On This Day in Rock & Roll History: February 15

Today in my recurring music history feature I’d like to take a look at select events that happened on February 15. And, as oftentimes is the case, it all starts with this band from Liverpool, England.

1965: The Beatles released Eight Days a Week as a single in the U.S., backed by I Don’t Want to Spoil the Party. The song had first appeared on the UK album Beatles for Sale that had come out on December 4, 1964. It was also included on the U.S. album Beatles VI released on June 14, 1965. According to Songfacts, most of the tune was written by Paul McCartney, though as usual, it was credited to John Lennon and him. Unlike the usual arrangement where whoever of the two wrote most of the song would sing lead, John ended up taking over lead vocals here. Songfacts also maintains Eight Days a Week was the first pop song that fades up from silence. The tune became the seventh no. 1 Beatles single on the U.S. Billboard Hot 100. Here’s a clip with footage around their legendary August 1965 performance at New York City’s Shea Stadium.

1969: Sly and the Family Stone hit no. 1 on the Billboard Hot 100 with Everyday People, their first of three chart-topping hits on the U.S. mainstream chart. Written by Sly Stone, the song had first appeared as a single in November 1968. It was also included on the psychedelic soul and funk group’s fourth studio album Stand!, released in May 1969. Songfacts notes the tune is about how everyone is essentially the same, regardless of race or background, adding, Sly & the Family Stone was a mash-up of musical styles, with band members of different genders and ethnic backgrounds. It also states Billy Preston played keyboards on the recording.

1975: Linda Ronstadt reached the top of the Billboard Hot 100 with You’re No Good. While between 1967 and 2006 she scored 20 top 40 hits on the U.S. mainstream chart, You’re No Good was her only no. 1. Written by Clint Ballard Jr., the tune was first recorded and released in 1963 by American soul singer Dee Dee Warwick, the sister of Dionne Warwick. You’re No Good has been covered by numerous other very different artists like The Swinging Blue Jeans, Elvis Costello, Ike & Tina Turner and Van Halen. Remarkably, You’re No Good’s chart-topping position coincided with Heart Like a Wheel, the album on which the tune appeared, hitting no. 1 on the Billboard 200. It became the first of three no. 1 records for Ronstadt on that chart.

1979: The Bee Gees ruled the 21st Annual Grammy Awards held in Los Angeles. The Saturday Night Fever soundtrack won Album of the Year, and the Bee Gees won Best Vocal Pop Performance by a Duo or Group for Saturday Night Fever and Best Arrangement for Voices for Stayin’ Alive. Billy Joel and Donna Summer had a good night as well. The piano man scored Record of the Year and Song of the Year for Just the Way You Are. The tune is from Joel’s fifth studio album The Stranger that came out in September 1977 and also appeared separately as a single at that time. Summer won two Grammys for Last Dance: Best R&B Vocal and Best R&B Song.

1980: Elvis Costello released his fourth studio album Get Happy!!, the third with his backing band The Attractions. Wikipedia notes the record marked “a dramatic break in tone from Costello’s three previous albums, and for being heavily influenced by R&B, ska and soul music.” Apparently, that change didn’t have much of an impact on the record’s chart performance. Like predecessor Armed Forces it reached no. 2 in the UK on the Official Albums Chart, while in the U.S. it climbed to no. 11 on the Billboard 200, just a notch below no. 10 for Armed Forces. Get Happy!! was ranked at no. 11 on Rolling Stone’s list of the 100 Best Albums of the Eighties, published in November 1989. Here’s I Can’t Stand Up for Falling Down. Co-written by Homer Banks and Allen Jones, the tune was first recorded in 1967 by soul duo Sam & Dave.

Sources: Wikipedia; The Beatles Bible; Songfacts; Songfacts Music History Calendar; This Day in Music; YouTube

My Top Singles Turning 50

A final look at 1971, one of the most exciting years in music

As 2021 is drawing to a close, I decided to revisit 1971 one more time. With releases, such as Who’s Next (The Who), Tapestry (Carole King), Led Zeppelin IV (Led Zeppelin), Sticky Fingers (The Rolling Stones) and Meddle (Pink Floyd), it truly was an extraordinary year in music. And let’s not forget At Fillmore East by The Allman Brothers Band, perhaps the ultimate southern and blues-rock record, and certainly a strong contender for best live album ever.

I wrote about the above and other records in a three-part series back in April, which you can read here, here and here. What I didn’t do at the time was to look at singles that came out in 1971. I’ve put my favorites in a playlist at the end of this post. Following I’m highlighting 10 of them, focusing on songs I didn’t cover in the aforementioned three-part series.

Marvin Gaye/What’s Going On

I’d like to start this review with What’s Going On by Marvin Gaye, released in January 1970. Co-written by him, Al Cleveland and Four Tops co-founding member Renaldo “Obie” Benson, this classic soul gem was inspired by an incident of police brutality Benson had witnessed in May 1969 while The Four Tops were visiting Berkely, Calif. The tune became Gaye’s first big U.S. hit in the ’70s, climbing to no. 2 on the Billboard Hot 100 and topping the Best Selling Soul Singles chart.

Deep Purple/Strange Kind of Woman

In February 1970, Deep Purple released Strange Kind of Woman as a non-album single. The follow-on to Black Night was credited to all members of the band: Ian Gillan, Ritchie Blackmore, Jon Lord, Roger Glover and Ian Paice, their most compelling lineup, in my view. The song reached no. 8 in the UK and Germany, but didn’t chart in the U.S. The track was also included in the U.S. and Canadian editions of Deep Purple’s fifth studio album Fireball from July 1971 in lieu of Demon’s Eye on the UK edition.

Jethro Tull/Hymn 43

Hymn 43 is a great rock song by Jethro Tull. Penned by Ian Anderson, it appeared in late June 1971 as the second single off Aqualung, the group’s fourth studio album that had come out in March of the same year. Hymn 43 followed lead single Locomotive Breath. Incredibly, it only charted in Canada and the U.S., reaching an underwhelming no. 86 and no. 91, respectively.

T. Rex/Get It On

In July 1970, glam rockers T. Rex released one of their signature tunes, Get It On. In the U.S., it was re-titled Bang a Gong (Get It On), since there was a song with the same title by American jazz-rock band Chase. Get It On, written by T. Rex frontman Marc Bolan, was the lead single from the British band’s sophomore album Electric Warrior that appeared in September that year. Get It On became the band’s second no. 1 in the UK and their only U.S. top 10 hit (no. 10) on the Billboard Hot 100.

Santana/Everybody’s Everything

In September 1970, Santana released their third studio album Santana III and lead single Everybody’s Everything. The tune was co-written by Carlos Santana, Milton Brown and Tyrone Moss. The classic Santana rock song became the band’s last top 20 hit (no. 12) in the U.S. until the pop-oriented Winning from 1981.

Sly and the Family Stone/Family Affair

Family Affair is a track off Sly and the Family Stone’s fifth studio album There’s a Riot Goin’ On that came out in November 1971. Released the same month, the psychedelic funk tune was the first single from that album. It became the group’s third and final no. 1 hit in the U.S., topping both the mainstream Billboard Hot 100 and Hot Soul Singles chart.

Badfinger/Day After Day

Day After Day, first released in the U.S. in November 1971 followed by the UK in January 1972, became the biggest hit for British power pop-rock band Badfinger. Written by Pete Ham, the tune, off their third studio album Straight Up from December 1971, climbed to no. 4 in the U.S. on the Billboard Hot 100 and reached no. 10 in the UK. In Canada, it went all the way to no. 2. This gem was produced by George Harrison who also played slide guitar along with Ham.

Elton John/Levon

Levon is one of Elton John’s beautiful early songs that first appeared on his fourth studio album Madman Across the Water from early November 1970. Composed by John with lyrics by Bernie Taupin, the ballad also became the record’s first single in late November. Producer Gus Dudgeon has said Taupin’s lyrics were inspired by Levon Helm, co-founder, drummer and singer of The Band, a favorite group of John and Taupin at the time. Levon reached no. 24 on the Billboard Hot 100 and climbed to no. 6 in Canada.

The Beach Boys/Surf’s Up

Various music connoisseurs have told me their favorite album by The Beach Boys is Surf’s Up from late August 1971. I can’t say it’s been love at first sight for me, but this record is definitely growing on me. The Beach Boys released the title track as a single in late November that year. Co-written by Brian Wilson and Van Dyke Parks, Surf’s Up originally was supposed to be a track for Smile, an unfinished album that was scrapped in 1967. Brian and Carl Wilson completed the tune. By the time Surf’s Up was released as a single, the last major hit by The Beach Boys Good Vibrations was five years in the past. While the single didn’t chart, the album reached no. 29 on the Billboard 200, their highest-charting record in the U.S. since Wild Honey from 1967.

The Kinks/20th Century Man

The last song I’d like to call out is 20th Century Man by The Kinks. Penned by Ray Davies, the tune in December 1970 became the sole single off the group’s 10th studio album Muswell Hillbillies. The record had appeared in late November that year. 20th Century Man stalled at no. 106 in the UK and reached no. 89 in Australia. It didn’t chart in the U.S. The album didn’t fare much better, though it received positive reviews and remains a favorite among fans.

Check out the playlist below for additional 1971 singles I dig.

Sources: Wikipedia; YouTube

The Sunday Six

Celebrating music with six random songs at a time

Spring has officially arrived – Yay, finally, as it’s been a long and lonely winter! I’m also happy to report that with today’s installment, The Sunday Six has hit its first mini-milestone: This is the 10th post in the weekly recurring series that celebrates the beauty of music from different periods and genres, six random tunes at a time. I think I found a nice set of tracks I hope you will like.

Sonny Rollins Quartet/My Reverie

Let’s kick things off with some amazing saxophone action by American tenor sax player Sonny Rollins. I have to give a shoutout to fellow blogger Cincinnati Babyhead, who recently posted about Tenor Madness, a studio album Rollins released in 1956 as the Sonny Rollins Quartet. In addition to him, it also featured Red Garland (piano), Paul Chambers (double bass) and Philly Joe Jones (drums) – what a cool name, Philly Joe Jones – I love the flow! Oh, and there was this other fellow called John Coltrane, who joined the band on tenor sax for the album’s opener and title track. The track I’m featuring is called My Reverie. Apparently, the first jazz recording was by Larry Clinton and His Orchestra in 1938, featuring Bea Wain on vocals, with lyrics by Clinton. The music is based on Rêverie, a piano piece by French classical composer Claude Debussy, dating back to 1890. This really goes to show there’s such a thing as truly timeless and beautiful music!

The Horace Silver Quartet/Song for My Father

Let’s shake up things a bit on The Sunday Six with another another instrumental and another jazz track back to back. And, nope, Donald Fagen or Walter Becker are not Horace Silver’s father or otherwise related to the American jazz pianist, composer and arranger. But Becker and Fagen both loved listening to jazz. Undoubtedly, they also got inspired by the intro of Song for My Father. Somehow, it became the introductory riff of Steely Dan’s 1974 single Rikki Don’t Lose That Number, their most successful U.S. single, peaking at no. 4 on the Billboard Hot 100. Whether consciously or unconsciously, to me, this looks a bit like yet another case where a credit should have been given to the original composer. Perhaps Messrs. Becker and Fagen lost his number! Silver who began taking classical piano lessons as a child was active between 1946 and 2004. Initially, he started as a sideman before leading mainly smaller jazz groups. In the early ’50s, he became a co-founder of The Jazz Messengers, which at first he ran together with drummer Art Blakey. After leaving the band in 1956, Silver formed his own five-piece combo, which he led into the 1980s. He continued to release albums until 1998. In 2007, it became known that he had been diagnosed with Alzheimer’s. He passed away in June 2014 at the age of 85. Song for My Father, composed by Silver, is the title track of an album he released with his band in late 1965. Great tune!

Jackson Browne/Shaky Town

I trust Jackson Browne needs no introduction. The American singer-songwriter who has been active since 1966 is one of my all-time favorite music artists. I dig both his vocals and his songwriting. I also have something in common with him: We were both born in the lovely town of Heidelberg, Germany. He went on to become a rock star. I ended up playing bass in two bands in my late teens and early ’20s with short-lived ambitions to become a professional musician. It’s probably a good thing it didn’t happen (though never say never! 🙂 ), and I’m a daddy though not rocking in the U.S.A. Instead, I get to enjoy listening to great music by fantastic artists and giving my two cents as a hobby blogger – not such a terrible thing, after all! The one Jackson Browne album I keep coming back to is Running on Empty, his fifth studio release that appeared in December 1977. When I had that aforementioned dream to become a professional musician, I actually envisaged sounding like Browne on Running on Empty, notably, not like The Beatles – true story. I was tempted to go with the title track. Instead, perhaps somewhat ironically, I decided to pick a tune that’s not by Browne: Shaky Town. The song was written by guitarist Danny Kortchmar, who has worked with the likes of Linda Ronstadt, James Taylor, Neil Young, Carly Simon and not to forget Carole King. Kortchmar also provided harmony vocals. And check out that sweet lap steel guitar by the amazing David Lindley.

The Church/Under the Milky Way

The Church are an alternative rock band from down under, formed in Sydney in 1980. Their debut album Of Skins and Heart appeared in April 1981. Since then, the band that remains active to this day, has released 16 additional studio albums. Their most recent one, Man Woman Life Death Infinity, came out in October 2017. I covered it here at the time. But it was their fifth international breakthrough album Starfish from February 1988, which brought the Aussie band on my radar screen. I just love the sound, and it remains one of my favorite ’80s records. Here’s the fantastic lead single Under the Milky Way. It was co-written by the band’s bassist and vocalist Steve Kilbey and his then-girlfriend and guitarist Karin Jansson, founder of alternative Australian rock band Curious (Yellow). The atmospheric sound and Kilbey’s distinct vocals still give me good chills.

George Harrison/Blow Away

What’s better than enjoying some sweet slide guitar? You guessed it – more sweet slide guitar action! One of the artists I’ve always admired in this context for his unique tone is George Harrison. I don’t know of any guitarist who got that same sweet slide sound. Blow Away was first released in February 1979 as the lead single from Harrison’s eighth, eponymous studio album that came out a few days later. Written by him, it became one of eight top 20 mainstream hits Harrison had in the U.S., peaking at no. 16 on the Billboard Hot 100. It did even better in Canada, hitting no. 7, one of his nine top 10 hits there. The recording features former Sly and the Family Stone member and session drummer Andy Newmark. Nuff said – let’s get blown away!

Elton John/Your Sister Can’t Twist (But She Can Rock ‘n’ Roll)

Time to wrap things up. How about kicking ass with some good ole rock & roll Elton John style? Ask and you shall receive! I guess Your Sister Can’t Twist (But She Can Rock ‘n’ Roll) is more of a deep track. As usual, the lyrics were written by Bernie Taupin, while Sir Elton composed the music. According to Songfacts, the tune is a “throwback to music of the late ’50s and early ’60s when lots of songs were about dance crazes and teenage girls.” Songfacts also quotes John from a 1973 interview with now-defunct American rock magazine Circus, in which he reportedly characterized the tune as “a cross between surfing music and Freddie Cannon records” that was intended “to end the ‘Crocodile Rock’ thing.” Sounds like John had hoped it would help people forget about that latter tune. While it’s a great song that appeared on his masterpiece Goodbye Yellow Brick Road from October 1973, it’s fair to say Your Sister Can’t Twist (But She Can Rock ‘n’ Roll) was completely overshadowed by other tunes from the album, such as Saturday Night’s Alright for Fighting, Bennie and the Jets, Candle in the Wind and of course the title track. John also didn’t release it as a single.

Source: Wikipedia; Songfacts; YouTube

What I’ve Been Listening to: Sheila E./Iconic: Message 4 America

Last week, I watched Ringo Starr’s Big Birthday Party and thought the highlight of the one-hour virtual event was Sheila E. and her sizzling performance of Come TogetherRevolution. It turned out E. had previously recorded the medley for her most recent eighth studio album Iconic: Message 4 America released in August 2017. A couple of nights ago, I found myself listening to this covers album and liked what I heard – a lot!

For E.’s background, I’m borrowing from a previous August 2017 post about my favorite drummers. Born Sheila Escovedo, E. was influenced and inspired by her musical family. Since the late 60s, her Mexican-American father Pete Escovedo, a percussionist, was influential in the Latin music scene, touring with Santana from 1967 to 1970. Her uncles were musicians as well, and her godfather was none other than Tito Puente.

At the age of 5, E. gave her first live performance. By her early 20s, she had already played with the likes of George DukeMarvin Gaye and Herbie Hancock. In 1978, she met Prince who became an important mentor and with whom she worked various times. In 1984, E. started a solo career. She also worked with many other artists, including Ringo Starr, performing with his All-Starr Band in 2001, 2003 and 2006.

As reported by Rolling Stone, it was Donald Trump’s denunciation of Mexicans as “murderers and rapists” during his official campaign launch announcement in 2015, along with the death of Prince in April 2016, which prompted E. to record Iconic, an album featuring remakes of social justice anthems. In addition to selecting songs by the likes of Marvin Gaye, Curtis Mayfield, Stevie Wonder and James Brown, E. got help from multiple guests, most notably Starr and Freddie Stone, co-founder, guitarist and vocalist of Sly and the Family Stone. Her father and two other family members were among the other guests.

“So for the Iconic project, you know, the state that the country is in… I’m doing these songs based on the lyrical content, which, when I grew up in the ’60s and the ’70s, these songs were pretty amazing,” E. told Billboard. “They’re relevant. So I wanted to do “Come Together,” The Beatles song with Ringo Starr, which we did, and the only one that wasn’t written [that long] ago was “America.” But it means something…So it was just important to what’s happening in our country.” America is a tune about the state of the U.S. during the Reagan Administration, which Prince had written for his 1985 studio album Around the World in a Day.

Let’s get to some music. Since I previously featured Come TogetherRevolution here, I’m skipping it and go directly to Everyday People. Written by Sly Stone, the tune was originally released as a single by Sly and the Family Stone in November 1968. It was also included on the band’s fourth studio album Stand! from May 1969. As noted above, Freddie Stone joins E. on vocals. He also plays guitar.

Inner City BluesTrouble Man is a cool medley of two songs Marvin Gaye performed. Inner City Blues, co-written by Gaye and James Nyx, Jr., appeared on What’s Going On, Gaye’s 11th studio album from May 1971. Trouble Man is the title track of Gaye’s follow-on studio record that came out in December 1972. It was written by him. On the album’s recording, E. is joined on vocals by saxophonist Eddie Mininfield.

With so many great covers on Iconic, it’s hard to select which ones to call out. One of the funkiest undoubtedly is the James Brown Medley, which melds together five tunes: Talkin’ Loud And Sayin’ Nothing, co-written by Brown and Bobby Bird (There It Is, June 1972); Mama Don’t Take No Mess, co-written by Brown, John Starks and Fred Wesley (Hell, June 1974); Soul Power, written by Brown (single, March 1971); Get Involved, co-written by Brown, Bird and Ron Lenhoff (Revolution of the Mind: Live at the Apollo, Volume III, December 1971); and Super Bad, written by Brown (Super Bad, 1971). For this recording, E. is joined by Bootsy Collins on vocals, who also provides bass and guitar. Collins played with Brown in the early ’70s and later with Parliament-Funkadelic. Let’s hit it!

Next up: A beautiful version of Blackbird. Per Songfacts, Paul McCartney wrote the song about the civil rights struggle for African Americans after he had read the U.S. federal courts had forced racial desegregation in the school system of Little Rock, Ark. Blackbird was first recorded for The White Album that appeared in November 1968. E.’s rendition transforms the acoustic guitar tune to a mellow piano-driven ballad. The lovely cello part is played by studio musician Jodi Burnett.

The last tune I’d like to call out is the Curtis Mayfield classic Pusherman. It appeared on Mayfield’s third solo album Super Fly from July 1972. The great guitar part on E.’s version is played by Mychael Gabriel, a musician, songwriter, performer, audio engineer, mixer, producer, who began his career as a 16-year-old, doing record engineering for E.

Iconic: Message 4 America may “only” be a covers album, but I think the excellent song selection and E.’s renditions make listening to it worthwhile.

Sources: Wikipedia; Rolling Stone; Billboard; Songfacts; Discogs; YouTube

Woodstock 50 Clips & Pix: Sly And The Family Stone/I Want To Take You Higher (Part 3 of 4)

Here is part 3 of a 4-part mini series of Woodstock clips to supplement my recent post about the festival. The above footage of Sly And The Family Stone is from Woodstock’s third day, Sunday, August 17, 1969. The band’s gig fell into the early morning hours (3:30 to 4:20 am ET, according to Wikipedia).

I Want To Take You Higher was written by front man Sly Stone. The tune is from their fourth studio album Stand!, which appeared in May 1969. It also became the b-side to the record’s single of the record’s title track released during the same year. The song is a great example of the band’s mixture of social messages with high-energy rock, soul, R&B, soul and psychedelia. It is simply impossible to watch this clip without starting to groove.

Formed in late 1966, the band’s members included singer-songwriter, producer and multi-instrumentalist Sly Stone, Sly’s brother Freddie Stone (guitar, vocals), his sister Rose Stone (keyboards, vocals) and his cousin Larry Graham (bass), as well as Cynthia Robinson (trumpet), Greg Errico (drums) and Jerry Martini (saxophone). The Rock & Roll Hall of Fame, into which Sly And The Family Stone were inducted in 1993, called them rock’s first integrated, multi-gender band and Woodstock their greatest triumph.

Sources: Wikipedia, Rock & Roll Hall of Fame, YouTube