While everybody regards “Respect” as Aretha Franklin’s signature song, it didn’t start out that way.
The song was written and first recorded by Otis Redding in 1965. A solid tune, it hit the top 10 on the R&B charts and the Top 40 on the pop charts, but it was a typical anthem of male posturing – I’ll buy you anything you want if your respect me when I come home.
Just two years after Otis’ version, Aretha was looking to follow-up her first hit single. After over 10 years of trying, she had finally scored a top 10 success with “I Never Loved a Man (The Way I Love You)” in early 1967. She heard “Respect” and thought, with a little work, it might be perfect for her.
So, she and her sister Carolyn began reworking some of the lyrics to bring the song around to a female point of view. The first line: “What you want, honey, you got it” became “What you want, baby, I got it!” Now it wasn’t about buying your sweetheart something material, but about the things a woman would give to her man IF he showed her some respect.” They also added the gimmick of spelling out the word: “R-E-S-P-E-C-T,” which proved to be the thing most people remembered about the song.
During the recording session headed by master producer Jerry Wexler, Aretha also threw in the “sock it to me” and “TCB” ad libs that added to the song’s energy.
Behind the scenes, Ms. Franklin was in the midst of a troubled marriage that would eventually dissolve in 1969. Most rock historians think that added fuel to Aretha’s no-holds-barred performance.
The song, of course, became a monster hit, Aretha’s first #1 and firmly established her preeminence among female R&B singers. It also was adopted as an anthem in the feminist movement that was just getting underway as the 1960s drew to a close.
In music circles, Aretha has had nothing by r-e-s-p-e-c-t ever since.
One of the most iconic of all surf instrumentals, “Wipe Out” by the Safaris, almost never came to be.
The song was composed and recorded on the spot when the band was in the Pal Recording studio in Cucamonga, California. The lads thought their first big smash would be “Surfer Joe,” but they needed something for the single’s B-side.
The band members, Bob Berryhill, Pat Connolly, Jim Fuller and Ron Wilson, launched into an enthusiastic bit of a jam, keyed by Wilson’s energetic drum solo. In keeping with the surf theme of the A-side, the boys christened the tune “Wipe Out” after the term surfers used when one of their own fell off their board in an often-painful way.
For a finishing touch, the band added a sound effect they thought sounded like a surfboard breaking up as well as a maniacal laugh and the expression “wipe out” voiced by the group’s manager, Dale Smallin.
To theSafaris’ surprise, “Surfer Joe” failed to get much airplay. But their throwaway instrumental proved to be a different story. Although the single was released by the tiny DFS label, it attracted the attention of Dot Records, a national label. They bought the rights to the single and released it in the summer of 1963. By fall, it had climbed all the way to #2 on the charts, selling well over a million copies. Even more amazing, the song returned to the Top 20 just 3 years later, reaching #16 in 1966.
It sold still more copies when it was featured on the soundtrack of the 1987 film Dirty Dancing.
Unfortunately, the band was never able to duplicate their initial success. They released only 4 other singles and were soon “gone with the wave.”
But for Baby Boomers, there was once only one true test of a great drummer – could he play the drum solo from “Wipe Out?”
It happened again last week. We read an account of The Bee Gees’ career by a noted “music historian” that repeated the lie. The farther away we get from this time in music history, the more urgent it becomes to set the record straight.
What is the lie?
Glad you asked. The lie is that the Bee Gees were washed-up and desperate before they wrote the soundtrack for Saturday Night Fever.
Poppycock! Balderdash! And other archaic exclamations!
Yes, the Bee Gees’ career (like many other bands – see also, “The Beach Boys”) had ups and down, but here is the true story…
Two new CDs may be of interest to Baby Boomers. They are both 2-disc live recordings. The first is a bit of a time capsule. The second is a more recent recording capturing one of rock’s great singer/songwriter/producers running through bravura versions of his greatest hits.
The Who Live at the Fillmore East 1968 was supposed to be released back in the day as the band’s follow-up to The Who Sell Out and before their massive breakout LP, Tommy. Recorded during a two-night stand at NYC’s Fillmore (the shows were the first by a British act at that venue), the tapes sat on the shelf for years due to audio problems. The first couple of songs were not satisfactorily recorded on either night. But thanks to modern technology, the surviving tapes were cleaned up and we now have the shows just in time for their 50th anniversary.
This is still the raw, energetic Who before superstardom overtook them. You get two Eddie Cochran covers (the perennial Who concert fave “Summertime Blues” and the much less heard “C’mon Everybody"). You also get two songs from The Who Sell Out as well as an extended version of their first “mini-opera” “A Quick One.”
The second disc captures a tremendous 30-minute version of “My Generation” that concludes with the guitar smashing and drum kit destruction that was the band’s calling card back in the day.
The other new release is from Jeff Lynne, Wembley or Bust, featuring his newly constituted group Jeff Lynne’s ELO. For various reasons, Lynne does not use the full Electric Light Orchestra name. Just as well, as Lynne is the only original member present. But as he was the composer, lead singer, arranger and producer for all of the band’s albums, we doubt you’ll notice the difference.
If you had heard that ELO was not as big in their native England as in the States, don’t believe it. This 2-disc set was recorded in June of 2017 at sold-out shows in London’s Wembley Stadium. You’ll hear tens of thousands of Brits applauding and singing along as Lynne and his cohorts roar through a set that includes ELO’s very first song “10538 Overture” right up to a selection from ELO’s comeback album Alone in the Universe. Lynne also manages to squeeze in one of the tunes he wrote and recorded with the Traveling Wilburys (“Handle With Care”) and yes, he does perform the title track from Xanadu, the movie that ended Olivia Newton John’s acting career. Too bad it was such a cheesy movie because the title song is a pretty good little rocker.
One minor quibble: each of the tracks on the CDs fade out at the end rather than flowing one into another as they would at the live show.
However, as an added bonus, the set does include a Blu-Ray disc of the live show and on video, the concert is presented without fade outs.
If you are fan of either band or both bands, these two releases come highly recommended!
Think you have all of Paul McCartney’s solo albums? You don’t if you don’t have this one, the oddest of all Beatles oddities – Thrillington.
During the recording of McCartney’s second solo effort, Ram, he decided to record a second version of the LP as lounge music instrumentals!
Paul and Linda also decided to form a new rock band, which became known as Wings. That proved to take up most of Paul’s time, so the instrumental album sat on the shelf for 6 years.
When he finally decided to release it in April of 1977, he created a totally fictious persona, British socialite Percy Thrillington as the album’s creator. He then took out ads in various British music papers chronicling the comings and goings of Thrillington.
The album came out and was virtually ignored by all but a small handful of fans who saw through the deception.
McCartney finally confessed to the hoax during an interview in 1989. By that time, the album was already out of print.
A few years later, McCartney also confessed to being Clint Harrigan, who had written the liner notes for both Thrillington and the Wings’ album Wild Life.
Thrillington came back into print with CD releases on 1995, 2004 and as a special 2nd disc with a deluxe re-release of Ram in 2012.
The album is scheduled to be re-issued on CD, vinyl, and limited edition colored vinyl on the 18th of this month (May, 2018)!
So if you ever wondered what the Ram album would sound like if it had been recorded by Les Brown and His Band of Renown, wonder no longer!
Farrah Fawcett sold a lot of posters in the 1970’s, but did you know she also inspired a multi-million dollar song?
It’s true! Her offhand comment inspired composer Jim Weatherly to write “Midnight Train to Georgia.”
But Farrah never said anything about a plane or Georgia.
The year was 1970 and Farrah was the girlfriend of TV’s Six Million-Dollar Man, Lee Major. She was at Majors’ home one afternoon when the phone rang. Lee was busy, so Fawcett answered the call. It was Majors’ friend, songwriter Jim Weatherly. As the two chatted, Farrah remarked that she was leaving that night to take the midnight plane to Houston.
After they hung up, the phrase haunted Weatherly. In less than an hour, Weatherly had his song. He recorded it for his very first solo album, but “Midnight Plane to Houston” received very little attention.
Shortly thereafter, another record producer called asking if he could use the song for an album he was working on with R&B singer Cissy Houston. When Weatherly said okay, the producer asked if he could make a slight change in the song’s title. He wanted to change to location of the song to Georgia to avoid singer Houston’s name also appearing in the song’s title. He also wanted to change the plane to a train, thinking that mode of transportation would resonated better with the R&B audience.
The changes were made, but Cissy’s version also garnered little airplay.
Finally, in 1973, Gladys Knights & the Pips decided to record an entire album of Weatherly’s songs. One of the tunes they picked was “Midnight Train to Georgia.” It roared to the top of both the pop and the R&B charts and became one of Knight’s signature songs.
Or How a Black Man from South Africa Was Screwed Out of Several Million Dollars
“A-wimowack, a-wimoweh A-wimowack, a-wimoweh…”
Everybody knows that hook from the song “The Lion Sleeps Tonight.” The song was a staple of the folk music circuit of the late 50’s and early 60’s. In 1962, it went to #1 in the U.S. when the Tokens recorded a more rock-oriented version. Robert John took it to #3 in 1972 and the British ensemble Tight Fit had a #1 hit in the UK in 1982. It was featured in the Disney movie The Lion King and even played a prominent part in an episode of the popular sitcom Friends.
Few know who really wrote the song or the long journey it made to become the classic we know today.
Sgt. Pepper's Lonely Hearts Club Band
There has been so much written about this album since its first release 50 years ago. And now, so much more being written about it, thanks to the 50th Anniversary Deluxe Re-Issue. There’s little we could add. You either still own this album, owned it back in the day or know many, many people who own it.
So instead of posting an appreciation of it, here are 5 things you might not know about Sgt. Pepper’s Lonely Hearts club Band:
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