8

128: The Isley Brothers, ‘Twist and Shout’

Posted by jeff on Nov 8, 2018 in Rock and Roll, Song Of the week

Twist and Shout (Isley Brothers)

A while back I visited the Princeton Record Exchange, “one of the Leading Independent Record Stores since 1980”. I picked up my usual eclectic batch of weird and exotic obscurita, including one you might have heard of, “The Isley Brothers Story, Vol. 1.” (I figured at $1.99 I couldn’t go wrong).

Sit down here, Virginia, and I’ll tell you a story. It’s about how before the Jerk, the Pony, the Watusi, the Mashed Potato, the Monkey and the Funky Chicken, there was the big mamma pelvic rotator of them all, The Twist. And all the kinetic energy emanating from all those gyrations powered more Twist songs than the number of ants on a Tennessee anthill. And before there was The Beatles, Virginia, there were The Isley Brothers. But we’re putting the cart before the bandwagon.

The early 1960s were a very happy time in America (except for the threat of nuclear war with the Russkis), so people danced. Mostly young people, but also some fat and balding older suburbanites. And the really hip (culturally-aware) ones danced a jig called The Twist, which is performed by squaring the feet at shoulder width, extending the arms slightly and grinding the feet grind back and forth on the floor. Sounds like fun, doesn’t it? Here’s what it looks like in American cultural mind (excuse the oxymorons, they know not what they do).

Chubby Twists the Suburbs

The Twist was the invention of rock and roll luminary Dick Clark. He heard the potential of the original‘The Twist’ by R&B baaadman Hank Ballard, but realized it was too gritty and raunchy for white teen audiences, so he got a local Philly label to record wholesome (read: ‘very light-skinned Negro’) Chubby Checker. His ‘original’ version of ‘The Twist’ hit  #1 on the charts twice, in 1960 and 1962, and inspired a virtual musical epidemic, including gems such as Chubby’s ‘Let’s Twist Again’, ‘Peppermint Twist’ (good old Joey Dee), ‘Twistin’ the Night Away’ (the great Sam Cooke bringing home the bread), an entire album “Bo Diddley’s A Twister”,  ‘Oliver Twist’ by Rod McKuen (I jest not), and  the big mamma of them all, The Isley Brothers’ ‘Twist and Shout’.

They say The Twist came from an American plantation slave dance called “wringin’ and twistin,” and the pelvic and shuffling foot movements can be traced all the way back to West Africa. Sure sounds to me like all the Africa’s been bleached out.

Meanwhile, back in 1956, Ronald, Rudolph and O’Kelly Isley (15, 17 and 18 respectfully) boarded a Greyhound in Cincinnati (where they’d grown up in gospel) bound for New York (read: Sodom), where they were eventually signed by RCA. They built a local fan base due to their energetic live performances. James Brown once described the Isleys entering the stage flying through ramps “like Tarzan”.

Shout, Pts. 1-2 (Isley Brothers)

Opening for Jackie Wilson in Washington DC, they performed his ‘Lonely Teardrops’, during which they improvised the line “You know you make me want to shout” which developed into a gospel-charged call-and-response that drove the audience wild. RCA encouraged them to try it in the studio, and kept the bleach locked in the cleaning cabinet. The almost-spontaneous ‘Shout’ (1959, split into two parts for the 45 RPM), became a hit and an icon, covered by everyone from The Chipmunks to the movie “Animal House” to a laundry spray named after the song to a popular American wedding dance to the NFL Buffalo Bills to innumerable raucous Arak-sodden nights in my army reserve unit. The 4:39 of bedlam really is a wonder. It’s a shame Hamlet didn’t know the song – I’m sure it could have lifted his spirits. The organ and the guitar, by the way, are played by two guys brought especially for the session from the Isley’s church back home.

Here they are singing it live on Shindig circa 1965, the energy level hardly diminished by the years and the network lights.

Here are The Beatles singing ‘Shout’ live on TV in 1964 (they never recorded it). The sound and picture are out of synch, but they’re clearly enjoying themselves immensely. In fact, I don’t remember a clip where they look like they’re having so much fun making music. Note that all four lads share the lead vocals in turn.

Respectable (Isley Brothers)

The Isley’s follow-up single, ‘Respectable’ is regrettably little known — no less gospel energetic than its predecessor, and containing the lyric “Rubbedy-dub-dub-dub, she’s never been in love” (because she’s so Respectable).

Don’t get impatient, Virginia. We’re getting to the point now.

In 1961, Atlantic Records wanted a young group named The Top Notes to record ‘Twist and Shout’, written by staff newcomer Bert Berns and Phil Medley. Jerry Wexler decided he’d produce it with the help of another newcomer, Phil Spector, a 22-year old whose portfolio already included involvement in ‘Spanish Harlem’ and ‘On Broadway’. Berns watched from the recording booth while Wexler and Spector butchered his song. Wexler: “It was horrible…Phil changed the middle around, we had the wrong tempo, the wrong feel…Afterward, Bert said, ‘Man, you fucked it up.’”

Twist and Shout (Isley Brothers)

Berns wanted to give them the musical finger, so he took The Isley Brothers into the RCA studio himself. The “raucous, uninhibited, swaggering” result was released on June 16, 1962. It reached # 17 on the US pop top 40 charts, and #2 on the R&B chart.

A mere half-year later, on February 11, 1963, The Beatles went into the studio to record their first LP – 11 songs in 10 hours!  George Martin left ‘Twist and Shout’ for last. Engineer Norman Smith: “Someone suggested they do ‘Twist and Shout’ with John taking the lead vocal. But by this time all their throats were tired and sore; …John’s, in particular, was almost completely gone, so we really had to get it right the first time, The Beatles on the studio floor and us in the control room. John sucked a couple more Zubes, had a bit of a gargle with milk and away we went.” It would become The Beatles’ only million-selling cover. Here’s The Lads on the Ed Sullivan Show, and here’s the famous Royal Variety performance from 1963 before Queen Elizabeth, with John’s famous introduction: “For our last number, I’d like to ask your help. Would the people in the cheaper seats clap your hands. And the rest of you, if you’ll just rattle your jewelry.”

In 1964, O’Kelly Isley met a homeless young guitarist at a store, and brought him into the Isley family home. The young man, Jimi Hendrix, played on a couple of their flops, but then left to tour with Little Richard. The Isley Brothers signed with Motown and in 1966 regained the charts (#12) with the ebullient ‘This Old Heart of Mine’, written by Holland-Dozier-Holland, out-Topping the Four Tops, one of the finest cuts to come out of Berry Gordy’s factory. Did you ever catch that part of the song was recycled from The Supremes’ ‘Back in My Arms Again’? Ecologically responsible, that Berry Gordy.

You don’t need me to tell you about Rod Stewart’s cover of ‘This Old Heart of Mine’, but you might have missed his duet with Ronald Isley.

In the 1960s and early 1970s the Isley Brothers drafted three young family members into the group and reincarnated themselves in the funk mode. They continued their career into the early 2000s in a number of formats and styles. But you’ll pardon me if I get off the train in 1966.I prefer to wallow in my nostalgia; and I only bought Volume 1 of “The Isley Brothers Story.”

If you liked this post, you may also enjoy:

SoTW 28: Smokey Robinson & The Miracles, ‘The Tracks of My Tears’

042: Leiber & Stoller, ‘Yakety Yak’ (The Coasters)

062: Martha and The Vandellas, ‘Heat Wave’

103: Little Stevie Wonder, ‘Fingertips (Pt 2)’

 

 

 

Tags: , , , , , , , , , , , , , ,

 
3

122: George Harrison (The Beatles), ‘You Know What to Do’ b/w Buddy Holly, ‘You’re the One’

Posted by jeff on Oct 25, 2018 in Rock, Rock and Roll, Song Of the week

Acoustic George

We had such a good time last week with George Harrison’s ‘While My Guitar Gently Weeps’ (the acoustic demo), why should we leave well enough alone? This week’s double-sided SoTW is going to visit a pair of songs that have always been indivisibly associated in my mind – both short (under two minutes), slight demos by artists whose oeuvre I’d assumed I knew completely, only to discover these gems decades after I thought the book had been closed. And as if that’s not enough, the later artist was profoundly influenced by the earlier one.

Acoustic Buddy

And if that’s still not enough, the songs sound so much alike it’s spooky, a single acoustic guitar strummed at an insistent rock tempo, with just a little percussive  ornamentation by his buddies in the studio.

We’re talking about the discarded Beatles George-song from 1964, ‘You Know What to Do’, and the even more obscure undubbed version of a Buddy Holly demo from 1958, ‘You’re The One’. Buddy Holly (1936-1959) is one of the greatest talents to arise from the world of rock music. He recorded professionally for 18 months before he died in a plane crash (“the day the music died”). I listen to his very small output regularly, as do Paul McCartney and Keith Richards and Bruce Springsteen and everyone who understands anything about fine rock music. He wrote much of his own material, thus inventing the singer-songwriter format and serving as an acknowledged role-model for the Beatles and the Rolling Stones. The first recording of the Quarrymen was a cover of ‘That’ll Be the Day’, one of Holly’s biggest hits.

Electric Buddy

Much of his music improves from year to year, none more so than The Apartment Tapes, half a dozen recordings he made in his home in January, 1959, which I reverently described in SoTW 002. Could be I invented Song of The Week just to have a platform to sing Buddy Holly’s praises. I thought I knew all his recordings, even the bootlegs of him and The Crickets as high-schoolers playing on Saturday afternoons in the Lubbock, Texas Ford dealer’s parking lot. But here’s one that hid under my radar for many years.

Electric George

Buddy came home to Lubbock for Christmas 1958, a month and a half before he died. Two days after the holiday he went to the local radio station KLLL to visit his DJ buddies Waylon Jennings and Slim Corbin.  Waylon challenged Buddy to write a song on the spot, which he did (in minutes), and proceeded to record it right then and there, Buddy playing acoustic guitar, Waylon and Slim clapping their hands together and on their knees (a la ‘Everyday’). Buddy had just turned 22, but in five weeks he would be dead.

Even the better-known version of the song is obscure, the horror Norman Petty created by overdubbing a band, just as he ruined the better-known versions of the Apartment Tapes. But naked, it’s as beautiful as Botticelli’s Venus.

On June 3, 1964, The Beatles were in the Abbey Road studios preparing some demos for what would be “Beatles for Sale”, including ‘It’s For You’ (Paul-penned for Cilla Black) and John’s ‘No Reply’. George brought ‘You Know What to Do’, his first composition

She’s the one. She knows what to do.

since ‘Don’t Bother Me’ from the year before. The song was dismissed as being too lightweight, and was subsequently misfiled, to be rediscovered only in 1993. George said that he had forgotten about it. But he was also so discouraged by the experience that he didn’t write another song for a year (‘I Need You’). It’s George on acoustic guitar, John on tambourine, and Paul on bass. George had just turned 22, and would have an illustrious career spanning the next 37 years.

Rolling Stone magazine: Buddy Holly turned a generation of future heroes – George Harrison, Eric Clapton, Jeff Beck – onto the guitar, with an elemental style: an antsy mix of country and blues that merged rhythm and lead… Playing his Stratocaster and fronting a double-guitar-bass-and-drum quartet, Holly essentially invented the rock band. “Listen to the songs on the first three Beatles albums,” says John Mellencamp. “Take their voices off and it’s Buddy Holly.”

The Beatles recorded Holly’s ‘Words of Love’ for that “Beatles for Sale” album. But they didn’t give it their unique Beatles’ stamp as they did to all the covers they did before or after (check out for example The Beatles’ ‘Twist and Shout’ in contrast to the version they were adapting from

Waylon Jennings (l), Buddy Holly (r)

the Isley Brothers.  But for ‘Words of Love’ they reverently recreated the original, virtually note-for-note – John and Paul emulating Buddy’s double-tracked vocal (one of the first such recordings by a major artist!), and George copying the lead guitar part on the same Fender Stratocaster guitar.

Here’s Buddy Holly’s version of ‘Words of Love’.

And here’s The Beatles’ copy.

More similar than different? And how about these two unknown gems? Are the similarities not greater than the differences?

If you enjoyed this post, you may also enjoy:

002: Buddy Holly, ‘Learning the Game’

070: Buddy Holly, ‘That’ll Be the Day’

053: The Beatles, ‘In My Life’

121: George Harrison, ‘While My Guitar Gently Weeps’ (Acoustic Demo)

 

 

Tags: , , , , , , , , , ,

 
9

160: Smokey Robinson & Aretha Franklin, ‘Ooh Baby, Baby’ (Live)

Posted by jeff on Aug 16, 2018 in Rock, Rock and Roll, Song Of the week

Smokey Robinson & Aretha Franklin, ‘Ooh Baby, Baby’ (Live)

Last week I talked about Smokey Robinson and the Miracles’ ‘Ooh Baby, Baby’ from a very personal angle. But the song just wouldn’t leave me alone (yes, it’s infectious as the bubonic plague), so I did some snooping, and discovered a few things.

One is that Smokey really does have an uncommonly beautiful voice. I knew that was true, but somehow I always wind up absorbed by the gestalt of his recordings, not him as a vocalist per se.

Another is that he’s abused ‘Ooh Baby, Baby’ horribly in a slew of embarrassing glam celeb duets that I very strongly recommend you not listen to: with Lucy Lawless (lawless indeed, there really should be a law against such demeaning appearances); with Ashanti (her plastic singing oudone by her affected hand gestures and ludicrous slinky walk); with Darryl Hall (all forced joviality, carrot-up-the-ass smiles); and even with Linda Ronstadt (whose schlocky 1978 cover of the song made us swoon for years. But neither she nor her treatment have worn well – here her floozy appearance is rivaled in bad judgment only by the stage set, with both Smokey and Linda concentrating more on avoiding tripping and stepping on each other’s toes than on singing the song).

But the discovery that’s been haunting me for days is this one, a spontaneous, honest homeboy and girl moment.  Aretha Franklin (b. 1942) Smokey (b. 1940) grew up in the same Detroit ‘hood, knew each other since forever. Here she’s the featured guest on a TV show called Soul Train, and Smokey’s a guest of the guest. Watch the banter, the comfort and immense mutual admiration. Watch the emcee challenge Aretha live on camera to come up with a Smokey song. Look at the total focus with which she engages the task, bestowing on it both gravitas and the most serious of fun.

Listen to these two remarkable voices, velvet and steel. A magical meeting in a magical song.  It’s not chemistry, it’s alchemy. Their emotion is palpable. As has been mine for these several days now. So will yours.

No matter that they botch the harmony at the end of the second verse. No matter that they omit the third verse entirely. At the beginning of the second verse (3’00” in the clip), Smokey takes the solo in the most transcendent, celestial voice produced by an earthbound human; then Aretha graces it with her blue note ‘mmm-hmm’, and it’s as miraculous as the rising of the sun.

Unrehearsed, glitzless. Watch it and say a little prayer of thanks for being present at the creation.

 

If you enjoyed this post, you may also like:

152: Sam Cooke, ‘A Change is Gonna Come’
116: Van Morrison, ‘Tupelo Honey’
088: Lizz Wright, ‘Old Man’

 
6

120: Sam Cooke, ‘Shake, Rattle and Roll’

Posted by jeff on Aug 9, 2018 in Rock and Roll, Song Of the week

There are a number of artists I admire who to my taste lack a definitive record. I’d like to listen to them, but I just can’t find a really satisfying album that invites repeated visits. Thelonious Monk, whom I admire greatly. Neil Young, whom I begrudgingly admit as being spottily interesting. And this week’s SoTW artist, the great Sam Cooke.

A while back I wrote a SoTW about Cooke’s 1962 Rhythm and Blues classic, ‘Bring It on Home to Me.’ I wrote there about how he’s universally acknowledged  as one of the great singers of popular music. In terms of oeuvre, though, I’ve always been a bit stuck. He has a dozen great pop hits, but how frequently can you listen to them? His gospel music is somewhat beyond my ken. But I’ve often wanted to listen to him more, if I only had something fresh and interesting. Well, folks, I found it. It’s the fine, fine album “Night Beat”, from 1963.

Way you wear those dresses, the sun comes shinin’ through/ I can’t believe my eyes, all that mess belongs to you.

All Music Guide writes: “Saddled with soaring strings and vocal choruses for maximum crossover potential, Sam Cooke’s solo material often masked the most important part of his genius — his glorious voice — so this odd small-group date earns a special recommendation in his discography.” Or as John Sebastian put it so eloquently (as is his wont) in the Lovin’ Spoonful’s “Good Time Music”:

I don’t want no cryin’violins, no sax, no slide trombones

I don’t want no screaming ya-ya girls, and no honkin’English horns

I don’t want no symphony orchestra with the Mormon Tabernacle Choir

All I want is a guitar, a harp and drum just to set my soul on fire.

I get over the hill and way down underneath

The arrangements on “Night Beat” are perfectly perspicuous – tasteful, enhancing, serving the vocalist, but  unobtrusive. They provide a perfect backdrop for a truly remarkable singer.

Nobody Knows the Trouble I’ve Seen’ (which he completely transforms from the hackneyed spiritual to a spot-on, moving personal statement); ‘Lost and Lookin’’, a virtuoso showcase with only a bass for accompaniment; ‘Please Don’t Drive Me Away’; ‘Get Yourself Another Fool’, utterly restrained, utterly passionate, a perfect example of the degree to which Sam Cooke invented the genre of Soul; ‘Trouble Blues’; ‘Fool’s Paradise’, three years after the Mose Allison version; ‘Little Red Rooster’, a hilarious, sexy blues showcasing the organ of 16-year old Billy Preston. Every single cut breathes with presence, immediacy, conviction. They’re just a pleasure to listen to, each and every one.

Big Joe Turner

But the show-stealer, by a whole bushel of black-eyed peas, is good old ‘Shake, Rattle and Roll’. I can see your reaction – sure, Jeff, another old singer from the early 1960s doing another version of that humdrum antique I’ve been bored by hundreds of times already. Okay, I’ll stake my reputation on this one. You listen to this and tell me you weren’t shaking your shaker, bopping your boppers, grinning from ear to ear. I dare you! It’s sparkling, ebullient, irresistible. It’ll make you shake, rattle and roll.

Listen to his Whoa!!! At 2:33. It’s as signature and irresistible as the moptop Beatles shaking their hair and smirking their ‘Yeah yeah yeah’.

Bill Haley

‘Shake, Rattle and Roll’ was originally recorded by Big Joe Turner in February, 1954 (“Everybody was singing slow blues when I was young, and I thought I’d put a beat to it and sing it up-tempo.”), with Jerry Wexler and Ahmet Ertegün singing the response chorus!! The lyrics (and the performance) were too blatantly sexual for White Top 40 air play, so Bill Haley sanitized it for his July, 1954 recording (three weeks after Turner’s version topped the R&B charts). His version is credited as being the first rock and roll song. Well, that’s a slippery slope, but it’s certainly got its bona fides.

One-eyed cat peepin’ in a seafood store–Copyright Alfred Wertheimer

Elvis Presley recorded the song in 1955 (for Sun) and 1956 (for RCA) with the bowdlerized lyrics. Here he is singing the whole shebang, dirty words and all, in about 1956. I’m going to give y’all enough credit as mature adults and not explicate the secret, hidden risqué meanings in the original. But only on condition that you let Sam Cooke get your buns bouncing.

Get outta that bed, wash your face and hands
Well, you get in that kitchen, make some noise with the pots ‘n pans.

 Way you wear those dresses, the sun comes shinin’ through
I can’t believe my eyes, all that mess belongs to you.

I believe to the soul you’re the devil and now I know
Well, the more I work, the faster my money goes.

I said shake, rattle and roll,
Well, you won’t do right to save your doggone soul.

I’m like a one-eyed cat peepin’ in a seafood store
Well I can look at you till you ain’t no child no more.

I get over the hill and way down underneath
You make me roll my eyes, even make me grit my teeth.

If you enjoyed this post, you may also enjoy:

023: Tommy Edwards, ‘It’s All In the Game’

028: Smokey Robinson & The Miracles, ‘The Tracks of My Tears’

048 Sam Cooke ‘Bring It On Home To Me’

 

 

 

Tags: , , , , , ,

Copyright © 2019 Jeff Meshel's World. All Rights Reserved.