Posts Tagged ‘Ventures’

‘Five’

Thursday, November 1st, 2012

We’re back to the March of the Integers this morning, looking at ‘Five,’ and the RealPlayer comes up with a list of 262 mp3s as a starting point.

Before we can get to work, though, we have to winnow out records by Grandmaster Flash & The Furious Five, the Original Five Blind Boys of Alabama, the Original Memphis Five, the We Five, Louis Jordan and His Tympani Five, the Ben Folds Five and the Dave Clark Five as well as tracks by the Five Americans, Five Bells, Five Blazes, Five Breezes, Five Chavis Brothers, Five Delights, Five Empressions, Five Keys, Five Man Electrical Band, Five Stairsteps and Five For Fighting. We also need to set aside Nick Drake’s 1969 album Five Leaves Left, most of the 1969 Hawaii Five-O soundtrack by the Morton Stevens Orchestra and most of the similarly titled 1969 album by the Ventures.

Still – as has been the case in the previous four chapters of this exercise – we’re left with enough titles available so we can be a little picky. We’ll once again go chronologically.

With a nod to events in the eastern U.S. this week – and meaning no disrespect to anyone affected by Superstorm Sandy and its aftermath – we’ll start with a country tune about a flood from 1959. Johnny Cash chronicles the rising waters in “Five Feet High and Rising” in a dry and matter-of-fact tone that one can interpret as either comic or stoic. I’ll go with the latter. The record spent nine weeks in the country Top 40 as summer edged into autumn in 1959, peaking at No. 14.

The pleasantly trippy track “Five O’Clock in the Morning” by Wendy & Bonnie comes from one of the more interesting one-shot albums of the 1960s. Wendy and Bonnie Flowers were sisters from San Francisco who were seventeen and thirteen, respectively, when their album, Genesis, was released in 1969. It came out on the Skye label, which folded soon after the record came out, dooming any chances for the album to gain any attention. Was it interesting because it was good or because Wendy and Bonnie were so young? A little more the latter than the former, I think, but the album – re-released on the Sundazed label in 2001 with bonus tracks – is worth finding.

I noted that we’d have to ignore most of the Ventures’ 1969 album Hawaii Five-O, but there was really no way I could put together a selection of songs featuring the number “five” and not include the title track from that album. “Hawaii Five-O” is about as catchy as a television theme can be, and the Ventures’ recording of the theme went to No. 4 in 1969. The tune came from the pen of composer Morton Stevens, who recorded the version used for the show’s opening.

Jade was a British folk-rock group that released its only album, Fly on Strangewings, in 1970. It’s a pleasant album with a few very good pieces, but I think that Richie Unterberger of All-Music Guide got it right: “While Jade’s only album is decent early-’70s British folk-rock, its similarity to the material that Sandy Denny sang lead on with Fairport Convention is so evident that it’s rather unnerving.” Unterberger went on, however, to note several tracks on the album that could stand on their own without drawing comparisons to Denny and Fairport. “Five Of Us” is, sadly, not one of those tracks. Still, from the distance of more than forty years, it’s a decent piece of British folk-rock with impressive harmonies and a very eerie recurring “whooooooh” in the background.

The country-rock group Cowboy released half-a-dozen albums on the Capricorn label during the 1970s and deservedly sold a fair number of records. I’d guess that most folks who went looking for Cowboy’s work, though, did so for the same reason I did: The track “Please Be With Me” was included on the first Duane Allman Anthology because of Allman’s Dobro work. And, like me, those who bought the 1971 album 5’ll Get You Ten just for that track discovered a lot of additional fine music from Scott Boyer, Tommy Talton, Chuck Leavell and the others who sat in. The track “5’ll Get You Ten” is as good as anything on the album.

In 1999, country-folk artist Nanci Griffith took some of her best songs from previous albums and re-recorded them with backing from the London Symphony Orchestra. Some of Griffith’s performances were overwhelmed by the orchestra, and some of them came out all right. To my ears, the best thing on the album was the duet on “Love at the Five and Dime” by Griffith and Darius Rucker, best known as lead singer for Hootie and the Blowfish. The song, which had been affecting in its original version on Griffith’s 1986 album, The Last of the True Believers, became more powerful and poignant with the addition of Rucker’s unique voice.

Chart Digging: Mid-October 1964

Thursday, October 20th, 2011

Having been distracted and interrupted last time out by the Everly Brothers’ “Gone, Gone, Gone” and the resulting covers, I went back this morning to the Billboard Hot 100 for October 17, 1964, forty-seven years ago last Monday.

A look at that week’s Top Ten is intriguing:

“Do Wah Diddy Diddy” by Manfred Mann
“Dancing In The Street” by Martha & The Vandellas
“Oh, Pretty Woman” by Roy Orbison & The Candy Men
“We’ll Sing In The Sunshine” by Gale Garnett
“Last Kiss” by Frank Wilson & The Cavaliers
“Remember (Walkin’ In The Sand)” by the Shangri-Las
“A Summer Song” by Chad & Jeremy
“It Hurts To Be In Love” by Gene Pitney
“When I Grow Up (To Be A Man)” by the Beach Boys
“Let It Be Me” by Betty Everett & Jerry Butler

Boy, with the exception of Manfred Mann’s No. 1 record and the Chad & Jeremy tune, that Top Ten looks pretty much like the British Invasion had been thwarted at the Atlantic shore. (Gale Garnett was New Zealand-born but came to the U.S. before she was ten, and her record is pretty close to traditional pop or maybe even country; the recording academy called it folk and gave her a Grammy for it.) There are all sorts of sounds and styles in that Top Ten.

What I wondered was: Where were the Beatles when we got to mid-October? I found their cover of Carl Perkin’s “Matchbox” sitting at its peak of No. 17, and “Slow Down” was sitting at No. 39, on its way to No. 25. They hadn’t had a Top Ten record since “A Hard Day’s Night” topped the charts in August (although they’d had seven records in the Hot 100 during that time, four of them – including “Matchbox” and “Slow Down” – peaking in the Top 40.) This was, in fact, a minor lull, one that would end in five or so weeks, with Beatles releasing four Top Ten hits – “I Feel Fine,” “She’s A Woman,” “Eight Days A Week” and “Ticket To Ride” – between early December 1964 and late April 1965.

As to other Brit groups and performers, the highest I find is the Honeycombs, whose “Have I The Right” was sitting at No. 20 on its way to No. 5. In the rest of the Top 40, we find numerous British acts – the Nashville Teens, Billy J Kramer & The Dakotas, the Animals and others – so this is a chart that shows the transition created by the British Invasion underway but not complete, as I see it.

I should note that the Top Ten would be, for the most part, a good stretch of listening. I love “Do Wah Diddy Diddy” and “Dancing In The Street,” and – with one exception – the rest of those ten are good, if not favorites. The exception? I dislike “Last Kiss” intensely.

As always, though, I did some digging for nuggets in the lower portions of that Hot 100 from forty-seven years ago, and found a few things worth some attention. Among them is another tune about bereavement: “Death of an Angel” by the Kingsmen. With its garage-rock rhythm and riffs, it almost seems to be a better fit for 1966 than 1964, but then, the Kingsmen’s “Louie, Louie” always sounds like it belongs to a year later than 1963, when it went to No. 2. “Death of an Angel” didn’t do nearly as well as “Louie, Louie”, though. Forty-seven years ago this week, it was sitting at No. 53, on its way to a peak of No. 42. (The Kingsmen would have their second and last Top Ten hit in early 1965 with the novelty “Jolly Green Giant.”)

In October 1964, Columbia still hadn’t figured out what to do with Aretha Franklin. She’d had eleven records in or near the Hot 100, but only one of them had found its way into the Top 40, and not that far in at that: “Rock-A-Bye Your Baby With A Dixie Melody” had gone to No. 37 in the autumn of 1961. Columbia would eventually give up, and starting in 1967, Aretha would become a legend on Atlantic. But in the autumn of 1964, Columbia was still trying, and in mid-October, Aretha’s “Runnin’ Out Of Fools” was sitting at No.78, on its way to No. 57. (The record went to No. 30 on the R&B chart.) I don’t know how the studio version sounded, but when Aretha sang the song on the December 2, 1964, episode of Shindig!, there were hints of the Aretha to come:

Garnet Mimms is probably best known for recording the original version of “Cry Baby,” the Bert Berns/Jerry Ragovoy song that Janis Joplin covered on 1971’s posthumously released Pearl. Mimms’ 1963 version – credited to Garnet Mimms & The Enchanters (although Joel Whitburn notes that the backing singers were actually the Sweet Inspirations) – went to No. 4 on the pop chart and spent three weeks atop the R&B chart. After that, two late 1963 records with the Enchanters reached the lower half of the Top 40, another peaked at No. 78, and two 1964 solo releases stalled short of the Top 40. So in mid-October 1964, Mimms was still seeking another Top Ten hit, and his “Look Away” was sitting at No. 89. The record didn’t do all that well – peaking at No. 73 – but what interests me is that the song tells pretty much the same tale as did Dionne Warwick’s “Walk On By” when it went to No. 6 in the spring of 1964.

The records presented here when I do my chart digging are generally lesser-known titles (sometimes deservedly so) or by lesser-known performers (ditto). But last evening, the RealPlayer settled on Jackie DeShannon’s original version of “When You Walk In The Room,” and when I saw the Searchers’ cover listed at No. 97 in the October 17, 1964, Hot 100, I knew that I had to offer it here. The Liverpool group’s defining hit, “Needles and Pins,” had gone to No. 13 in the spring of 1964, and four more singles reached the Hot 100 by the end of the summer, with two of those reaching the Top 40. “When You Walk In The Room” would peak at No. 35, and why it didn’t go higher is a mystery to me (as is the fact that DeShannon’s original only got to No. 99 in January of 1964). Both versions are great records.

I mentioned the Ventures in my last post, noting that the group placed “twenty-five records in or near the Hot 100, including Top Ten hits in 1960 and 1964 with two versions of ‘Walk – Don’t Run’ and then in 1969 with ‘Hawaii Five-O’.” I also noted that I like pretty much anything the Ventures did, and that includes the cover of “Slaughter on 10th Avenue” that was bubbling under the Hot 100 at No. 109 when mid-October rolled around in 1964. The record would go to No. 35 and would be the group’s last Top 40 hit until “Hawaii Five-O” rolled around in 1969. (It’s interesting to note that the flip side of “Slaughter” also got a little airplay, bubbling under at No. 135: “Rap City” was based on Johannes Brahms’ familiar “Hungarian Rhapsody No. 5.”)

I know next-to-nothing about the Chartbusters. Whitburn’s Top Pop Singles tells me that they were a garage-rock band from Washington, D.C., and that earlier in 1964, they’d had “She’s The One” go to No. 33. (Based on my listening this morning, I’d never heard the record before.) They were back on the chart in mid-October, when “Why (Doncha Be My Girl)” was bubbling under at No. 122. A decent piece of garage rock, the record would get to No. 92. The Chartbusters had one more record of note: A live version of “New Orleans” would bubble under for one week at No. 134 during the summer of 1965.

‘Just Say I’m Gone . . .’

Tuesday, October 18th, 2011

A hint that a reader named Larry left in a comment the other day falls into the category of good ideas I should have thought of a long time ago. I’d mentioned the difficulty of sorting versions of different songs with the same title – in this case, covers of Phil Ochs’ “Changes” – while using the information at All-Music Guide. Larry suggested using the online databases at ASCAP and BMI, the institutions that keep track of such things.

It sounded like a good idea, so I gave it a shot this morning, looking up versions of “Gone, Gone, Gone,” the Everly Brothers’ single that entered the Billboard Hot 100 on October 17, 1964, forty-seven years ago yesterday. I’d already scrummed around a bit at AMG and I’d come across four cover versions of the tune, but I was thinking there might be more. And the AMG listings were crowded with other songs with the same or similar titles, including tunes by Carl Perkins, Chet Atkins, Joe South and the trio of George and Ira Gershwin and DuBose Heyward.

But BMI, for whatever reason, lists only three of those four cover versions of “Gone, Gone, Gone.” So I would hope that the four cover versions I found complete the field. First, though, let’s take a look at the original.

“Gone, Gone, Gone” was the Everly Brothers’ next-to-last Top 40 hit, getting to No. 31 in December 1964. (Their last Top 40 hit was “Bowling Green,” which barely made it, sitting for two weeks at No. 40 in 1967.) I wanted to share a video of the single, but the copyright holder evidently doesn’t allow videos of the studio version of the song. I found, however, a live performance of “Gone, Gone, Gone” from a 1964 episode of Shindig!

That performance, I think, took place on October 14, 1964, evidently just as “Gone, Gone, Gone” was released. The brothers performed “Gone, Gone, Gone” twice as part of the Shindig! opening medley – once in the autumn of 1964 and again in June of 1965 – but from what I can tell, the only time they performed the song in its entirety was on the October 14, 1964, telecast.

Now, on to the covers: The first to cover the tune, evidently, were the Ventures, the instrumental group that had twenty-five records in or near the Hot 100, including Top Ten hits in 1960 and 1964 with two versions of “Walk – Don’t Run” and then in 1969 with “Hawaii Five-O.” The Ventures’ version of “Gone, Gone, Gone” showed up as an album track in 1965 on The Ventures Knock Me Out! It’s a typical Ventures track, which means I like it.

The cover version not listed at BMI came next, when the British folk-rock group Fairport Convention performed the tune live on the BBC’s show Top Gear hosted by the famed John Peel. The show aired on August 26, 1968, and the track eventually showed up on the album Heyday, subtitled “BBC Radio Sessions 1968-69.”  I think the duet on the performance is by Sandy Denny and Ian Matthews (before he changed the spelling of his first name), and it’s also one I like very much.

That last statement should, I suppose be annotated: I like very much all five versions of “Gone, Gone, Gone” that I’ve dug up this morning. Do I have a favorite? Yes, and we’ll get to it shortly. First, though, we’ll look at the most unlikely cover I’ve found of the song. In 1970, the Minneapolis group Crow got hold of the Everlys’ song and transformed it from a sprightly pop folk song with rockabilly hints into a lengthy blues-rock jam that slides its way along, stopping for a guitar solo and an odd choral segment backed with an ethereal wordless vocal and some organ chords. By the time the eight-minute track finds an ending, it hardly seems like the same song.

And that brings us to the most recent version of the song (and my favorite cover): Performers Robert Plant & Alison Krauss, along with producer T-Bone Burnett, added a subtitle and included “Gone, Gone Gone (Done Moved On)” on their Grammy-winning 2007 album Raising Sand. Returning the song to its rockabilly roots, Plant and Krauss share the spotlight with drummer Jay Bellerose.