‘Who’

After a couple of previews six months ago, we finally get around to beginning the project called Journalism 101. Today, we’ll be sorting the 95,000 tracks in the RealPlayer for titles that contain the word “who,” the first of the five W’s of reporting. (I doubt this needs stating, but those W’s are who, what, when, where, and why. And we’ll include “how” in the project as well.)

That sorting brings us 740 tracks, twenty-six more than we found when we announced the idea back in February. As is usual when we do these types of searches, many of the tracks aren’t suitable for our purposes. Tracks from the Who, the Guess Who, a late Seventies group called 100% Whole Wheat, the novelty project Dylan Hears A Who, and more go by the wayside, as do some albums, including Kate Rusby’s 2005 effort The Girl Who Couldn’t Fly and the Warner Brothers loss leader from 1972, The Whole Burbank Catalog. We also have to discard eighty-one tracks with the word “who’s” in the title and four tracks with titles that carry the word “whoever” (I thought there’d be more). But we still have enough to find four worthy titles.

Given the alphabetical nature of the player’s search, the first track that shows up is “Who To Believe” by the Allman Brothers Band. It’s from the 2003 album, Hittin’ The Note, which turned out to be the group’s last studio release. It’s also the first album not to include guitarist Dicky Betts (and the first to include guitarist Derek Trucks). I’ve had the CD since not long after it came out, but I’ve not listened to it very often, which is too bad. Many of the pieces I’ve read since the recent death of Gregg Allman said that Hittin’ The Note was good work, and “Who To Believe” sounds very much as if it could have been recorded in 1970.

The digital shelves here hold six versions of “Who Will The Next Fool Be,” ranging from the original 1961 release by Charlie Rich (who wrote the song) to versions from 1975 by the Amazing Rhythm Aces and from 2003 by Janiva Magness. Those are only a taste of the number of times that very good song has been recorded, of course. The website Second Hand Songs lists forty-five versions (though there are likely more), with the most recent being a 2013 take on the song by jazz singer Tina Ferris. And though the bluesy versions by Bland and Magness call to me this morning, I think I’ll stick with the song’s country roots and offer Rich’s original version.

Then we come to the melodramatic “I (Who Have Nothing),” which comes up twice in our listings: the 1963 version by Ben E. King and a 1972 cover by Roberta Flack and Donny Hathaway. King’s release was the first English recording of the song, and it went to No. 29 on the Billboard Hot 100, to No. 16 in the magazine’s R&B chart, and to No. 10 on what is now called the Adult Contemporary chart. Based on the information at Second Hand Songs, the tune was first recorded in Italian in 1961 by Joe Sentieri; the English lyrics are credited to songwriters Jerry Leiber and Mike Stoller. I’m a little surprised that I don’t have more versions of the tune in the stacks, especially the 1970 version by Tom Jones, which went to No. 14 on the Hot 100 (as well as to No. 2 on the AC chart). I could go wandering for other versions as well, but we’ll stick with King’s version of “I (Who Have Nothing)” this morning.

And what would a trek through the digital shelves here be without some 1960s easy listening combined with a theme from a spy movie? I have four versions on the shelves of the theme from The Spy Who Came In From The Cold, the 1965 movie based on the novel by John le Carré. I think I saw the movie when it came out. (That would have been on one of those Saturday nights out with my dad that remain a bit puzzling, as I wrote a few years ago.) Oddly, Sol Kaplan’s moody soundtrack is not on the shelves here, an absence that needs to be corrected. But the four versions I have of the disquieting theme are all pretty good (with that assessment coming, of course, from one who loves spy themes and mid-1960s easy listening), with the sources being the well-known trio of Billy Strange, Roland Shaw and Hugo Montenegro as well as the blandly named Jazz All-Stars. That last is a group of what I assume was studio musicians; they’re identified at Discogs as Bobby Crowe, Ernie Royal, J.J. Johnson, Joe Newman, Johnny Knapp, Larry Charles, Milt Hinton, Mundell Lowe and Sy Saltzberg, though I do not think all of those men played on the version of the theme I have. That version was included on Thunderball & Other Secret Agent Themes, a 1965 album on the Design label that came to me during my James Bond obsession.

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