On February 10, 2021, Carole King’sTapestry is turning 50. Not only is it one of the most iconic pop albums ever recorded, but Tapestry holds a special place in my heart. Over the next 10 days, I intend to celebrate this timeless gem largely one song at a time. Since Tapestry has 12 tracks, I guess I should have started this series two days earlier to truly make it one track each day. Well, obviously I didn’t, so I need to cheat a little to fit the series within 10 days. I’m going to kick it off and finish up with two songs and highlight one tune on each day two to day nine.
Tapestry is one of the very first music vinyl records I ever heard when I was a seven or eight year-old growing up in Germany. Even though I didn’t understand a word of English at the time, Carole’s music spoke to me right away. And, believe it or not, pretty soon, I found myself singing along, mimicking the English language. I memorized much of the lyrics that way, and later on when I started taking English lessons in fifth grade, I actually began to understand word by word what I had phonetically mimicked years before.
Tapestry was Carole King’s sophomore solo album. It came out nine months after her debut Writer. While Carole was only 29 years old when Tapestry was released, she already had had an impressive 13-year music career under her belt. Most of that time she had spent writing songs together with lyricist Gerry Goffin. Carole met Gerry while they were students in Queens College and married him at age 17 after she had become pregnant with her first daughter Louise.
Goffin-King became one of the most prolific and most successful songwriting partnerships of the ’60s. Some of the hits they wrote include Will You Love Me Tomorrow (The Shirelles), Chains (The Cookies, The Beatles), The Loco-Motion (Little Eva), Take Good Care of My Baby (Bobby Vee), Up on the Roof (The Drifters), I’m into Something Good (Earl-Jean, Herman’s Hermits), One Fine Day (The Chiffons), Pleasant Valley Sunday (The Monkees) and (You Make Me Feel Like) A Natural Woman (Aretha Franklin). They even dabbled somewhat in psychedelic rock with Don’t Bring Me Down, which The Animals recorded and released in 1966.
Back to Tapestry. Unless noted otherwise all music and lyrics were written by Carole. Here’s the opener I Feel the Earth Move, a piano-driven rocker with a bluesy touch, fueled by Carole’s honky tonk style piano and guitarist Danny Kootch’s great fill-ins. What a terrific way to kick off the album! I Feel the Earth Move also became the A-side of Tapestry’s lead single, backed by It’s Too Late. Billboard lists I Feel the Earth Move as a no. 1 tune on the Hot 100, though according to Songfacts, there is some debate over this. Apparently, after a few weeks of frequent airplay of I Feel the Earth Move, DJs discovered the B-side and ended up playing it more. Billboard subsequently designated the single a double-A. As the result, the tunes were no longer tracked separately and are now both considered to be no. 1 songs.
After an energetic opener, Carole decided to slow things down with the ballad So Far Away. So far away/Doesn’t anybody stay in one place any more?/It would be so fine to see your face at my door/It doesn’t help to know you’re just time away/Long ago I reached for you and there you stood/Holding you again could only do me good/Oh how I wish I could but you’re so far away…Such beautifully written lyrics.
According to Songfacts, Tapestry producer Lou Adler said, “So Far Away’ is my favorite song on Tapestry. I use the phrase a lot, ‘Doesn’t anybody stay in one place anymore?’ It’s the road, it’s the people traveling. It just seems to me an anthem of that particular time and so well written and one of the earlier songs she wrote for this album.”
If somebody asked me what I thought about the music by Electric Light Orchestra, I’d say ‘weirdly catchy.’ This may not sound exactly positive, but I’ve actually enjoyed their songs for more than four decades. To me, especially during their early stage, ELO oftentimes feel like a combination of The Beatles with a wall of sound on steroids, featuring classical music and other heavy arrangements. While I generally find big production can be a mixed bag, when it comes to ELO, their brilliant execution won me over a long time ago. Plus, in my book it’s pretty cool when a band manages to develop a sound that’s instantly recognizable and different from pretty much any other group on the planet.
Before getting to some music, I’d like to provide a little bit of background. ELO got their start in 1970 in Birmingham, England, when songwriters and multi-instrumentalists Jeff Lynne and Roy Wood got together with drummer Bev Bevan as an offshoot of The Move. Lynne was excited about Wood’s concept to create a group to “pick up where The Beatles left off” by combining rock with classical instruments like violins, string basses and woodwinds. In June 1970, the vision came into focus with 10538 Overture, ELO’s first tune and debut single. This was followed by the band’s first UK studio album The Electric Light Orchestra, which came out in December 1971. In the U.S., it was titled No Answer and released in March 1972.
After Wood’s departure in July 1972, Lynne became ELO’s sole leader. In March 1973, the band’s sophomore album ELO 2 appeared in the UK (called Electric Light Orchestra II in the U.S.). Ten additional albums followed until the summer of 1986 when Lynne disbanded ELO, though no formal announcement was made at the time. In 1989, Bevan with Lynne’s blessing picked up the pieces and went on as ELO Part II. Bevan left in 1999, and the remaining members of the band continued under the new name The Orchestra, a formation that exists to this day.
In 2001, Lynne reformed ELO and, mostly relying on guest musicians who included George Harrison and Ringo Starr, released the new album Zoom in June that year. The next 13 years saw reissues of ELO’s back catalog and various mini reunions, which included an appearance as Jeff Lynne and Friends at the Children in Need Rocks concert in London in November 2013. The success of that performance led to a gig at BBC Radio 2’sFestival in a Day at London’s Hyde Park in September 2014 as Jeff Lynne’s ELO. Tickets sold out in 15 minutes after BBC Radio 2 had announced the show.
Jeff Lynne’s ELO have since issued two studio albums and conducted various tours. The supporting tour for the most recent album From Out of Nowhere, which had been scheduled to start in October 2020, was canceled due to COVID-19. Currently, there appears to be no word on when Lynne and his band are planning to hit the road again. Time for some music!
Let’s start where it all began. Here’s 10538 Overture, ELO’s first single from June 1972. Written by Lynne, it was also included on their debut album The Electric Light Orchestra (No Answer).
Many artists have covered Chuck Berry’sRoll Over Beethoven. None of these versions come anywhere close to ELO’s cover, which blends elements of Ludwig van Beethoven’sFifth Symphony with Berry’s classic rock & roll tune. It’s completely over the top and it’s just brilliant! I was going to include a clip of the original studio recording from ELO’s sophomore album ELO 2 (Electric Light Orchestra II). Then I remembered Lynne’s performance at the 2017 Rock and Hall of Fame induction and thought it’s just too much fun to ignore. Come on, Beethoven, let’s tell Tchaikovsky the news!
In November 1973, ELO released their third studio album On the Third Day. Here’s kickass rocker Ma-Ma-Ma Belle, featuring Marc Bolan on twin lead guitar – my-my-my! Unlike 10538 Overture and Roll Over Beethoven, which peaked at no. 9 and no. 6 in the UK, respectively, ELO’s third single only made it to No. 22. In the U.S., the first top 10 chart success on the Billboard Hot 100 would come with the next tune.
Can’t Get It Out of My Head was the lead single of ELO’s fourth studio album Eldorado from September 1974. It became the band’s first U.S. hit, climbing to no. 9 on the Billboard Hot 100. Apparently, folks were less fond of the ballad in the UK where it failed to chart altogether.
Starting with their fifth studio album Face the Music, ELO began moving away from large-scale orchestral sound to embrace a more radio friendly pop rock style. It paid off and resulted in a series of well-selling albums. Here’s Mr. Blue Sky from Out of the Blue, ELO’s seventh studio release from October 1977. The double LP became one of their most commercially successful records.
ELO first entered my radar screen with Discovery, their eighth studio album that came out in May 1979 when the disco era was in full swing. I got it on vinyl at the time and still own that copy. The record generated five singles that became hits in numerous countries. The most successful one was Don’t Bring Me Down. The track I’d like to feature is Last Train to London, which was included in a playlist served up earlier today by my streaming music provider. It also triggered the idea for finally doing a dedicated post about ELO.
Ticket to the Moon appeared on ELO’s ninth studio album Time from July 1981. It also was released separately as a single in December.
I’d also like to acknowledge some of ELO’s music after Lynne revived the band. Here’s Alright, the opener to the above mentioned Zoom from June 2001, the first official ELO album since Balance of Power, which had come out in February 1986, five months before Lynne had quietly disbanded ELO.
Let’s do two more. First up: When I Was a Boy, the opening track from Alone in the Universe released in November 2015, the first album appearing as Jeff Lynne’s ELO. The 13th studio album overall in the band’s catalog was well received and peaked at an impressive no. 4 on the Official Albums Chart in the UK where it also scored Platinum certification. In the U.S., Alone in the Universe climbed to no. 2 on the Billboard Top Rock Albums chart.
From Out of Nowhere, which appeared in November 2019, is the most recent studio album by Jeff Lynne’s ELO. Here’s Down Came the Rain featuring nice Beatle-esque harmony vocals. Like on the predecessor, Lynne played most of the instruments and sang all lead and backing vocals.
During their original 13-year recording period, ELO sold more than 50 million records worldwide. Between 1972 and 1986, they scored 27 top 40 tunes on the UK Official Singles Chart and 15 top 20 hits in the U.S. on the Billboard Hot 100. According to Wikipedia, ELO also hold the distinction for being the only band with the most Billboard Hot 100 top 40 hits (20) in U.S. chart history without having had a no. 1 single – who is tracking this kind of stuff? Last but not least, ELO (Roy Wood, Jeff Lynne, Bev Bevan and Richard Tandy) were inducted into the Rock and Roll Hall of Fame in 2017.
Long before Carole King launched her solo career in 1970, she was part of one of the most successful songwriting partnerships in pop music history with lyricist Gerry Goffin. The two met in New York’s Queens College in 1959 where Carole Klein (her birth name) had begun writing songs as Carole King. They started collaborating soon thereafter, with Carole composing music and Gerry writing lyrics.
The songwriting partnership quickly led to romance, pregnancy and marriage in August 1959. King was 17 years old while Goffin was 20. That same year, she composed Oh Neil for her high school friend Neil Sedaka who recorded the tune as a single. He co-wrote the lyrics with Howard Greenfield and Goffin. The B-side A Very Special Boy was a Goffin-King composition.
The single flopped. But it resulted in professional contracts for King and Goffin with Aldon Music, a Manhattan-based music publishing company founded by Don Kirshner and a significant force in what became known as the Brill Building sound.
Goffin-King’s breakthrough occurred in 1960 with Will You Love Me Tomorrow, which was recorded by The Shirelles and came out in November that year. The tune climbed all the way to the top of the Billboard Hot 100, becoming the first no. 1 in the U.S. by an African American all-girl group. King would later record a version of the song for her iconic Tapestry album.
The next big Goffin-King hit is another ’60s classic: Take Good Care of My Baby, recorded by Bobby Vee and released in July 1961. It became the second no. 1 hit on the Billboard Hot 100 for the young songwriting couple.
Another great ’60s tune written by Goffin-King is The Loco-Motion, which was first recorded with Little Eva (born Eva Narcissus Boyd) and came out in June 1962. Boyd was Goffin’s and King’s babysitter. Originally, the song had been written for R&B singer Dee Dee Sharp who turned it down. The tune has been covered by many other artists, including Grand Funk Railroad (1974), who like Little Eva took it to no. 1, as well as King herself on her 1980 album Pearls: Songs of Goffin and King.
And the hits kept coming for Goffin-King. In May 1963, it was One Fine Day by the The Chiffons. The tune peaked at no. 5 on the Billboard Hot 100. And it’s yet another song King recorded herself many years later, in 1980, giving her a no. 12 on the U.S. mainstream chart.
I’m Into Somethin’ Good is another of my favorite ’60s pop tunes. The best known version is by Herman’s Hermits, who released the song as their debut single I’m Into Something Good in August 1964. It topped the UK Singles Chart and reached no. 13 in the U.S. The tune was first recorded earlier that year by Earl-Jean. Her original climbed to no. 38 on the Billboard Hot 100, not too shabby either.
Let’s do three more Goffin-King compositions. First up: Don’t Bring Me Down released by The Animals in May 1966. While it gave the British band a hit in the UK and the U.S. where it reached no. 6 and no. 16, respectively, they preferred a more straightforward R&B sound and as such were lukewarm about it.
No Goffin-King post would be complete without Pleasant Valley Sunday, which became an international hit for The Monkees in 1967, reaching no. 1, no. 2, no. 3 and no. 10 in Canada, New Zealand, the U.S. and Australia, respectively.
The last tune I’d like to highlight is (You Make Me Feel Like) A Natural Woman. Aretha Franklin first recorded and released this gem in September 1967. The song was inspired by Atlantic producer Jerry Wexler who received a co-credit. It’s yet another tune King also recorded herself for the Tapestry album.
While the Goffin-King songwriting partnership lasted for 10 years and yielded remarkable success throughout that period, their personal relationship hit the rocks in 1964 when Goffin fathered a daughter with above singer Earl-Jean (full name: Earl-Jean Reavis, née McCrea). King and Goffin remained together until their divorce in 1969.
King went on to launch a successful solo career and released her debut album Writer in May 1970, followed by the career-defining Tapestry in February 1971. Goffin began working with other composers and also had a solo album in 1973, though it did not become successful. In 1987, Goffin and King were inducted into the Songwriters Hall of Fame and the Rock and Roll of Fame in 1990. Goffin passed away in June 2014 in Los Angeles at the age of 75.
I’m not much of a radio guy, not even in the car, where despite having access to Sirius XM, I prefer listening to music from my streaming provider most of the time. An exception for the past few years has been a massive four and a half-day countdown of songs New York classic radio station Q104.3 does around each Thanksgiving. Ingeniously, they call it the Top 1043 Classic Rock Songs of All Time.
To come up with the list, the station asks listeners to submit their top 10 songs in no particular order, which each counting as one vote. They then tally the submissions, determine the 1043 songs with the most votes, and play all of them in one shot, starting with the tune that got the least votes. The only interruption happens at noon on Thanksgiving, when they play Arlo Guthrie classic Alice’s Restaurant in its entire 18 minutes plus. The whole thing lasts from 1:00 pm ET on Wednesday prior to Thanksgiving until sometime on Sunday evening after the holiday!
This year marks the 19th annual annual countdown. Wow, that’s what I call devotion – and smart marketing/audience engagement! Remarkably, each year Led Zeppelin’sStairway to Heaven has been the most popular song. And while the station does not reveal actual vote totals, the hosts have said in the past the tune has always won by many votes.
Don’t get me wrong, I dig Stairway – big time. In fact, if I could only choose one rock song, it probably would be that Zep classic, even though The Beatles generally remain my all-time favorite band. There are other tunes that usually make the top 10, such as Hey Jude and Queen’sBohemian Rhapsody. Again, there’s nothing wrong with these songs and I like them as well.
But the recurrence of the above tracks makes the countdown predictable. To me this means it’s not as much fun as it could be. As I noted before, I think it’s time to shake things up a bit. Following is the set of tunes I submitted. I almost would have forgotten about it and literally did so at 3:00 am this morning when I went to the bathroom and remembered – okay, call me a loony! Here are my choices in no particular order.
Of course, it’s unlikely my selections will change much if anything. On the other hand it’s like elections. If everybody thought they couldn’t impact the outcome, nobody would vote. And that would indeed guarantee that nothing would ever change! So here’s to hoping for a new number one this year. How about Hey Jude?😆
For more than 50 years, Eric Burdon has been one of rock’s most distinctive vocalists
Oftentimes, I feel the best blog ideas are inspired by a previous post. In this case, it was my writing about great covers performed by Tom Petty and the Heartbreakers, which included I’m Crying by The Animals. The tune reminded me of Eric Burdon and a voice I’ve always felt was made for singing the blues. Just like many other blues artists or more generally those who started out during the ’60s and ’70s, Burdon has experienced it all, from the highest high to the deepest low and everything else in-between. Unlike many fellow artists, he’s still there, which I think makes him one of the ultimate survivors.
Eric Victor Burdon was born on May 11, 1941 in the northeastern English industrial town of Newcastle upon Tyne. His upbringing in a lower class working family was rough. Burdon started smoking at the age of 10 and skipping school with friends to drink beer. He described his early school years as a Dickens novel-like “dark nightmare,” which included bullying, sexual molestation and sadistic teachers hitting kids with a leather strap. While his father Matt Burdon struggled as an electric repairman, this allowed the family to have a TV by the time Eric was 10. Yet again the TV sparking it all!
Seeing Louis Armstrong on the tube triggered Burdon’s initial interest in music, first in the trombone, then in singing. The next decisive stage in his life was secondary school and a teacher named Bertie Brown who helped him get into the local art college. There he met John Steele, the original drummer of The Animals. They ended up playing in a band called The Pagan Jazzmen. By early 1959, keyboardist Alan Price had joined. After a few iterations and name changes, the band evolved into The Animals in 1962.
The initial lineup featured Burdon (lead vocals), Steele (drums), Price (keyboards), Hilton Valentine (guitar) and Chas Chandler (bass), who later became the manager of Jimi Hendrix. Between September and December 1963, The Animals developed a following in Newcastle by playing local clubs there. During that period, Burdon met some of his blues heroes, including John Lee Hooker and Sonny Boy Williamson. The Animals also backed Williamson during a local gig.
In December 1963, The Animals recorded their first single Baby Let Me Take You Home. It climbed to a respectable no. 22 on the UK singles chart. But it was the second single, The House Of The Rising Sun from June 1964, which brought the big breakthrough, topping the charts in the UK, U.S., Canada and Sweden. It also started the beginning of the band’s demise when the arrangement of the traditional was only credited to Price who collected all the songwriting royalties.
The band’s first studio album The Animals appeared in the U.S. in September 1964. Their British debut record followed two months later. As was quite common at the time, the track listing between the two versions differed. Altogether, the original incarnation of The Animals released five U.S. and three U.K. studio albums. Here’s the above mentioned I’m Crying, which was included on the second U.S. record The Animals On Tour, a peculiar title for a studio album. Co-written by Burden and Price, it’s one of only a few original tracks by the band that was mostly known for fiery renditions of blues and R&B staples by the likes of John Lee Hooker, Jimmy Reed and Ray Charles.
In May 1966, The Animals released Don’t Bring Me Down. Co-written by songwriter duo Gerry Goffin and Carole King, the tune became Burdon’s favorite single, he toldLouder/The Blues during a long interview in April 2013. The song also became the opening track to the band’s fourth U.S. album Animalization released in July 1966. The great tune is characterized by a distinct Hammond B3 sound played by Dave Rowberry, who had replaced Alan Price following his departure in late 1965, and Hilton Valentine’s fuzz guitar. Burdon recalled the song’s recording in a hotel in the Bahamas. “There was an old record player in the room where we were recording and it had this strange, thin electrostatic speaker. Dave Rowberry connected it to his Hammond B3 and that’s where the sound comes from on that track.”
By September 1966, The Animals had dissipated and Burdon started work on his first solo album Eric Is Here, which wouldn’t appear until the following year. Meanwhile, in December 1966, he formed Eric Burdon & The Animals. In addition to him, the band included Barry Jenkins, who had replaced John Steel on drums during the first incarnation of The Animals, John Weider (guitar, violin, bass), Vic Briggs (guitar, piano) and Danny McCulloch (bass). The band subsequently relocated from the U.K. to San Francisco. By that time, Burdon had become a heavy user of LSD.
In October 1967, Eric Burdon & The Animals released their debut. Appropriately titled Winds Of Change, it featured mostly original tracks and psychedelic-oriented rock, a major departure from the past. But, as Louder/The Blues noted, except for San Franciscan Nights, “the British public were reluctant to accept Eric’s transformation from hard-drinking Geordie bluesman to LSD-endorsing, peace and love hippy.” Three more albums followed before this second incarnation of The Animals dissolved in late 1968. Here’s Monterey, the opener to their second record The Twain Shall Meet from May 1968. Reflecting the band’s drug-infused experiences at the Monterey Pop Festival, where they also had performed, the tune is credited to all five members.
Disillusioned with the music business, Burdon went to LA to try acting. But after one year, he returned to music, fronting a Californian funk rock band that would be called War. Together they recorded two original albums in 1970. Here’s Spill The Wine from the first, Eric Burden Declares “War”, which appeared in April 1970. Credited to the members of War, the tune became the band’s first hit, peaking at no. 3 on the Billboard Hot 100. It also marked Burdon’s last major chart success.
Burdon’s relationship with War abruptly unraveled after the band had decided to record their next album without him. It was around the same time his friend Jimi Hendrix passed away. Burden was devastated. “That became the end of the parade because it affected us so much,” he stated during the above Louder/The Blues interview. “It was tough for me. It was tough for everybody.” Unfortunately, one of Burdon’s answers was drugs and more drugs.
During the ’70s and ’80s, Burdon had numerous drug excesses. In 1983, this lead to an arrest in Germany where he had lived since 1977. Subsequently, he returned to the U.S. Yet despite all the upheaval, Burdon still managed to continue recording albums and touring. In 1971, he teamed up with American jump blues artist Jimmy Witherspoon for a record titled Guilty! Here’s Home Dream, a great slow blues tune written by Burdon.
In August 1977, the first incarnation of The Animals released the first of two reunion albums, Before We Were So Rudely Interrupted, billed as The Original Animals. Despite positive reviews, the record only reached no. 70 on the Billboard 200. Lack of promotion, no supporting tour and most importantly appearing at a time when punk and disco ruled were all factors. Here’s the great opener Brother Bill (The Last Clean Shirt), a tune co-written by Jerry Leiber, Mike Stoller and Clyde Otis.
Next up: Going Back To Memphis, a song co-written by Burdon and Steve Grant. It appeared on Burdon’s 1988 album I Used To Be An Animal. Released in the wake of his autobiography I Used To Be An Animal, But I’m Alright Now, it was Burdon’s first new album in almost four years.
In April 2004, My Secret Life appeared, Burdon’s first new solo record in almost 16 years. Here’s the opener Once Upon A Time, a nice soulful tune co-written by Burdon and Robert Bradley.
‘Til Your River Runs Dry is Burdon’s most recent studio release, which came out in January 2013. His website calls it his “most personal album to date.” Here’s Old Habits Die Hard, co-written by Burdon and Tom Hambridge. “This song is dedicated to the people in Egypt and Libya trying to throw off the shackles of all those centuries of brutality,” Burdon toldRolling Stone a few days prior to the record’s release. “It reminds me of Paris in 1968 when I saw the kids going up against the brutal police force or the L.A. uprising. I went through these experiences and they’re still with me today. The struggle carries on. I wrote this song so I won’t forget and to say, even though I’m older now, I am still out there with you.”
Burdon’s most recent recording is a nice cover of For What It’s Worth, written by Stephen Stills and originally released by Buffalo Springfield in December 1966. He commented on his website: The whole idea of recording this song came as a result of a conversation I had with a young fan backstage, when she asked me, “Where are the protest songs today?” Right then and there, I wanted to write something about the brutality that’s going on in the world today but I couldn’t find any better way to say it than Buffalo Springfield did in “For What It’s Worth.
In 1994, Eric Burdon was inducted into the Rock & Roll Hall Of Fame as part of The Animals, along with the other original members of the band. He did not attend the induction ceremony. Burdon remains active to this day and uses the name The Animals for his backing band, which includes Evan Mackey (trombone), Davey Allen (piano), Dustin Koester (drums), Johnzo West (guitar), Justin Andres (bass) and Ruben Salinas (saxophone).
While Burdon’s website currently does not list any upcoming gigs for this year, according to Consequence of Sound, Eric Burdon & The Animals are part of the lineup for the KAABOO Festival in Arlington, Texas, May 10-12. The band is also scheduled to perform on May 26 at Avila Beach Blues Festival in California.
Asked by Louder/The Blues during the above interview how he would sum up the past 50 years, Burdon said, “I’d been screwed by [War], I’d been screwed by The Animals. All use Burdon because he’s a great front guy and then come payday where’s the money? A lot of people had a great ride off me being on stage and I didn’t get much of it.” With a little chuckle he added, “I’m not bitter. I’m bittersweet.”
Sources: Wikipedia, Louder/The Blues, Deutsche Welle, Eric Burdon website, Rolling Stone, Consequence of Sound, Eventbrite, YouTube