Video Diary - Them live on French TV doing Mystic Eyes and Gloria

Video Diary - Them

Parrot Records Spotlight: Lulu and the Luvers - I'll Come Running and Here Comes The Night

I'll Come Running

Here Comes The Night

We're letting our Parrot Records freak flag fly for the third day. The first day found us in Newcastle, England. Then we went to Belfast, Ireland. Today we listen to Lulu and the Luvers who hailed from Scotland. 

Lulu scored a hit right out of the gate with her cover of the Isley Brothers' Shout in 1964. That got the diminutive Lulu attention from both sides of the pond. For her second UK single, Lulu recorded a song by Gerry Goffin and Carole King. That single got skipped by Parrot Records here in the US. But the next thing you know, legendary songwriter and producer, Bert Berns, (whom we have written about here extensively), came a-knockin on Lulu's door. He composed the A-Side and produced both sides of her third UK single (second in the US). We present today the unique US version which features a Bert Berns composition/production on both sides. As we tend to do, we're going to start by flipping the damn record over.

The Flip-Side of the November 1964 US single is the far superior song, in our flippy opinion. The song didn't make it onto any UK single, just the US. The song is the Bert Berns composition (under the pen name Bert Russell), I'll Come Running. The song has that trademark four-chord down beat that Berns made famous with songs like his oft-covered Everybody Needs Somebody To Love. But what makes this nasal voiced rocker a little different is the guitar work by session guitarist, Jimmy Page and his brand new wah-wah pedal. That's some pretty characteristically solid work from Page at 1:46. Lulu lets it all fly as she and Jimmy spar as the song fades out.

Here Comes The Night is the A-Side and it is damn solid and well worth being the chosen side. Garage fans will likely more closely associate the song with yesterday's act, Them. This version of the song is the first recording of the Bert Berns composition, predating Van Morrison and Co.'s take on the song by four months. While I will go on record as saying Them's version is the far superior, let's not blow this one off too fast. Lulu's voice is spectacular and Bert Berns' production is lush and fabulous. The guitar riff made famous in the Them version is still there, albeit a bit hidden. 

Until next time, we'll see you On The Flip-Side!

Parrot Records Spotlight: Them - Richard Cory and Don't You Know

Richard Cory

Don't You Know

Day 2 of our Parrot Records Spotlight. Squawk! 

Northern Ireland's Them had to have been Parrot's most heart warming success story. The unknown Belfast quartet, you see, was fronted by a diminutive man with a big voice, Mr. Van Morrison, who went on to write a song or two in his day. The first release of Them in the US was the January '65 release of Baby, Please Don't Go with a Flip-Side of G-L-O-R-I-A...Gloria. That wasn't the hit you may think it was. It was the Chicago garage band, The Shadows of Knight, who turned that first Parrot Flip-Side into a US hit, not Them. The easy to play song took-off on stages all across the country and the musicians started to look closer at the little Irish band whose singer wrote the tale of teenage sexual frustration. 

Today we look at one of Them's lesser known releases on Parrot Records, Richard Cory. It's Them's 6th release (of seven) and it was released in the US on May 28th of 1966. The single went nowhere fast. The A-Side is kinda a cover of a Simon and Garfunkel song "written" by Paul Simon. In reality Paul Simon wrote the music, but the lyrics are a direct lift from the poem, Richard Cory, by Edward Arlington Robinson of Maine in 1897. The song, like the poem, tells the tale of a well todo man who is the beacon of his community. The story is told from a third person admirer who lusts for Richard Cory's life of wealth, privilege and excellence. Then one day, our narrator is shocked to learn that Richard Cory, the man who had it all, went home and put a bullet through his head. An act that our narrator still yearns to emulate. For years I heard rumors that Jimmy Page played the baritone guitar on Richard Cory but I have not been able to unearth credible evidence to suggest as much. Anyone? There is another version of Richard Cory that has surfaced on some odds and ends records out there. It is quite different with no baritone guitar, a more languid pace and a big heap of country styled harmonica. 

We're including the Flip-Side of Richard Cory, which is the very strong jazzy number Don't You Know, written by producer Tommy Scott. Scott, incidentally, wrote the A-Side of the preceding Them single, Call My Name, as well as the last Them single (with Van Morrison at least), the hugely influential I Can Only Give You Everything. 

Until next time, we'll see you On The Flip-Side!

Song of the Week: Slim Harpo - Rainin' In My Heart/Don't Start Crying Now

Rainin' In My Heart

Don't Start Cryin' Now

Slim Harpo is a curious music figure. He barely registers for blues fans, but he was a huge influence on rock musicians. More specifically, the British Invasion musicians who mined the blues for their own material. 

Born John Isaac Moore, our hero today grew up in rural Louisiana and moved to New Orleans to work the docks at the height of World War II in 1942. There Moore labored away in relative anonymity, a laborer, not a musician. He played harmonica in his church band and occasionally played guitar for them as well. Anonymity was the word for many, many years. Then, sometime in the mid-50s, Louisiana blues man, Lightnin' Slim noticed John Isaac Moore in the church band and asked him to accompany him. It was with Lightnin' Slim that John Isaac Moore became known, first, as Harmonica Slim, and then later as Slim Harpo.

At age 33, Slim Harpo released his first single on the local Excello Records label in the Summer of 1957. That maiden record featured two originals,  I'm A King Bee/I've Got Love If You Want It. John Isaac Moore was no more and the anonymity was gone.  I'm a King Bee would be recorded by The Rolling Stones for their first full length release in '64. Similarly, the Flip-Side of Harpo's first single, I've Got Love If You Want It would be covered by The Kinks and plagiarized by The Who (as I'm The Face). The Rolling Stones and Dave Edmunds would later go on to cover Harpo's 1996 number, Shake Your Hips and the Yardbirds would plagiarize another of Harpo's 1966 singles, Baby Scratch My Back (The Yardbirds rechristened the number as Rack My Mind). Countless other European bands picked up on the covers by the Stones and Kinks in particular, and covered their versions, likely never hearing Harpo's originals. And the Moody Blues took their name from one of Harpo's songs. 

But we focus today on Slim Harpo's third single, also on Excello Records, from January of 1961. Recorded in the small town of Crowley, Louisiana, it would be Slim Harpo's first release to chart on the US R&B charts and the first single of his to see a release in the UK. The number is Rainin' In My Heart/Don't Start Cryin' Now. Both numbers written by Slim Harpo. Rainin' In My Heart would be covered by The Pretty Things in '65 and Don't Start Cryin' Now would be covered by Van Morrison's Them as the Flip-Side of their first release in '64.

Even if Slim Harpo never attained fame, never became a household name, his impact was felt far beyond his native Louisiana. Enjoy.

Until next time, we'll see you On The Flip-Side. 

Tower Records Spotlight: Them - I Happen To Love You

Yeah baby, it's Them on Tower Records! Except it's not really "Them". At least not the Them that you know and love. It's a version of Them...post Van Morrison. Van Morrison wasn't very central to the band anyway.

So...here is the post-Van "Them" doing a Goffin-King song, I Happen To Love You. Also recorded by The Electric Prunes about the same time. Interestingly, this promo copy has I Happen To Love You on both sides. But when the song was officially released, it was relegated to a Flip-Side. From December, 1967.

Song of the Week: Them - It's All Over Now, Baby Blue

Day two celebrating Bob Dylan's 1965 composition, It's All Over Now, Baby Blue. Today we turn our attention to the single most influential cover of the song. It is by Van Morrison's first group, Them. The band (or more likely was the case with this band, the studio musicians) recorded and released this in 1966. The production is stellar and the electric piano run through a Leslie Speaker set the standard for this song. Van Morrison is, as was always the case in these days, spot on perfect. Almost every version of the song you hear, will be derived from this original arrangement. Few, if any, surpass it, however. 

To demonstrate this version's influence, we give to you, today, a bonus. It is Beck's 1996 song, Jack-Ass. It won't take you long to listen to this to figure out why I included it with this post. 

Enjoy, comment, have fun. 

Video Diary: Lightning Hopkins performs "Baby Please Don't Go"

Song of the Week: "I'm Gonna Dress In Black", Them

Listen - Them perform I'm Gonna Dress In Black.

Ahhh, it's Them. I must say, it has been a while since I had Them on the turntable. Too long. So how sweet it was when, just the other week, I pulled out some of my US label Parrot Records-stamped Them 45's, a few O'Dell's IPA beers, and had a grand old time playing records at ear splitting volumes.

Understandably, Them is often recognized for only two things: 1) being the first band of the 5'4" musical giant that is Van Morrison, and; 2) being the originators of the garage band standard, Gloria, a Van Morrison penned flip-side to the stellar cover of Baby Please Don't Go. But Them were much more than that. The Belfast boys put out two excellent records and a healthy amount of solid 45's. Them albums sounded different than most of their "British Invasion" brethren. Certainly part of it is their Irish homeland influence, but most of it can be traced to the multi-instrumental ability of their frontman and predominant song composer, Van Morrison. He brought Irish folk, American folk, American Jazz, American blues and rock-n-roll influences, and mixed them all together in a wonderful little stew. Only Manfred Mann albums had as much diversity as did the two albums by Them.

Today's SoTW comes from Them's first album, the excellent 1965 release, The Angry Young Them. The song seems to be neither a cover nor an original, but rather a song brought to the group. Perhaps by sometime Them producer and songwriter, Bert Berns. (See an old post on a bitching Garnett Mimms song he produced, As Long As I Have You). The song for the week is I'm Gonna Dress In Black. Thematically and musically, it has a certain feel similar to The House of the Rising Son as performed by The Animals. The organ dominant song features some of the most unexpected chord progressions, mixing up minor and major chords nicely, you're likely to hear out of song from this era. Van Morrison is, as always, exceptional on the song. You can really feel the Ray Charles influence in his performance. But it is really the organist who shines on this. Who that organist is, we just can't say. You see, Them was really a revolving cast of musicians with only bassist Alan Henderson and Van Morrison remaining constant. Additionally, it is very evident that studio musicians were employed generously on Them recordings. Question me on that? Just watch a live performance of Them and you'll hear a great difference in ability from stage to record. Whomever the musicians were, the song is killer.

Enjoy, today's SoTW, I'm Gonna Dress In Black. And enjoy the two vids below. The first is a live performance of the Bert Berns produced/composed Here Comes the Night, the latter a lip-synch version of Van Morrison's composition, Gloria.

Song of the Week: Garnet Mimms -- As Long As I Have You

If I throw out the name Garnet Mimms I bet you'll say, "who?" I'll also bet you know his work even if you don't know his name. Garnet Mimms, if he is known at all, is probably best known for being the cat whom originally recorded Cry Baby ('63), the song with which Janis Joplin would become inextricably associated.

But Mimms was much more than a forgotten one hit wonder. The Soul and Gospel singer from Philadelphia cut a series of records in the early part of the 60's that would be picked up by eager British artists who often turned Mimms' work into London standards. To point, I, for one, was introduced to Mimms by The Who who aptly covered Anytime You Want Me for the flip-side of their second US single in 1965. The Rolling Stones and the Pretty Things both covered Cry To Me in 1964 and Van Morrison's first band, Them, covered It Won't Hurt Half As Much in 1965.

Mimms had pipes that naturally bring about comparisons to Sam Cooke, Solomon Burke and Jackie Wilson. But for a bevy of ill-defined reasons he never attained notoriety like those luminaries. Regardless, he recorded first-rate material (often written by his producers Bert Berns and Jerry Ragovoy) with production values and musicianship that are head turning.

Our Song of the Week is my favorite Mimms song, which is really saying something. As Long As I Have You was recorded for United Artists in 1964 and was written by Jerry Ragovoy under the pseudonym of Norman Meade. That's the same name he would use to pen Time Is On My Side (for Irma Thomas) and Piece of My Heart (for Erma Franklin), which, in cover form, would become monster hits for the Rolling Stones and Janis Joplin respectively. But As Long as I Have You never attained that kind of second life. In fact, the song was never released as a single. Instead it was relegated to album filler. 

Opening with three guitars riffs -- one with vibrato -- building on top of each other, the song is filled out with horns, haunting back-up vocals expertly mixed (dig that reverby "oh-oh-oh" at 1:51) and, of course, Mimms' monster voice. I have no idea who the studio musicians are but they give the song a wonderful, unexpected quality to it. To point, linger on that odd descending baritone riff that is first introduced at the eleven second mark.

In the end, this song is much more than the artist's name on it. The songwriter/producers deserve a huge load of credit as do the nameless studio musicians. If you dig this song (and how can you not?) I strongly suggest you check out other Garnet Mimms records as the quality of song is consistently stellar.

Enjoy, and have a flip-sidey week.

Song of the Week: "Your Body, Not Your Soul", Cuby + the Blizzards

On this final Monday of 2008, our Song of the Week journey takes us on our first trip outside of America and Britain. And what a trip it is. Our flight takes us to a lowland paradise known as the Netherlands.

The year is 1966 and the Dutch have been subjected to a healthy dose of British invasion for two years. Screw the silly soft stuff like Herman's Hermits. Maybe it's living below a flood plain, maybe they are tired of jokes about little Dutch boy's sticking their fingers into dykes, maybe they are just excited that the Dutch haircut was finally en vogue, but the Dutch take to the grittier bands such as the Rolling Stones, the Yardbirds, the Kinks, The Who,  the Pretty Things and the Creation more than any other mainland Europe country. But more than just appreciating the Mod and R&B based Brit bands, the Dutch answer back with their own take on American soul and blues, adding a very unique accent to their interpretations. It becomes known as Nederbiet and, truth be told, it makes not a single ripple in the UK or the US. Outside of Holland the music explosion would rest in obscurity until a modest interest is rekindled by a handful of music enthusiasts in the 80's.

A huge treasure of music was left behind. But forty-two years of historical perspective reveals three Dutch bands as standing above the multitude of very good music to come out of Holland: Q65, The Outsiders led by Wally Tax, and our heroes of the day, Cuby + the Blizzards. Cuby + the Blizzards, named after a neighbor's dog and a word chosen at random from an English dictionary, were led by singer Harry Muskee and guitarist Eelco Gelling who took to the American blues better than any of their contemporaries (with apologies to Rob Hoeke). C+B released a handful of stylized singles between '65 and '67 that would only hint at what would become their blues dominant sound that would carry them through today. Those first singles were a stunningly original collection of songs that showcased the power of Muskee's brooding voice and Gelling's truly stellar guitar work. Following regional success of their first contribution of wax, Stumble and Fall, The band's second single was a cover of Manfred Mann's excellent song, L.S.D. (ostensibly standing for Pound, Schilling, Dollar). It was a great cover, but the real gem was the Flip-Side of the single (and our Song of the Week), the self-penned Your Body, Not Your Soul.

Opening with a distinguishing floor-tom to snare intro , C+B's Your Body, Not Your Soul quickly falls into a beautifully syncopated rhythm that showcases the masterful guitar work by Gelling who surely would have been a guitar hero of epic proportions if he had been British or American. His lead at the :46 mark has all the ingredients of a great lead, but it's the distinctive solos that close out each verse/chorus (as well as the lead) that are his high point in the song. Just linger on the riff at 1:30 for a moment to really appreciate his phrasing, tone and attack. But vocalist, Muskee is never outdone. Writing in a non-native language, he shows an acerbic wit with his quixotic lyrics which, truth be told, don't always make sense but somehow translate to a youthful universality. Sung in a broken accent, the young Muskee growls out: "I tell everybody that you gave me a kick. I felt so tired I gave myself a tick, 'cause I love your body, but not your soul." The lyrics are definitely not Gloria Steinem approved but I think most people have been there at one point or another in their life.

C+B caught the attention of the British musicians who toured Europe and noted the stellar musicianship of the band. When Van Morrison broke from Them late in '66, he toured Europe with C+B as his backing band. John Mayall, too, approached Gelling about joining the Bluesbreakers. And it is rumored (probably falsely) that Jimmy Page approached members of C+B to fill the gap between his stint in the Yardbirds and  Led Zeppelin.

So, enjoy your trip to Holland this week. And please, please, please play this song loud enough to annoy someone you love. After all, isn't that the original intent of the song? Last, maybe Gelling would be kind enough to let us know what equipment he was using.