Posts Tagged ‘Freddie King’

A Bunch Of ‘Sorry’ Songs

Thursday, April 24th, 2014

The Texas Gal and I have a friend who’s been looking for a used printer, and I told that friend Sunday that I’d send her the phone number and email address of Dale the Computer Guy down on Wilson Avenue.

I forgot.

I sent the info yesterday in an apologetic email, and this morning, I got back a kind email saying my delay was not a problem. But it got me to wondering how many recordings among the 75,000 currently logged into the RealPlayer have the word “sorry” in their titles.

I was surprised. There are only thirty-eight such recordings (and one album: the Gin Blossoms’ 1996 effort Congratulations I’m Sorry). Those recordings span the years, however, starting with the 1935 single “Who’s Sorry Now” by Milton Brown & His Musical Brownies and ending with a 2013 version of the same song recorded by Karen Elson for the HBO show Boardwalk Empire.

Here’s the western swing version from Milton Brown & His Musical Brownies:

It’s worth noting that “Who’s Sorry Now” seems to be a pretty sturdy song. Written by Ted Snyder, Bert Kalmar and Harry Ruby, it was first recorded in 1923 by a number of folks including Isham Jones (whom we met here last autumn when we were listening to versions of “I’ll See You In My Dreams”), and according to the information at SecondHand Songs, it’s been recorded several times in every decade since then except the 1930s (and I’ll bet there are recordings from that decade that have not yet been listed at the website). The most recent version noted there before Elson’s 1920s-styled take on the tune is one from Mary Byrne, a 2010 contestant in the United Kingdom’s version of the singing contest, The X Factor.

But what else did we find when searching for “sorry”? Well, the second-oldest recording stashed here in the EITW studios with “sorry” in its title is from 1951, when Johnny Bond saw his “Sick, Sober & Sorry” go to No. 7 on the Billboard country chart. And the second most-recent is from quirky singer-songwriter Feist, whose “I’m Sorry” was released on her 2007 album, The Reminder.

Looking chronologically, and picking one track from each decade from the 1950s on, we find some gems: “I’m Sorry” by the Platters went to No. 11 on the Billboard jukebox chart and to No. 15 on the R&B chart in 1957. (And yes, we doubled up on the 1950s, considering we’d hit the Johnny Bond record, but it’s worth it for the Platters.) From 1962, we find “Someday After Awhile (You’ll Be Sorry)” by bluesman Freddy King (a departure from his normal “Freddie” spelling).

In the 1970s, we find the funky “Both Sorry Over Nothin’” from Tower of Power’s 1973 self-titled album. The pickings in the files from the 1980s are pretty slender, so we’ll skip over one track each by the Moody Blues and the Hothouse Flowers and head to the 1990s. And that’s where we find the atmospheric “Not Sorry” by the Cranberries from their 1993 album, Everybody Else Is Doing It, So Why Can’t We?

And we have one more stop with “sorry,” heading back to 1968 and the regrets expressed by the HAL 9000 computer in the film 2001: A Space Odyssey.

The Third King Of The Blues

Tuesday, February 12th, 2013

When it comes to the three Kings of the blues – B.B., Albert and Freddie – my database runs the gamut. I know a fair amount about B.B. King, I have a decent acquaintance with Albert King, and until this week, I’ve known almost nothing about Freddie King.

Even though I’ve had a few tracks in the mp3 player for a few years, and even though I’ve got an LP of the best of his work in the early 1960s for the Cincinnati-based Federal label, I’ve never paid much attention to Freddie King. But a few weeks ago, as I poked around the CD stacks in the St. Cloud public library (to be precise, it’s the St. Cloud branch of the Great River Regional Library system), I came across a twenty-track CD on Rhino titled Hideaway: The Best of Freddy King.

The first thing I noticed was the variant in the spelling of King’s first name. The CD notes and All-Music Guide both say that the “Freddy” spelling was used during the earlier portions of King’s career. The first track on the CD that uses “Freddie” is one recorded in 1969 for the album My Feeling for the Blues. There were two other tracks on the CD that used that spelling. And when I used my magnifying glass to read the fine print about the session men for those last two tracks, I saw the names of Leon Russell, Don Preston and Duck Dunn, among others. At that point, things became much more interesting.

That’s because, as much as I love the blues itself, I love even more the music that resulted during the late 1960s and early 1970s when the blues re-intersected with rock: The sessions that Howlin’ Wolf, Muddy Waters and B.B. King recorded in London around that time are examples. And so, too, after doing some digging and then listening for the past few days, is the work that Freddie King did for Leon Russell’s Shelter label. (The same will likely be true, when I’ve listened to them more than I have so far, for the two late 1960s albums King recorded on Atlantic with King Curtis producing and the two 1970s albums King recorded for RSO, with Eric Clapton taking part on one.)

The Shelter albums – Getting Ready . . . from 1971, The Texas Cannonball from 1972 and Woman Across the River from 1973 – will have a familiar sound to anyone who’s listened to Leon Russell’s solo work from the same era. Leon’s arrangements and piano work don’t overwhelm King’s guitar or voice, but it seems to me that when listening to even the most basic of blues workouts from the three albums, it would be likely for a rock fan to think, “Gee, that sounds like Leon Russell back there.”

Of the three Shelter albums, Woman Across the River sold best, making it to No. 158 on the Billboard album chart. A single edit of “Going Down” was released from the first Shelter album, Getting Ready . . ., but it didn’t make the charts. It does, however, give an idea of what at least some of the Shelter sessions sounded like.

Freddie King, like B.B. and Albert and other bluesmen, was a pretty solid concert draw among the rock audience in the late 1960s and into the early 1970s. But King had his largest chart hit in 1961, when the instrumental “Hide Away” went to No. 29 on the pop chart and No. 5 on the R&B chart. Joel Whitburn notes in the Billboard Book of Top 40 R&B & Hip-Hop Hits that the single was titled after Mel’s Hide Away Lounge in Chicago. And at All-Music Guide, Cub Koda writes, “Throughout the ’60s, ‘Hide Away’ was one of the necessary songs blues and rock & roll bar bands across America and England had to play during their gigs.”

Just as interesting from this chair was King’s 1960 take on “Have You Ever Loved A Woman,” which, according to Second Hand Songs, was the first recording of the Billy Myles tune that would become a blues standard. Among the places the tune turned up, of course, was on Derek & The Dominos’ Layla & Other Assorted Love Songs in 1970. And in 1975, a live version would show up on King’s second album for RSO, Larger Than Life. Here’s the 1960 original:

And in the category of things I can’t resist, “The Bossa Nova Watusi Twist” was King’s next-to-last entry on the pop chart, a 1963 record that bubbled under at No. 103.

About That Concert
It turns out – despite Saturday’s post here – that we didn’t have to worry about getting to the Sunday afternoon concert by the Harlem Gospel Choir. We were in fact snowed in, with a total of about eight inches falling from Saturday night through Sunday afternoon. But we had misremembered the date of the concert; it’s this coming Sunday. I’ve rarely been so pleased to be wrong.