Gone Fishin’ Bing & Pops

Two giants, Louis and Cros. That’s all I need to say. What a combination! What’s the great thing displayed in this song? Timing. Timing is everything. And this pair has it in spades. “Gone fishin’” is a fun song anyway, but take Bing’s warm sense of humour mixed with his casual delivery, then add Pops doing his Uncle Tom as only he can do, along with his exaggerated vibrato—I’m just bereft of words. Just, “Dear Lord, please bring ’em back for one last concert. Preety please!” Oh well, they should both be up there praising the Lord, leading the praise I reckon!

Bing talks so smoothly in this song, man, I reckon he invented cool. Only the great Rex Harrison in his famous “My Fair Lady” role of Henry Higgins comes close. You’d have to agree that no Bing, then no Frank, no Dean. He led the way in gently bringing the audience into a song so you just want to sit down at his feet and listen to Unc’ Bing. As for Louis, what a star! He played trumpet and sang with equal brilliance. No one has ever played the horn like him since. Na, not even Wynton Marsalis. Cos Louis had the verve and the spunk, and especially the spirit; and add on to that his technical know-how—Pops was a freak! I love him!!

Venus/Railroad Man Shocking Blue

Take a time check . . . 1969 . . . Man lands on the moon . . . Led Zeppelin release their first album . . . An explosion aboard the USS Enterprise near Hawaii kills 27 and injures 314 . . . Richard Milhous Nixon succeeds Lyndon Baines Johnson as the 37th President of the United States of America . . . ‘Venus’ by the Dutch band Shocking Blue goes to #1 on Billboard for three weeks (also Belgium, France, Italy, Spain and Canada). Who? What? I remember the song. It was played in discos everywhere. I must have been in grade 7, a very impressionable time of my life. This song has two outstanding performers: 1) of course, the lovely brunette; in the chorus she wails a bit like a banshee—but it works; 2) the lead guitarist carries the song; whether electric or acoustic, he’s a wiz; it’s hard to see how he gets so much variety in his playing. How does he get that banjo sound out of his electric? Watch out for the album cover: big SHOCKING BLUE in pink—cool, Dutchmen.

You know, I’ve got a feeling that this song influenced U2’s ‘Desire’: the fast guitar start; and Bono has as much spice as this Netherlands lady . . . maybe not.

Another hit they had was ‘Never marry a railroad man’. The guitarist features again, this time making his electric guitar sound acoustic. And the lovely singer is back. How else can you tell it’s the 60s? The mini-skirt! Bring ’em back! I dig the harp in the slow part from out guitarist friend.

The lady lead singer is apparently still on the road. Looks like she’s put on around 40 kg, so she’s not quite as luscious anymore.

Jeepster T-Rex

Yet another band where the singer–songwriter is the substance of the band. I was a young teenager when Marc Bolan and his band T-Rex started pumping out hits, and I loved it! Who would believe that the group were formerly a folk band, Marc dreaming he could be another Dylan. We’ll have none of that, thank you—these guys were co-pioneers of glam rock, along with David Bowie (as his alter ego Ziggy Stardust), and Roxy Music, while in the US there were the New York Dolls (guess their provenance!), then Lou Reed after his Velvet Underground stint. American Tony Visconti, famous for producing many of Bowie’s albums, first gained fame for producing T-Rex’s 1971 mega album Electric Warrior, which made Marc Bolan a superstar. The album claimed #1 spot in the UK for several weeks. It contained two monster hits, ‘Get It On’ and this one, ‘Jeepster’. Later “Hot Love” (the first single released in Oz) and Get It On were both #1s in the UK. The Londoner could do some serious name dropping too: Bowie, Syd Barrett, Ringo Starr, ELO, et al. This is the best video. The other one is slicker, tighter, but it hasn’t got the spunk of this live gig. Man I love this song, it just goes off!! High point of the song? Bolan’s screech, “I’m gonna suck ya!!” Bolan finishes the tune with some high electricity, doing wild guitar licks. Wow, he really enjoyed himself up on stage.

This kid was a real performer, born for live gigs. And could he play guitar, yeh! I love guitarists who double up on rhythm and lead (a la one Keith Richards). The camera’s on him the whole time, and why not! He does it all: sings, plays lead on his pride and joy, his Gibson Les Pauls Standard, and struts around the stage—a natural entertainer. One slight problem: on 16th September, 1977, the car he was a passenger in hit a sycamore tree front-on. Bolan was killed instantly killed. He had recently launched a comeback, attempting to entice the next generation of kids into his glam genre. And he had some success. But as they say in the classics, when your number is up, it’s up. Bolan’s father was Jewish, his mother Christian, so the funeral was a mixed bag.

An honourable mention: the cool dude on the bongos, in a rock band, mind you!! But he can play! Go for it mate!

Bye Bye Love The Everly Brothers

Don and Phil Everly grew up as members of a performing family. When Chet Atkins heard the two boys, he knew that this was something special, and he encouraged the siblings to commence a recording career. Their first single on the newly forged Cadence label was ‘Bye Bye Love’. The tune had been rejected by a string of artists, including one Elvis Presley. But in the hands of the two late teenagers from Shenondoah, Iowa (sounds like a town in a western), they had their first hit—#2 on Billboard, #1 on Cash Box, #1 on the Country chart—what a debut! Remember, we’re talking about two singing guitarists—no other instruments. Just listen to their guitars—they knew how to create melodious tunes with them. So the two teenagers had tapped into the hungry, US teen market. Their biggest hit was ‘Wake up little Susie’, getting the #1 spot on Billboard, and reaching #2 in the UK. An interesting aside is that it was banned from the air in Boston; the Massachusetts powers that be deemed the song too suggestive. Boy, how would they go with today’s videos!

The two brothers went on to have a string of hits spanning 1957–1965. They perfected two-part, 2 minute pop songs. The secret was that their harmony was based on parallel thirds: thus either line can stand on its own as a melody line. The Everlys undoubtedly would have made an impression on fledgling bands like The Beatles and The Beach Boys; while Simon Garfunkel started out singing Everly Brothers’ covers. Observe how they adroitly crafted love-tangled yarns in two minutes flat. Is there a message there for you songwriters?

Can’t we be friends Frank & Ella

Frank & Ella. The Voice and the First Lady of Song. The two greatest exponents of the American songbook. What a combo! Please, Lord, take me back in time so I can witness this gig.

In Frank’s middle years (this performance occurred in 1959 on his eponymous variety show) he often sang duets with other great singers: Dean Martin, Judy Garland, Rosemary Clooney (yea, George’s auntie), Bing Crosby, Louis Armstrong and Dina Shore, to name but a few. But once he was right at the top he didn’t seem to want to share the spotlight anymore. A shame, really. The sign of a magnanimous spirit in an artist is one who wants to share his gifts with his fellow performers. But as you can view in this number, the two feed off each other in a fabulous duet.

Both singers were at the prime of their respective careers, vying for the top: he was 44, she was 42. You can tell by their body language, while the song’s title just gives it away. Yet these two professionals produce a superlative rendition of this 1929 tune. Ella plays the crushed girl who is peeved that her boyfriend (Frank) has expressed, “He’s gonna turn me down and say can’t we be friends.” She sings her part straight, but who cares with her vibrato—I’d kill to have that! When Frank enters the stage, the band bring the tempo right back to swing, and Frankie’s all smiles. He gets to ham it up as he sings the praises of the chanteuses of the day—minus Ella, of course. Ella’s reaction is precious; her barbed comments to Frank just shoot him down. Then Frank attempts to undo it all: “I’ve been puttin’ you on,” as he swings his arm round her. Ella retorts, “One more riff Frank and I’ll be gone!” This lady had spunk! So it all ends sweet. Let’s call it square.

Comes a Time Neil Young

I am a child Neil Young

This is such a pretty song by the Canadian; it could be labelled a serenade.There, I knew it: he doesn’t always have to be so melancholy. On his ballads Neil’s voice is pleasant, so listenable. And as for his guitar playing, it’s legendary. I’m preety sure he’s playin’ a 12 string; sounds so nice. Anyone who can pick a 12 string is a hell of a guitar player. He plays it lyrically, nicely setting the mood. Then there’s his third instrument, the harp. Young plays it like Dylan, with lots of thick chords. Love it Neil! And his singing is pure magic; he’s got this unalloyed, gentle intonation that just floats through the air—a joy to behold. They should have paired Young and Sinatra on Frank’s Duets set—would have been something else.

When I was in my early 20s I took myself to the Piccadilly theatre for a treat: Live Rust (from which this version comes) and Yessongs. I was in heaven. Three + hours of my favourite music. There was probably 20 people there, and we were all bathed in joy. I bought Harvest when I was just 13, but this showing was my baptism into Young’s music. Went out and bought the double album straight away. Rust is divided evenly between his classic acoustic songs (like this one), and his “fierce, uptempo, electric fare” (Wikipedia). It’s my fanciful notion that Neil Young is schizophrenic: he’s torn between these two contrasting genres, both of which he has equal affection for. I’m inclined to his soft stuff; it must be the romantic in me.

Now You Has Jazz Bing and Satchmo

First there was Bing. Then there was Frank. Then there was Elvis. And then there was Bob. They’re the big guys. (I could say first there was Louis. But then we might go all the way back to Adam!) But first there was Bing. Crosby was a natural (I can find no evidence of him ever having voice training). He grew up listening to the new genre called jazz and developed a style that would fit in with it, yet he wasn’t a jazz musician; his style was not generic but embraced many genres.

‘First came the voice itself, deep and rich and masculine, though not ostentatiously so. Crosby was also pitch-perfect and wonderfully adventurous rhythmically . . . What was most thrilling about Bing Crosby’s voice was to radio listeners of the 1920s and 1930s was its warmth and directness: unlike other singers, who seemed to be contriving a character as they vocalized, Crosby appeared to be himself, speaking straight to the listener in the most casual possible way. It sounded almost as if he were making up the song on the spot’ (Kaplan, Frank, 1–20).

I just love this song. It’s so chic, cool. Arch-crooner Bing is the M.C., accompanied by Pops and his band. Oh, by the way, this number is from the 1956 film High Society. As I said, Bing leads the way. In his oh so inclusive manner he explains the basics of jazz. He switches from crooner to narrator in a flash—man he’s cool! He introduces each of the players, honouring them one by one. That’s just like my jazz mates Rich and Mike used to tell me: jazz is about honouring the other players, i.e. not hogging the spotlight. Even the great Coltrane with his lengthy solos still gave time for his band players to show their stuff. Back to the song. Now they’re in the swing. “That’s positively therapeutic” hails the Cros. Then the MC introduces the players: Messrs Hall (clarinet) and Young (trombone); then Messrs Kyle (piano) and Shaw (double bass); “now you has Mr Deans (drums); and finally, who else, “you know who”, yea, Satchmo! Then the climax: Bing and Pops singin’ together, one of the greatest vocal pairs in musical history (just take a listen to “Gone Fishin’”)! Fittingly Bing finishes the song off, even gettin’ down—would you believe it—to some rock’n’roll—I told you Bing could adapt to anything.

Nobody knows the trouble I’ve seen Louis Armstrong

As I’ve worked on this blog I’ve had a wonderful revelation: Louis Armstrong. I’d not known much about him before. I knew he played some old goldies like ‘When the saints’. Then in 1987 when I saw the movie Good Morning Vietnam his beautiful song “What a wonderful world” brought him to my attention. But it’s his older repertoire that I’ve been exposed too thanks to YouTube. Satchmo brought songs like “When the saints”, “Dream a little dream”, “Mack the knife”, “Hello Dolly” and “When you’re smiling” to the masses. Louis singlehandedly made jazz popular.

The way Pops sings this spiritual he must have been Spirit-filled—it comes across in every word he mouths. He wasn’t puttin’ it on, no way. Technically, Frank and Nat were more accomplished. But Pops had passion, in bucket loads. And for one so loaded up with talent he was mighty humble. Just observe how he introduces his band to the audience at his gigs. He loved his boys. And he knew that the best music is symphonic: a performance is as as good as the sum of its parts.

To the song. Louis gets it going with his horn, backed up by some exquisite work on keyboards. Louis’s trumpet playing is so pure—it’s heavenly! Perfect diction, intonation, and power to burn. I’m not a jazz expert, but what the heck! Pops is the greatest trumpeter ever! There, I said it.

So I’ve got one bit of advice for you. If you want to get into Pop’s next gig, get converted, give your life to Jesus—cos’ his next gig is the big one—in heaven, leadin’ the angels in praise to the Lord. No kiddin’!

Bing and Louis Gone Fishin’

Two giants, Louis and Cros. That’s all I need to say. What a combination! What’s the great thing displayed in this song? Timing. Timing is everything. And this pair has it in spades. “Gone fishin’” is a fun song anyway, but take Bing’s warm sense of humour mixed with his casual delivery, then add Pops doing his Uncle Tom as only he can do, along with his exaggerated vibrato—I’m just bereft of words. Just, “Dear Lord, please bring ’em back for one last concert. Preety please!” Oh well, they should both be up there leading the praise when we get there.

Bing talks so smoothly in this song, man, I reckon he invented cool. Only the great Rex Harrison in his famous “My Fair Lady” role of Henry Higgins comes close. You’d have to agree that no Bing, then no Frank, no Dean. He led the way in gently bringing the audience into a song so you just want to sit down at his feet and listen to Unc’ Bing. As for Louis, what a star! He played trumpet and sang with equal brilliance. No one has ever played the horn like him since. Na, not even Wynton Marsalis. Cos Louis had the verve and the spunk, and especially the spirit; and add on to that his technical know-how—Pops was a freak! I love him!!

Don’t Make Me Over Dionne Warwick

Burt Bacharach was a songwriter who was housed with other would be hit makers in the Brill Building in New York City. One day he bumped into a lyricist named Hal David, and they decided to try out their luck together. It was a monumental decision and the right one. They struck gold immediately with Marty Robbins’s hit, “The Story of my Life” (#1 US country, #1 UK). Their second hit followed not long after with Perry Como doing his “Magic Moments” (#4 US, #1 US. Right then they knew they had what it takes. All that was needed was a top new artist to write songs for. In walked Dionne Warwick, a conservatory trained vocalist. Once Bacharach heard her voice he knew she could be their muse. “She has a tremendous strong side and a delicacy when singing softly—like miniature ships in bottles,” he commented. Musically, she was “no play-safe girl. What emotion I could get away with!” The three got to work. The first song was released in November 1962—“Don’t Make Me Over”, and reached #21 on Billboard. Then they were soon on a rollercoaster of hits: “Wishin’ and Hopin’”, “Anyone who had a heart”, then “Walk on by”, an international success which put Miss Warwick on the covers of music magazines and solidified her career. It went to #6 on Billboard and all the way to the top on Cashbox.

Between 1962 and 1998 Dionne charted 56 songs on Billboard, only two less than Aretha Franklin.

I really dig this video. Miss Warwick portrays the anxious lover unerringly. “Don’t make me over” = “don’t try and change me”. What’s wrong with this guy? How could any man resist this beautiful, elegant woman with the high cheek bones, inviting eyes, and gorgeous, Afro-American coloration. He’d have to be mad! And what about her voice: so expressive, with excellent intonation. The light orchestra is all that’s needed: it’s Dionne we want to hear!

Great camera work for 1962. What a great live version. Miss Warwick is outstanding, adding lots of lovely extra notes and nuances. Was Dionne a better singer than Ella? Aretha? I’ll let you judge.