It’s it really Wednesday again? Yep, the calendar doesn’t lie. This means it’s time to pack my bags anew and head to that imaginary desert island. But before leaving, I must pick one song to take along.
It can’t be just any tune. It must be a song by an artist or a band I’ve rarely covered or not covered at all. And it must be an artist or a band whose name starts with the letter “o” since I’m doing this exercise alphabetically and did my pick for “n” last week.
For the letter “o”, some of the choices included Oasis, Sinead O’Connor, Phil Ochs, Old Crow Medicine Show, Orchestral Manoeuvres in the Dark (OMD), Roy Orbison and Ozzy Osborne. And my pick is a smooth Philly soul tune I’ve always loved but not covered yet: Back Stabbers by The O’Jays.
Back Stabbers, co-written by Philadelphia International label songwriters Leon Huff, Gene McFadden and John Whitehead, is the title track of The O’Jays’ sixth studio album. Released in August 1972, it was their breakthrough and the first for Philadelphia International Records, a label that had only been founded in 1971. I dig the nice contrast between Levert’s rough voice and Williams’ smooth singing.
The O’Jays originally hailed from Canton, Ohio and were formed in 1958 as The Mascots by Eddie Levert, Walter Lee Williams, William Powell, Bobby Massey and Bill Isles while they were still in high school. They changed their name to The Triumphs before becoming The O’Jays in 1963 in tribute to Eddie O’Jay, a Cleveland radio DJ.
In 1963, The O’Jays released Lonely Drifter, their first charting U.S. single, which reached no. 93 on the Billboard Hot 100. The song also appeared on their debut album that came out in 1965. But as noted above, the group’s breakthrough didn’t happen until they signed with Philadelphia International Records and released the Back Stabbers album. By that time, The O’Jays had become a trio featuring Levert, Williams and Powell.
After 64 years, The O’Jays are still around, with Levert and Williams remaining part of the current line-up that also includes Eric Nolan Grant. In fact, they have upcoming tour dates in July and August. To date, they have released 29 studio albums, 20 compilations, one live album and nearly 100 singles. The O’Jays were inducted into the Vocal Group Hall of Fame (2004), Rock and Roll Hall of Fame (2005) and National Rhythm & Blues Hall of Fame (2013).
Back Stabbers ranks among The O’Jays most successful U.S. singles, topping the R&B chart and reaching no. 3 on the Billboard Hot 100. Only Love Train, another track from Back Stabbers, ever topped the Hot 100. Other hits included Put Your Hands Together (1973), For the Love of Money (1974), I Love Music (1975), Livin’ For the Weekend (1976) and Use ta Be My Girl (1978).
Here’s a nice clip of The O’Jays’ 2005 Rock Hall induction performance, a medley of Back Stabbers, For the Love of Money and Love Train.
Following are some additional tidbits on Back Stabbers from Songfacts:
This song starts with a piano roll that Leon Huff played. He explained in an interview with National Public Radio: “‘Back Stabbers sounds like something eerie, so that roll was like something horrible, because that’s what back stabbers are. It reflected that type of drama.”
Regarding the elaborate production and orchestral sound, he added: “Our dream was to play so many counter-melodies that came with those songs, and the orchestra was able to put that together. Plus, stereo radio had just come around, and you had a lot of space to fill up. Stereo was much more soothing than mono, so we thought about the mixes we could do. The music was funky and classical at the same time.”
A selection of newly released music that caught my attention
Happy Saturday and welcome to another weekly new music revue. Usually, most of the artists I feature in these posts are new to me. Not so this time! All picks appear on brand new albums released yesterday.
Wilco/All Across the World
American alternative rock band Wilco were formed in 1994 by singer-songwriter Jeff Tweedy (lead vocals, guitars, bass, harmonica) and the remaining members of Uncle Tupelo after vocalist and guitarist Jay Farrar had left the alternative country group. Wilco’s studio debut A.M. came out in March 1995. Unlike Trace, the debut by Farrar’s newly founded Son Volt, A.M. missed the charts. But Wilco caught up with and eventually surpassed Son Volt from a chart performance perspective. To date, the band has released 12 albums including its latest Cruel Country, a double album. While Tweedy acknowledged Wilco hadn’t been very comfortable about being called a country band in the past, even though their music always had included country elements, he said with Cruel Country “Wilco is digging in and calling it country.” Here’s All Across the World. I dig that tune and really don’t care much what you call it!
Liam Gallagher/Too Good For Giving Up
English singer-songwriter Liam Gallagher first gained prominence in the 1990s as frontman and lead vocalist of Britain’s overnight sensation Oasis. After Liam’s brother Noel Gallagher quit Oasis in August 2009, which ended the group, Liam and the remaining members decided to continue as Beady Eye. When that band broke up in October 2014, Liam launched a solo career, though for some reason, he initially didn’t want to characterize it as such. His solo debut As You Were was met with critical acclaim and debuted at no. 1 on the British albums chart. Now, Liam Gallagher is back with his third and new album C’mon You Know. Here’s a sample: Too Good For Giving Up, co-written by Gallagher and fellow British singer-songwriter Simon Aldred who is also listed as co-producer. Strong tune!
Steve Earle/Hill Country Rain
After a warm tribute to his late son Justin Townes Earle, released in January 2021, roots rock singer-songwriter Steve Earle is back with another tribute. Jerry Jeff, his 22nd studio release, celebrates the music of outlaw country singer-songwriter Jerry Jeff Walker. While Walker wrote and interpreted many songs over more than 50 years, he was best known for Mr. Bojangles. This 1968 classic has been covered by Nitty Gritty Dirt Band, Sammy Davis Jr. and Bob Dylan, among others. And now also Steve Earle, who released his solo debut Guitar Town in March 1986 following a 10-year-plus career as a songwriter and musician. “This record completes the set, the work of my first-hand teachers,” Earle wrote on his website. “The records were recorded and released in the order in which they left this world. But make no mistake – it was Jerry Jeff Walker who came first.” Here’s Hill Country Rain, which Walker first recorded in 1972 for a self-titled studio album. Great rendition!
When I included Bruce Hornsby in a recent Sunday Sixinstallment, I didn’t anticipate I’d be writing about the American singer-songwriter again so soon. Best known for his 1986 debut gem The Way It Is, Hornsby has drawn from folk-rock, jazz, bluegrass, folk, southern rock, country rock, heartland rock and blues rock over a 36-year-and-counting recording career. Bonnie Raitt, whose music I’ve loved for many years, called Hornsby her favorite artist in a recent interview. Perhaps I should finally take a closer look at Hornsby beyond his first two albums! ‘Flicted, his 23rd and latest would be a start. “Thanks to all of our supporters who have followed the multi-genre journey for the last thirty-six years,” Hornsby wrote on his website.”…thanks for being open to change, exploration and a bit of musical mirth and merriment along with the attempts at deep and soulful music-making through the years.” Here’s Tag, which like most tunes on the album were written or co-written by Hornsby. This may not be as catchy as mainstream pop-oriented songs like Every Little Kiss, Mandolin Rain or The Way It Is, but I’m still intrigued and want to hear more.
Here’s a Spotify playlist of the above and a few additional tunes from each featured artist.
Sources: Wikipedia; Steve Earle website; Bruce Hornsby website; YouTube; Spotify
Celebrating music with six random tracks at a time
Welcome to the first Sunday Six of May 2022! It’s been a bit on the chilly side in my neck of the woods. But the weather in the New Jersey-New York-Connecticut tri-state area can change rapidly, and before we know it, we may have summer-like temperatures. One thing is for sure: Spring has definitely arrived! Now that we’ve got the weather covered, let’s get to a new set of six songs to celebrate music of the past and the present.
I’d like to start today’s musical journey in the year 2022 with jazz by 26-year-old New York composer Joel Ross. A bio on the website of the renowned Blue Note Records jazz label calls him “the most thrilling new vibraphonist in America.” Here’s a bit more: The Chicago-born, Brooklyn-based player and composer has a way of being everywhere interesting at once: from deeply innovative albums (Makaya McCraven’s Universal Beings and Deciphering the Message, Walter Smith III & Matthew Stevens’ In Common) to reliably revolutionary combos (Marquis Hill’s Blacktet, Peter Evans’ Being & Becoming) to his own acclaimed Blue Note albums: KingMaker, Who Are You?, and The Parable of the Poet. This brings me to Wail, a track off Ross’s latest Blue Note album released April 15. “Almost every take is a first take, since our years improvising together have shaped these compositions into something with more meaning than we ever could know,” he toldApple Music. Oftentimes, free-form jazz isn’t my cup of tea, but I do like this music!
Our next stop is the ’70s and a tune by British pop-rock band Ace I’ve always loved: How Long. I was reminded of the catchy song when I heard it on the radio the other day. How Long was written by the group’s frontman and keyboarder Paul Carrack. It was Ace’s debut single and appeared on their first album Five-A-Side, released in January 1974. How Long became their biggest hit, climbing to no. 3 in the U.S. and Canada, and reaching no. 20 in the UK. I think it’s the only tune I know from Ace, who were active from 1972 until 1977. Following their breakup, Carrack became a member of various prominent bands, including Roxy Music, Squeeze and Mike + The Mechanics. In 1980, Carrack also launched a solo career, which continues to this day.
Willie Nelson/Night Life
If you saw my latest Best of What’s Newinstallment, you probably noticed it included new music by Willie Nelson who just turned 88 years and remains a viable artist. This reminded me of a tune I had earmarked for The Sunday Six a few months ago after my streaming service provider had served it up as a listening suggestion. Night Life, co-written by Nelson, Paul Buskirk and Walt Breeland, was first released as a single in 1960. Wikipedia notes the following interesting anecdote: Due to financial issues, Nelson sold the song to guitar instructor Paul Buskirk for $150. The recording of the song was rejected by Pappy Daily, owner of Nelson’s label, D Records. Daily believed that the song was not country. Encouraged by the amount of money he received for the song, Nelson decided to master it at another studio. To avoid legal actions, it was recorded as “Nite Life” under the artist name of “Paul Buskirk and the Little Men featuring Hugh Nelson.” In 1963 Bellaire Records reissued the single under the original title of “Night Life,” recrediting it to “Willie Nelson.” While it may not be among Nelson’s most popular songs, to me Night Life feels like a timeless classic.
John Lennon/Watching the Wheels
Next, we go to November 1980 and Watching the Wheels, one of my favorite John Lennon tunes from his solo career. It first appeared on Double Fantasy from November 1980, which sadly turned out to be Lennon’s last album released during his lifetime. Only three weeks after the release, he was murdered by a deranged individual in front of The Dakota, the New York City building in which he was living with Yoko Ono and their then-six-year-old son Sean. Watching the Wheels also appeared separately as the album’s third single in March 1981. Unlike the two preceding singles Woman and (Just Like) Starting Over, which reached no. 2 and no. 1, respectively, in the U.S. on the Billboard Hot 100, Watching the Wheels “only” climbed to no. 10. Interestingly, in the UK where the first two singles topped the charts, the song stalled at no. 30.
Okay, time for a stop-over in the ’90s and Wonderwall, a massive hit by English pop-rock band Oasis. Written by the group’s co-founder Noel Gallagher, the tune appeared on their sophomore album (What’s the Story) Morning Glory?, released in October 1995. The record became even more successful than the band’s strong debut Definitely Maybe that had appeared in August 1994. Wonderwall also was one of six singles Morning Glory spawned. It surged to no. 2 in the UK on the Official Singles Chart and also did well elsewhere: No. 1 in Australia; no. 2 in Ireland; no. 5 in Canada; and no. 8 in the U.S. and The Netherlands, among others. During their active period between 1991 and 2009, Oasis sold over 70 million records worldwide and were one of the most successful acts in the UK.
The Crazy World of Arthur Brown/Fire
And once again, it’s time to wrap up another Sunday Six, and I give you the god of hellfire! The Crazy World of Arthur Brown are an English psychedelic rock band formed in 1967 by vocalist Arthur Brown. The group’s initial run spanned three years and their only hit Fire, co-written by Brown, the band’s keyboarder Vincent Crane, as well as Mike Finesilver and Peter Ker. Appearing on the group’s eponymous debut album from June 1968 and separately as a single, Fire topped the charts in the UK and Canada, climbed to no. 2 in the U.S., and reached no. 3 in each Belgium, Switzerland and Germany. It also charted in the top 10 in The Netherlands (no. 4) and Austria (no. 7). After this phenomenal start and sharing bills with the likes of The Who, The Doors and Small Faces, the group ran out of, well, fire and disbanded in June 1969. They reformed in 2000 with a different line-up and Brown as the only original member, and apparently remain active to this day. Bown has also issued various solo releases and has a new album scheduled for June 24. In case you’re curious how he sounds these days at age 79, the first track is already out.
Last but not least, here’s a Spotify playlist with all the above goodies.
Sources: Wikipedia; Blue Note Records website; Apple Music; YouTube; Spotify
The electro-mechanical keyboards are known for amazing sound capabilities and quirks
Yesterday, when all my troubles seemed so far away, I came across this YouTubedemo of the Mellotron. It reminded me what a cool musical instrument this type of keyboard is and that I hadn’t done a “hardware” post since this one about the Vox Continental from August 2018. Two great reasons for a new installment, don’t you agree? 🙂
I realize writing about musical gear can quickly get you into geeky territory. As a hobby musician, I can’t deny I get easily excited when it comes to instruments and their sounds and looks. I guess you could call that geeky. At the same time, I’m not exactly a tech wiz – in fact, far from it! As such, I mostly approach gear posts from the sound (and looks) side and keep the tech side relatively light.
Which brings me to the Mellotron. The first time I ever heard this marvelous keyboard in action, I didn’t realize I was listening to a Mellotron. Clever, huh? Well, it’s true. I suppose more frequent visitors of the blog may already have an idea where I’m going with this. I’ll give you a hint: Four lads from Liverpool…
Strawberry Fields Forever. Undoubtedly, my fellow Beatles fans already knew that! 🙂 This John Lennon gem from 1967, which was co-credited to him and Paul McCartney as usual, is perhaps the most famous example in pop rock of a Mellotron in action. I’m particularly referring to the beautiful flute sound intro, which was played by McCartney. According to The Beatles Bible, George Martin and Lennon also played two Mellotron parts, using the ‘swinging flutes’ and, towards the end of the song, ‘piano riff’ settings.
I could easily dedicate an entire post to Strawberry Fields Forever, which was one of the most complex tunes The Beatles ever recorded. Perhaps one day I will, but for now, let’s get back to the Mellotron and some history, as well as an attempt to explain how the mighty instrument works, based on my ingenious tech understanding. 🙂 And, of course, I’ll wrap things up with some examples that illustrate what Mellotron keyboards can do!
Let’s start with the technology. Fortunately, there’s Wikipedia! Basically, the Mellotron is what’s called a sampler, meaning it samples music instruments and other sounds, but instead of relying on digital sampling like the modern samplers do, it’s based on analogue samples recorded on audio tapes – essentially like an old-fashioned tape deck! When a player presses a key, a tape that’s connected to it gets pushed against a playback head, which in turn generates the sound. Once released, the tape moves back in its default position.
The tapes in a Mellotron include recordings of actual instruments, voices and other sounds, which is pretty neat when you think about it. Each tape recording lasts for about 8 seconds. This means a player cannot indefinitely hold down a key and get a sound – one of the instrument’s many quirks. There are others. As Sound on Soundexplains, the Mellotron had 35 tape heads and other interconnected hardware, which made it quite challenging to maintain from a mechanical perspective.
For example, if the springs that pull back the tapes to their start position malfunction, this could mean the sampled sound only starts in the middle of the tape, and a player would have even less than 8 seconds of sound; or I suppose no sound at all, if the spring gets stuck in a completely extended position. There are different Mellotron models, so I’m not sure they all have 35 tape heads. My point here is to illustrate the instrument’s delicacy!
As you’d expect, the Mellotron offers a variety of sounds. From Wikipedia: On earlier models, the instrument is split into “lead” and “rhythm” sections. There is a choice of six “stations” of rhythm sounds, each containing three rhythm tracks and three fill tracks. The fill tracks can also be mixed together.
Similarly, there is a choice of six lead stations, each containing three lead instruments which can be mixed. In the centre of the Mellotron, there is a tuning button that allows a variation in both pitch and tempo. Later models do not have the concept of stations and have a single knob to select a sound, along with the tuning control. However, the frame containing the tapes is designed to be removed, and replaced with one with different sounds.
Okay, I promised to keep it “light” on the technology, so the above shall be sufficient. Next, I’d like to touch on the Mellotron’s history. While tape samplers had been explored in research studios, it wasn’t until 1962 that the instrument’s commercial concept originated. And it took a little help not exactly from a friend, as would become clear later.
Bill Fransen, a sales agent for the California-based maker of the Chamberlin electro-mechanical keyboards, took two Chamberlin Musicmaster 600 instruments to England to find a suitable manufacturer that could make tape heads for future Chamberlin keyboards. He met Frank Bradley, Norman Bradley and Les Bradley of tape engineering company Bradmatic Ltd. in Birmingham. The Bradleys told him they could advance the original instrument design, and keyboard history started to change.
The Bradleys subsequently teamed up with BBC music conductor Eric Robinson, who not only agreed to arrange the recording of the necessary instruments and sounds for the tapes but also to help finance the effort. They also pulled in English magician and TV personality David Nixon and formed Mellotronics, a company to produce and market the Mellotron.
In 1963, Mellotronics started making the Mk I, the first commercially manufactured model of the Mellotron. The following year, the company introduced the Mk II, an updated version featuring the full set of sounds selectable by banks and stations. There are multiple other models that were developed thereafter, including the M400, which is pictured on top of this post and became a particular popular version.
There was only one hiccup. Fransen had never told the Bradleys that he wasn’t the original owner of the Chamberlin concept. Suffice to say the California company wasn’t exactly pleased that a British competitor essentially had copied their technology. After some back and forth, the two companies eventually agreed that each would be allowed to continue manufacture instruments independently.
In the ’70s, the Mellotron name was acquired by American company Sound Sales. After 1976, Bradmatic that had renamed themselves Streetly Electronics in 1970, manufactured and sold Mellotron type keyboards under the Novatron brand name. But eventually, the advent of modern electronic samplers caught up with both companies. As a result, they found themselves in dire financial straits by the mid ’80s. In 1986, Streetly folded altogether.
In 1989, Les Bradley’s son John Bradley and Martin Smith, who had built Mellotron keyboards for the Bradleys at the original factory in Birmingham, England, revived Streetly Electronics as a Mellotron support and refurbishment business. The company exists to this day. In 2007, they also developed a new model that became the M4000. It combined features of several previous models with the layout and chassis of the popular M400 but with a digital bank selector that emulated the mechanical original in the Mk II.
If you’re still with me, let’s now move on to the post’s final and actual fun section: Seeing and hearing Mellotron keyboards in action. And while many things in pop music start with The Beatles, the Mellotron is one of the exceptions that prove the rule! Apparently, in the mid ’60s, English multi-instrumentalist Graham Bond became the first rock artist to record with a Mellotron. He also was an early user of the legendary Hammond organ and Leslie speaker combination. Here’s Baby Can It Be True from The Graham Bond Organization’s 1965 sophomore album There’s a Bond Between Us. Per Wikipedia, the tune was the first hit song to feature a Mellotron Mk II.
Another early adopter of the Mellotron was Mike Pinder, who had worked as a tester at Streetly Electronics (then still called Bradmatic) for 18 months in the early 1960s and became the keyboarder and co-founder of The Moody Blues in 1964. Pinder started using the Mellotron extensively on each of the band’s albums from Days of Future Passed (1967) to Octave (1978). Here’s one of the former record’s absolute gems written by Justin Hayward: Tuesday Afternoon (Forever Afternoon). In addition to Mellotron, the album used plenty of actual orchestration.
And since it was Pinder who introduced The Beatles to the Mellotron, now it’s time to come back to Strawberry Fields Forever. Notably, George Martin was less than excited about the Mellotron, reportedly describing it “as if a Neanderthal piano had impregnated a primitive electronic keyboard” – ouch! Probably, he was referring to some of the instrument’s quirks I mentioned above! The Beatles still ended up using various Mellotron keyboards on their albums Magical Mystery Tour and The White Album.
Another well-known user of the Mellotron was Rick Wakeman. Before joining Yes in 1971, Wakeman was a full-time session musician. Among others, this included work with David Bowie on his second eponymous studio album and the mighty Space Oddity. As reported by Ultimate Classic Rock, the initial idea was for Wakeman to play a guide track with the Mellotron that would be replaced by an actual orchestra. But producer Tony Visconti decided to keep Wakeman’s Mellotron part.
Let’s do a few more Mellotron examples from the ’70s. These selections are taken from the previously noted Ultimate Classic Rock piece. First up: And You And I, a tune from Close to the Edge, the fifth studio album by Yes released in September 1972. The more than 10-minute track was co-written by Jon Anderson, Steve Howe (except the Eclipse section), Chris Squire and Bill Bruford. Wakeman used the Mellotron to capture stings, brass and flutes sounds, especially during the tune’s Eclipse section.
One month later, in October 1972, Genesis released their fourth studio album Foxtrot. Here’s the opener Watcher of the Skies, which like all of the record’s tracks was credited to all members of the band. Ultimate Classic Rock notes the sound of the Mellotron created by Tony Banks turned out to be so popular that the manufacturer introduced a “Watcher Mix” sound on the next version of the keyboard – pretty cool in my book!
Since all things must pass including epic gear blog posts, let’s wrap up things with one final – and I might add particularly mighty – example of Mellotron use: Kashmir, from Led Zeppelin’s sixth studio album Physical Graffiti, which came out in February 1975. Credited to Jimmy Page, Robert Plant and John Bonham, the closer of Side 2 of the double LP features plenty of orchestration arranged by John Paul Jones. This includes both Mellotron strings and an actual string and brass section. While this makes it tricky to distinguish between the Mellotron and “real instruments”, Ultimate Classic Rock notes, The consensus is that Jones’s fake strings are heard during the “All I see turns to brown…” bridge (starting around 3:25) and join up with the actual strings in the tune’s closing minutes, adding a weird and wonderful effect.
This post focused on the use of the Mellotron during its most popular period from the mid ’60s to the second half of the ’70s. One can also find occasional examples thereafter like Orchestral Maneuvers in the Dark and XTC on albums they released during the first half of the ’80s, as well as Oasis and Radiohead on recordings made during the second half of the ’90s. I think it’s safe to assume some keyboarders continue to use Mellotrons to this day, though with the modern digital samplers, it has to be a niche product.
Sources: Wikipedia; The Beatles Bible; Sound on Sound; Streetly Electronics website; Ultimate Classic Rock; YouTube