small town newspapers find so much of their content in the local schools that their calendars are tied to the schools’ calendars. In between my newspaper years, I went to graduate school and then taught and worked at several colleges and universities, so my life continued to be tied to a literal calendar that ran from September onward.

But it’s been more than ten years since I was a reporter. My day-to-day life has no connection with the schools, with colleges and universities, with the regular events that command the attention of reporters and editors. And still, it feels to me as if a year is ending in these few days. And it feels as if a new year is about to begin.

Maybe it’s conditioning from all those early years in school. Maybe it’s something so instinctive in the human mind, perhaps something tied to the harvest-time, that we’ve lost track of where it comes from. (It occurs to me that, if the perception of years turning at this time of year is innately tied to the harvest, folks whose forbears were native to the Southern Hemisphere would have a different perception. Anyone from those precincts have a thought?)

Whatever the reason, this time of year has always felt like a time of renewal and change. One such time, an August/September that stands out clearly (I know I’ve mentioned it before), came in 1969, when I spent daytimes of the last weeks of summer at football practice, lugging equipment and supplies around for the Tech Tigers and then hanging around the locker room, sharing ribald stories and the music that came from the training room radio.

In a way that very little else does, music marks our years. And here are some tunes that are markers for me from late August and early September of that year.

A Baker’s Dozen from 1969, Vol. 3
“Goodbye Columbus” by the Association, Warner Bros. 7265 (No. 95 on the Billboard Hot 100, August 23, 1969)

“Going In Circles” by the Friends of Distinction, RCA 0204 (No. 90)

“Don’t It Make You Want To Go Home” by Joe South, Capitol 2592 (No. 84)

“I’m Gonna Make You Mine” by Lou Christie, Buddah 116 (No. 66)

“Everybody’s Talkin’” by Nilsson, RCA Victor 0161 (No. 49)

“Keem-O-Sabe” by the Electric Indian, United Artists 50563 (No. 39)

“Share Your Love With Me” by Aretha Franklin, Atlantic 2650 (No. 31)

“Marrakesh Express” by Crosby, Stills & Nash, Atlantic 2652 (No. 28)

“Soul Deep” by the Box Tops, Mala 12040 (No. 24)

“Easy To Be Hard” by Three Dog Night, Dunhill/ABC 4203 (No. 18)

“Ruby, Don’t Take Your Love To Town” by Kenny Rogers & the First Edition, Reprise 0829 (No. 11)

“Green River” by Creedence Clearwater Revival, Fantasy 625 (No. 7)

“Put A Little Love In Your Heart” by Jackie DeShannon, Imperial 66385 (No. 6)

A few notes:

I’ve always been surprised that “Goodbye Columbus” – the theme from the film of the same name – didn’t do better. The record peaked at No. 88 on September 6 and then fell off the chart.

“Everybody’s Talkin’” is one of those tunes that has a few different versions out there. It was used in the film Midnight Cowboy, and two different versions of it are on the official soundtrack. Neither of them sounds like the one I remember coming from my radio. The version here is from Nilsson’s 1968 album Aerial Ballet, and I think this was the version that got airplay as the single, which reached No. 6. I could be wrong. Anyone know?

“Keem-O-Sabe” was one of those instrumentals that occasionally popped up in the Top 40, and the thought occurs that it likely wouldn’t have a chance of doing so today, given changes in attitudes. The Billboard Book of Top 40 Hits notes that Electric Indian was actually a group of studio musicians from Philadelphia; some of them later were members of MFSB. The record peaked at No. 16.

I liked Kenny Rogers when he was with the First Edition; the group had four more Top 40 hits after “Ruby” peaked at No. 6. They were “Ruben James” and “Something’s Burning,” which I recall, and “Tell It All Brother” and “Heed The Call,” which I don’t. (I have “Heed The Call” but I don’t remember hearing it in 1970.) After those four, Rogers was absent from the Top 40 for seven years, until “Lucille” began his remarkable run of success as a country crossover artist, a string of tunes that didn’t interest me much.

I imagine that, if asked to pick the perfect CCR record, lots of folks would go with “Proud Mary.” Nothing wrong with that one, but something about “Green River” grabbed me the first time I heard that opening guitar riff, and it’s never let me go.

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.

A Baker’s Dozen For Memorial Day 2008

June 29, 2011

Originally posted May 26, 2008

As I keep reading the same things in the newspapers and magazine and on the ’Net, and as I keep hearing and seeing the same things on television and radio as I did a year ago, it seems fitting to present here today the same things I did a year ago.

Maybe next year can be different.

“Requiem for the Masses” by the Association, Warner Bros. single 7074, 1967

“I Ain’t Marchin’ Anymore” by Phil Ochs from Rehearsals For Retirement, 1969

“War” by Edwin Starr, Gordy single 7101, 1970

“Where Have All The Flowers Gone” by Peter, Paul & Mary from Peter, Paul & Mary, 1962

“One Tin Soldier (Legend of Billy Jack)” by Coven, Warner Bros. single 7509, 1971

“Universal Soldier” by Buffy Sainte-Marie from It’s My Way!, 1964

”Masters of War” by Bob Dylan from Freewheelin’ Bob Dylan, 1962

“Give Peace A Chance” by the Plastic Ono Band (John Lennon), Apple single 1809, 1969

“2+2=” by the Bob Seger System from Ramblin’ Gamblin’ Man, 1968

“Handsome Johnny” by Richie Havens from Mixed Bag, 1967

“Bring The Boys Home” by Freda Payne, Invictus single 9092, 1971

“All The Young Women” by the Cuff Links from Tracy, 1970

“Bring ’Em Home” by Bruce Springsteen from We Shall Overcome: The Seeger Sessions (American Land Edition) [live in Detroit, most likely], 2006

As I noted a year ago, times have changed enough since Freda Payne, Peter, Paul & Mary, and the Cuff Links recorded their songs that we now need to bring the girls home, and we need to grieve with all the young men who have lost loved ones. The Springsteen track is a different version than a year ago.

A Baker’s Dozen From 1966, Vol. 2

June 11, 2011

Originally posted January 30, 2008

Every once in a while, it seems, we go through a spasm of interest in UFOs in this country, and maybe throughout the world. I have a suspicion that with the wide reach of the Internet, those with an intense interest in UFOs gather together electronically – as do other groups of people with intense special interests – and so perhaps the general public no longer is as aware of those cyclical spasms of interest and/or activity. I know I don’t see or hear much about UFOs and their supposed occupants in the mainstream media but the few times I’ve dug into websites about the phenomenon, there are plenty of things reported as having happened, some of them quite recent.

I do think it’s cyclical, though. And I recall a local outburst of activity and/or interest in UFOs during the mid-Sixties. About sixty miles west of here is a little town called Long Prairie, a city of about 3,000 people. In 1965, something happened near there that made local radio news, and it might have been reported in the St. Cloud Daily Times although I don’t remember reading about it.

Here’s a summary from one of those UFO websites:

“From several ufological sources, more or less fragmentary, the case of Long Prairie, Minnesota, USA, on October 23, 1965, reportedly occurred as follow.

“The witness was James ‘Jerry’ F. Townsend, a 19 years old devout Christian and debutant radio host on KEYL of Long Prairie, and he was apparently a resident of that town.

“In that evening of October 23, 1965, he was driving in his model 1956 car, on Minnesota State Highway 27, from Little Falls to Long Prairie. He was 4 miles East of Long Prairie, going West, in the hilly landscape and had just looked at his watch and noted it was approximately 07:15 p.m.

“At that moment he arrived in a curve in the road, he said, when he saw an upright rocket-like object, silver colored, metallic looking, about 30 or 40 feet high and about 10 feet in diameter, blocking on the road, resting on the tips of three legs or fins.

“At that moment, his car engine stalled, the lights and radio went out, and he slammed on the brakes and the car skidded to a stop at only 20 feet in front of the object.

“His first thought was then to knock the object over with the car so he could have some evidence, but the engine was stalled. He tried to make it start again, but the choke did not respond. So he got out of the car with the idea of trying to push the object over by hand.

“He walked just past the level of the hood of the car, but did not go further, stopped short, fascinated by a quite stunning sight: he saw three small ‘creatures’ emerge from behind the object and line up at the front.

“Those creatures were in the shape of beer cans. They measured 6 inches tall, were of dark or brownish color, and were ‘walking’ awkardly on two ‘legs’ or ‘fins’. Whenever they stopped, a third ‘leg’ came down from their back and provided stability. They looked like tin cans on tripods. They also had three arms, ‘matchstick like’.

“Townsend saw no eyes, but he stood there staring at them and was convinced that they were watching him too. He did not [want] to approach more, and gave up the idea of rocking the ship down as something quite risky. There was no sound, just dead silence, and it seemed like ages to him, although he later evaluated the duration as some 3 minutes.

“Eventually, the little creature [sic] went up into the bright, ‘colorless’ light glowing out of the bottom of the ‘rocket’, and possibly up into the craft. A few seconds later, there was a loud hum, and the craft took off, reached a height he cautiously estimated as 400 meters up, where the light on the bottom went out, while his car radio, headlights and engine started without him touching the starter.

“He checked the ground where the craft had been, found no trace, and, his hearts [sic] pounding and his legs ‘like rubber’, he drove fast to the Todd County Sherif’s [sic] office, where he reported the events.

“Townsend said the Sheriff checked the site and found no trace. However, some sort of trace was reported, maybe found at a later check in daylight. From ufology sources, it appeared that Sheriff Bain and police officer Lavern Lubitz found three parallel strips of an oil-like substance, about four inches apart and a yard long, on the surface of the road. Sheriff Bain told reporters later: ‘I don’t know what they were, but I’ve looked at a lot of roads and never saw anything like them before.’

“Ufologist Coral Lorenzen heard by phone that Townsend had a good reputation, was not a drinker, and that he had been visibly frightened when he reported his experience. Reportedly, teachers and friends of Townsend were interrogated, and said he has a reputation for honesty.”

That’s a longer quote than I had planned to use, but I find the report fascinating (although I have no idea what a “debutant radio host” is). Maybe I’m fascinated because I remember the ruckus the account created back in 1965. I don’t know how adults reacted to it, but opinion was mixed among the kids. Many of my contemporaries said flat out – without knowing much more than bare bones – that the fellow had to have been drunk and seeing things. Me? I wondered. Even at the age of twelve, I knew that there were lots of things we did not know. Aliens from another planet, another dimension? Maybe.

It was about that time – maybe a year later, but in autumn – that St. Cloud residents for a few nights in a row called the local police and reported odd lights in the sky, moving in clusters but in no specific pattern. This one did make the local paper. And a few days later, a local teen explained.

He’d taken drinking straws, he said, and constructed a framework – a rough wheel with spokes – the same diameter as a dry cleaner’s plastic bag. He’d put the framework into the opening of the bag and secured it, then secured candles onto the straws that served as spokes. He’d light the candles and hold the bag up so it would not burn, and eventually, the hot air from the candles would lift the bag off the ground and send it on its way through the evening sky.

How cool was that! For the next two weeks or so, St. Cloud was home to many odd wandering lights every night as multitudes of kids went out and bought plastic straws and candles and cadged dry cleaner’s bags somewhere. Eventually, the fascination faded as the weather got cooler, and any wandering lights in the St. Cloud sky came from something other than juveniles and their evening science projects.

Not all that long after those events, most likely in the spring of 1968 (it could have been the previous autumn, but the trees were green and I seem to recall that they were budding), I got a ride to school from my mom one morning. As she turned off of what was then Tenth Street South (now University Drive) to head to South Junior High School, I saw something through the windshield as it passed over us and continued to go south, the direction we were heading. I saw it for maybe five seconds, and all I can say is I don’t know what it was. It was silver, and it had the classic saucer shape with a dome on it. In those brief seconds, it flashed toward the school and over it, low enough that the school building blocked it from my sight in, as I said, maybe five seconds.

Troubled, I got out of the car and headed into the school. One of my friends, Jerry, was at his locker, two down from mine. I opened my locker and put my books inside, then turned to Jerry. “Have you ever seen a UFO?” I asked him.

He turned to me, and the look on his face echoed how I felt. “Yeah,” he said. “About five minutes ago. It was over the Dairy Queen, heading this direction.”

There was never anything in the paper about it, and I still wonder what it was that Jerry and I saw.

And this all came to mind this morning when the first song of today’s Baker’s Dozen popped up.

A Baker’s Dozen from 1966
“Mr. Spaceman” by the Byrds, Columbia single 43766

“You Ain’t Tuff” by the Uniques, Paula single 2315

“Strange Young Girls” by the Mamas & the Papas from The Mamas & the Papas

“Shake Your Hips” by Slim Harpo, Excello single 2278

“Big Mama’s Bumble Bee Blues” by Big Mama Thornton with the Muddy Waters Blues Band, unreleased until 1986

“Run For Cover” by the Dells, Cadet single 5551

“Love Attack” by James Carr, Goldwax single 309

“One Of Us Must Know (Sooner Or Later)” by Bob Dylan from Blonde On Blonde

“Good Vibrations” by the Beach Boys, Capitol single 5676

“.44 Blues” by the Rising Sons, unreleased until 1992

“Strangers In The Night” by Frank Sinatra, Reprise single 0470

“Along Comes Mary” by the Association, Valiant single 741

“Solitary Man” by Neil Diamond, Bang single 519

A few notes:

The Uniques were fronted by country star-to-be Joe Stampley, and, according to All-Music Guide, recorded some nice blue-eyed soul and Southern pop-rock, which makes “You Ain’t Tuff” – a garage-rocker – an anomaly in the group’s catalog. I found “You Ain’t Tuff” on one of the Nuggets compilations, where it fits quite nicely.

“Strange Young Girls” has intrigued me since I first heard it long ago. Among other things, it provides clear evidence that John Phillips and producer Lou Adler weren’t in the habit of working hard on the singles and giving less attention to the album tracks. It’s a beautiful yet haunting meditation on, as AMG says, “Sunset Strip street life, teenyboppers, and LSD.”

When you listen to “Shake Your Hips” – or any Slim Harpo record, for that matter – you hear one of the many influences that wound up making the Rolling Stones who they are. In this case, it’s more direct, as the Stones would up covering “Shake Your Hips” on 1972’s Exile on Main Street.

I mentioned the Bob Dylan recording, “One Of Us Must Know (Sooner Or Later),” in my comments some time back on songs with indelible introductions. More than thirty years after first hearing the song – I came to it late, in 1973 – I still get a little bit of that charge every time I hear it start. The credits at AMG for the album, Blonde on Blonde, list several more people than do the minimal liner notes on the CD I have. Based on the AMG list of keyboard players, I’d guess that the organist is The Band’s Garth Hudson. The piano? I’d guess Richard Manuel, also from The Band, but that’s iffier. Neither one is mentioned in the sketchy notes that accompany the CD, and based on those notes, I’d say it’s Al Kooper on organ and Pig Robbins on piano. Does anyone know for sure?

I guess “Good Vibrations” is an accurate representation of the Beach Boys circa 1966. It’s a nice piece of studio craft, but for some reason, I’ve never liked it very much. I would much rather have seen “Wouldn’t It Be Nice” pop up as the Beach Boys’ entry on this list.

The Rising Sons was an example of a great group in the wrong place at the wrong time. Featuring Taj Mahal and Ry Cooder, the group had a single released – it went nowhere – before breaking up in 1966. But the group did manage to record more than an album’s worth of material, twenty-two tracks that were finally released in 1992. It’s fun stuff and great music.

Graffiti supposedly seen in the London Underground:

“To do is to be” – Descartes

“To be is to do” – Voltaire

“Do be do be do” – Frank Sinatra

A Baker’s Dozen For Memorial Day

April 22, 2011

Originally posted May 28, 2007

There’s not a lot to say today. I think these songs speak for themselves.

“Requiem for the Masses” by the Association, Warner Bros. single 7074, 1967

“I Ain’t Marchin’ Anymore” by Phil Ochs from Rehearsals For Retirement, 1969

“War” by Edwin Starr, Gordy single 7101, 1970

“Where Have All The Flowers Gone?” by Peter, Paul & Mary from Peter, Paul & Mary, 1962

“One Tin Soldier” by Coven, Warner Bros. single 7509, 1971

“Universal Soldier” by Buffy Sainte-Marie from It’s My Way!, 1964

“Masters of War” by Bob Dylan from Freewheelin’ Bob Dylan, 1962

“Give Peace A Chance” by John Lennon, Apple single 1809, 1970

“2+2=” by the Bob Seger System from Ramblin’ Gamblin’ Man, 1968

“Handsome Johnny” by Richie Havens from Mixed Bag, 1967

“Bring The Boys Home” by Freda Payne, Invictus single 9092, 1971

“All The Young Women” by the Cuff Links from Tracy, 1970

“Bring ’Em Home” by Bruce Springsteen & the Seeger Sessions Band, Late Night With Conan O’Brien, June 23, 2006

(I should note that times have changed enough since Freda Payne, Peter, Paul & Mary, and the Cuff Links recorded their songs that we now need to bring the girls home, and we need to grieve with all the young men who have lost loved ones.)