Posts Tagged ‘Cream’

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.

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A Baker’s Dozen From 1967, Vol. 2

June 6, 2011

Originally posted January 23, 2008

Some quotations from 1967:

“There [in Haight-Ashbury], in a daily street-fair atmosphere, upwards of 15,000 unbonded girls and boys interact in a tribal love-seeking, free-winging, acid-based society, where if you are a hippie and you have a dime, you can put it in a parking meter and lie down in the street for an hour’s sunshine.” – Warren Hinckle, Social History of the Hippies

“‘An investigation into Sex’ is now offered at Dartmouth. ‘Analogues to the LSD Experience’ can now be studied at Penn. ‘Guerilla Warfare’ is being examined by DePauw students. Stanford undergraduates are studying ‘American Youth in Revolt,’ and ‘The Origins and Meaning of Black Power’ is a course at Brooklyn College. Has higher education finally caught up with the times?” – Ralph Keyes, “The Free Universities”

“Victory is just around the corner [in Vietnam].” – National Security Adviser Walt Rostow

“I don’t have no personal quarrel with those Viet Congs” – Muhammad Ali

“I have tried to show that contemporary society is a repressive society in all its aspects, that even the comfort and the prosperity, the alleged political and moral freedom, are utilized for repressive ends.” – Herbert Marcuse

I turned fourteen that year. I wasn’t reading Marcuse nor was I worrying one way or another about the current courses in college catalogs. I was aware of the war in Vietnam, but only as something far away that was on the news more nights than not and in the papers almost every day. I knew that the war was out there, like thunder beyond the horizon, and I thought that maybe it was wrong, but it hadn’t touched me yet.

I did think about the hippies, having seen some coverage on the television news and having read about them in the daily papers and in Time magazine. It looked like they were having fun, I thought. I would not have minded running through the grass with some sweet flower child. Small chance of that, though: I was horribly awkward in my dealings with that strange tribe called girls.

Let’s see . . . I went to band camp that summer at Bemidji State College, in the northern part of the state. My dad let my hair grow out a little, and I grew a few inches and slimmed down some, changing enough that at least a couple people didn’t recognize me when ninth grade started in the fall. The most painful episode of the year was having my tonsils out after a long series of sore throats, the last of which came in late January.

When I stayed home ill, I would take the brown radio from the kitchen and put it on my bedside table. I’d listen to news and such on WCCO and occasionally tune the radio to KDWB and listen to that for a while, even though Top 40 radio was not yet the place where my soul lived. So what did I hear that January during that final bout of tonsilitis?

Here are a few listings pulled from the KDWB “Big 6 Plus 30” for the week of January 21, 1967. The top five was:

“I’m A Believer” by the Monkees
“Snoopy vs. the Red Baron” by the Royal Guardsmen
“Words of Love” by the Mamas & the Papas
“Coming Home Soldier” by Bobby Vinton
“Tell It Like It Is” by Aaron Neville

A few other stops along the way were:

No. 10: “We Ain’t Got Nothin’ Yet” by the Blues Magoos
No. 15: “Sugar Town” by Nancy Sinatra
No. 20: “Tell It To The Rain” by the Four Seasons
No. 25: “Whispers” by Jackie Wilson
No. 30: “Standing in the Shadows of Love” by the Four Tops
No. 36: “Ballad of Water Wart” by Thorndike Pickledish Choir

I’d never seen this list before, and my jaw remains agape as I write this, looking at that No. 36 song. I’d never heard of it before. Whatever it is, it was in its fifth week on the KDWB survey, having gone as high as No. 21. It might have been a regional hit, as it’s not listed in the Billboard Book of Top 40 Hits.

A quick Googling finds that KDWB’s list has the title misspelled; it should be “The Ballad of Walter Wart,” although a 2006 posting on the website of WFMU, the free-form station in New Jersey, notes that the label on its copy of the 45 is misspelled, too. From what I can tell it was a novelty record that didn’t quite make the Top 100 nationally. I wonder why it did so well on KDWB? It never showed up on the weekly surveys at WDGY, the Twin Cities’ other Top 40 station.

Well, let’s Google on: It turns out that the creator of the record, whose real name is Robert O. Smith, has a blog of his own: All Hail Thorndike Pickledish !! There’s an mp3 of the two sides of the single there. Odd, indeed.*

Anyway, that’s what radio sounded like, for the most part, as I sat in bed with a sore throat forty-one years ago. And here’s what 1967 sounds like when I start the RealPlayer these days:

A Baker’s Dozen from 1967, Vol. 2
“Eight Men, Four Women” by O. V. Wright, Backbeat single 580

“Strawberry Fields Forever” by the Beatles from Magical Mystery Tour

“Ups & Downs” by Paul Revere & the Raiders, Columbia single 44018

“Landslide” by Tony Clark, Chess single 1979

“Everybody’s Wrong” by Buffalo Springfield from Buffalo Springfield

“Ye Old Toffee Shop” by the Hollies from Evolution

“I Second That Emotion” by Smokey Robinson & the Miracles, Tamla single 54159

“Bessie Smith” by The Band from The Basement Tapes

“Blue Condition” by Cream from Disraeli Gears

“Hip Hug-Her” by Booker T & the MG’s, Stax single 211

“Twentieth Century Fox” by the Doors from The Doors

“San Francisco Bay Blues” by Richie Havens from Mixed Bag

“Break It Up” by Julie Driscoll & Brian Auger from Open

A few notes:

O.V. Wright came out of the gospel music circuit before going secular in the mid-1960s, eventually ending up in the 1970s with Willie Mitchell at Hi Records in Memphis. That’s probably where Wright did his best work, but his mid-1960s singles for Backbeat – “Eight Men, Four Women” is the most atmospheric – are worth seeking out.

I’ve seen numerous comments from historians and critics and others of similar background who state that the Beatles’ single “Strawberry Fields Forever”/“Penny Lane” is the best double-sided single in the history of rock. It’s a good one, no doubt, but the best? The record was a harbinger of what was to come that summer when Sergeant Pepper’s Lonely Hearts Club Band was released, and it sounded unlike anything we’d ever heard before. With the passage of time, however, the two singles suffer at least a little from the “throw in everything including the kitchen sink” production style that seemed so novel and revolutionary in 1967. And I can think of four other double-sided singles the Beatles themselves released that have more staying power than “Strawberry Fields Forever”/“Penny Lane.” Those would be “Come Together”/“Something,” “Hey Jude”/“Revolution,” “Paperback Writer”/“Rain” and – way back near the start – “I Want To Hold Your Hand”/“I Saw Her Standing There.”

The Hollies track is the most frothy and least consequential song from the Evolution album, which I think was the Hollies’ attempt to make something significant out of their version of psychedelic folk-pop. It’s not an awful album, and it has one good single (“Carrie-Anne”), but it’s not nearly as important as it is odd. The Hollies, in one critical way, remind me of the Grass Roots and Neil Diamond, among many others, in that they recorded good singles – sometimes even verging on great – but got lost when they tried to be significant. The middle section of “Ye Old Toffee Shop” reminds me of the single from the year before: “Pied Piper” by Crispian St. Peters.

On the other hand, great singles were Smokey Robinson’s business, and he knew it and stayed with it. “I Second That Emotion” might be his masterpiece – “Maybe you wanna give me kisses sweet, but only for one night with no repeat,” indeed! – but even if it’s not (I do lean toward “Tears of a Clown”), it’s a great single from the writing all the way through the production and the performance.

Most performers, when taking on Jesse Fuller’s “San Francisco Bay Blues” keep it up-tempo, an approach that likely started with Fuller himself (based on a listen to his performance of the song at the Newport Folk Festival in 1964). But Havens – as he often does – goes against type here, making the song more contemplative and measured, allowing the listener to take in the tale.

*Sadly, a check on the first page of All Hail Thorndike Pickledish !! reveals that Robert O. Smith, creator of Walter Wart, crossed over in 2010. The blog is still there, but the link to the Walter Wart mp3s no longer works. Note added June 6, 2011.