"Angel of the Morning" - Merrilee Rush and the Turnabouts (1968)

Until just now I couldn’t tell you the name of the singer, or the group, who sang this song back in 1968. I only remembered that it was on Bell Records. It had a blue label with a Liberty Bell on it if I remember correctly. I just know that I have never forgotten the song. Obviously, by the picture above, I was mistaken about the Liberty Bell.

In the 1980’s it was covered by another artist, Juice Newton, who had a huge hit with it, but the arrangement was identical. The only difference was that the horns; which are one of the best parts of the record; were more downplayed. I have heard this song in several movies over the years; most notably “Girl Interrupted” with Angelina Jolie. And there’s a funny little connection between Ms. Jolie and the song, which was written before she was born.

The song was written and composed by Chip Taylor, born James Wesley Voight, who is the younger brother of actor Jon Voight, and who are both her Uncles. Chip Taylor also wrote "Wild Thing," which was a huge hit for The Troggs in 1966, as well as "I Can't Let Go," which was a hit for The Hollies.

Merrilee Gunst; later Rush; was born on January 26, 1944 in Seattle, Washington. She was nominated for a Grammy in 1968 for the recording of “Angel of the Morning.” It was also a top 10 hit for what seemed to be several months when it was first released in early 1968. It should be noted that the group does not play on the recorded version of this song.  The recording was actually made with the same musicians who played on Elvis Presley's famous Memphis recordings.

Ms. Rush studied classical piano at a young age. By 16 she was auditioning for the part of lead singer in the Seattle based band Amazing Aztecs, which was founded by the saxophone player in the band, Neil Rush. The two would later marry. The Aztecs became Merrilee and Her Men, mostly playing cover versions of other people’s hits.

It was through the connection of one of the bands road crew that they became the opening act for Paul Revere and the Raiders during a tour down south in 1967. It was actually Mark Lindsay, the lead singer for the Raiders, who introduced Ms. Rush to producer Chips Moman. They recorded the record in Memphis early in 1968 and it was released on Bell in June of the same year.

It was my favorite song that summer. And there was a lot of competition that year. Cream was out, the Beatles were still recording, the Stones were still riding the wave they had created with “Jumping Jack Flash”, and their newest hit “Street Fighting Man” was to be heard everywhere. But this little record by Ms. Rush hung in there and when it came on the radio it was always well received.

I think that is what I miss the most about radio back in the 1960’s; the diversity of music on the dial. AM was still king; FM was just starting to become the viable market that would set AM back a bit on its heels. So, the AM stations had this huge task; playing something which everyone enjoyed. It wasn’t unusual to be listening to the Supremes and then Jose Feliciano before hearing the Stones or even a Broadway hit song like “Hello Dolly” by Louis Armstrong. “Oh Happy Days” was a gospel song which was always in the lineup that year as well.

Ms. Rush didn’t win the Grammy that year. She was up against some stiff competition for “Best Contemporary Pop Female Vocalist of the Year”. She was nominated along with Barbra Streisand for "Funny Girl"; Dionne Warwick for "Do You Know the Way to San Jose"; Aretha Franklin for "I Say a Little Prayer", and Mary Hopkin for "Those Were the Days".  (Dionne Warwick was the actual winner.)

While watching a new film the other night I heard this song in the background. Which is pretty much standard now a days. It seems like all of the movies have some of the older music in them. TV shows seem to use more of the newer music in their soundtracks. And some of it is pretty good. But I find that when the show is over and I go to listen to the music again it lacks something. 

It’s almost as if the music has no life of its own beyond the film with which it was presented. Or maybe it’s just me, lacking an old memory to go along with the new music…

Carole King - "The Legendary Demos (2012)

When I walk into the library I never know what treasure I will find. Sometimes it’s a book; other times a video; and on some occasions it’s a bit of music which I may have missed out on. The latter is the case with this remarkable collection of “demos” made by Carole King in the late 1950’s and early 1960’s; most of which went on to become monster hit records for other artists and even Ms. King herself.

Some of Ms. King’s best work was done in her earliest years while working New York’s famed “tin pan alley” in its final heyday. The basis for much of her first album was written during this time as well. The album contains not only the demos of Ms. King’s hits from “Tapestry”, but also such hits as “Crying In the Rain” which was big hit for the Everly Brothers.

That song was the only written with Howard Greenfield; who did the lyrics; and Ms. King; who wrote the music. They were both contracted to Aldon Music and decided to switch writing partners for the day. Ms. King usually wrote with Gerry Goffin. As a lark the two songwriting teams decided to switch partners for the afternnoon, with Gerry Goffin working with Greenfield's writing partner Jack Keller; and King and Greenfield pairing up to write this timeless classic.

A full full rock band demo of “Pleasant Valley Sunday”, which was such a smash for the Monkees, opens this remarkable album of hits in their nascent stages.  “Natural Woman” is featured in its original form with just Ms. King on vocals accompanying herself on piano.

Rounding out the album are several of the songs which she made famous herself with the release of her signature album “Tapestry”, and those songs are represented here in their striped down versions. Kind of what we now refer to as “unplugged.” The effect is magical and almost akin to having Ms. King playing in your living room. My favorite on the whole album is the original version of “Take Good Care of My Baby”, the iconic hit for Bobby Vee in 1961 and also was covered, but rejected, by the Beatles in their audition for Decca in 1962. A delightful treat for fans of Ms. King.

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Richie Havens - Freedom

No one who remembers Woodstock can ever forget this dynamic performance by Richie Havens doing "Freedom". The song is really composed of 3 songs, "Freedom", a traditional folk song; "Motherless Child", a blues standard; and featuring  "Handsome Johnny," which was co-written with actor Louis Gossett Jr. The Woodstock Era didn't last long - but for those who were there - or even at home - the spirit of those times will always be alive thanks to videos like this. RIP Richie.

"Let It Be" - The Beatles (1970)

On January 31, 1969 the Beatles, along with organist Billy Preston, recorded the first complete version of “Let It Be.” Written by Paul McCartney in memory of his mother, who was named Mary, the song is about   her, and her death from cancer in 1956, when McCartney was about 14 years old. 

The song was composed after he had a dream about her; of which he said; "It was great to visit with her again. I felt very blessed to have that dream. So, that got me writing “Let It Be." He had interpreted the dream as being about the problems the Beatles were having as a group and he felt that his mother was telling him that, "It will be all right, just let it be."

The song was first recorded by The Beatles, but was first released by Aretha Franklin in January 1970; one year after it was recorded by the band; but still several months before it would be released on The Beatles own album. The reason for this was that the “Let It Be” album got hung up in legal disputes, resulting in its being released after the band’s last album, “Abbey Road”, which was recorded in the summer of 1969 and released in September. Many people still think that “Let It Be” is The Beatles final album, but that is incorrect.

This song has been recorded by hundreds of artists over the years; including a wonderful rendition by Ray Charles; but this version, with its very personal connection to the singer/songwriter will always ring the truest in my ears.

The song itself is about surrendering to a higher power; one that will help make things right; if you will only have faith and “Let It Be.” And, sometimes, in our lives, when we are confronted by the roiling waters of the rapids that beat all about us, that is all we can do. 

"The Last Sultan" by Robert Greenfield (2011)

Robert Greenfield has done a masterful job in this sprawling biography of both Ahmet Ertegun and Atlantic Records. As a matter of fact, the stories of the two are almost inseparable. Author Robert Greenfield, using the words of many of Mr. Ertegun’s friends and business associates has put all of the stories, and history, together in a most readable manner.

From his birth in 1923 to an aristocratic family in the last days of the Ottoman Empire, to ruling over his own fiefdom in the music industry, Ahmet Ertegun was a man who loved to tell stories and live life fully. He was also one of the most beloved men in an industry filled with back stabbers. A hard negotiator when necessary, he could also be enormously generous to the artists who signed contracts with him and his label, Atlantic Records.

Mr. Greenfield does a thorough job of acquainting the reader with Mr. Ertegun’s background and how he came to America. Then he begins the real story of how this man’s love for black music, at a time when Jim Crow still reigned supreme in the South, built an empire consisting of some of the greatest musical talent of the time.

Whether he was down South, or roaming the streets of New York, London, or Los Angeles, he was always in touch with the rhythm of the “scene”. He had a natural “ear” for what was good or bad. In short, he had his fingers on the pulse of a generation, and he used that insight to bring some of the greatest music to the forefront of our lives.

From his very beginnings in the record business, until the end of his storied career, he knew no color, unless it was green. A man of many contradictions he would buy his suits of the rack for a hundred bucks, and then have them re-cut by a hotel tailor for 50 bucks more. And, even with that strategy he managed to make the list of the 10 Best Dressed Men at least 5 years in a row.

From his relationships with Bobby Darin, Professor Longhair and Ray Charles; whom he lost to another label; to his “scouting” out new talent, the man was a visionary. He helped to propel Steve Stills, of Buffalo Springfield fame, to the top of the charts; and then was instrumental in putting together Crosby, Stills and Nash. His friendships with Phil Spector, Louis Armstrong, and Count Basie are well known, but in Mr. Greenfield’s hands these stories seem to come alive.

One of the most illuminating parts of this book concerned the Payola scandal, in which record companies were accused of paying disc jockeys to play their records. The federal government got involved and all the record companies were coerced into signing an agreement with the government barring this type of conduct in the future. Only two companies refused to sign. One was Chess, and the other was Atlantic. Their mutual attorney, Paul Marshall, argued correctly, that the original charges used to ruin Alan Freed’s career were baseless. The charges all hinged on the belief that all gratuities paid to the disc jockey belonged to the stations. Mr. Marshall countered that these “gifts” were merely “tips”, and if tipping was not in violation of the disc jockey’s terms of employment, then no crime had been committed.

He further argued that since the crime of payola, which stated that it “consisted of changing and affecting public taste”, did not apply when the disc jockey, or artist were already known. Since they were already recognized by the public, no change in taste could be affected. I found this section particularly interesting.

From race records to pop music, Ahmet Ertegun affected a whole generation of music lovers, leaving behind a whole world of music. His presence, at a time and place when social mores were changing, left us with years and years of music to enjoy. And that’s not a bad legacy at all. Filled with stories about almost every artist you can imagine, this book will leave you very satisfied, as well as a bit more knowledgeable about the music industry in general.

"Come Together" - Black America Sings Lennon and McCartney" (2011)

 

Music crosses all barriers of race and culture. It's primal. When you hear something that you like, it pleases you. It doesn't matter if you're a stone cold racist; Little Richard is just plain good. During the 1950's America was deluged with what were called "race" records at the time. That is; they were black artists singing gospel infused blues music, which quickly came together with the blues to form a new genre in music; rock and roll. That's one direction on the two way street of music.

 

But just as the American artists of the 1950's influenced the British artists of the time, the British Invasion which came of that music, came to inspire the same artists back in America. By 1969 Aretha Franklin was singing "Let It Be” even before the Beatles released their version. And Wilson Pickett was doing "Hey Jude", with Duane Allman on guitar, to tremendous success.

 

Good music is like that, it crosses; or passes through; anything in its way. When Howlin' Wolf howled; and Little Richard shrieked; white America and all of England took note. So, it was really great to see that some of these same American artists were equally enthralled with the sounds that were coming back at America.

 

This 2011 release pays homage to the 4 guys who led the British Invasion, and had been influenced by Chuck Berry, Mary Wells, Fats Domino, Little Richard and a host of others. All of the artists I have mentioned; with the exception of Chuck Berry; appear on this album singing songs by John Lennon and Paul McCartney. Some of the selections were a real surprise to me. Long familiar with the Wilson Pickett version of "Hey Jude"; with Duane Allman's searing guitar;  and Aretha Franklin's version of "Let It Be"; which was actually a present to her from Mr. McCartney; I was more surprised at the scope of songs, as well as the artists, who are included in this unusual collection.

 

Billy Preston doing "Blackbird" was almost expected, as he had been working with the Beatles at the time McCartney wrote the song. But Chubby Checker doing "Back in the USSR" came as a surprise, even though it is basically the twist, for which Mr. Checker is widely known.

 

Fats Domino rocks out on Lennon's "Me and My Monkey", and I was shocked that Chairmen of the Board, known mostly for their beach music, would even tackle something as political as the title song "Come Together".  Below is a list of the 24 tracks on this album, which is unique in its concept of having African-American interpretations of British "pop" music. Check out the unusual, and different, renditions of some of your favorite Beatles tunes done by some of the premier African-American artists of our time. And, when you do, you will understand that there are no boundaries when it comes to music.

 

1. Back in the USSR - Chubby Checker

2. We Can Work It Out - Maxine Brown

3. Everybody's Got Something to Hide Except Me and My Monkey - Fats Domino

4. Ticket to Ride - Wee Willie Walker

5. Good Day Sunshine - Roy Redmond

6. Please Please Me - Mary Wells

7. Eleanor Rigby - Gene Chandler

8. And I Love Her - The Vibrations

9. Come Together - Chairmen Of The Board

10. Blackbird - Billy Preston

11. Paperback Writer - R.B. Greaves

12. Rocky Racoon - The Moments

13. Drive My Car - Black Heat

14. Lady Madonna - Junior Parker

15. Help - David Porter

16. Yesterday - Linda Jones

17. Day Tripper (previously unissued alternate take 4) - Otis Redding

18. Why Don't We Do It in the Road - Lowell Fulson

19. I Saw Her Standing There - Little Richard

20. Don't Let Me Down - Donald Height

21. Get Back - The Main Ingredient

22. The Long and Winding Road - The New Birth

23. I Want to Hold Your Hand - Al Green

24. Let It Be - Aretha Franklin