Posts Tagged ‘Steve Winwood’

Saturday Single No. 263

Saturday, November 12th, 2011

It seems that yesterday, despite its being 11-11-11, was a normal day. Scanning the news on the Intertubes this morning, I see no accounts of ships seized by krakens, no tales of resurrected Mayan gods terrorizing tourists at Cozumel, no hint of even a disgruntled lobster holding a sous-chef hostage. It seems to have been an ordinary day.

As is today. The Texas Gal is in the kitchen this morning, poring over her cookbook and preparing to cook up a mess of spinach and bacon for canning. I’m not much in favor of spinach as a table vegetable – it has its place in quiche and some casseroles – but it’s a fact that bacon can make anything tasty. So I’ve got an open mind about canned spinach and bacon.

As to music here, I had thought to offer today a track I found on CD set called Night Train to Nashville, a collection of R&B recorded in that Tennessee city between 1945 and 1970. But some digging revealed that I’d be better off holding that track to a weekday, when I can look at some cover versions as well and then add one more item to the list of Jukebox Regrets. So now what do I do?

Well, as I looked yesterday at the music from a few years with what I call “jackpot dates” – 11-11-11, 7-7-77 and so on – I realized I’d not done much lately with 1977. I’ve touched on the year in a few chart digging exercises, but it’s been since October of last year that I spent an entire post in the year that, for me, defines the boundary between student life and adult life. So here’s a six-track random walk through 1977:

The Soul Children – says Wikipedia – were a group put together in the late 1960s at Stax Records by Isaac Hayes and Dave Porter. They had eight singles reach the R&B Top 40 between 1968 and 1978, with three singles reaching the Billboard Hot 100, including their best known tracks, “Hearsay” and “I’ll Be The Other Woman.” By 1977, the Soul Children had moved to Epic, and on the group’s second album for that label — Where Is Your Woman Tonight? – one finds “Merry-Go-Round,” which was the B-side of the title track when it was released as a single. “Merry-Go-Round” is a decent-sounding piece of late 1970s R&B but no more than that.

In the first year or so of this blog, I shared a couple of albums by the team of Toni Brown and Terry Garthwaite, the two women who had been members of Joy of Cooking, the Berkeley-based band of the late 1960s and early 1970s. One of those albums was The Joy, which found Brown and Garthwaite writing and recording in a vein very similar to that of their old group. The record is one of my favorite obscure albums, and every time something from it pops up, I think I should write a post about, say, my five favorite obscurities. The tune that showed up from The Joy this morning was the lovely “Maybe Tomorrow,” so maybe that’s when I’ll think about those obscurities.

And then we land on a record with a gentle, rolling piano-driven introduction and a clearly country-ish texture and sense: “What can I say, girl, except I love the way, girl, you love me every time that we’re alone.” “Stay With Me” is a sweet tune, made poignant to me by its circumstances: Credited to Robert Parker Jameson, the RCA single was the last record released by my pal Bobby Jameson. And it’s our third stop this morning.

Fourth up is “The Saga of Pepote Rouge,” an album track from Islands, the last album The Band released in its original incarnation. The album was a collection of some leftovers, as I understand it, pulled together after the group called it quits on Thanksgiving in 1976 with the massive celebration of The Last Waltz. “Pepote Rouge” is, to my mind, one of the better efforts on the album: The musicianship and the vocal interplay that made the group so ground-breaking almost ten years earlier is still there, and if not all the songs on Islands are top-notch, that’s a concern that doesn’t affect this track.

When I do these random runs, I almost always stumble over a track that I had no idea I had. Sometimes it’s one that makes me smile; sometimes I wince, and sometimes I just shake my head. This morning, I’m shaking my head at “The Light of My Life” by the Starland Vocal Band. An album track from the group’s second album, Rear View Mirror, the tune is a sweet if undistinguished song about the wonder of a new baby. I’m not sure why I have the group’s second album – the first, from a year earlier, was of course anchored by “Afternoon Delight” – and I’m going to have to think about that a little.

Finally, we land on a track from Steve Winwood’s first solo album, a record I discussed and shared in one of the very earliest posts here. In that post, I noted that at the time of its release, many listeners seemed to dismiss the album with the complaint that it sounded too much like Traffic. My response was: Well of course it does! Beyond the fact that Traffic’s musical sensibilities mirrored those of one of its founders, Winwood’s unique voice is going to carry echoes of anything he’s ever done. Anyway, the track that popped up this morning is “Hold On,” a decent love song that’s more interesting for its musical textures – especially (surprise!) the keyboard work – than for its lyrics. Whatever its shortcomings, it’s a good tune. And it’s today’s Saturday Single.

My Verdict: ‘Rocket 88’ Was The First

Thursday, May 6th, 2010

It’s time to throw my nickel into one of rock music’s enduring debates this morning: What was the first rock ’n’ roll record?

To my mind – dim as it sometimes can be – there are two candidates: “The Fat Man,” a 1950 record by Fats Domino, and “Rocket 88,” a 1951 single from Jackie Brenston and his Delta Cats (which was really Ike Turner’s Kings of Rhythm with saxophonist Brenston taking the lead vocal).

I come down on the side of “Rocket 88.” There’s nothing wrong at all with the Domino track: It’s got a rollicking beat, courtesy of its hometown, New Orleans. “They call, they call me the fat man because I weight two hundred pounds,” the record starts, and – co-written and co-produced by Domino and his long-time partner Dave Bartholomew – the single gets its business done in a tidy two minutes and thirty-six seconds and includes a middle section that showcases Domino’s falsetto.

Wikipedia says: “‘The Fat Man’ features Domino’s piano with a distinct back beat that dominates both the lead and the rhythm section. Earl Palmer said it was the first time a drummer played nothing but back beat for recording, which he said he derived from a Dixieland “out chorus.” Domino also scats a pair of choruses in a distinctive wah-wah falsetto, creating a variation on the lead similar to a muted Dixieland trumpet.”

As I said, there’s nothing wrong with “The Fat Man.” It’s got a great vocalist, a great team of writers and producers. The band was made up of top session players, including the magnificent Earl Palmer on drums. And it came out of New Orleans, a city and source of music that – based on my reading, my pondering and my gut – was the second most important city in the development of rock ’n’ roll.

The advantages that “Rocket 88” has over all of that history come down to two: It was recorded in Memphis, the most important city in rock ’n’ roll history, and it was recorded/produced by Sam Phillips.

Like “The Fat Man,” “Rocket 88” has a groove, but while Domino’s record seems dance, Brenston’s record drives, pulling the band and the listeners down the highway.

Wikipedia says: “The song was based on the 1947 song ‘Cadillac Boogie’ by Jimmy Liggins. It was also preceded and influenced by Pete Johnson’s “Rocket 88 Boogie” Parts 1 and 2, an instrumental, originally recorded for the Los Angeles-based Swing Time Records label in 1949.”

Wikipedia continues: “Working from the raw material of jump blues and swing combo music, Turner made it even rawer, starting with a strongly stated back beat by drummer Willie Sims, and superimposing Brenston’s enthusiastic vocals, his own piano, and tenor saxophone solos by 17 year old Raymond Hill . . . . The song also features one of the first examples of distortion, or fuzz guitar, ever recorded, played by the band’s guitarist Willie Kizart.”

(Basing new songs on versions of earlier songs – a practice that could draw charges of plagiarism today – was an accepted practice among musicians in the folk, blues and rhythm & blues communities and traditions. Domino’s song, Wikipedia notes, “is a variation on the traditional New Orleans tune, ‘Junker’s Blues’ number by Drive’em Down, which also provided the melody for Lloyd Price’s ‘Lawdy Miss Clawdy’ and Professor Longhair’s ‘Tiptina.’” Two years later, with a faster beat and a few minor lyric changes, Big Mama Thornton released essentially the same song as Domino’s from a Los Angeles date for Peacock, singing, “Well, they call me Big Mama ’cause I weigh three-hundred pounds.”)

So what makes “The Fat Man” a good R&B song and what makes “Rocket 88” rock ’n’ roll? Well, one hesitates to pull the watch apart too much for fear of being left with a pile of gears, springs and little screws, but the Wikipedia quote above does identify the key ingredients of “Rocket 88”: Sims’ back beat, Brenston’s vocal, the solos and the fuzz guitar.

And then there’s Memphis and Sam Phillips, the owner and operator of the Memphis Recording Service, where “Rocket 88” was cut. I think, and I’m certainly not alone in this, that Memphis is the birthplace of rock ’n’ roll. Chicago, New York, Detroit, Cincinnati (home of King Records) and, yes, New Orleans (and probably several other cities I have not mentioned) were instrumental in the development of the music, but – as Robert Gordon titled his fascinating book about the city’s musical traditions – it came from Memphis.

And it came from Sam Phillips’ studio. Jimmy Guterman, in Runaway American Dream, his 2005 assessment of Bruce Springsteen’s recording career, calls Phillips “the single most important non-performing figure in rock’n’roll,” noting that it was Phillips who, “along with folks like Johnny Cash, Howlin’ Wolf, Carl Perkins, Elvis Presley, and Charlie Rich, invented the past 50 years of popular music.”

There are other acceptable answers to the question “What was the first rock ‘n’ roll record?” All of those answers have reasons behind them: the recording date and location, the session personnel, the lead performer and ultimately, the way the record sounds and the way it makes the listener feel. My answer, as I indicated above, rests on its creation in Memphis and on Sam Phillips’ role in its creation. Oh, and one more thing: “Rocket 88” just flat out rocks.

(And no, I don’t know why Bettie Page shows up in the video.)

A Six-Pack from the Ultimate Jukebox, No. 15
“Rocket 88” by Jackie Brenston & His Delta Cats, Chess 1458 [1951]
“Ferry ’Cross the Mersey” by Gerry & the Pacemakers, Laurie 3284 [1965]
“Holly Holy” by Neil Diamond, Uni 55175 [1969]
“Come And Get Your Love” by Redbone, Epic 11035 [1974]
“While You See A Chance” by Steve Winwood, Island 49656 [1981]
“A Long December” by Counting Crows from Recovering the Satellites [1996]

In the box in which I keep the best of the four hundred or so 45s that I own, there resides a copy of Gerry & the Pacemakers’ “Ferry ’Cross the Mersey.” It belongs, actually, to my sister, who brought it home sometime during the early months of 1965, when the record was on its way to No. 6. I don’t think it was the first record she bought; I recall her buying bargain bags – ten 45s for a dollar – sometime earlier, but the thought tickles at me that “Ferry” might have been the first single she actively sought out when it was on the charts. I do remember her playing it for the first time on our old portable player, and I liked it at the time far more than I expected. Obviously, I still like it. And no, she can’t have it back.

The spookiness of “Holly Holy” grabbed hold of me late one evening in the fall of 1969 when I heard the record on – I assume – WJON shortly after I’d turned out the light to go to sleep. I wrote once before about hearing the song at dusk on a sliding hill, and that happened, but my first hearing was in the dark of my room. I found the song a little unsettling, what with the choir chanting – or seeming to – behind Diamond’s vocal, the percussion (tympani?), the swelling climax and the frequent use of what I now recognize as minor thirds. Nevertheless, I found the record appealing as well. I’m not sure about the unsettling part, but plenty of other folks found the record appealing, too, as it went to No. 6

The Redbone single is one of those I caught up to sometime after the fact. I was in Denmark when “Come And Get Your Love” entered the Top 40 and climbed to No. 5. By the time I got home in the latter portion of May, the record was in the last couple weeks of its eighteen-week stay in the Top 40, and its airplay was diminishing. I likely heard it during the last couple of weeks of spring and during the summer of 1974, but never enough to dig any further into Redbone or its music. That digging came later, during the vinyl-crazed years of the 1990s, probably after I found a Redbone LP at Cheapo’s and vaguely recalled the hit. With the possible exception of “The Witch Queen of New Orleans,” – a record that went to No. 21 in 1972 – nothing else in Redbone’s catalog approaches “Come And Get Your Love,” and it’s fun to hear it pop up every now and then surrounded by the other tunes in the Ultimate Jukebox.

Over all the years since I first dug into rock and pop and their relatives in the autumn of 1969, very few contemporary records have ever moved me to run off to the store in search of them. The last two of these six did just that. I was living in Monticello when Steve Winwood’s “While You See A Chance” started to get airplay on its way to No. 7 in early 1981. (It was also on its way to being Winwood’s first Top 40 hit, a fact that’s a little surprising in light of his long and celebrated career to that point.) Loving the synth-based intro and solos and the groove of the body of the song, my wife of the time and I invested a portion of a weekend in a shopping trip to one of the Twin Cities’ major malls. We picked up some other, more useful items – clothes, kitchen stuff and so on – but the highlight of the day for me was Winwood’s album Arc of a Diver, where the album track of “While You See A Chance” resided. (I believe the single was an edit, and I think that’s the audio on the linked YouTube video.) And twenty-nine years later, I still find the sound a little thrilling.

Another record that got me out into the shops was Counting Crows’ “A Long December,” which I heard on a Twin Cities’ radio station late in 1996, soon after Recovering the Satellites was released. (The track was never released as a single, if I read the Billboard Book of Top 40 Hits correctly, but went to No. 6 on a chart based on airplay.) Seeking a vinyl copy of the album, I spent a good chunk of a Saturday morning making the rounds of four or five music stores near my home. I was discouraged and wandering the aisles of the last of the stores when another music lover came through the door and sold his copy of Recovering the Satellites. After the seller left, the clerk looked at me, eyebrows raised, and named a price. I paid it and went happily on my way. I still love the track, even after repeated listenings over the last thirteen-plus years, and I still marvel at one particular line: “The feeling that it’s all a lot of oysters but no pearls.”