Forgot about Leadbelly and Odetta! And Clapton did it too ...
Season 283 - On A First Name Basis ..... With The Summer Of Love
- Thread starter turtledrum
- Start date
AlanDP
Well-known member
I already did the most epic song from this album for a previous season (The Motorcycle Song), so I thought I'd have a bash at this one. I think this song is a euphemism for something. I really need to get a kazoo.
lelouden
Well-known member
This has been a heck of a week for me. I broke my glasses on Sunday. I thought I wouldn't be able to participate because searching for a song was nearly impossible without getting dizzy. I emailed our host Linda and asked her what she wanted to hear and this song was first on the list. Thank you Linda for helping me and giving me this song to do.
This song by Tim Hardin 1967 has been a hit among so many many artists that have recorded it. Its also been recorded by many many seasonistas.
This song by Tim Hardin 1967 has been a hit among so many many artists that have recorded it. Its also been recorded by many many seasonistas.
OP
OP
turtledrum
Well-known member
Good morning from a very warm and humid Long Island. And yet, the blues have turned up the "cool" on this Season in the most beautiful of ways.
Special thanks to all those who have brought such memorable performances of blues songs. Great stuff happening here!
We've Saturday and Sunday left - until 12 a.m. Monday morning (Hawaiian time). I'm not sure if I'll make the 100th Anniversary of the Summer of Love ....even the 75th might be a stretch.
So here's hoping we can keep the candles burning and enjoy this party a bit longer.
This morning I'm thinking about one of my favorite performers of all time, Dusty, and one of my favorite albums of all time: Dusty in Memphis. The great Dusty Springfield sealed her chance to be considered one of the best pop vocalists of all-time with this one, imho. We haven't heard Dusty's music yet this week ..... not even "Son of A Preacher Man" ...... not even "Just A Little Lovin'" .......or .... drumroll please ...... her iconic version of "The Windmills of Your Mind." Anyone game?
With some help from Wikipedia, here's some info about this incredible album. (In rereleases additional tracks have been added to it.):
Dusty in Memphis is the fifth studio album by English singer Dusty Springfield. She recorded the album at American Sound Studio in Memphis with a team of musicians and producers that included Jerry Wexler, Arif Mardin, Tom Dowd, conductor Gene Orloff, backing vocalists The Sweet Inspirations, bassist Tommy Cogbill, and guitarist Reggie Young. It featured one of her top-10 UK hits, "Son of a Preacher Man". Although Dusty in Memphis sold poorly when it was first released by Atlantic Records in 1969, the album has since been acclaimed by critics as one of the greatest records of all-time and Springfield's best work. The album received a Grammy award in 2001.
Background
Hoping to reinvigorate her career and boost her credibility, Dusty Springfield turned to the roots of soul music. She signed with Atlantic Records, home label of one of her soul music idols, Aretha Franklin. Although she had sung R&B songs before, she had never released an entire album solely of R&B songs. She began recording an album in Memphis, Tennessee, where some notable blues musicians had grown up. The Memphis sessions at the American Sound Studios were recorded by the A team of Atlantic Records. It included producers Jerry Wexler, Tom Dowd and Arif Mardin, the back-up singers Sweet Inspirations and the instrumental band Memphis Cats, led by guitarist Reggie Young and bassist Tommy Cogbill.[1] The Memphis Cats had previously backed Wilson Pickett, King Curtis and Elvis Presley. Terry Manning (also a recording engineer, but in this case) a writer for the New Musical Express attended the recording sessions, and ended up assisting Tom Dowd. The songs were written by, among others, Gerry Goffin & Carole King, Barry Mann & Cynthia Weil, Michel Legrand, Randy Newman, and Burt Bacharach & Hal David.[2]
Recording
The recording was a challenge for Wexler. In his book Rhythm and the Blues, Wexler wrote that out of all the songs that were initially recorded for the album, "she approved exactly zero." For her, he continued, "to say yes to one song was seen as a lifetime commitment."[3] Springfield disputed this, saying she did choose two: "Son of a Preacher Man" and "Just a Little Lovin'".[4] He was surprised, given Dusty's talent, by her apparent insecurity. Springfield later attributed her initial unease to a very real anxiety about being compared with the soul greats who had recorded in the same studios. Eventually Dusty's final vocals were recorded in New York.[5] Additionally, Springfield stated that she had never before worked with just a rhythm track, and that it was the first time she had worked with outside producers, having self-produced her previous recordings (something for which she never took credit).
During the Memphis sessions in November 1968, Springfield suggested to the heads of Atlantic Records that they should sign the newly formed Led Zeppelin group. She knew the band's bass player John Paul Jones, who had backed her in concerts before. Without having ever seen them and largely on Dusty's advice,[6] the record company signed a deal of $200,000 with them. At the time, that was the biggest deal of its kind for a new band.[7]
Review scores
Source Rating
AllMusic 5/5 stars[8]
Encyclopedia of Popular Music 5/5 stars[9]
Entertainment Weekly A[10]
Music Story 5/5 stars[11]
MusicHound Rock 4/5[12]
Q 3/5 stars[13]
Rolling Stone 4/5 stars[14]
The Rolling Stone Album Guide 5/5 stars[15]
Sputnikmusic 4.5/5[16]
Dusty in Memphis was released by Atlantic Records on 31 March 1969 in the United States and 18 April in the United Kingdom.[17] The album was a commercial failure in both countries, only reaching number 99 on the American album charts and failing to chart altogether on the British Top 40. According to music journalist Peter Robinson, its failure stalled Springfield's career rather than revive it, although the record eventually became "a popcultural milestone [and] timeless emotional reference point" for listeners who discovered it in second-hand shops or purchased one of its several reissues years later.[18] Robert Christgau called it "a pop standard and classic", predicting in his 1973 column for Newsday it would be "the kind of record that will sell for years because its admirers need replacement copies, and it is the perfect instance of how a production team should work."[19] Greil Marcus was less enthusiastic in Rolling Stone, deeming some of the songwriting inconsistent on what was "a real drifting, cool, smart, sexually distracted soul album".[14]
Dusty in Memphis has frequently been named one of the greatest albums of all-time; according to Acclaimed Music, it is the 104th most ranked record on critics' all-time lists.[20] NME named it the 54th greatest album ever in their 1993 list,[21] and in 2003, Rolling Stone ranked the record 89th on its list of the 500 greatest albums of all time.[22] Richie Unterberger wrote in AllMusic that the album's reputation has improved significantly over time and felt it was "deserving of its classic status".[8] Tony Scherman from Entertainment Weekly said Dusty in Memphis was a "pure gem", Springfield's greatest work, and perhaps one of the greatest pop records ever recorded,[10] Q took note of its balance between "R&B and sensitive pop dramas",[13] while Spin critic Chuck Eddy viewed it as one of the all-important blue-eyed soul records.[23] In The A.V. Club, Keith Phipps wrote that Springfield and her team of musicians and producers for Dusty in Memphis developed an elegant and distinct fusion of pop and R&B that predated the Philadelphia soul sound of the 1970s.[24] According to Eric Klinger from PopMatters, its sophisticated style of music influenced the sound of 1990s trip hop artists who sampled songs from the album and became a blueprint for British female singers of the 2000s, including Adele, Rumer, and Duffy.[17]
Track listing
Side one
"Just a Little Lovin'" (Barry Mann, Cynthia Weil) – 2:18
"So Much Love" (Gerry Goffin, Carole King) – 3:31
"Son of a Preacher Man" (John Hurley, Ronnie Wilkins) – 2:29
"I Don't Want to Hear It Anymore" (Randy Newman) – 3:11
"Don't Forget About Me" (Goffin, King) – 2:52
"Breakfast in Bed" (Eddie Hinton, Donnie Fritts) – 2:57
Side two
"Just One Smile" (Randy Newman) – 2:42
"The Windmills of Your Mind" (Alan Bergman, Marilyn Bergman, Michel Legrand) – 3:51
"In the Land of Make Believe" (Burt Bacharach, Hal David) – 2:32
"No Easy Way Down" (Goffin, King) – 3:11
"I Can't Make It Alone" (Goffin, King) – 3:57
Special thanks to all those who have brought such memorable performances of blues songs. Great stuff happening here!
We've Saturday and Sunday left - until 12 a.m. Monday morning (Hawaiian time). I'm not sure if I'll make the 100th Anniversary of the Summer of Love ....even the 75th might be a stretch.
So here's hoping we can keep the candles burning and enjoy this party a bit longer.This morning I'm thinking about one of my favorite performers of all time, Dusty, and one of my favorite albums of all time: Dusty in Memphis. The great Dusty Springfield sealed her chance to be considered one of the best pop vocalists of all-time with this one, imho. We haven't heard Dusty's music yet this week ..... not even "Son of A Preacher Man" ...... not even "Just A Little Lovin'" .......or .... drumroll please ...... her iconic version of "The Windmills of Your Mind." Anyone game?
With some help from Wikipedia, here's some info about this incredible album. (In rereleases additional tracks have been added to it.):
Dusty in Memphis is the fifth studio album by English singer Dusty Springfield. She recorded the album at American Sound Studio in Memphis with a team of musicians and producers that included Jerry Wexler, Arif Mardin, Tom Dowd, conductor Gene Orloff, backing vocalists The Sweet Inspirations, bassist Tommy Cogbill, and guitarist Reggie Young. It featured one of her top-10 UK hits, "Son of a Preacher Man". Although Dusty in Memphis sold poorly when it was first released by Atlantic Records in 1969, the album has since been acclaimed by critics as one of the greatest records of all-time and Springfield's best work. The album received a Grammy award in 2001.
Background
Hoping to reinvigorate her career and boost her credibility, Dusty Springfield turned to the roots of soul music. She signed with Atlantic Records, home label of one of her soul music idols, Aretha Franklin. Although she had sung R&B songs before, she had never released an entire album solely of R&B songs. She began recording an album in Memphis, Tennessee, where some notable blues musicians had grown up. The Memphis sessions at the American Sound Studios were recorded by the A team of Atlantic Records. It included producers Jerry Wexler, Tom Dowd and Arif Mardin, the back-up singers Sweet Inspirations and the instrumental band Memphis Cats, led by guitarist Reggie Young and bassist Tommy Cogbill.[1] The Memphis Cats had previously backed Wilson Pickett, King Curtis and Elvis Presley. Terry Manning (also a recording engineer, but in this case) a writer for the New Musical Express attended the recording sessions, and ended up assisting Tom Dowd. The songs were written by, among others, Gerry Goffin & Carole King, Barry Mann & Cynthia Weil, Michel Legrand, Randy Newman, and Burt Bacharach & Hal David.[2]
Recording
The recording was a challenge for Wexler. In his book Rhythm and the Blues, Wexler wrote that out of all the songs that were initially recorded for the album, "she approved exactly zero." For her, he continued, "to say yes to one song was seen as a lifetime commitment."[3] Springfield disputed this, saying she did choose two: "Son of a Preacher Man" and "Just a Little Lovin'".[4] He was surprised, given Dusty's talent, by her apparent insecurity. Springfield later attributed her initial unease to a very real anxiety about being compared with the soul greats who had recorded in the same studios. Eventually Dusty's final vocals were recorded in New York.[5] Additionally, Springfield stated that she had never before worked with just a rhythm track, and that it was the first time she had worked with outside producers, having self-produced her previous recordings (something for which she never took credit).
During the Memphis sessions in November 1968, Springfield suggested to the heads of Atlantic Records that they should sign the newly formed Led Zeppelin group. She knew the band's bass player John Paul Jones, who had backed her in concerts before. Without having ever seen them and largely on Dusty's advice,[6] the record company signed a deal of $200,000 with them. At the time, that was the biggest deal of its kind for a new band.[7]
Review scores
Source Rating
AllMusic 5/5 stars[8]
Encyclopedia of Popular Music 5/5 stars[9]
Entertainment Weekly A[10]
Music Story 5/5 stars[11]
MusicHound Rock 4/5[12]
Q 3/5 stars[13]
Rolling Stone 4/5 stars[14]
The Rolling Stone Album Guide 5/5 stars[15]
Sputnikmusic 4.5/5[16]
Dusty in Memphis was released by Atlantic Records on 31 March 1969 in the United States and 18 April in the United Kingdom.[17] The album was a commercial failure in both countries, only reaching number 99 on the American album charts and failing to chart altogether on the British Top 40. According to music journalist Peter Robinson, its failure stalled Springfield's career rather than revive it, although the record eventually became "a popcultural milestone [and] timeless emotional reference point" for listeners who discovered it in second-hand shops or purchased one of its several reissues years later.[18] Robert Christgau called it "a pop standard and classic", predicting in his 1973 column for Newsday it would be "the kind of record that will sell for years because its admirers need replacement copies, and it is the perfect instance of how a production team should work."[19] Greil Marcus was less enthusiastic in Rolling Stone, deeming some of the songwriting inconsistent on what was "a real drifting, cool, smart, sexually distracted soul album".[14]
Dusty in Memphis has frequently been named one of the greatest albums of all-time; according to Acclaimed Music, it is the 104th most ranked record on critics' all-time lists.[20] NME named it the 54th greatest album ever in their 1993 list,[21] and in 2003, Rolling Stone ranked the record 89th on its list of the 500 greatest albums of all time.[22] Richie Unterberger wrote in AllMusic that the album's reputation has improved significantly over time and felt it was "deserving of its classic status".[8] Tony Scherman from Entertainment Weekly said Dusty in Memphis was a "pure gem", Springfield's greatest work, and perhaps one of the greatest pop records ever recorded,[10] Q took note of its balance between "R&B and sensitive pop dramas",[13] while Spin critic Chuck Eddy viewed it as one of the all-important blue-eyed soul records.[23] In The A.V. Club, Keith Phipps wrote that Springfield and her team of musicians and producers for Dusty in Memphis developed an elegant and distinct fusion of pop and R&B that predated the Philadelphia soul sound of the 1970s.[24] According to Eric Klinger from PopMatters, its sophisticated style of music influenced the sound of 1990s trip hop artists who sampled songs from the album and became a blueprint for British female singers of the 2000s, including Adele, Rumer, and Duffy.[17]
Track listing
Side one
"Just a Little Lovin'" (Barry Mann, Cynthia Weil) – 2:18
"So Much Love" (Gerry Goffin, Carole King) – 3:31
"Son of a Preacher Man" (John Hurley, Ronnie Wilkins) – 2:29
"I Don't Want to Hear It Anymore" (Randy Newman) – 3:11
"Don't Forget About Me" (Goffin, King) – 2:52
"Breakfast in Bed" (Eddie Hinton, Donnie Fritts) – 2:57
Side two
"Just One Smile" (Randy Newman) – 2:42
"The Windmills of Your Mind" (Alan Bergman, Marilyn Bergman, Michel Legrand) – 3:51
"In the Land of Make Believe" (Burt Bacharach, Hal David) – 2:32
"No Easy Way Down" (Goffin, King) – 3:11
"I Can't Make It Alone" (Goffin, King) – 3:57
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Recovering Bassist
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1967. One of the most played songs on the radio of all time, with over 5 million plays, and this song has been recorded by over 300 different artists. I like this song, but I never understood why it got as big as it did. I don't have to understand it though, the fact is it did. Glen Campbell probably doesn't qualify as a first name basis only artist, but he certainly was a giant star. I was also always a fan of the writer of this song, John Hartford. I did several takes, and this is about the best I could do, which isn't that great I know. Between all the words and descending runs in the song, this was a real challenge for me to attempt.
My entry this week is the song of mine which comes closest to the ideals of 1967. It was written in 2011, at Alasdair Fraser's Fiddle Camp in Spain (Crisol de Cuerda). The wonderful tune is by Alasdair. My lyrics look back on the summer of love, its ideals and its consequences and contrast them with how later generations have been encouraged to be greedy and individualistic, which I honestly believe is contra to our basic drive to be sociable and form part of a community.
As those of you familiar with my videos from my old home in Capellades will recognise, this was recorded there, yesterday evening, rather than in my new home. There, I didn't have access to a decent four string ukulele (all moved down to our new place). So, I have used a ... dare I say it... a six string Baritone? A Baritone Guitalele?? .... or even.... a 3/4 Classical Guitar??? Anyway, I hope you can forgive me and still enjoy the song
As those of you familiar with my videos from my old home in Capellades will recognise, this was recorded there, yesterday evening, rather than in my new home. There, I didn't have access to a decent four string ukulele (all moved down to our new place). So, I have used a ... dare I say it... a six string Baritone? A Baritone Guitalele?? .... or even.... a 3/4 Classical Guitar??? Anyway, I hope you can forgive me and still enjoy the song
wee_ginga_yin
Well-known member
Where is wikipedia when you need it?
Where is the Hammond organ when you need it? This was supposed to be for 1967
the summer of Love but it was published in 1966. Oh Well let's just call it a precursor
to the Summer of Love.
As they say if you remember the 60's then you never lived through it.
Where is the Hammond organ when you need it? This was supposed to be for 1967
the summer of Love but it was published in 1966. Oh Well let's just call it a precursor
to the Summer of Love.
As they say if you remember the 60's then you never lived through it.
IamNoMan
Well-known member
Woody died in 1967. There is an interesting blog in the info section of the video.
Rant Warning!
I do not like to post unpleasnt tidings but I must speak out! On Tuesday I had some scheduled blood work done. Later that day I received a call fron my primary care physician that my Creatin and BUN levels very very high I I should report to my neprologist or the ER. I did both. Iam told I have 5th or end stage renal disease. I have never had the failure of a complete organ system before and I do not yet know what this means. The kidney doctor who told me to go to the ER was going to visit the next day didn't show and the idiots at my nephrologist's office buggered up things so badly that they can't possibly see me for at least three weeks. Iam asymptomatic and feel fine except for whatever turmoil this news caused. Iam taking things philosophically but won't know what to do about things for three weeks. Susan, my wife is a basket case. A RN for 37 years she says she is despondent because there is nothing she can do. That is a troubling statement but Susan's state of mind is more so. Iam not looking for sympathy here. I'll figure things out and take appropriate action. My heath has always been bad, (I had over 500 hospital visits before I was 12). but I do know how to adapt to things.
Thank you for your patience with this rant.I had to let you'all know or I would explode.
Rant Warning!
I do not like to post unpleasnt tidings but I must speak out! On Tuesday I had some scheduled blood work done. Later that day I received a call fron my primary care physician that my Creatin and BUN levels very very high I I should report to my neprologist or the ER. I did both. Iam told I have 5th or end stage renal disease. I have never had the failure of a complete organ system before and I do not yet know what this means. The kidney doctor who told me to go to the ER was going to visit the next day didn't show and the idiots at my nephrologist's office buggered up things so badly that they can't possibly see me for at least three weeks. Iam asymptomatic and feel fine except for whatever turmoil this news caused. Iam taking things philosophically but won't know what to do about things for three weeks. Susan, my wife is a basket case. A RN for 37 years she says she is despondent because there is nothing she can do. That is a troubling statement but Susan's state of mind is more so. Iam not looking for sympathy here. I'll figure things out and take appropriate action. My heath has always been bad, (I had over 500 hospital visits before I was 12). but I do know how to adapt to things.
Thank you for your patience with this rant.I had to let you'all know or I would explode.
Croaky Keith
Well-known member
(Sorry to hear you're having more health problems, Tommy, all the best.)
Woody Guthrie is a legend, for sure.
Woody Guthrie is a legend, for sure.
OP
OP
turtledrum
Well-known member
Tommy,my thoughts and prayers are with you and Susan. I hope that you will receive better treatment in this coming week and that perhaps the long wait won't materialize as it now seems that it will. Big hug. Another big hug. And another. Linda
lelouden
Well-known member
Thank you so very much Tenor. This was the easiest by far of the three I did this week. Hit Or Miss https://www.youtube.com/watch?v=yQgBxikxSbc was loads of fun and frustration. I have to say I would choose it of the three for learning something new.
I have done loop tracks in gb before but this one taught me so many things. First of all keeping time with a metronome is a skill! I ended up laying a separate metronome track against my vocal recording, and then had to split the metronome track and readjust it to the vocal track just slightly. I then used that metronome track as a reference to split the bass track and the tabla track to get them in sync with the vocal track. Loads of work but what a learning experiment it was for me!
Reason To Believe was the first song I recorded before I got sidetracked trying to keep up with all of you who inspired me to push myself
Demimondaine
Well-known member
I appeared in a summer stock show when I was 14. It was a positive experience for me, one I've never been able to recapture. I love the verses and the chorus, but I need to work on the bridge, so if you have any advice...
AlanDP
Well-known member
Recovering Bassist
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All my best to you and your wife Tommy, sorry to hear about this. Really enjoy all your contributions here.
xommen
Well-known member
We had a go at this one at rehearsals with the band, and I thought why not record a version for the seasons.
This is a U2 song written by Bono and his mates, this is called If you wear that velvet dress.
This is a U2 song written by Bono and his mates, this is called If you wear that velvet dress.
Bruce Rutherford
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JodeTheToad
Well-known member
Okay, I managed to get a single song for this week. It's been crazy for me the past few weeks - I work at a campground during the summer, which is a fun job, but gives me a lot of strange hours! I had chosen songs to do for the past several Seasons, but every week, the time just got away from me. :uhoh:
There's a little hiccup in the last verse, but I finally got this after several takes. Afterwards, I did more takes to try for a flawless rendition, which didn't happen, so I decided to stick with this one. So anyway, here is Joni Mitchell's song, Both Sides Now, from the year 1967.
There's a little hiccup in the last verse, but I finally got this after several takes. Afterwards, I did more takes to try for a flawless rendition, which didn't happen, so I decided to stick with this one. So anyway, here is Joni Mitchell's song, Both Sides Now, from the year 1967.
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This is a song called "Something Following Me" from Procol Harum's first album, which came out in 1967.
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