Well, you don’t experience an ‘earworm’ for weeks and then two come along at once. I wrote about the phenomenon last week in relation to another song, from an advert, but I defy anyone who has watched Steve McQueen’sLovers Rock not to have Janet Kay’sSilly Games on repeat in their head afterwards. Lovers Rock is the second film in Steve’s anthology film series Small Axe which tells stories about the lives of West Indian immigrants in London during the 1960s and 1970s. The title references a proverb – ‘If you are the big tree, we are the small axe’ – that was popularised by Bob Marley in his song Small Axe.
I was drawn to the episode after watching an interview with Steve where they showed the trailer. I was intrigued, as it was only last month that I first heard the term Lovers Rock. When writing my tribute post to those we have lost from the world of music this year, I found a quote from Boy George who had been saddened by the death of Johnny Nash.
‘R.I.P to the reggae legend Johnny Nash. One of the artists who made me fall in love with lovers rock and reggae music in the early 70s. So many amazing tunes and a voice like silk. I have never really known a time without reggae music. He was one of the greatest.’ – Boy George
At the time I thought it was a typo. I didn’t think it made sense, but then when sharing my story about a break-up, I found a suitable featured song by Alton Ellis who himself was a proponent of Lovers Rock. This short film was the third time it had cropped up in as many weeks, so time to investigate.
It seems Lovers Rock is not a genre or subgenre as such but a style of reggae music noted for its romantic sound and content. It became really popular in South London in the mid-1970s and combined the smooth soul sounds of Chicago and Philadelphia with rocksteady and reggae bassline rhythms. The style had particular appeal amongst women and produced many female stars. Dennis Harris set up a new record label, Lover’s Rock, at his South East London Studio along with Dennis Bovell, which gave the new style a name. It was Bovell who wrote and produced Silly Games, which reached number 2 in the UK Singles Chart in 1979. He got the inspiration for it from an advert where Ella Fitzgerald sang a note and broke a glass – ‘I wanted a song with a note like that. Little girls always try to sing a high note, so when I wrote “Silly Games” and put that high note in there, it meant that every female in the dance would try and sing that note.‘
Back in 1979 I was a great fan of radio and chart music so I know this song well, but I had never heard of Lovers Rock back then so wouldn’t have known it was part of something much bigger, almost spiritual. After watching Steve’s film I now get it. The film is really quite mesmerising and follows the events taking place over a night and morning during a London house party in 1980. There is very little dialogue, but somehow it doesn’t matter and we feel as if we are there with them.
For second-generation West Indian immigrants, who were denied access to white clubs, these parties were a haven where they could dance, drink, smoke and be themselves. It was common in a big house to clear the furniture and carpets to make a dance floor, set up the sound system and have curried goat served up from the kitchen. The main character, Martha, sneaks out of her devout mother’s house after dark and she and her friend Patty take a bus ride to the party. Once there, they pay their 50p to the doorman, cross the threshold and look forward to what the night will bring.
In 1980 I lived at the opposite end of the country from Martha and her friends and come from a totally different cultural background but what struck me most about this film is that there is a commonality amongst young people to want to get together, listen to music and dance. It’s biological. As the night wears on the tempo changes and the music inspires slow sensuous dances but every couple is in their own little bubble, oblivious to those around them. Not that dissimilar to the house parties I went to as a teenager before we were old enough for clubs and pubs. Many of the romances kindled during those parties have survived the test of time, but of course like Martha, our parents knew nothing of them. A lot of sneaking around and the creating of alibis had to be done in the run up to the event.
If you haven’t yet watched the film, I would thoroughly recommend it. I haven’t watched the others in the series yet but I plan to. As for this style of music, first I discovered Alton Ellis, and now I understand the background to some of the chart hits I remember from the 1970s. I’ll finish with Ken Boothe and his 1974 hit Everything I Own. It now makes sense that Boy George also recorded a version.
Until next time…
Silly Games Lyrics (Song byDennis Bovell)
I’ve been wanting you For so long, it’s a shame Oh, baby Every time I hear your name Oh, the pain Boy, how it hurts me inside
‘Cause every time we meet We play hide and seek I’m wondering what I should do Should I, dear, come up to you And say, How do you do? Would you turn me away
You’re as much to blame ‘Cause I know you feel the same I can see it in your eyes But I’ve got no time to live this love No, I’ve got no time to play your silly games Silly games
Yet, in my mind I say If he makes his move today I’ll just pretend to be shocked Oh, baby It’s a tragedy That you hurt me We don’t even try
You’re as much to blame ‘Cause I know you feel the same I can see it in your eyes But I’ve got no time to live this love No, I’ve got no time to play your silly games Silly games
Silly games Silly games (No, don’t wanna play) Silly games (Your silly)
Well, I certainly made a brave attempt at becoming a daily blogger around here but it seems my style of blogging just isn’t suited to such regular delivery. My poor shoulder and neck is now aching, even after a night’s sleep, so I think I’m going to have to call time on this challenge for a wee while, in order to prioritise work, and my college course.
Most of us will have been keeping tabs on what’s going on across the pond right now, and dare I say, it’s almost nice to have something else going on in the news. Looking at all those red and blue maps of the 50 states (does anyone else find it confusing that red means right and blue means left in the US?), I was reminded of my American Odyssey in Song series. I’ve loved the ‘Full Moon’ and ‘Wheel Of The Year’ series (on my sidebar), but that journey around the states in song was definitely my favourite. Again, like this challenge, it was labour intensive, so by the time I got nine states under my belt I had run out of steam. A retirement project perhaps, although they keep changing the goalposts, so who knows when we will be able to retire in this brave new world.
Anyway, as the great state of Pennsylvania has become the focus of so much attention in this election, and because that’s where I am currently holed up on my American Odyssey ahead of journeying on to Delaware (which is not an easy state from which to find musical inspiration), I’m going to share that post again. A very diverse state, and one with a lot of history – Hope you enjoy it.
An American Odyssey in Song: Pennsylvania
(First posted 1st February 2018)
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!
I really need to pick up the pace with this series otherwise it looks as if I’m going to be in my dotage before I make it all the way round to my final destination, Florida. Anyway, as it’s now been over three months since I entered New Jersey (must have lost track of time in those vast gambling emporiums in Atlantic City), the great state of Pennsylvania now beckons. Yet again however we are entering a state that cannot be neatly summed up as having a single character. Pennsylvania has wide stretches of farmland, forests and mountains but it also has Philadelphia, the sixth largest city in the US.
A few random facts about Pennsylvania. It was one of the 13 original founding states and came into being as a result of a royal land grant given to William Penn, an English Quaker and son of the state’s namesake. Philadelphia played an important role in the American Revolution as a meeting place for the Founding Fathers of the United States – The Declaration of Independence was signed there on the 4th of July, 1776. It is also home to the cracked Liberty Bell, an iconic symbol of American independence.
During the American Civil War, the Battle of Gettysburg was fought in the south central region of the state and is the place where Abraham Lincoln delivered his landmark address. The Pennsylvania Dutch (who were actually German/Deutsch) settled in the south-east of the state and there are still Christian groups living there today who separate themselves from the world favouring simple living and plain dressing.
But what do I associate with Pennsylvania when it comes to music. Last time a few suggestions were offered up for which I am always grateful. Rol over at My Top Ten suspected I might choose Pennsylvania 6-5000 by TheGlenn Miller Orchestra which was most definitely going to be a contender until I discovered it was actually the telephone number for the Hotel Pennsylvania in New York City! C, from Sun Dried Sparrows suggested I’m in Pittsburgh (and It’s Raining) by the Outcasts, a sort of ‘sub-Stones US ’60s garage classic’ she tells us. Last but not least Lynchie, a frequent and very knowledgeable visitor to the music blogosphere, came up with two songs by Loudon Wainwright III. ‘I don’t think you’ll find the first one on YouTube’ he said, and he was right, but fortunately he gave us some of the lyrics for Have You Ever Been To Pittsburgh.
Have you ever been to Pittsburgh Do you think you’d wanna go? Have you ever been to Pittsburgh (It’s in Pennsylvania) Do you think you’d wanna go? Well – if you wanna go to Pittsburgh Get on the bus and go!
‘Loudon however’, he added, ‘also wrote the more affectionate Ode To Pittsburgh‘ and this time it could be found YouTube. A nice little film to accompany the song that gives us a flavour of what it might be like to live there. Not heard it myself before, but I find myself strangely smitten.
But as ever, music and film go hand in hand for me, and three movies immediately came to mind for this Pennsylvania post. The tunes from them are by no means all favourites, but they do for me, sum up the state. As tends to happen at award ceremonies, I will announce the results in reverse order:
First of all, when I saw that the next state we would be entering was Pennsylvania, I was immediately reminded of the film The Deer Hunter as the main characters in that epic Vietnam war drama were steelworkers from Clairton, Pennsylvania, a small working class town south of Pittsburgh. The images of that grim steel town have obviously stayed with me but also the scenes in the mountains where that trio of friends, played by Robert De Niro, Christopher Walken and John Savage, spend much of their time deer hunting. I didn’t see the film when it first came out in 1979, but I do remember that the piece of music called Cavatina (popularly known as ‘Theme from The Deer Hunter’) received much radio airplay at the time and reached No. 13 in the UK Singles Chart. It was performed by classical guitarist John Williams whom I have just discovered is not the same John Williams responsible for writing the film scores for ET and Jurassic Park. Obvious now, but the same name and from a long time ago.
The second film I was reminded of was of course Rocky where the main character, played by new kid on the block Sylvester Stallone, is to be seen pounding the streets of Philadelphia in his grey sweats, whilst carrying out his gruelling training regime. These scenes were of course very memorably played out to the sounds of Gonna Fly Now (popularly known as the ‘Theme from Rocky’) which was composed by Bill Conti. The lyrics (all 30 words of them), were performed by DeEtta LittleandNelson Pigford. Released in February 1977, the song has become part of American popular culture after Rocky Balboa runs up the 72 stone steps leading to the Philadelphia Museum of Art and then raises his arms in a victory pose.
Whenever I watch 1970s footage of American cities (like in this clip), I think of ‘the three B’s’, boxes, braziers and back alleys, as just about everything I watched on telly back then seemed to feature these three elements. Maybe it was just because there was a plethora of gritty cop shows and crime dramas, but also our inner cities were in real need of gentrification. I am sure however that the Philadelphia of today looks quite different, and I’m also sure that Neil from Yeah, Another Blogger, who is a resident, will keep us right on that score.
But of course I can’t write a post about PA, without mentioning all the great music that came to be known as the Philadelphia Sound, or Philly Soul. Any regular visitors to this place might remember that I wrote about how it all came to pass recently (The O’Jays, The Three Degrees and a ‘Year Of Decision’). It does seem there were three pivotal players without whom it might never have happened – Philadelphia International Records was founded in 1971 by the very talented writer-producer duo Kenny Gamble and Leon Huff, along with collaborator Thom Bell. It very much showcased a new genre of music based on the gospel, doo-wop and soul music of the time. Throughout the 1970s the label released a string of worldwide hits which featured lavish orchestral instrumentation, heavy bass and driving percussion. Some of their most popular and best selling acts included The O’Jays, The Three Degrees, Harold Melvin & the Blue Notes, Teddy Pendergrass, Billy Paul, Patti LaBelle and Lou Rawls.
But I have written about some of those artists before so this time I’m going to go a little further back in time to 1969 when Didn’t I (Blow Your Mind This Time) was written by producer Thom Bell and William Hart, lead singer of the Philadelphia R&B/Soul vocal group The Delfonics. It was released by the group on the Philly Groove record label and is regarded as a classic, winning a Grammy Award for Best R&B Performance by a Duo or Group.
And this is where my third film choice comes in, as for many of us, it is simply that great song from the Tarantino film Jackie Brown. It very much plays a pivotal role in the film as it underscores the relationship between main characters Jackie, and Max Cherry. Like many others I was probably a bit too young for a song like this when it first came along in 1969 but after re-discovering it in 1997, when the film came out, I found a new appreciation for Philadelphia based groups like The Delfonics.
So that’s your lot as far as Pennsylvania goes. When I started this series it was with a view to featuring one song per state but of course once you start to do the research it becomes impossible to limit it to just that. Next time however we will be entering Delaware, a very small state indeed which at the moment is not offering up any inspiration (bar the obvious candidate). If you have any suggestions feel free to leave them in the comments boxes, as left to my own devices it’s going to be a very short post.
It has just occurred to me, as I returned to the top of the page to insert a title, that I may have inadvertently been a tad insensitive having included both the Theme from The Deer Hunter and Didn’t I (Blow Your Mind This Time) in the same post – To anyone who has ‘experienced’ the film The Deer Hunter, they will probably know what I mean. Enough said.
See you in Delaware….
Didn’t I (Blow Your Mind This Time) Lyrics (Song by Thom Bell/William Hart)
I gave my heart and soul to you, girl Now didn’t I do it, baby didn’t I do it baby Gave you the love you never knew, girl, oh Didn’t I do it, baby didn’t I do it baby
I’ve cried so many times and that’s no lie It seems to make you laugh each time I cry
Didn’t I blow your mind this time, didn’t I Didn’t I blow your mind this time, didn’t I Yes sir
I thought that heart of yours was true, girl Now, didn’t I think it baby didn’t I think it baby But this time I’m really leavin’ you girl oh Hope you know it baby hope you know it baby
Ten times or more, yes, I’ve walked out that door Get this into your head, there’ll be no more
Didn’t I blow your mind this time, didn’t I Didn’t I blow your mind this time, didn’t I Yes sir
(Didn’t I do it baby didn’t I do it baby) (Didn’t I do it baby didn’t I do it baby)
Ten times or more, yes, I’ve walked out that door Get this into your head, there’ll be no more
Didn’t I blow your mind this time, didn’t I (oh) Didn’t I blow your mind this time, didn’t I (Hoo) Didn’t I blow your mind this time, didn’t I (Did I blow your mind, baby) Didn’t I blow your mind this time, didn’t I (Can’t you see) Didn’t I blow your mind this time, didn’t I (Did I blow your mind) Didn’t I blow your mind this time, didn’t I (Ooh baby, ooh)
Girl, can we talk for a second I know it’s been a long time Since some someone’s blown your mind, like I did There’ll be other times, for me and you And I can see the tears fallin’ from your eyes
Tell me girl, did I blow your mind
Didn’t I blow your mind this time, didn’t I (Did I blow your mind baby) Didn’t I blow your mind this time, didn’t I (Ooh, ooh, ooh, ooh, ooh, ooh, ooh)
I seem to have veered way off topic on this blog over the last few months and the nostalgic journey through the tracks of my years element (as per the tagline above) has all but been forgotten about. But hey, that’s what a global pandemic will do to you. I now realise however, I may have been a culprit of ‘doomsurfing/doomscrolling’ whereby I spend many hours a day scrolling through the various news streams on my phone, picking up on every new development as it happens. I am well informed, but maybe too well-informed, and I think it has led to some ghosting (‘the practice of ending a personal relationship with someone by suddenly and without explanation withdrawing from all communication’) by old friends.
I have been in touch with a fair few old friends since March and am now realising that one or two are no longer replying to my messages and certainly don’t instigate conversation. A side-effect of doomsurfing seems to be that I have become a doom and gloom merchant! But hey, yet again, that’s what a global pandemic will do to you. I’m not sure I can totally change my ways however, so just another downside to the crisis,
So it seems it’s time for me to change my ways around here, or else I may lose the support of all you lovely followers too. Shit happens as they say, and what better way to drag ourselves out of the doom and gloom than by listening to some great tunes. Last week I shared something by Bananarama and discovered their first hit single, (He Was) Really Saying Something, was unbeknownst to me at the time a cover of an early sixties Velvelettes recording.
The Velvelettes were an American girl group, signed to Motown in the 1960s. Their biggest chart success occurred in 1964, when Norman Whitfield produced Needle in a Haystack which peaked at number 45 on the Billboard Chart. I’m not sure why some of these girl groups went on to great things and others kind of drifted away but it seems they needed to be both championed by those in charge (Berry Gordy) and have a hunger for success above all else. Cue the Supremes. Founded as The Primettes in 1959, the Supremes were the most commercially successful of Motown’s acts, with 12 No. 1 singles on the Billboard Chart. At their peak in the mid-1960s, the Supremes rivalled the Beatles in worldwide popularity and their success possibly made it easier for future African American R&B and soul musicians to find mainstream success.
And here is where we return to Bananarama yet again, as another of their Top 20 hits, Nathan Jones, was a cover of a Supremes song. By 1971 Diana Ross had left the group and their lead voice was now that of Jean Terrell, but along with Mary Wilson and Cindy Birdsong they racked up a good few more hits during that era, Up The Ladder To The Roof, Stoned Love and Floy Joy to name but a few. Strangely enough both Bananarama versions of these Motown songs were hits 17 years after the original. Maybe that’s just the amount of time it takes for a song to become fresh again and for listeners not to confuse it with its first incarnation. I for one certainly didn’t know about these earlier versions when I was an avid fan of Bananarama in the 1980s.
Nathan Jones by the Supremes:
So, ‘What’s It All About?’ – Funny how things often turn full circle when you write an off-the-cuff blog post as I’m doing today. The song Nathan Jones is apparently about a woman’s former lover, a man named Nathan Jones who left her nearly a year ago ‘to ease his mind.’ Suffering through the long separation (‘winter’s passed, spring, and fall’) without any contact or communication between herself and Jones (ghosting?), the narrator is no longer in love with him, remarking that ‘Nathan Jones, you’ve been gone too long’. It’s a bit of a coward’s way out, but just goes to show, the practice of withdrawing from all communication is still alive and well today, possibly even more so with the advent of online dating apps and such like.
As for me, I plan to curb my ‘doomsurfing’ activities somewhat but going to be hard after all these weeks. Having really enjoyed this nostalgic journey through the tracks of my years, it would be a shame for me to lose all the goodwill I’ve built up by being the merchant of doom! Please feel free to let me know if I overstep the mark.
Until next time….
Nathan Jones Lyrics (Song by Leonard Caston/Kathy Wakefield)
You packed your bags, as I recall And you walked slowly down the hall You said you had to get away to ease your mind And all you needed was a just little of time
Oh, winter’s passed, spring and fall You never wrote me, you never called (Yeah) Nathan Jones, you’ve been gone too long Gone too long (Gone too long)
If a woman could die of tears Nathan Jones, I wouldn’t be here The key that you’re holding won’t fit my door And there’s no room in my heart for you no more
‘Cause winter’s passed, spring and fall You never wrote me, you never called (Oh-oh) Nathan Jones, you’ve been gone too long Gone too long
Nathan Jones Nathan Jones Mm-hmm Nathan Jones, oh
Winter’s passed, spring and fall You never wrote me, you never called (Oh-oh) Nathan Jones, you’ve been gone too long Mm-mm-mm, Gone too long (Gone too long) Nathan Jones, you’ve been gone too long (Gone too long) You’ve been gone too long (Gone too long) Hey, Nathan Jones, you’ve been gone too long (Gone too long) Hey, you know, you’ve been gone (Gone too long) Nathan Jones, you’ve been gone too long (Gone too long)
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 inavertedly 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
One of the loveliest things about having a blog, is that you just never know when a particular post from your archive is going to go viral, but that’s just what’s happened around here over the last couple of days because of a particular drinks advert. If like us you’ve been trying to avoid all the political programming on telly (we already know who we’re going to vote for and just feel depressed whenever we see the runners and riders in action), you might have caught some of the popular prime time shows that still attract a fair few million viewers of an evening. They’re not for everyone I know, but with no guests in the holiday hideaway and no-one ordering Christmas gifts from Mr WIAA’s website, we seem to have more time on our hands than is realistically good for us, and they do offer a bit of light relief of an evening.
The other night, in between watching celebrity campmates do things no human should ever have to do (eating kangaroo anus for entertainment comes to mind) we were treated to multiple showings of one particular seasonal advert, and it leapt out of the screen at us because it featured the Frankie Valli and The Four Seasons song, The Night. A couple of years ago I had written a post about that very song after watching the film Northern Soul (link here) and it seems I was not alone in enjoying the ad, as later that evening my “viewing stats” for the post really started to ramp up and it looks as if it will continue that way for the duration of the campaign. I’m not sure if I’m supposed to share such things around here but if you haven’t yet caught it, here is that very stylish ad.
The Night by Frankie Valli and The Four Seasons:
Always pleased when I find myself at the top of a search engine results page after the YouTube clip and the wiki entry, as I often experience “blogger’s guilt”, feeling I should be spending my time working on something more lucrative. Finding your blog in amongst the big boys makes me realise, like many others around here, I have quietly and anonymously built up quite a database of “stories and songs”, way beyond anything achieved at college or in the world of work.
You will notice there are a fair few party-goers dancing “Northern Soul style” in the ad. Despite not charting first time around, The Night became one of the most popular tracks on the northern soul circuit, becoming a hit in the UK in 1975. As often happens around here, a strange coincidence has occurred, as even before the ad aired I had already been revisiting my original post to remind myself just how great some of these lesser known American soul records from the mid ’60s were, and all because of another popular Saturday night telly show.
It’s apparently been running for 17 years and along with the various X-Factor formats and the crazy jungle show, I’ve kind of forgotten what people used to watch before they came along. It’s a show that really seems to draw in the viewers though and although we have never been fervent devotees of Strictly Come Dancing, if you have the telly on whilst you’re preparing Saturday night’s dinner, it’s inevitable you will catch some of the performances.
The other week I think the “celebrities” had to pick a song or style of dancing which was personal to them and Kelvin Fletcher (a soap star and fantastic dancer as it turns out) picked Northern Soul, as his dad had been a fervent devotee back in the day. Since becoming fascinated by the movement a couple of years ago, my ears pricked up, and the song they danced to, Do I Love You (Indeed I Do) by Frank Wilson formed an earworm for the following week.
Do I Love You (Indeed I Do) by Frank Wilson:
This song was new to me so of course I had to find out more. Although it became popular at Wigan Casino and the like in the mid 1970s, it was originally recorded in 1965 on the Motown subsidiary label Soul. But here is the really interesting bit, it was Frank Wilson’s only Motown single and is a prized item amongst collectors as all but 5 of the original 250 demo singles were destroyed. Berry Gordy had apparently given the vocals a lukewarm reception and Frank himself decided he would rather focus on production, which has led to the crazy scenario where some of these original copies are changing hands for over £25,000 each.
Every time I hear about the phenomenon that was Northern Soul, I regret not having been in the right place at the right time, as the dancing would have been perfect for me. In the mid ’70s we only had our local youth club’s disco, but it was there I discovered my passion and was never, ever to be seen dancing round my handbag. Oh no, we had the space so I made full use of it and watching the genuine afionadas of Northern Soul (the dance above was more a stylised version for the show), I reckon I could have given them a run for their money. As a form of exercise, it looks as if it would be much more fun than a workout at the gym. Time to look out the talc, some very wide trousers and get practicing.
Until next time….
Do I Love You (Indeed I Do) Lyrics (Song by Frank Wilson)
Here I am on bended knees I lay my heart down at your feet Now do I love you
All you have to do is ask I’ll give until there’s nothing left do I love you
As long as there is life in me Your happiness is guaranteed I’ll fill your heart with ecstasy, forever darling
Do I love you? Do I love you? Do I love you? Indeed I do Indeed I do
The very thing that I want most Is just to have and hold you close Do I love you?
From early morning until late at night You fill my heart with pure delight Do I love you?
whenever I lay me down to sleep I pray the Lord your soul to keep And bring you home safe to me, for ever darling
Do I love you? Do I love you? Do I love you?
Indeed I do, sweet darling, indeed I do
Now whenever I lay me down to sleep I pray the Lord your soul to keep And bring you home safe to me for ever darling
Do I love you? Do I love you? Do I love you? Indeed I do, little darling, indeed I do
In my last post I mentioned that I now had 83 ideas backing up in my list of “posts pending” and needed some help in making inroads. C from Sun-Dried Sparrows stepped up to the plate and randomly picked no. 63. That turned out to be an idea added only last week (as this list is in spreadsheet form and is sorted by category then alphabetically). It was also potentially going to kick start a new series called Earworm of the Week.
We all know what an earworm is – That catchy piece of music that continually repeats in your head long after you’ve heard it, and apparently a calque (a word or phrase borrowed from another language via a literal word-for-word translation) from the German Ohrwurm. Two weeks ago my Earworm of the Week was Tony Christie’sAvenues and Alleyways, but the moment passed for me to write about it, despite having done the research (the theme tune to the TV show The Protectors I discovered). This last week, the earworm was I’m Gonna Make You Love Me by Diana Ross & The Supremes and TheTemptations.
Not sure if this part of the song is the “hook”, if fact I’m pretty sure it’s not, but the line that keeps going round and round in my head is this one:
“I’m gonna use every trick in the book”
Having studied such things as part of my course this last year, poets and lyric writers make great use of the sound patterning of words, and both trick and book end with the hard letter k, which means that line exhibits the sound pattern called consonance. Perhaps that’s why it has really taken hold this last week. Whatever, lets have a listen to the whole song, a wonderful example of what can happen when two of Motown’s top groups get together for a recording. The song was incidentally written not by Holland-Dozier-Holland in this case, but by that wonderful team Kenny Gamble and Leon Huff who went on to form Philadelphia International Records as a rival to Berry Gordy’s Motown.
I’m Gonna Make You Love Me by Diana Ross & The Supremes and The Temptations:
The song peaked at No. 2 on the Hot 100 in the United States and at No. 3 on the UK Singles Chart in January 1969. Putting those two groups together was a masterstroke, but long delayed, as they had known each other since their Detroit school days. The Supremes were originally called the The Primettes, the sister group to a singing group known as The Primes formed by Paul Williams and Eddie Kendricks who would go on to become The Temptations. As a Motown supergroup however, the name is a tad cumbersome what with the word “and” featuring twice. At least one is an ampersand, but still, a bit of a mouthful.
From experience, earworms don’t usually last longer than a week, which is fortunate as although this is a fairly pleasurable one, they can be really annoying. Around the time of the Eurovision Song Contest it’s important to avoid catching the 1981 winner Making Your Mind Up by Bucks Fizz on the radio, as once it’s in there, impossible to budge.
So, “What’s It All About?” – My long list of ideas is going to take a fair while to eat into, as it keeps being added to at a faster rate than I can keep up. I think I can knock two ideas off the list now though, as poor old Tony Christie doesn’t look as if he’s going to be written about now, although a shame, as I had no idea he’d had such a long and interesting career, continually reinventing himself. I had also assumed when I was young that he was American, as he always seemed to sing about places in the US such as Amarillo. Not so, he was a product of the Working Men’s Clubs of the North of England and lived most of his life in Sheffield.
Thanks C for the prompt. Happy to oblige if anyone else wants to throw me a few numbers between 1 and 81? You can take the number cruncher out of the workplace, but you can’t take the number crunching out of the girl!
Until next time….
I’m Gonna Make You Love Me Lyrics (Song by Kenny Gamble/Leon Huff/Jerry Ross)
I’m gonna do all the things for you, a girl wants a man to do. Oh, baby (Oh, baby) I’ll sacrifice for you, I’ll even do wrong for you. Oh, baby (Oh, baby)
Every minute, every hour. I’m gonna shower you with love and affection. Look out it’s coming in your direction. And I’m… I’m gonna make you love me. Oh, yes I will. Yes I will. I’m gonna make you love me. Oh, yes I will. Yes I will.
Look it here. My love is strong, you see. I know you’ll never get tired of me. Oh, baby (She’ won’t) (Oh baby) And I’m gonna use every trick in the book. I’ll try my best to get you hooked. Hey, baby (Take me I’m yours) (Hey, baby)
And every night, every day. I’m gonna say. I’m gonna get you, I’m gonna get you. Look out boy, ’cause I’m gonna get you.
I’m gonna make you love me. Ooo, yes I will. Yes I will. And I’m gonna make you love me. Ooo, yes I will You know I will.
Every breathe I take. And each and every step I make. Brings me closer, baby. Closer to you.
And with each beat of my heart. For every day we are apart. I’ll hunger for every wasted hour.
And every night and every day. I’m gonna get you, I’m gonna get you. Look out ’cause I’m gonna get you.
And I’m gonna make… I’m gonna make you love me. Oh, oh. (Yes I will) I’m gonna make you love me. Ooo, yes I will. Yes I will. I’m gonna make you love me. Yes I will. (Yes I will) Ooo, I’m gonna make you love me. Yes I will. Yes I will.
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
War by Edwin Starr:
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
Well, as I sit down to start blogging for the first time in a couple of weeks, I feel a little nauseous – No, not at the thought of blogging, but because half and hour ago I had to leap out of bed and get ready to face the day at breakneck speed. The reason for this haste? – Ididn’t want to embarrass myself in front of the postman!
This sounds ridiculous I know, but since giving up work last year I’ve been able to have a more laissez-faire attitude to becoming suited and booted by 8am every morning. Problem is, once you log on for the day, the hours and minutes can whizz by and I sometimes find myself still in pyjamas when the doorbell rings, knowing full well it will be our smiling postman, with some parcel or other I have to sign for. I probably imagine it, but he makes me feel like a tardy teen who has been festering under the duvet, as opposed to a busy bee who has already put on a washing, tidied the kitchen, paid a few bills and checked the various email accounts. To compensate I end up gibbering, telling him about everything that is going on in my life, but a nice little exchange all the same. My friend the postman is the only person other than my family (and the blogging fraternity who very kindly take the time to read my posts) who knows of the journey I have been on over the last year, since deciding the world of the paperless office was not for me.
As this blog always features a song or two, this would therefore seem like the perfect time to squeeze in something I have long wanted to include, Please Mr. Postman. Now this is a song I am very familiar with as one of my favourite duos, the Carpenters, got to No. 2 in the UK Singles Chart in 1975 with their version. It started out however as the debut single for the Marvelettes and in late 1961 became the first Motown song to reach the No. 1 spot on the Billboard Hot 100. The Beatles started performing it as part of their live set at the Cavern Club in 1962 and also included it on one of their first albums. Here is a great clip from those days, the boys dressed in their very smart suits complete with snake hips and mop top haircuts. They would have had no idea back then of what was yet to come.
Last time the Beatles cropped up around these parts was when I did a compare and contrast (link here) between their version of Ticket to Ride and the slower paced one, yet again, by the Carpenters. Seems like a good time to offer up both versions of Mr Postman then (although I won’t inflict the Carpenter’s official Disney-themed video clip on you). Which one do you prefer, or would it be the original by the Marvelettes that floats your boat?
Please Mr. Postman by the Carpenters:
But I digress and have yet to explain my morning nausea caused by leaping out of bed at such speed. I woke up last night at 3.30am, which is fairly normal for me, but I usually get back to sleep at some point and get a few extra hours in before the 7 o’clock alarm goes off. Last night however I didn’t, as I had committed the cardinal sin of surfing the net on my phone before going to sleep as I still hadn’t worked out the angle I was going to take when I eventually get round to writing my Aretha Franklin tribute. Not so long ago, after “experiencing” the song I Say A Little Prayer at great volume on the car radio, I wrote another compare and contrast post (link here). The Aretha version of course won hands down, but other than that I’m finding it difficult to find a personal connection to her music. I can see how she came along at just the right time, when America was going through a period of massive change, but having been born about 20 years later in rural Scotland, other than appreciating that great voice and the passion with which she sang, nothing much else for me to write about.
So, the last thing I did last night before switching off my phone was to visit some of the other blogs in my little circle to remind myself what they had written about Aretha. Last week, even before it was announced she had passed away, CC over at Charity Chic Music had posted something very fitting and then Rol dedicated the whole weekend on his My Top Ten blog to the lady and her music. Both of these dedicated daily bloggers chose to include the song Aretha by Rumer and that was the cause of last night’s sleeplessness – After listening to it twice before turning the lights out, it was the first thing to enter my head when I woke up at 3.30am and subsequently formed an earworm for the rest of the night however hard I tried to get back to sleep. As earworms go it’s a very pleasing one, and quite a soporific one you would have thought, Rumer having a voice not that dissimilar to the late great Karen Carpenter. But no, last night it just didn’t work out that way at all.
Aretha by Rumer:
Typically though, once Mr WIAA said goodbye and headed off to work, I slipped into a deep, deep earworm-free sleep, waking up far too late, thus the mad panic to get up and dressed before the postman’s inevitable ring of the doorbell. I made it, just, and so avoided that feeling of guilt at not being up and at it yet. Despite often talking gibberish of a morning, I decided that to recount the tale of the “Rumer earworm” was taking casual conversation a tad too far, so on this occasion resisted – Lucky chap!
As for the tribute song, I may not have had a personal connection to Aretha and her music, but the narrator in this song certainly does – All about a girl who goes to school listening to Aretha Franklin on her headphones. Like the fate of so many others, she’s having trouble there, and as her mother seems to be suffering from depression, she doesn’t have anyone to turn to. Fortunately Aretha comes to life in her imagination, encouraging her to stand up for herself and strike out on her own. The songwriter was asked why she chose Aretha Franklin: “She’s the Queen of Soul. If you’re going to write about somebody who embodies the spirit of music itself you go to the top of the list – and there she is. Her voice is probably the closest you get to God. There’s an incredible amount of passion and heartbreak in her voice as she’s lost a lot of family members. She’s just got something in her voice that puts her at the top of the tree and there’s no negotiation.” And on that note, I think I’ve just written my tribute post.
Until next time, RIP Aretha Franklin.
Aretha Lyrics (Song by Steve Brown/Sarah Joyce)
I got Aretha in the morning High on my headphones and walking to school I got the blues in springtime ’cause I know that I’ll never have the right shoes
Mamma she’d notice but she’s always crying I got no one to confide in, Aretha nobody but you Momma she’d notice but she’s always fighting Something in her mind and it sounds like breaking glass
I tell Aretha in the morning High on my headphones and walking to school I got the blues in springtime ’cause I know that I’ll never have the right shoes
You got the words, baby you got the words You got the words, baby you got the words
“Oh Aretha Aretha, I don’t want to go to school ‘Cause they just don’t understand me and I think the place is cruel”
“Child singer, raise your voice Stand up on your own, go out there and strike out”
I tell Aretha in the morning High on my headphones and walking to school I got the blues in springtime ’cause I know that I’ll never have the right shoes But I got the words
Considering we in the UK are experiencing a bit of a heatwave at the moment, this post title sounds a bit ironic but all will soon make sense, so please bear with me. Living up here in the North of Scotland, there are lot of places “down south” that I’ve heard of, but don’t necessarily know much about. One such place is Canvey Island and since starting this blog, it keeps coming up in the research as having spawned an awful lot of bands. But where is Canvey Island, and is it indeed an island? Well technically it does seem to be, but like a few other similar landmasses, it’s separated from the mainland of Essex by a mere sliver of water.
The first time Canvey Island came up in the research was when I wrote about Eddie and the Hot Rods (link here) as they came from the place, as it seems did The Kursaal Flyers and the band who came to be known as “Canvey Island’s finest”, Dr. Feelgood. The whole pub rock musical genre flourished there in the 1970s and that part of Essex became the destination of choice for artists such as Graham Parker, Nick Lowe and Elvis Costello.
But it’s not pub rock I’m going to write about here, it’s another phenomenon that found its roots on Canvey Island – A genre of music that came to be known as Brit funk. Again, living in the North of Scotland I would have had no idea such places existed, but in the early ’70s an old coastal Country Club was turned into a nightclub called the Goldmine. The DJ in residence was Chris Hill and the club came to specialise in “soul nights” where only serious and devoted fans came to get their fix. By 1978 however coach loads of soul fans were arriving from all over the country to experience a piece of the funk action and this unprepossessing building on Canvey Island was firmly on the map as the soul, jazz & funk mecca of the UK – Strange but true.
Acts that came to be associated with Brit funk were Light of the World, Level 42, Beggar and Co, Linx and Freeez. These bands enjoyed chart success in the early ’80s making regular appearances on TOTP, but today’s featured song is the one I remember best from that era, and have fond memories of – Southern Freeez by the band Freeez. It reached No. 8 in the UK Singles Chart in February 1981 with the very “cool” Ingrid Mansfield Allman providing the vocals.
Southern Freeez by Freeez:
The reason I have fond memories of this particular song, despite not really knowing anything about the whole Brit funk scene at the time, is because it came about the year I turned 21. I was a student back then and just about every week an invitation to a fellow student’s birthday bash popped through the mailbox. Mid-week venues were plentiful as many a landlord was happy to throw open the doors to their unused function suites, and provide DJs of varying abilities in return for lucrative bar takings. Being a dance record, and having been a hit early on in the year, Southern Freeez regularly made it onto the playlist and the lyrics always made me smile. I don’t think it happens so much nowadays, but back then an awful lot of romances started life on the dancefloor and all down to whether you “liked their style”, “saw it in their eyes” or were driven to distraction watching them “on the floor doing the Southern Freeez” (which it turns out was a dance move – the band dropped out for a bar and everyone froze).
As someone who (until recently) always had a closer relationship with the whole sound and feel of a song as apposed to the lyrics, I kind of liked how you could tell so much about a person by how they danced. Mr WIAA and I were always the dancers in our social group and because of that we always gravitated towards each other, being “soul” mates of sorts. It seems that nowadays, where relationships invariably start life on Tinder or via some other virtual medium, attraction is down to looks alone and with a quick “swipe” you are out of the picture for good. Such pressure on everyone to look a certain way, and sometimes all very false and unreal. If I could bottle it I would, but when you really immerse yourself in the music on the dance floor, you are showing your true colours – Nothing false or unreal there. (Fervent non-dancers however, will probably choose to disagree?)
Getting back to Brit funk, it seems that many 1980s pop groups such as Haircut 100, Wham! and notably Spandau Ballet tapped into the style and sound to help launch their careers. This scene reduced racial boundaries in the clubs and raised the profile of black and white musicians working together – All down to a converted Country Club on Canvey Island!
Until next time enjoy the sunshine, but if it all gets a bit too much, you could always drop out and freeze.
Southern Freeez Lyrics (Song by Andy Stennett, John Rocca, Peter Maas)
Love saw it in your eyes Sensed it in your smile Boy I like your style Oh yeah
When I saw you on the floor doing the southern freeez Then I knew you were the one the only one for me
Love feel it in your touch In the way you move I like it very much yes I do
Time time is moving on Guess it’s getting late Soon you’ll take me home
People everywhere doing the southern freeez Laughing all the time this is the life for me
Heartbeat whisper in my ears Now it won’t be long no Just you and me my dear yeah Sweet darling making love so slow Your so beautiful yes you are You got me all a glow
When I saw you on the floor doing the southern freeez Then I knew you were the one, the only one for me
Day Five of my challenge to write seven posts in seven days and I’m seriously starting to flag now. I even noticed that I’d pressed the publish button last night without changing the tags, or finishing the post title. All sorted now but it seems my kind of blogging is not short and snappy enough for a daily post, and however hard I try I can’t seem to make them any shorter.
There is a reason for this self-imposed madness however – I have applied for a course at our local college and have the interview next week. I am unsure whether I have enough spare time on my hands to take up the mantle of being the Highlands’ oldest undergraduate, so needed to test the water. Will no doubt keep you all informed on progress however, as I do love to “over-share”.
I mentioned earlier this week that I’d not written a single tribute this year for anyone from the world of music. I usually rely on Mark over at So It Goes… to keep me updated on who has indeed passed away, as he is usually first off the mark (pun intended). Today he has written about Eunice Gayson, the first Bond girl, who apparently died yesterday at the age of 90. Back in February, Mark announced the passing of Eddy Amoo from the group The Real Thing. I jotted this down in my “blogging notebook”, as they were definitely a group whose songs feature heavily in the tracks of my years.
If like me you turned 16 in 1976, you will remember that it was dubbed the Long Hot Summer, and for teenagers it was a great time to be alive. We had far more freedom in those days and I don’t think sunscreen had even been invented yet. We lived in blissful ignorance of the damage the sun could wreak on our future middle-aged skin, so just kept topping it up with cooking oil to ensure we turned a “healthy” golden brown. I spent a lot of time that summer with friends at the local youth club. This was the last year we were deemed age-appropriate to attend, as once you turned 17 you were cast out into the world of pubs and “discotheques” – All very grown up, and not at first as comforting as our old youth club, so we made the most of that last summer where it was our fellow school chums who chose and spun the discs.
But I digress – The reason I mention the legendary summer of ’76 is because one of the songs we loved to dance to at the aforementioned youth club was this one, You To Me Are Everything by The Real Thing. It reached the No. 1 spot in July and stayed there for three weeks. It still makes me smile, for in my subconscious it will always be linked to that long, hot summer, when being a teenager was a lot less stressful than it is today. Perhaps it was because of those trousers we used to wear – Who could get hot and bothered with all that fabric flapping about?
You To Me Are Everything by The Real Thing:
The Real Thing were from Liverpool and became the most successful black British group of the 1970s. Although they prided themselves on writing their own material, brothers Chris and Eddy Amoo decided they needed to be more commercial in order to get radio play. With this pop/soul classic, penned by Ken Gold and Michael Denne, they did just that, with bells on. Their follow up record, Can’t Get By Without You made it to the No. 2 spot later on that year.
What I hadn’t realised however was that Eddy Amoo had been in a group called The Chants back in the 1960s. They played the Cavern Club and once had the privilege of having the Beatles act as their backing band (much to the chagrin of Brian Epstein I should add).
After the commercial success of the mid ’70s started to wane, Eddy Amoo returned to the “message songs” he had always wanted to write. “I started to feel that I wanted to really project what had happened to me and the people that I’d grown up with in my songs,” he said. The Real Thing released “4 From 8”, an album exploring the four band members’ experiences of living in Liverpool 8, which covered the troubled Toxteth area. The album included Children of the Ghetto which has become a Liverpool favourite. Eventually it would be covered by Philip Bailey of Earth, Wind and Fire and Mary J Blige, making it a popular protest song.
RIP Eddy Amoo
You To Me Are Everything Lyrics (Song by Ken Gold/Michael Denne)
I would take the stars out of the sky for you Stop the rain from falling if you asked me to I’d do anything for you your wish is my command I could move a mountain when your hand is in my hand
Words cannot express how much you mean to me There must be some other way to make you see If it takes my heart and soul you know I’d pay the price Everything that I possess I‘d gladly sacrifice
Oh you to me are everything The sweetest song that I could sing Oh baby, oh baby
To you I guessI’m just a clown Who picks you up each time you’re down Oh baby, oh baby
You give me just a taste of love to Build my hopes upon You know you got the power boy To keep me holding on So now you got the best of me Come on and take the rest of me Oh baby
Though you’re close to me we seem so far apart Maybe given time you’ll have a change of heart If it takes forever boy thenI’m prepared to wait The day you give your love to me won’t be a day too late