Posts Tagged ‘Lou Rawls’

It’s Too Good Not To Be True

January 4, 2012

Originally posted February 17, 2009

Legend has it that one day in 1966, the members of the Buffalo Springfield met with the A&R (Artists & Repertoire) man from Atco, the group’s record label, to go over songs for the group’s first album.

For some time, the story goes, the man from Atco listened as Stephen Stills and Neil Young – and maybe Richie Furay, whose songs showed up on later Springfield albums but not on the first – shared their tunes with the A&R man and each other. As the meeting neared its end, the man from Atco asked if any of the musicians had anything else.

“I got one more,” said Stills, “for what it’s worth.” And he took up his guitar and began to sing the now-familiar words, “There’s something happening here. What it is ain’t exactly clear . . .”

And that, children, is how “For What It’s Worth” got its title. I can’t vouch for the fact of the story, but, to me, it’s one of those stories that’s so right that it almost doesn’t matter if it’s true or not. Legend drives out fact just as surely as bad money drives out good.*

The only other bit of history I’ve read about “For What It’s Worth” is that Atco scrambled to put the track on the Springfield’s first album after it became a hit single. If that’s the case, then there should be copies of the album out there without “For What It’s Worth,” as the album was released in 1966 and the single didn’t hit the Top 40 until February 1967. My copy of the first album has “For What It’s Worth” as the first track on Side One, but then, I bought that LP long after 1966. Does anyone out there know? Was there a version of Buffalo Springfield without “For What It’s Worth”?

Whatever the truth, “For What It’s Worth” was the group’s only hit, reaching No. 7 during an eleven-week stay in the Top 40, and pulling the Buffalo Springfield out of the running for the title of Best Group Ever Without A Top Ten Single. (My nomination for the title? The Band, whose best-performing single, “Up On Cripple Creek,” went to No. 25.)

There are 309 CDs in the listings at All-Music Guide that include a track titled “For What It’s Worth.” A number of those – maybe a quarter – are not the Stills tune. Take away the multiple listings for the Buffalo Springfield’s recording, and there are about two hundred covers. Some of the interesting names in the list are: Bonnie Bramlett, Cher (on her 1969 album 3614 Jackson Highway), Aynsley Dunbar, Bill Evans, Keb’ Mo’, King Curtis, Miriam Makeba, Melanie, the Muppets, Willie Nelson, Jeffrey Osborne, Ozzy Osbourne and Rush. Not on AMG’s list is the gospel choral group, the Voices Of East Harlem, whose 1970 version of the song is remarkable.

I’ve pulled three versions to share today, by Lou Rawls, Sergio Mendes and Brasil ’66 and the Staple Singers. I’m not sure Rawls’ style fits the song very well, but the other two versions are good listens.

“For What It’s Worth” by Lou Rawls from Feelin’ Good, 1968

“For What It’s Worth” by Sergio Mendes & Brasil ’66 from Stillness, 1971

“For What It’s Worth” by the Staple Singers, Epic 10220, 1967

*That little epigram about money is called “Gresham’s Law,” and remembering it today means that I did learn something in economics class all those years ago.

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.