Posts Tagged ‘Major Harris’

A Baker’s Dozen On Atlantic

April 23, 2011

Originally posted June 25, 2007

I had an album ripped and ready to go this morning, but as I was researching it, I learned that it is no longer out of print; it’s been re-released on CD. That’s a boundary I try to keep, not posting entire albums that are in print, so I ditched the rip I had planned.

Then I sat there and looked at the pile of albums I have in my “To Rip” pile. I sneezed a few times, as there is some kind of pollen roaming around right now that does not like me. I looked at my list of household chores waiting for me. And I decided I’d move my Baker’s Dozen from Wednesday to today and let Wednesday worry about itself when we get there.

So, without any back story or anything else, here’s something I’ve been thinking about for a while: A random Baker’s Dozen of singles on the Atlantic label. If I had more energy, I’d write about the Atlantic label, but I really don’t think I need to go into detail about the influence and importance of the label to American popular music. If you’re unfamiliar with the label and its history, there are any number of useful anthologies available with pretty good liner notes. (A note: In my filing system, if I have an entire album in the RealPlayer, then all songs from that album are listed under the album name, even those that were released as singles. So some favorites won’t have a chance to pop up.)

So let’s see what we get:

“It Tears Me Up” by Percy Sledge, Atlantic 2358, 1966

“Mama Told Me Not To Come” by Wilson Pickett, Atlantic 2909, 1972

“The Lion Sleeps Tonight” by Robert John, Atlantic 2846, 1972

“Since I Met You, Baby” by Ivory Joe Hunter, Atlantic 1111, 1956

“Whatcha Gonna Do” by Clyde McPhatter and the Drifters, Atlantic 1055, 1955

“I Don’t Care Anymore” by Phil Collins, Atlantic 89877, 1983

“Love Won’t Let Me Wait” by Major Harris, Atlantic 3248, 1975

“Too Weak To Fight” by Clarence Carter, Atlantic 2569, 1969

“You’ll Never Change” by Bettye LaVette, Atlantic 2198, 1962

“Drown In My Own Tears” by Ray Charles, Atlantic 1085, 1956

“A Beautiful Morning” by the Rascals, Atlantic 2493, 1968

“Dancing Queen” by ABBA, Atlantic 3372, 1977

“See Saw” by Aretha Frankilin, Atlantic 2574, 1968

A few notes on the songs:

One surprise here is Wilson Pickett’s version of “Mama Told Me Not To Come,” the Randy Newman tune that Three Dog Night took to No. 1 in 1970, two years before Pickett recorded it. It seems an odd choice for Pickett, but keep in mind that he also recorded “Hey Jude” not long after the Beatles released it and nailed it.

Robert John’s version of “The Lion Sleeps Tonight” pales when compared to the Tokens’ 1961 version, which was itself a revision of a recording by the early folk group the Weavers. The Weavers, in turn, had gotten the song from a recording by African Artist Miriam Makeba. The song’s origins, according to Dave Marsh in The Heart of Rock and Soul, date to the 1930s, and the chain from Makeba to Robert John is a modern version of the way folk music used to evolve from region to region and from era to era.

“Love Won’t Let Me Wait,” the Major Harris tune with its racy-for-the-times cooing and moaning ran here a while back in a Baker’s Dozen from 1975. But it’s too much fun not to run it again.

I won’t say it was the first time I ever heard the recording, but the first time I really paid any attention to Ivory Joe Hunter’s “Since I Met You, Baby” was when I heard it in the soundtrack to the 1987 movie The Big Town. Set in a mythical late 1950s, the movie – starring Matt Dillon and Diane Lane – is a noir-ish tale of a young gambler come to the big city with all its perils. The soundtrack, which featured Bobby Darin, Johnny Cash, the Drifters, Little Willie John and a few others Fifties artists, was superb.

ABBA’s music is often derided as “just pop.” Well, it may be pop, but it’s great pop, and there are few moments in 1970s music as recognizable as the gorgeous piano glissando that kicks off “Dancing Queen”!

A Baker’s Dozen From 1975

April 18, 2011

Orginally posted April 4, 2007

I came across the soundtrack to the movie Dazed and Confused the other day, and Texas Gal poked her head into the room as I was listening to the Edgar Winter Group’s “Free Ride.”

“I can’t tell you how many times I heard that at the roller rink,” she said with a grin. “See, this is the stuff you should be posting!” And she stood there listening, as I previewed some of the rest of the soundtrack: “No More Mister Nice Guy,” by Alice Cooper, “Balinese” by ZZ Top and “Lord Have Mercy On My Soul” by Black Oak Arkansas all got approving nods, but her largest smile came when she heard Head East and “Never Been Any Reason.”

I smiled, too. Not long after we met in early 2000, Texas Gal told me of her long-standing affection for the Head East anthem. Oddly enough, I’d never heard it, but then, I’d never spent much time listening to arena rock; for the most part, that was a genre of music that left me cold, although I did like Boston’s first album. But I let most arena rock pass me by, content in the middle of the 1970s with the Allman Brothers Band, Fleetwood Mac, Boz Scaggs and things a little less raucous than Head East and their brethren.

Texas Gal moved to Minnesota later in 2000, and not long after her move, I surprised her with a vinyl copy of Head East’s Flat As A Pancake, the home of “Never Been Any Reason.” It was a decent anthem, I acknowledged, if not to my exact taste. For her, she told me, it was a memory of some of the misspent moments of her younger days.

So when I played “Never Been Any Reason” for her last weekend as I sampled the Dazed and Confused soundtrack, she asked why I didn’t post it or use it as the start of a Baker’s Dozen. I told her I certainly could, as long as it didn’t come from 1976, as I recently posted a sampler from that year. I checked it out, and Flat As A Pancake was released in 1975.

So here is a Baker’s Dozen from that year, starting with a tune for my Texas Gal:

“Never Been Any Reason” by Head East from Flat As A Pancake

“A Day To Myself” by Clifford T. Ward from Escalator

“Marcy’s Song (She’s Just a Picture)” by Jackson Frank, unreleased session

“Reasons” by Earth, Wind & Fire from That’s The Way Of The World

“Nights Winters Years” by Justin Hayward & John Lodge from Bluejays

“Union Man” by the Cate Brothers from Cate Brothers

“You Don’t Know My Mind” by Tony Rice from California Autumn

“She’s The One” by Bruce Springsteen from Born To Run

“Somewhere In The Night” by Helen Reddy, Capitol single 4192

“Night Game” by Paul Simon from Still Crazy After All These Years

“Aviation Man” by Tim Moore from Tim Moore

“Pegasus” by the Allman Brothers Band from Enlightened Rogues*

“Love Won’t Let Me Wait” by Major Harris, Atlantic single 3248

Some things of note: the late Clifford T. Ward was one of Britain’s finest and – on this side of the Atlantic, anyway – least known singer-songwriters. Quiet, tasteful and thoughtful, his music can entrance. The same can be said for American Tim Moore, whose self-titled album from this year of 1975 should have been a massive hit. That it wasn’t is more our loss than his.

More tragic is the tale of the late Jackson C. Frank, whose single album, Blues Run The Game, came out in 1965.

And then there’s Major Harris and “Love Won’t Let Me Wait,” with its background of some lovely lady cooing and moaning. It was quite the sensation in its time.

*Enlightened Rogues is, of course, from 1979. Somehow, “Pegasus” was mistagged. Stuff happens.

We’re Twenty-Six Days Into Summer

July 16, 2010

The summer’s been quiet so far. The Texas Gal has had a break from her studies for the last three weeks, so she’s been focused on those things she does not get to do while school is in session, quilting chief among them. And we’ve spent a few more evenings sitting out on the little concrete patio this year than we managed to do in the first portion of the season last year.

We’ve been more active in the garden this year, as it’s demanded more of our attention. That’s good. If the garden needs work, then the plants are growing. So far, we’ve pulled from the garden four zucchini, about two quarts of broccoli cuttings, maybe three quarts of wax beans, more butterhead lettuce than we could eat and enough peas for a side dish with dinner the other evening. All of those plants except the peas will continue to produce, and we are hopeful about the cucumbers, green beans, carrots and our second try at radishes. And when the tomatoes begin to ripen, we will have more of that red fruit than we will know what to do with.

Then there’s my own eccentric project: eggplant. Four of the plants seem to be thriving, and each of those has at least one of the purplish fruits that will sometime late this summer become participants in my attempts at ratatouille and mousakka. So things will get busier yet in the garden. Along the way, we’ll have to make certain our low fence is maintained, as we’ve both seen a small rabbit in the area; as cute as he is, he needs to learn that there truly is no such thing as a free lunch.

The summer will soon become busier for us beyond the garden fence as well. Our kitchen whiteboard lists several events – friends’ visits, a trip to the Twin Cities, a backyard barbecue – that will begin to fill the summer weekends remaining. And even though the Texas Gal’s coursework resumes Sunday evening, I think we’ll still find numerous evenings when we spend an hour or so on the patio, sipping a beverage and listening to the evening going on around us: the cars whirring by on Lincoln Avenue at the bottom of the driveway, the shouts of neighborhood kids at play, the chatter of a squirrel scolding us because we’re sitting near the flowerpot where he and his kind have lately begun to dig in the dirt, and sometimes, the sound of popular music carried on the wind from a not-too-distant radio.

Sitting quietly and listening to the evening is something my friends and I did at times during summers past, and if the music we heard on the air was different, the rest was pretty much the same on Kilian Boulevard as it is these days on Lincoln Avenue. And as today, July 16, is the twenty-sixth day of summer this year, I thought I’d dig into the charts and find a Six-Pack of records that were ranked at No. 26 on July 16 during some of the years this blog generally covers:

In 1960, the Skyliners’ “Pennies From Heaven” was at No. 26 on its way to No. 24. The song was the third and final Top 40 hit for the doo-wop quartet from Pittsburgh.

In 1965, the twenty-sixth spot on the chart on July 16 was occupied by the Dave Clark Five’s cover of a 1961 hit by Chris Kenner. Kenner’s version of “I Like It Like That” had reached No. 2; the cover by the Dave Clark Five peaked three weeks later at No. 7.

In the third week of July 1970, the No. 26 record was “Ohio” by Crosby, Stills, Nash & Young. We’ll skip past that one, as we only share that record on May 4.

At this time in July 1975, the slightly scandalous – to some, anyway – “Love Won’t Let Me Wait” by Major Harris held down spot No. 26 with passionate coos and moans along with a slick R&B melody. The record, Harris’ only Top 40 hit, had peaked earlier, spending three weeks at No. 5 in late June and early July; the record also spent one week atop the R&B chart.

In mid-July of 1980, Mickey Gilley’s cover of Ben E. King’s classic, “Stand By Me,” was at No. 26. The record, from the soundtrack of the movie Urban Cowboy, would spend the first three weeks of August at No. 22 before falling back down the chart.

In 1985, the No. 26 record in mid-July was Madonna’s sixth Top 40 hit, “Angel,” which had peaked at No. 5 three weeks earlier.

And we’ll close this exercise with a look at 1990: The No. 26 record in mid-July that year was “Jerk Out” by the Time, which would spend the last week of August and the first week of September at No. 9. I couldn’t find a working video of the single edit, but here’s the track from the album Pandemonium.

And we’ll see you tomorrow with a Saturday Single.