Roll Over Beethoven sang Chuck Berry back in 1956. Oh yes, Chuck was firm in his belief that had Beethoven still been around, it would have been time for him to roll over and dig those rhythm and blues. Strangely enough, only 20 years later, Beethoven’s Fifth Symphony became the basis of a disco instrumental and this week it has formed a bit of an earworm.
Like many of us during this strange time of lockdown and post-lockdown easing, we’ve watched a fair amount of telly, and there is no shortage of great telly out there made both by traditional broadcasters and the newer streaming services such as Netflix and Amazon Prime. (I am however starting to notice that the BBC & ITV are running out of new product, and during prime time slots are having to repeat some of their most successful output. This in turn affects the amount advertisers are willing to pay for a slot, which will jeopardise the making of future programmes should the industry ever get started again. At this rate we’re going to be old and grey yet will still be watching Line of Duty, Death In Paradise, The Durrells and Downtown Abbey!)
But I digress. A historical drama I was keen to watch this week was Mrs America (now on the BBC iPlayer) which tells the story of the movement to ratify the Equal Rights Amendment in the 1970s, and the unexpected backlash led by conservative activist Phyllis Schlafly. Prominent feminists of the day, such as Betty Freidan and Gloria Steinem, are key characters, and I feel ashamed that I am only now learning of their contribution to a movement that has given me much of what I have always taken for granted. The opening theme for the show, which has caused the aforementioned earworm, is A Fifth of Beethoven by Walter Murphy. It fits the era and was chosen because it represented both sides of the story. Phyllis and her conservative friends listened to classical music, yet the free and easy disco version of Beethoven’s Fifth, better fitted the feminists.
A Fifth of Beethoven by Walter Murphy:
It of course sounded familiar when I watched the first episode of the show, and it didn’t take long for me to remember that it had appeared on the Saturday Night Fever soundtrack album, and was the record playing when lead character Tony Manero enters the 2001: Odyssey disco in 1977 Brooklyn. He exudes the easy confidence that comes from being a big fish in a little pond, and that nightclub was his domain.
I have written about the film Saturday Night Fever often around here as it came out the year my best friend and I left school. We spent the summer frequenting the many converted function suites in our area, where local hoteliers had decided an investment in floors with flashing lights, glitter balls and a weekly DJ could increase takings no end. It was a memorable summer where we practiced our dance moves and had dalliances with the local Tony Maneros, but looking back I don’t think I appreciated that this carefree summer ahead of starting university, only happened because I came of age in 1978. Had I been born only 10 years earlier such opportunities would not have been a given at all, and our parents may well have steered us down a very different path towards work, then marriage and motherhood. As it turns out we’ve now kind of had to do both, simultaneously, so not sure who won in the end but it’s thankfully no longer a given that men have very little to do with childcare, cooking or housework, so…. , yeah us.
As for Walter Murphy, he was an orchestral leader who studied both classical and jazz music piano at the Manhattan School of Music. In college his interests included rock music that had been adapted from classical music, such as Joy by Apollo 100 and A Lover’s Concerto by The Toys. In 1976, whilst writing a disco song for a commercial, a producer suggested the idea of updating classical music, which nobody had done lately. He recorded a demo tape which included A Fifth of Beethoven and sent it various record labels in New York City. It was picked up and reached the No. 1 spot on the Billboard Chart in October 1976.
Another little snippet I discovered when doing some research for this post, was that in 2017, exactly 40 years on from the release date of the film that made it famous, the 2001: Odyssey was reimagined. By that time it was no longer a nightspot, but a Chinese restaurant, however a successful businessman invested the cash required to make it happen. The Trammps appeared and sang their hit Disco Inferno, and the actress who played Tony Manero’s love interest also turned up. There were plenty of men in polyester shirts & cream three-piece suits and ladies in those free flowing dresses that epitomised the era, as well as some of the original DJs. Must have been quite a night.
And here is something that really hit home with me this week. In listening to these disco hits of 1978 I’ve been transported back in time, reminiscing about that carefree summer after leaving school. Not so for our school-leavers of this year who have had no prom or end of term revelries and face uncertainly about their exam grades. The doors to the places where they all used to come together are still firmly closed, and as DD pointed out earlier in the week, “Its a rubbish year to be single”.
No lyrics this time as an instrumental, but as ever, if you want to leave a comment, I always reply.
No prizes for guessing how this song popped into my subconscious this week as it’s now all about how we’re going to get out of lockdown, but as an earworm it’s a pleasant one, and it’s made me want to look into the story of the singing group Odyssey a bit more. For a long time I used to confuse them with fellow Americans Rose Royce because their most successful years in the UK Singles Chart coincided, and both produced up-tempo disco numbers but also beautiful ballads.
Odyssey would have first entered my radar during my final year of senior school as their first big hit in the UK reached the No. 2 spot that Christmas. Native New Yorker was more successful over here than in their native US which became a pattern for the rest of their career and eventually led them to move to the UK permanently.
The song was originally written for Frankie Valli but when covered by Odyssey it became their first hit. The song is about a girl who is unlucky in love. The singer is telling her that as a native New Yorker, she should know by now that love is as fabricated as a Broadway show, and that you have to look out for yourself in the city. It’s a song about disillusionment that captures the downside of the self-reliant New York lifestyle.
Now we’re fast-forwarding to the summer of 1980 and it was one of their songs I just couldn’t miss, as it spent 12 weeks on the UK Singles Chart and 2 weeks at the top spot. Believe it or not this song title inadvertently pops up in our house just about every other day, as whenever we look in the fridge and spot something that needs used up, we always ask each other if we should, ‘Use it up and wear it out?‘. It’s been hard-wired into our brains by Odyssey that you can’t say the first bit without adding the second!
By the end of the summer of 1980 they released a follow-up single, If You’re Lookin’ for a Way Out with Lillian Lopez again on lead vocals. It’s a bit of a tear-jerker and had I not been all loved-up that summer, but rather going through a painful break up, it would have made for tough listening. This single reached the No. 6 spot and spent 15 weeks on the UK Singles Chart. The common factor in all three featured songs is that they were either written or produced by Sandy Linzer who is a new name for me but seems to have been really prolific in the 60s/70s writing for Frankie Valli and The Four Seasons.
So if you’re looking for a way out I won’t stand here in your way
Don’t look at the tears that I’m crying They’ll only make you wanna stay Don’t kiss me again ’cause I’m dying To keep you from running away To be fair, the person I was all loved-up with that summer did cause much heartache down the line, and looking at these lyrics I was not as magnanimous. You do feel like you’re dying inside and I did stand in his way, but ultimately to no avail. Does that make me a bad girlfriend? I don’t think so – Just a broken-hearted one.
If You’re Looking For A Way Out by Odyssey:
So, I now know a lot more about the group Odyssey and will no longer confuse them with Rose Royce. It’s also been nice to have a break from writing about all that’s going on in the world and just concentrate on the music (although this one definitely inspired by what’s going on). I have a few more drafts that would be good to get down in print as I’ve not yet written about any of the sad deaths we’ve had from the world of music this year, which is remiss of me. Easy to get distracted at the moment however.
Until next time….
If You’re Lookin’ For A Way Out Lyrics (Song by Sandy Linzer, Ralph Kotkov)
Love is crazy baby, I can see it in your eyes Your kisses taste the same But it’s just a sweet disguise Ain’t that just like you To worry about me But we promised to be honest With each other for all eternity So if you’re looking for a way out I won’t stand here in your way And if you’re looking for a way out
Don’t look at the tears that I’m crying They’ll only make you wanna stay Don’t kiss me again ’cause I’m dying To keep you from running away (Run away, run away, run away, run away, run away, run away)
Oh baby tell me I’m wrong Just say I’m crazy It’s with you that I belong It’s never easy when lovers have to part Oh come on stop pretending Tell me what’s in you heart And if you’re looking for a way out I won’t stand here in your way But if you’re looking for a way out
Don’t look at the tears that I’m crying They’ll only make you wanna stay Don’t kiss me again ’cause I’m dying To keep you from running away
Don’t look at the tears that I’m crying They’ll only make you wanna stay Don’t love me again ’cause I’m tryin’ To keep you from running away (Baby don’t run away, baby don’t run away)
Don’t you run away (ooh ooh) (Ooh ooh) Oh come on stop pretending Tell me what’s in your heart
Well, how are we all doing? A whole new collection of words and phrases has entered our vocabulary (self-isolation, social distancing, on furlough et al) and it somehow feels as if they’ve always been with us, but they really haven’t, it’s just that everyone seems to have adapted overnight to “the new normal”.
I’ve already been for my daily walk and fortunately timed it just right, as yesterday we did not, and ended up striding along the banks of the Caledonian Canal in sheet rain. I was wearing one of those coats with a complicated hood full of channels for cords and toggles. By the time we’d worked out how they kept sheet rain out it was too late, but no matter, I certainly wasn’t going anywhere important where I had to look smart and coiffed, just back home.
I spend a lot of time at home in my normal life, so not a big change for me. The big change is that economically I now have no purpose, as my purpose was to help Mr WIAA run his business and to prepare for guests coming to stay in the holiday hideaway. Neither of these businesses can operate in this strange new world of staying at home and social distancing, so all a tad disconcerting. I know we have to stay at home to protect the NHS and save lives, but my goodness, the fallout will be with us all for many, many years to come and I fear for the younger generation whose job it will be to navigate this brave new world.
A very pleasant distraction that came along yesterday was the start of NaPoWriMo – National Poetry Writing Month. Although I am currently a lapsed student, I am still part of a NaPoWriMo FaceBook group, and a fair few efforts have already come in. I shared some of my fellow students’ work last year (link here) as I was really blown away by their poems, having quickly realised it was not a discipline I had any talent for at all. Whenever I did post something it tended to be a comedic tum-ti-tum kind of affair, and true to form, my first contribution this year seems to have gone along the same lines.
A Loo Roll Dystopia
Handed in a story once upon a time Up for an assessment, thought it would be fine Looked forward to the outcome, but ’twas a massive fail! “Too far-fetched… , dystopian” was deemed to be my tale
But that was then, and this is now And I find myself with furrowed brow I had foretold what might come to pass But missed the obsession we’d have with our ass
Paper products stripped from the shelves Even those in a pack of twelve When the threat recedes of what came from Hubei We’ll be trapped inside, by Triple Velvet 3-ply
(I’ll get my coat!)
No mention of music yet in this post, but I am inclined to share a song I heard on the radio last night before heading to bed. When Randy Crawfordstarted to sing Street Life, the song she recorded with American jazz band The Crusaders, it really hit home that street life as we know it has all but gone, and we miss it. The song reached No. 5 in the UK Singles Chart in 1979 and represented the peak of the band’s commercial popularity. Randy has appeared around here before, a couple of times, as I have always had a great fondness for her voice.
I usually share an audio clip of the featured song but it seems I don’t have The Crusader’s Street Life in my library. What I do have however is another Street Life by Roxy Music, this time from 1973. He certainly was a very dapper chap that Bryan Ferry wasn’t he? Again the lyrics about a world I now know nothing of, bar the suburban streets that run adjacent to the place we call home.
Street Life by Roxy Music:
I hope you and those you love stay safe and well. It hasn’t really hit home what we are up against yet here in the North of Scotland, but for any of you who are key workers caught up in the eye of the storm, you have my immense admiration and gratitude for what you are doing.
Until next time….
Street Life Lyrics (Song by Will Jennings/Joe Sample)
I play the street life Because there’s no place I can go Street life It’s the only life I know Street life And there’s a thousand cards to play Street life Until you play your life away You let the people see Just who you wanna be And every night you shine Just like a superstar The type of life that’s played A temptin’ masquerade You dress you walk you talk You’re who you think you are Street life You can run away from time Street life For a nickel or a dime Street life But you better not get old Street life Or you’re gonna feel the cold There’s always love for sale A grown up fairy tale Prince charming always smiles Behind a silver spoon And if you keep it young Your song is always sung Your love will pay your way Beneath the silver moon Street life Street life Street life Oh street life I play the street life Because there’s no place I can go Street life It’s the only life I know Street life And there’s a thousand cards to play Street life Until you play your life away – oh Street life Street life Street life Oh street life
The other day I was heading back from visiting my mum in the care home, when I decided to swing by our local theatre to find out what was on. I still had a gift voucher which ironically was acquired when I had to return my mum’s outstanding theatre tickets last year after her admission to the home. It was due to expire soon, so I needed to convert it into readies, and if not readies, bona fide tickets at any rate. When I discovered that a show called Jive Talkin’, championing the music of the Bee Gees was taking place that very night, it was a no-brainer that I would ask about seats. As luck would have it there were only two left, in a second circle box, so I snapped them up.
It took me a long time to admit to being a Bee Gees fan around here, as I know they have been heavily parodied over the years and Barry’s late ’70s falsetto has been the subject of much mirth, but only Elvis, the Beatles, and he who shall no longer be named, have outsold them. They wrote all their own songs, performed perfect harmonies and continually reinvented themselves “for the times”. I’ve written about them a few times and I suspect a new category on my sidebar will have to be set up after I press the publish button.
But of course there is sadly now only one Bee Gee left, Barry, and I do feel for him if I ever catch him on telly, as he cuts a lonely figure without the rest of his brothers in tow. In view of the fact I will now never see them live, I had no difficulty in making the decision that it was ok to head along to our fantastic theatre, to watch this trio (plus backing band complete with string section) sing songs from the vast back catalogue at their disposal.
I wrote last year about a show called Fastlove, dedicated to the George Michael back catalogue. They took great pains to make sure that, we, the audience, realised this was not “A Tribute Act” but in fact “A Tribute” to George, so I was hoping this show would follow the same lines. As it turned out, there was a bit more of a pantomime quality to this one, but the voices were pitch perfect and from where I was seated in the second circle, they looked uncannily like the real Bee Gees.
I Started A Joke by the Bee Gees:
The first half was dedicated to their 1960s incarnation and they rattled through 16 classic hits such as Gotta Get A Message To You, To Love Somebody, Words, How Can You Mend A Broken Heart (written about here before) and my personal favourite I Started A Joke from the album “Idea” released in 1968. Apparently the melancholic melody of the song was inspired by the sounds on board an aeroplane. To quote Robin Gibb: “The melody to this one was heard aboard a British Airways Vickers Viscount about a hundred miles from Essen. It was one of those old four engine “prop” jobs, that seemed to drone the passenger into a sort of hypnotic trance, only with this it was different. The droning, after a while, appeared to take the form of a tune, which mysteriously sounded like a church choir. As soon as we landed and reached the hotel, we finished the lyrics.”
As for me, this era of the Bee Gees just reminds me of watching telly with my parents as a child. They were frequent visitors to the TOTP studio and there were always a few raised eyebrows in our house at Robin’s vibrato, as not many pop voices like that at the time. I only realised later that the twins, Robin and Maurice, were still teenagers – A massive amount of success for those so young, the pressure of which led to Robin leaving the band for a while.
So, we’ve had the first half where they were dressed in the classic late era Bee Gees’ uniform of black trousers, shirts and jackets, but what would the second half bring? As expected there had to be an element of pantomime, as the 1970s brought disco, and Barry’s falsetto rose to unnaturally new heights. There is nothing more unnerving than seeing a middle-aged man dressed in tight white trousers and a silver jacket revealing chest hair, but here we were. To be honest I don’t think many of the ladies in the audience cared however, we were all teenagers again, reminding ourselves of the time we heard these songs first time around – Night Fever, Stayin’ Alive, You Should Be Dancing and many more.
Up in my second circle box, no-one’s view would have been blocked if I stood up and danced along to the songs, so that was just what happened. Mr WIAA did not partake in the dancing, and was a bit bemused by the whole thing I think, but he was also aware I’ve been working really hard of late trying to support everyone, so if anyone needed to let their hair down, it was me (as he no longer has any).
Every now and again, when emotions are running high, it can only take a few bars of a familiar song, to make you feel quite overcome by it all. When the trio on stage sang More Than A Woman, I was right back in 1978, a year I’ve often mentioned in this blog as it was the summer I left school and went off to work in a country house hotel with my best friend Catriona, who sadly died at age 41. By day we were jack-of-all-trades, chambermaids, laundrymaids, barmaids (yes, still called that back then) but by night we were disco divas, trying out our routines in the local nightspots. At the start of the summer we were a novelty, new girls in town, but as the summer progressed there were a few romances that we knew would go nowhere, but still made the heart flutter. One of the songs that made the heart flutter was this one. The dancing looks tame now and frankly a bit comical, but funny how 40 years on, a warm glow came over me when listening to it – More than goose-bumps, but rather an overwhelming feeling of nostalgia for simpler times.
More Than A Woman by the Bee Gees:
I know tribute acts are the source of much derision, but sometimes an evening of honest to goodness nostalgia is just what is needed, and that’s what I experienced this week. Because of the ongoing situation regarding how to pay for my mum’s care, stress levels have been running high in our house of late, but funnily enough, my evening with the pretend Bee Gees has put paid to that. Mr WIAA will be really glad he (reluctantly) agreed to come along with me.
Until next time….
I Started A Joke Lyrics (Song by Barry Gibb/Maurice Gibb/Robin Gibb)
I started a joke, which started the whole world crying But I didn’t see that the joke was on me, oh no
I started to cry, which started the whole world laughing Oh, if I’d only seen that the joke was on me
I looked at the skies, running my hands over my eyes And I fell out of bed, hurting my head from things that I’d said
Till I finally died, which started the whole world living Oh, if I’d only seen that the joke was on me
I looked at the skies, running my hands over my eyes And I fell out of bed, hurting my head from things that I’d said
‘Till I finally died, which started the whole world living Oh, if I’d only seen that the joke was on me
Well, it’s going to have to be a shorter post this time as I have an awful lot going on at the moment. The new business I hinted at a few weeks ago, came into our possession yesterday, so it’s all systems go now to get it up and running as soon as possible. More on that to follow in the weeks to come, but in the meantime, my featured artist for this post is going to be Edwin Starr.
Why would that be Alyson?
Because this week, of all weeks, I have been afflicted with a nasty eye infection. On Monday evening, my right eye appeared to be glued together, and the redness and swelling surrounding it suggested I had just gone five rounds with Mike Tyson. I had loads of very important business-y type stuff to organise over the next few days in town, and here I was looking like something from Fight Club.
Of late, I have been very good at body-swerving Doctor Google if I have an ailment, as whatever rabbit hole you disappear down, the diagnosis is always a tumour of some sort. In this instance however, I was pretty sure it wasn’t an eye tumour, so I needed a bit of guidance on how to clear up the infection as soon as possible. After a bit of gentle bathing in warm water, Mr WIAA was dispatched to the chemist’s for some eye drops, which I must say have worked their magic. I had to lie low for the whole of Tuesday though, so as not to frighten poor unsuspecting children, and for the rest of the week I have had to be careful not to transfer the bacteria (sounds gross I know) to the other eye. Oh yes, I was already blind in one eye, so important not to make (Eye To Eye) Contact with the other. Cue Mr Starr (starts to really get going at 2:10).
Regulars to this place will know I wrote quite a lengthy post a fortnight ago on the disco genre. A fair bit of research had to be done (I watched a recorded episode of a TOTP Disco Special), and one of the songs I was reminded of, was indeed (Eye To Eye) Contact. It actually found greater success in the UK than across the pond, and reached No. 8 in the Singles Chart in early 1979.
I only found out recently from one of the other music blogs, that Mr Starr, a native of Nashville Tennessee, actually spent his later life living in the North of England. He had become a big “star” on the Northern Soul circuit, where many of his lesser-known Motown classics had found favour with that movement’s faithful. He moved to a village on the outskirts of Nottingham in 1973, and died there in 2003, aged only 61.
But this foray into the world of disco (he also recorded the uplifting H.A.P.P.Y. Radio) was more of a comeback for him. The recording – I’m loath to call it a song as it’s more of a dramatic soul roar – he is probably best remembered for however, is War, the 1970 counter-culture protest song. Powerful stuff.
What is it good for?
oh hoh, oh
Edwin Starr’s intense vocals transformed this Temptations’ album track into a totally different animal, and it spent three weeks at the top of the Billboard chart. It was an anthem for the anti-war movement, and it continues to appear on movie soundtracks and hip hop music samples today. War appeared on both Starr’s “War & Peace” album, and its follow-up.
And here is where I have made a new discovery. I am usually late to the party but it seems Bruce Springsteen started performing War in concert in 1985. It was initially suggested as something to make the concluding shows of the Born In The USA tour a little bit different and special. Bruce and the E Street Band came up with a rock arrangement that worked well for them, and once released as a single in 1986, it got to No. 8 on the Billboard chart. Again, powerful stuff, and this time a protest against the Reagan Administration’s foreign policy in Central America.
I will leave you with a video clip of Bruce, who after an impassioned talky intro (starts at 0:50), looks very much as if he might burst a blood vessel performing the song. Fortunately he survived unscathed, and unlike poor old Edwin Starr, is still out there doing his thing today.
Until next time…
War Lyrics (Song by Norman Whitfield/Barrett Strong)
War huh yeah What is it good for? Absolutely nothing, oh hoh, oh War huh yeah What is it good for? Absolutely nothing, say it again y’all War, huh good God What is it good for? Absolutely nothing, listen to me
Oh, war, I despise ‘Cause it means destruction of innocent lives War means tear to thousands of mothers eyes When their sons go off to fight and lose their lives
I said War, huh good God y’all What is it good for? Absolutely nothing, just say it again War whoa Lord What is it good for? Absolutely nothing, listen to me War, it ain’t nothin’ but a heartbreaker War, friend only to the undertaker
Oh war, is an enemy to all mankind The thought of war blows my mind War has caused unrest within the younger generation Induction, then destruction who wants to die
War, good God, y’all What is it good for? Absolutely nothing, say it, say it, say it War, uh huh, yeah, huh What is it good for? Absolutely nothing, listen to me War, it ain’t nothin’ but a heartbreaker War, it’s got one friend that’s the undertaker
Oh, war has shattered many young man’s dreams Made him disabled bitter and mean Life is much to short and precious to spend fighting wars these days War can’t give life it can only take it away, ooh
War, huh, good God y’all What is it good for? Absolutely nothing, say it again War, whoa, Lord What is it good for? Absolutely nothing, listen to me War, it ain’t nothin’ but a heartbreaker War, friend only to the undertaker
Peace love and understanding tell me Is there no place for them today They say we must fight to keep our freedom But Lord knows there’s got to be a better way
War, huh, good God y’all What is it good for? You tell ’em, say it, say it, say it, say it War, good Lord, huh What is it good for? Stand up and shout it, nothing War, it ain’t nothin’ but a heartbreaker
We all experience those freaky coincidences from time to time don’t we, when we start thinking of a song we might not have heard in ages, only for it to pop up on the radio a few minutes later. I had such a freaky coincidence this week, which ironically involved the 1978 Chic song, Le Freak.
Over at My Top Ten, Rol has resumed his Hot 100 Countdown. Every week he chooses a song to represent a number, counting down from 100 to 1. This week suggestions were sought for songs that mention the number 54 in the title or lyrics. As expected quite a few of these suggestions included Le Freak, as the lyrics include the lines:
Just come on down, to 54 Find a spot out on the floor
A reference of course, to the legendary Studio 54 in New York City, which in the late 1970s was probably the most famous nightclub in the world, the home of disco, and frequented by A-listers from the worlds of music, film, art and fashion.
As a suggestion for a 54 song, it was a good one, so I too offered it up in the comments boxes. I also left a lame remark about how I had loved Le Freak back in the day, but had no idea at the time what the reference to 54 meant, coming from rural Aberdeenshire as opposed to The Big Apple. Needless to say, once I had slept on it, I realised I could have yet again made a bit of a naïve faux pas, perhaps not realising the number 54 was code for the kind of hedonistic activities that went on there during its heyday (I have been caught out with this number malarkey before). I wasn’t even up yet, but I decided to do a quick Google search on my phone, to find out what the 54 in the song was all about. Yes, you’ve guessed it, just as I clicked on the first entry thrown up by the search engine, I hear the words ‘Ah…, Freak Out’ coming out loud and clear from my new radio alarm.
As a coincidence, I thought this was an extreme one, but Mr WIAA merely brushed it aside, saying these things happen all the time. Personally I think we have far more influence on the world around us than we will ever understand, and because some of us were collectively thinking of the song Le Freak for Rol’s countdown on Tuesday night, the gods of radio playlists picked it for the Wednesday morning schedules. Oh, and for the record, I hadn’t actually been naïve after all, as it turns out Studio 54 was located at 254 West 54th Street, so that’s how it got its name. But enough about freaky coincidences, how about we actually listen to the song?
I think most of us have watched reruns of TOTP2 often enough by now to know the story behind the song, but it seems Bernard Edwards and Nile Rodgers of Chic wrote it after being denied admission to Studio 54, even though they had been invited along by Grace Jones. Their earlier hit Dance, Dance, Dance (Yowsah, Yowsah, Yowsah) was played often inside, but they weren’t on ‘the list’ so the doorman, who didn’t recognise them, turned them away. It was New Year’s Eve, 1977, but they now had nowhere to go, so ended up writing this song as a reply to the doorman. They called it ‘F**k Off’ but when they decided to record it, to appease Bernard Edward’s sensibilities, they changed it to ‘Freak Out’. Incidentally, the stomping at the Savoy line in the song makes reference to Edgar Melvin Sampson, nicknamed The Lamb. He was an American jazz composer, arranger, saxophonist, and violinist born in New York City, his most notable composition being Stompin’ at the Savoy.
The disco genre was massive between 1977 to 1978, when I was in my final year of school and heading out every weekend to socialise with my friends. Even in rural Scotland, the venues (local hotelier’s unused function suites) were transformed overnight into mini-Studio 54s, complete with a DJ, glitter balls and floors with flashing lights. We’d also now had the films Saturday Night Fever, and Thank God It’s Friday, which had kind of made disco go mainstream. Young people want to get together and meet other young people at the weekend, and this was a really easy and accessible way to make it happen. (Link here and here to my previous disco-related posts.)
The band Chic were probably the most stylish of all the disco acts at the time, and of course Mr Nile Rodgers is still doing his thing today, having worked with some of the most successful acts of the last 40 years. Back then, they were inspired by Bryan Ferry’s ‘look’ after watching him with Roxy Music, but safe to say, nowadays Nile has adopted the look of a street hippie, and looks very comfortable in his skin I must say.
Getting back to Studio 54 and its history, it apparently first opened in 1927 as the Gallo Opera House, but it was short-lived. After changing its name several times it eventually became a CBS radio and television studio. Then, in 1977, Steve Rubell and Ian Schrager created the space that became the world-famous nightclub and discotheque. They spent hundreds of thousands of dollars on professional lighting design and kept many of the former TV and theatrical sets, creating a unique dance club that became famous for its celebrity guest lists and restrictive (and subjective) entry policies, based on appearance and style.
I am reminded of a scene from the film American Hustle when one of the main characters, Bradley Cooper, has a night off from his FBI duties and takes Amy Adams dancing at Studio 54. I remember being impressed at how many of the details they got right in terms of fashion and hairstyles for this movie. It reminded me that even in rural Aberdeenshire, back in 1978, the boys took to having their hair permed. A strange sight back on the building sites on a Monday morning (and no doubt a lot of teasing from their older workmates) but ’twas the times. Tough to find a suitable clip, but this one gives a feel for what it must have been like in its heyday.
Something I never knew before, were the names of the two girls who sang lead on Le Freak. For the record they were Alfa Anderson and Luci Martin but in the Chic Choir we also had future luminaries such as Luther Vandross and Jocelyn Brown. The Chic Strings completed the line-up.
So, ‘What’s It All About?’ – I think I have opened a can of worms here, as there was just too much information to get through in order to write only one post on the whole disco phenomenon. If I have a rummage in the loft, I’m sure I’ll be able to find some pictures of me in my dancing gear (basically a leotard, footless tights and a wraparound skirt), and the diary entry reviewing my first night out in one of Aberdeen’s new nightspots. Most of the cinemas had seen better days by the tail end of the ’70s so they were being converted to places like Ruffles (on Diamond Street) and Fusion (on Bridge Place). I think I was unusual in that I truly went to dance, and could often be found hogging that sweet spot in front of the DJ, along with the boys who, like John Travolta, enjoyed a bit of ‘showboating’.
I will leave you with another Chic clip, this time featuring Norma Jean Wright on lead vocals. Everybody Dance got to No. 9 in the UK Singles Chart in April 1978. Enjoy.
Until next time…
Le Freak Lyrics (Song by Bernard Edwards/Nile Rodgers)
Ah, freak out! Le freak, c’est Chic Freak out!
Ah, freak out! Le freak, c’est Chic Freak out!
Have you heard about the new dance craze? Listen to us, I’m sure you’ll be amazed Big fun to be had by everyone It’s up to you, it surely can be done
Young and old are doing it, I’m told Just one try, and you too will be sold It’s called le freak, they’re doing it night and day Allow us, we’ll show you the way
Ah, freak out! Le freak, c’est Chic Freak out!
All that pressure got you down Has your head spinning all around Feel the rhythm, check the rhyme Come on along and have a real good time
Like the days of stomping at the Savoy Now we freak, oh, what a joy Just come on down, two 54 Find a spot out on the floor
Ah, freak out! Le freak, c’est Chic Freak out!
I said freak!
All that pressure got you down Has your head spinning all around Feel the rhythm, check the ride Come on along and have a real good time
Like the days of stomping at the Savoy Now we freak, oh, what a joy Just come on down, two 54 Find a spot out on the floor
The year 1976 is certainly being bandied about a lot at the moment, because until this current heatwave hit us, there had been no year with a long hot summer that could compete with it. For those of us who remember it first hand however, it was a very different time. It was also the year I turned 16, and so much has changed for the average teenager since then….
I didn’t have to worry about applying high factor sunscreen…, because it didn’t exist yet. I didn’t have to worry about global warming…, because the ice caps were still fully intact and hadn’t begun to seep into the oceans yet. I didn’t have to worry about whether my hair extensions and lip fillers would cope with the heat…, because we simply had short blow-dried hair, and if we were really lucky, little pots of lip gloss. I didn’t have to worry about whether my boyfriend was “talking” to other girls via social media…, because the only social medium we had was the local youth club, so it would have been pretty obvious. Yes, simpler times indeed.
Back in my first year of blogging I wrote a post about the music of 1976, and as no-one saw it back then (except me), time for another airing I feel. A bit of lazy blogging I know, but as I’m still a bit preoccupied with home improvements, time ran out for me this week. Such is life but hopefully back to business as usual very soon.
First published April 2016
Apparently a study has been carried out, and the findings are that any company wishing to target a particular demographic with their advertising, should use music from the time that group turned 16 – In my case that would be 1976. I can see how this would work. If like me you were lucky, and had a stable family background, your material needs were all catered for. You also had a tight regime to your day, with school and probably a Saturday job. You saw your best friends every single day because you went to school with them, and you had a reasonable level of independence as helicopter parenting wouldn’t start for a few decades yet. Top that off with a few short romances that didn’t cause too much distress when they were over, no social media to mess with your head and life was sweet.
We humans are essentially simple beings but as the years go by we accumulate baggage, make life complicated for ourselves and lose the people we love – These giant corporations know that, and home in on our weakness for a pop song that reminds us of simpler times. A really expensive car and some life assurance anyone? Yes by golly, I’ll have both.
Michael Fish – Weatherman
Water shortages and standpipes
1976 was indeed a memorable year and one which I have really fond memories of. It was of course the year of the “long hot summer” where a new government department had to be created – The Ministry for Drought (which then became the Ministry for Floods when summer turned into autumn).
The UK won the Eurovision Song Contest that year with Brotherhood of Man’sSave Your Kisses For Me. Girl/boy bands like BofM were very popular in 1976 and Abba really solidified their position as an international supergroup with hits like Mama Mia, Fernando, Dancing Queen and Money Money Money. Other home grown acts like Guys and Dolls even had a modicum of success.
Brotherhood of Man
Despite the fact that punk emerged that year, with Malcolm MacLaren’s Sex Pistols out to shock, they or their movement weren’t really making much of an impact on the UK Singles Chart yet – That was pretty much filled with the usual suspects. We had Disco (Tina Charles, Donna Summer), Soft Rock (Chicago, Dr Hook), Country (JJ Barrie, Pussycat and Billie Jo Spears), Novelty songs (The Wurzels), Rock (Queen with their amazing Bohemian Rhapsody), Pop classics (Elton John & Kiki Dee), Soul (The Stylistics, Barry White) and Rock ‘n’ Roll Revival acts (Showaddywaddy).
Elton and Kiki
As for me, I was in my 4th year of secondary school which was the last year everyone my age would have to legally attend. In the May of that year we sat our first important exams, “O” Grades as they were called then (short for Ordinary although they didn’t feel very ordinary when you were having to revise for them). When you have big exams coming up, you do spend a lot of time in your bedroom studying, but of course you also need a bit of down time and the radio is probably switched on a fair bit more often than should be. I think I’m still familiar with just about every song that hit the charts in the spring of 1976 and could still tell you which position they reached. After the exams finished, a time of merriment commenced (as per the film Grease) and the two songs I remember clearly from that time are You To Me Are Everything by Liverpool band The Real Thing and Young Hearts Run Free by Candi Staton – If any company used either of those songs in an advert, I would be putty in their hands.
The Real Thing
As it turned out the exams of 1976 went very well but later on that year many of our classmates left school for good as there were plenty of jobs waiting for 16-year-olds in those days. Those of us who went back to school enjoyed the big hit of the autumn, Chicago’sIf You Leave Me Now, and then over Christmas we were treated to Johnny Mathis with his version of When A Child Is Born (one for the mums and dads).
As the academic year went by and we all started to turn 17, the serious business of Higher Grade exams loomed which determined whether or not you would go to University. Like for our old classmates who had already entered the adult world of work, life had got just that little bit more serious and not as carefree as for our 16-year-old selves. The advertisers have therefore got it right I reckon – It’s not the same for everyone, but if you have to pick music from a year that will really boost sales, make it the year your target group turned 16. Works for me and my new really expensive car, and life assurance policy!
I shall leave you with Candi Staton and her June 1976 hit Young Hearts Run Free but it seems bizarre now that this was the track of choice for our end-of-term merriment. As I’ve said before however, I really don’t think we took too much heed of the lyrics at that age – I’d not had any big romances yet and all the mums and dads I knew seemed to be quite happy (or perhaps I was too young and naïve to think otherwise). I loved Candi’s voice though, the song seemed to be aimed at my generation and it was perfect for the school disco.
Young Hearts Run Free by Candi Staton:
Something has only come to light in the last few years however – Whenever she was mentioned on the radio or on TOTP, she was always called Candi “Staton” (made to sound like Staten Island) but it turns out it should have been pronounced “State-en”. Poor lady had her name mispronounced in the UK for over 40 years, but hopefully now put right. Tony Blackburn in the clip was obviously one of the main culprits, but of course he was also the DJ who badly mispronounced “Duran Duran” during a chart rundown in the ’80s, so not surprising really. As it turns out, I only discovered after his death that I had always mispronounced “Bowie” (as in David), so not always easy to get it right. And as for “Bono” – He always ends up sounding like a well-known dog food!
Until next time…
Young Hearts Run Free Lyrics (Song by David Crawford)
What’s the sense in sharing this one and only life Ending up just another lost and lonely wife You count up the years and they will be filled with tears
Love only breaks up to start over again You’ll get the babies but you won’t have your man While he is busy loving every woman that he can
Say I’m gonna leave a hundred times a day It’s easier said than done When you just can’t break away
Young hearts, run free They’ll never be hung up, hung up like my man and me Young hearts, to yourself be true Don’t be no fool when Love really don’t love you
It’s high time now just one crack at life Who wants to live it in trouble and strife My mind must be free to learn all I can about me
I’m gonna love me for the rest of my days Encourage the babies every time they say Self preservation is what’s really going on today
Say I’m gonna turn loose hundred times a day How can I turn loose When I just can’t break away
Last time I shared a little film of my hometown, which highlighted just how blue the skies were on the first day of Spring. Since then, I have been feeling a bit nostalgic about the band ELO – That of course would be because the music I chose to accompany the film was Mr. Blue Sky, from their 1977 album “Out of the Blue”. The cover for that particular album was very memorable for me, because it was one of the pieces of artwork that graced the walls of the very basic cottage I shared with my best friend the summer after leaving school.
We had headed off to work in a very posh country house hotel and luckily for us accommodation came with the job. It was basic indeed, but we had our first taste of independence, with no parents hovering over us querying our movements – Needless to say that summer we worked hard (being a breakfast waitress plus hotel jack-of-all-trades is a tough gig) but also played hard – Living off the beaten track, we built up a good working relationship with Diamond Doug, our local taxi-driver who seemed to favour wearing a certain style of patterned jumper.
That summer, over the course of a weekend, it was not unusual to:
Work until 10pm.
Rush back to the cottage to change into our “going-out” clothes. (This being 1978 the previously under-used function suites of our local hotels had suddenly become kitted out with flashing dance floors and glitter balls as per the film Saturday Night Fever, but the clothes to match came later. That summer for us was still the summer of peasant skirts and broderie anglais tops as worn by Linda Ronstadt et al.)
Get picked up by Doug who would take us to our destination of choice by 11pm.
Bop until 1am (hoping that the last dance of the night, to the refrains of The Commodores mega-ballad Three Times A Lady, would be with one of our local T-Bird equivalents, that name taken from the summer’s other film phenomenon, Grease).
Have a bit of a smooch with the aforementioned T-Bird (who for one summer only had decided that girls of the Sandy persuasion were perhaps preferable to those of the Rizzo persuasion) whilst waiting for Doug to come and drive us home again, just in time to grab around 3 hours of sleep before getting up and doing it all over again!
The T-Birds from Grease
The flashing dance floor from Saturday Night Fever
The Summer of ’78 summed up for an 18-year-old girl!
Phew, I’m exhausted just writing about that so am amazed that my younger self managed to actually live life at that pace – The energy of youth. But back to the album cover for “Out of the Blue”, my friend Catriona definitely had that one up on her side of our bedroom wall, and I had some of my favourites over on mine. Looking at my album collection now, I can still tell which ones they were as they have those telltale blu tack, or even worse, sellotape marks on the covers. The vinyl itself must have been simply kept in the inner sleeve but was played constantly on the little mono record player I had brought from my parents’ house. It was the predecessor to the massive Toshiba Music Centre that had replaced it only 6 months previously, but I was never going to be allowed to take that with me, so the mono player it had to be.
Although our social life revolved around going dancing, we were both massive music fans and played anything and everything during our time off that summer. BBC Radio 1 woke us up and entertained us during the day but we also loved playing our records, and roped in friends and relatives to bring us new releases from record shops in the city when they came to visit. So, it was not only the soundtrack albums to Saturday Night Fever and Grease along with ELO and The Commodores we listened to that summer, oh no, it was also punk (Blondie, Sham 69), reggae (Bob Marley), pop and soft rock (Marshall Hain, Jackson Browne) and of course the obligatory novelty song (Father Abraham and the Smurfs!).
I still have one of the singles that Catriona’s sister bought on my behalf that summer – They didn’t really have many other hits and were short lived indeed but there was something about The Motors song Airport that I really liked and whenever I hear it now, I always think of that summer at the cottage with our mono record player.
Airport by The Motors:
As for my friend, the single she had requested, and which was duly delivered by her sister was this one by Kate Bush. Yes, The Man with the Child in His Eyes was also a hit that summer but I have just discovered that Kate actually first recorded it in 1975 and had written it three years earlier at the age of 13. To quote the title of another of her songs – Wow!
So, “What’s It All About?” – Funnily enough, when I sat down to write this post it was going to be all about ELO; about how it was actually the brainchild of Roy Wood; about how he soon moved on but left Jeff Lynne and the others to create something really quite amazing fusing modern rock and pop songs with classical instrumentation; about how Jeff’s partner for many years was the wonderful Rosie Vela whose song Magic Smile has been a bit of an earworm this week; but no, as is wont to happen, looking at the artwork for that ELO album cover just brought back so many memories of that wonderful summer.
The awful thing about reminiscing about the happenings of the summer of 1978 is that I can no longer talk about them with Catriona, as she died 16 years ago, leaving behind a husband and two young children. By then we were living on opposite sides of the Atlantic but if we ever got together, it was just like old times. I didn’t realise back then that I would never have such a close friendship with any other female, ever again. There have been many friends in the intervening years and some lovely friends are part of my life now, but how can you ever recreate what you had with the person you were closest to during those formative years, aged 16 to 21.
Before I go, here is a shot taken with my trusty Kodak Instamatic, of the little cottage Catriona and I shared that summer. Happy memories indeed of a very special person, who had her own magic smile. She made the world that little bit better for all of us who knew her and is sadly missed.
Until next time….
Airport Lyrics (Song by Andrew McMaster)
So many destination faces going to so many places Where the weather is much better And the food is so much cheaper. Well I help her with her baggage for her baggage is so heavy I hear the plane is ready by the gateway to take my love away. And I can’t believe that she really wants to leave me and it’s getting me so, It’s getting me so.
Airport – Airport, you’ve got a smiling face, you took the one I love so far away Fly her away – fly her away – airport. Airport, you’ve got a smiling face You took my lady to another place Fly her away – fly her away.
The plane is on the move, And the traces of the love we had in places Are turning in my mind – how I wish I’d been much stronger For the wheels are turning faster as I hear the winds are blowing and I know that she is leaving On the jet plane way down the runaway. And I can’t believe that she really wants to leave me – and it’s getting me so, It’s getting me so.
Airport – Airport, you’ve got a smiling face,…
Airport – Airport, you’ve got a smiling face,…
As luck would have it I found another entry in my 1978 journal where I’ve jotted down a short and snappy review of the the two big movies Catriona and I went to see that summer, one at the beginning and one right at the end. Again, embarrassing to read my words from back then (and my penmanship seems to have deteriorated) but interesting all the same. Yet again I seem to have not been particularly impressed with either of these films at the time, yet they are now two of my favourites movies of all time – The nonchalance of youth!
It may seem like we live in the sticks up here in the North of Scotland, but this year has certainly been a bumper season for tourism and there has been, proverbally, no room at the inn for most of the summer. Great for those who run hostelries and B&Bs, and great for those of us who like to have a bit of a buzz about the town, none more so than when there is a music festival and last weekend saw the last of the season.
First we had Belladrum’s Tartan Heart Festival which has already been written about (link here), then we had Groove Ness (Scotland’s biggest nightclub under the stars, apparently) and finally Jocktoberfest held at a local farm that specialises in the production of beer (oh how we laughed at that play on words – NOT).
Darling daughter and her friends all headed off to the first festival at the beginning of August however a bad cold had been brewing in the days leading up to it and sadly, possibly due to the relentless rain that muddified the event, it resulted in a trip to A&E on the Sunday night. Fortunately the final festival was blessed with glorious weather and although the smallest of the three, it was the one that proved to be the most fun.
One upside to this summer of festival-going however has been that DD is now a big fan of Sister Sledge. They were on the bill at Belladrum for the second time although sadly this year without Joni who had passed away in March aged only 60. After writing about the passing of Walter Becker of Steely Dan last time I realised that it is now September and I still haven’t paid tribute to Joni and the contribution she and her sisters made to that body of work attributed to the disco genre. Sister Sledge always symbolised strong family values and their 1979 hit We Are Family did that with bells on.
We Are Family by Sister Sledge:
I would be lying if I said I’d ever been a massive fan of Sister Sledge but they were for many years a permanent fixture on chart rundowns, their other memorable hits being He’s the Greatest Dancer, Lost in Music and the 1985 UK No. 1 hit, Frankie. That particular song was taken from their Nile Rodgers produced album “When the Boys Meet the Girls” and was apparently about Frank Sinatra (although listening to the lyrics I find that hard to believe).
The reason I particularly remember that song of theirs is because I still have the NOW That’s What I Call Music album on which it appeared! It was only the 5th edition in that long series (of which we are now at number 97 I think) and it had been acquired for a flat party. Back in the mid ’80s, just like now, young people all became property owners by about the age of 25 – Oh no, that’s right, hardly anyone can even save enough for a deposit until about the age of 40 nowadays such has been the ridiculousness of houses becoming financial assets as opposed to homes over the last couple of decades. But anyway, pre-rant my point was going to be that in 1985 most of our friends had bought their own flats and wanted to keep them all pristine, so our large rented one became party central. Looking back at the tracks on this album we had the usual eclectic mix of all that would have been hogging the airwaves that summer from Sister Sledge to Simple Minds, from Duran Duran to The Damned. I wish I could remember how the party turned out but I can’t, although I do know that we often had nice policemen turning up at the door asking us to turn the music down (before returning to join in the fun once their shift was over).
Poor Joni (pictured above) should have been at our local music festival this summer but sadly passed away of natural causes before the event. Her son however was there in her place so the strong Sledge family values will continue it seems.
Until next time…., RIP Joni
We Are Family Lyrics (Song by Bernard Edwards/Nile Rodgers)
We are family I got all my sisters with me We are family Get up everybody and sing
Everyone can see we’re together As we walk on by And we fly just like birds of a feather I’m not telling no lie
All of the people around us to say Can we be that close Just let me state for the record We’re giving love in a family dose, yeah
Living life is fun and we’ve just begun To get our share of the world’s delights High hopes we have for the future And our goal’s in sight
No we don’t get depressed Here’s what we call our golden rule Have faith in you and the things you do You won’t go wrong, oh no This is our family Jewel, yeah
We are family I got all my sisters with me We are family Get up everybody and sing
Welcome to this occasional series where I am attempting a virtual journey around the 50 States of America in song. For anyone new to this place, I have a continuous route map where I enter and leave each state only once. Suggestions for the next leg always welcome!
It’s quite some time since I continued on my American Odyssey in Song and that would be because I developed a severe case of Odyssey block! After struggling somewhat to identify any songs at all for the New England states, once I hit New York there were just too many. I have started this post on numerous occasions but always gave up half way through. This time however I’m going to buckle down and get on with it.
No time for lengthy paragraphs about the state itself this time though as loads of songs to get through. Suffice to say it must be one of the most diverse states in the whole of the US as not only does it have Long Island, whose “Hamptons” are where rich New Yorkers go to spend their summers, but it also has the wilderness areas to the north where hunting and fishing are the pastimes of choice. The state borders Canada and two of the Great Lakes but at the foot of the triangle there is one of the most iconic and culturally rich cities in the world, New York.
Time to get this party started then and it’s not going to be pretty – Via “a stream of consciousness” is how I’m going to tackle this one. Everyone will have different songs that they associate with New York but these are the ones that have come to mind over the last few weeks. Ready, steady, go….
There can’t be many people who are not familiar with the sights of New York City but just in case, here’s a whistle stop tour courtesy of MGM and those three sailors who had a whirlwind 24-hour leave back in 1949. Ok, ok guys, we’ve got it – “The Bronx is up and the Battery’s down, the people ride in a hole in the ground”.
You can’t have failed to notice that Mr Francis Albert Sinatra plays one of the sailors in that clip and I’m sure it’s expected that his version of the song New York, New Yorkwill feature here, but that would just be too obvious, so unusually for me I’ll enter the 21st century and share Empire State of Mind by Mr Shawn Corey Carter (otherwise known as Jay-Z).
Empire State of Mind by Jay-Z featuring Alicia Keys:
Lord knows I’m not usually a fan of rap but I was truly blown away by this“song” (if that’s what it’s called) when it came out in 2009. Some fantastic lines in there referencing Sinatra’s New York, New York but also Afrika Bambaataa, the Bronx DJ who became known as the Godfather of hip-hop. The rap part on it’s own I probably wouldn’t have warmed to that much (although I don’t know), but with the inclusion of Alicia Keys vocals it became something really special. The pair are both from NYC and the song’s main writer, Angela Hunte, grew up in the same building as Jay-Z – 560 State Street, Brooklyn, an address mentioned in the song.
Something that comes across loud and clear from the lyrics of Empire State of Mind is that NYC is not just the island Manhattan as I had often thought as youngster. Oh no, NYC is made up of five boroughs – Brooklyn and Queens on the western end of Long Island, Staten Island which nestles up against New Jersey and The Bronx, north of Manhattan. Manhattan itself only becomes an island because of that tiny sliver of water linking up the East River with the Hudson.
New York City, despite being made up of these five boroughs is very much centred on Manhattan, so how is it all linked up? Why by ferries and bridges of course. I am reminded of the scene in Saturday Night Fever where John Travolta’s character tries to impress his potential love interest with his knowledge of the Verrazano-Narrows Bridge, that double-decked suspension bridge that connects Staten Island and Brooklyn.
Another iconic bridge is the one that featured in the opening sequence to one of my favourite TV shows from the early ’80s – Taxi starring Danny DeVito and Judd Hirsch. Whenever I hear this theme song I am right back in my student room, my little white portable telly perched precariously on the edge of my desk, just in the right place for the aerial (coat hanger?) to pick up a signal. It would have been mid-week and I was probably having a break from all those laborious hours spent writing everything out in longhand (no computers in those days). A flatmate might have popped in for a coffee whilst we watched the show. Sometimes those memories are the best, ones where nothing in particular was happening, just normal everyday life but hearing that theme reminds me of the scene. A beautiful piece of music called Angela by Bob James.
Angela (Theme from Taxi) by Bob James:
Of course I had to do some research after rewatching that clip to find out which bridge it actually was that came up every week in the titles – Joy, oh joy, it was none other than the Queensboro Bridge – So what I hear you ask? The alternative name for that bridge is The59th Street Bridge and considering this whole series was inspired by the Paul Simon song America, it is fitting that his song about the bridge be included in this post.
The 59th Street Bridge Song (Feelin’ Groovy) by Simon and Garfunkel:
Paul Simon said that he’d spent most of 1965 in England but after coming back to the US, and having success with The Sound of Silence, life became really hectic for a while and he found it difficult to adjust. One day, going home to Queens over the 59th Street Bridge, he kind of started to snap out of it as the day had been a really good one, a “groovy one” – Once home he started to write the song subtitled Feelin’ Groovy that went on to appear on the 1966 album “Parsley, Sage, Rosemary and Thyme” recorded with musical partner Art Garfunkel.
But enough about bridges, in the New York of 1977 the phenomenon that was disco had started to really make its mark. Manhattan had Studio 54 where Liza, Michael, Mick and Bianca were regulars but across the Brooklyn Bridge (oops, more bridges), they had a local disco called 2001 Odyssey and every Saturday night, aforementioned John Travolta (playing the character Tony Manero), temporarily left his monotonous life behind and became “king of the dance floor”. Watching him now, the dancing doesn’t look quite as impressive as it did when we first experienced Saturday Night “Fever” and the parodies have been ruthless, but I still have fond memories of going to see that movie when it first came out in the UK in 1978. As someone who has been known to “do a John” over the years and clear the dancefloor, it can be an exhilarating feeling (and not showy-off at all of course!).
You Should Be Dancing by the Bee Gees:
The Saturday Night Fever soundtrack album, featuring disco songs by the Bee Gees, is one of the best-selling soundtracks of all time. How Deep Is Your Love is the song that appears in the closing scenes of the movie as we watch a desolate Tony ride the New York subway late at night. It is one of my all-time favourite love songs (which is probably why it became the choice for my Valentine’s Day post).
So far we’ve checked out the geography of New York and talked about the bridges and the nightlife. What about the people? I read an article recently about the flamboyant octogenarian fashionistas, who cut a dash on 5th Avenue – Way to go ladies!
Of course New York has long been known for its flamboyant characters and Sting sang about one of them, eccentric gay icon Quentin Crisp, in his 1988 song Englishman In New York. Another “character” committed to song was when Rod Stewart wrote and recorded The Killing of Georgie (Part I and II) in 1976. This story song tells the tale of a young gay man who became successful and popular amongst Manhattan’s upper class – He was “the toast of the Great White Way”, which is the nickname given to the Theatre District of Midtown Manhattan. Georgie attends the opening night of a Broadway musical, but leaves “before the final curtain call” and heads across town. He is attacked near East 53rd Street by a gang of thieves and one inadvertently kills him. The song was apparently based on a true story about a friend of Rod’s old band The Faces.
I have waited a fair amount of time to feature Rod Stewart in this blog as it seems to be universally accepted that by the late ’70s he had sold out and his albums just weren’t up to the calibre of his earlier ones but hey, I was a mere 16-year-old schoolgirl at this time and was a big fan. This song especially, combining the melancholy and sombre Part II with the more popular Part I has long been a favourite of mine.
The Killing Of Georgie (Part I and II) by Rod Stewart:
We’ve spent an awful lot of time in New York City so far in this post but what about the rest of the state? Back in the early sixties before kids started heading off to Europe on holiday they used to go with their parents to resorts such as Kellermans in the Catskill Mountains. This is where “Baby” Houseman spent the summer of 1963, and fell for dashing dance instructor Johnny Castle. Dirty Dancing was a low-budget film that had no major stars but became a massive box office hit and was the first film to sell more than a million copies on home video. It has some great dance scenes and the soundtrack is full of classic songs from that early ’60s era such asBe My Baby, Big Girls Don’t Cry, Will You Love Me Tomorrow,Love Is Strangeand this one, Stay by Maurice Williams & The Zodiacs.
Stay by Maurice Williams & The Zodiacs:
There are some great scenes in the movie where the landscape of the Catskills is kind of the star. I must admit to having become a bit of a fan of this movie in my later years although didn’t really take much heed of it when it first came out – I think it’s down to the nostalgia element, the music choices and the sadness that comes from the realisation that my days of dalliances with a young Johnny Castle are well behind me. Whatever, I’ve ended up writing about songs from it three times now (Be My Baby, Doomed Romances and Summer’s End) and they take the prize for being my least viewed posts – Sacre bleu!
Another song that makes me think of Upstate New York is Woodstock, written by Joni Mitchell but made famous in 1970 by Matthews Southern Comfort. The irony of course is that Joni Mitchell hadn’t even made it to the infamous festival which took place on Max Yasgur’s dairy farm, but wrote about it after having watched it from her hotel room in New York. The lyrics tell the story of a spiritual journey and make prominent use of sacred imagery, comparing the festival site with the Garden of Eden. The saga commences with the narrator’s encounter of a fellow traveller, a “child of God”, and concludes at their ultimate destination where “we were half a million strong”.
Iain Matthews of Matthews Southern Comfort was actually from Scunthorpe in Lincolnshire but he had previously been with the band Fairport Convention who were at the time heavily influenced by American folk rock.
Well I don’t know about you but I’m exhausted – This post has been a long time coming and I’m sorry it’s so wordy, but I for one am now just pleased that it’s “in the can” so that the journey can continue. Next time we’ll be passing through the Lincoln Tunnel into New Jersey so as ever, suggestions for that state are more than welcome. Unlike with the New England states I have a feeling that it’s now going to get a whole lot easier.
A final clip before I go however – One of my favourite movies used to be Manhattan directed by Woody Allen (it now sadly troubles me). I was given the soundtrack album by the boyfriend of the day after going to see it, as I was just so bowled over by George Gershwin’s compositions. They were all performed by the New York Philharmonic Orchestra and somehow I now always think of Rhapsody In Blue when I see the New York skyline.
Rhapsody In Blue by George Gershwin:
The 59th Street Bridge Song (Feelin’ Groovy) Lyrics (Song by Paul Simon)
Slow down, you move too fast
You got to make the morning last Just kicking down the cobblestones Looking for fun and feelin’ groovy
Ba da da da da da da, feelin’ groovy
Hello, lamppost, what’cha knowin’? I’ve come to watch your flowers growin’ Ain’t’cha got no rhymes for me? Doot-in doo-doo, feelin’ groovy Ba da da da da da da, feelin’ groovy
I got no deeds to do No promises to keep I’m dappled and drowsy and ready to sleep Let the morning time drop all its petals on me Life, I love you All is groovy