You Can’t Win ‘Em All

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As 25 Daysailer boats veered toward the final turn of my first – and what would be my last race at Stage Harbor Yacht Club in Chatham, Massachusetts. – I felt the spray of salt water splash on both my face and forearms as I instructed my hearty crew of two to literally “stay the course.”

For some still inexplicable reason, I had been appointed as skipper on a modest Daysailer on the last race of the summer season for the “12 and unders.” Not only did I not deserve the honor; it was actually dangerous to put me anywhere near a boat except as a handler of the jib as part of a well-seasoned crew. But my brother, Mark, just two years older, was, at the time, a forbearing and discerning sailor, so “the powers that be” probably surmised that I had the same DNA. In retrospect, however, if my brother was Jimmy Carter, then I was his younger brother, Billy.

While Mark took to the sport like butter on toast, I was baffled by the anachronistic lexicon, the sketchy edicts, and upper-crust mores that defined sailing. As a foreshadow of what was to come, Mark, a future headmaster, was a confident patrician, while I was an outright plebeian. Half the time, I literally didn’t know what to do, so I just winged it to whoever was in my boat, using my enduring wit as a deflective measure. “Okay, guys, ready about – ‘hardly’.” Everyone would then guffaw and shake their heads at the jokester guiding the boat.

After our sailing lessons, my dutiful sibling would come home discussing the significance of studying the sea pattern to windward as a way to tack correctly. I would then comment that the Stage Harbor Yacht Club had purchased two dozen “Daysailers,” from the boat’s renowned designer, George O’Day, “at a good price” according to the Program Director, David Hovey.  “It must have been a good sale!” I remarked to my mother.

“Oh, Shaunie!” she laughed, probably wondering how she could “spawn” two such distinctly different boys 19 months apart.

As usual, Mummie had the best of intentions when she signed her two youngest children up for sailing lessons. After all, she had learned to be a proficient sailor at the same club 30 years before, and as someone whose ancestors had lived and died in Chatham at the elbow of Cape Cod, our mother yearned for us to at least had a semblance of ability in such an enhancing life skill. “Boys, it’s in your blood,” she would say as she drove us down Route 28 from our cottage in Eastham.

Situated on the northeast shore of Nantucket Sound, Stage Harbor, a semi-colon-shaped body of water, was flanked by hilly terrain dotted with stunning summer houses with red-rose covered white picket fences, which gave it an otherworldly feel.

One month and some 40 hours of lessons later (including a wealth of experience sailing in the intimate Chatham harbor), my brother and I sauntered down to the dock for the big race of the season on the last day of the summer season. When Mark was assigned to lead a boat of three, I was not at all surprised. After all, he was competent if not really good at everything he did, and this was his tangible reward for a job well done.

However, when I observed that I too had been assigned as skipper to two twin boys a year younger than me, I thought that it must have been a misprint. I almost flew up to the Stage Harbor Manager, the affable Dave Hovey, to inform them that they were making a giant miscalculation. In the end, however, I kept my mouth shut, thinking… maybe they know something that I don’t?

When the horn sounded to begin the race, at least 20 or more Daysailers crossed the starting line, and we were all off. My modest crew consisted of two identical twins named Harry and Pete, were a year younger and just as inexperienced as I was. Despite my ebullience, they seemed edgy as we skidded out into the deep-blue waters of Stage Harbor. The water was placid that morning, and there was a hint of wind blowing from the southwest. All three of us squinted our eyes as we headed north toward the first main buoy where we would turnabout.

In Secretariat-like fashion, our little wooden sailboat unfathomably sprinted out in front and led all other boats as we approached the buoy, which would signal that a port tact was in the offering. “Hey, guys, we’re in the lead!” I bellowed. The boys in the boat didn’t know whether to laugh or to cry; you could smell their fear as clearly as the shifting ocean tide. For me, it was a “roll down the window and let the wind blow back your hair” kind of moment, and for a brief interlude, I felt as if we were on top of the world.

As my crew and I approached the initial buoy, I reminded my charges that we would see turnabout soon. At the time, the twins seemed up to the challenge. Timing is everything in life, however, and as we approach the red-and-white-painted marker, the wind, which has pushed us to the lead, stopped as suddenly as a cab at a school crossing. It was as if all of the air in our balloon was instantaneously released.

Out of sheer momentum, we passed the marker and began to drift towards the north along with the current, which seemed invigorated that it was taking three passengers with it. I looked back and observed every other boat successfully tact to port and continue on the racecourse.

“If only we had a motor attached to this boat!” I shouted to my crewmates. They didn’t seem amused and began to panic as our Daysailor continued to dawdle far away from the rest of the boats. I looked ahead and saw that we were methodically heading towards far-flung Morris Island.

“Ah, guys, we might off to push off from there!” I exclaimed to Harry and Pete.

Instead of agreeing with me, they both burst into a harbor of tears (pun intended) and began crying out for their mother.

Oh, boy. Or perhaps I should say, oh, boys.

Later on, my mother explained to me that we had hit “the irons,” and that that was not a good thing. I learned that a sailing craft is said to be “in irons” if it is stopped with its sails unable to generate power in the no-go zone. If the craft tacks too slowly, or otherwise loses forward motion while heading into the wind, the craft will coast to a stop. In my case, I simply looked for a “coast” – meaning Morris Island – to stop the boat.

Unfortunately, I let my humor and my prevailing sense of optimism get the best of me at that moment. “There we are, guys! An island to land on! Get ready to ditch this boat for safe land!”

You would have thought that I had asked them to give up sugar. Their subsequent cries could be heard all the way to Nantucket.

A few minutes later, after moving the Daysailer to dry land, I convinced the twins to start walking the secluded beach of Morris Island in search of help. I knew that we would have to be there a while until high tide began to come back and help us cast off the little peninsula. Both kids continued to bellow; Harry continually called out for his mother as if he were about to walk down death row to be electrocuted by Old Sparky. Eventually, we did run into one old sprite Chathamite who said, with typical salty New England humor, “Well, gentlemen, this is not a bad place to spend the winter.”

I chortled immediately, but my comrades were now bereft thinking that they had ultimately landed in an unrelenting gulag.

In the meantime, the boats back in Stage Harbor had all come into port safe and sound, and my brother, Mark, and his boat – of course – had finished among the top handful of boats. After the last Daysailer had arrived, Mummie began looking for me, thinking, of course, that I had somehow scurried by her and toward our car, which would then take us to the local beach.

On the dock, a plainly distraught woman, you got it, Harry and Peter’s mother, was frantically looking out in the ocean for any sign of a boat with three boys in it. She accosted David Hovey, who recounted the boats and bellowed, “They’re all here!” What he didn’t know was that an extra Daysailor had been added to the usual fleet that day for the race. There was still one more boat out there – and it was safely ensconced on Morris Island.  

Over the next hour, both mothers searched everywhere for their lost ones, but my mother typically was much cooler and casual about the entire affair. “Oh, Shaunie will show up somewhere, and it there will be a funny story attached to it,” she exclaimed to her longtime friend, Betty Kennedy, who too had begun to look for me.

To make a long story short, Mummie whose confident demeanor intimidated most everyone she came across, convinced Dave Hovey to “give the harbor another glance” with his high-powered range binoculars.

By this time, Harry and Pete’s mother wanted to the Coast Guard, but Mr. Hovey, another practical Cape Codder, would have none of it. “Well, I’ll be damned,” he declared, “I see three specks, they must be boys, walking in single file on the beach of Morris Island! And there is a boat out there – stuck in the irons.”

Within a half-hour, Dave Hovey had motored to us, attached the Daysailer to the stern of his Boston Whaler, and had shot us home, a streaking arrow of white zooming across the blue waters of Stage Harbor.

As we alighted from the boat, Harry and Pete sprinted towards their mother on the dock and enveloped her as if they had been away at sea for three years. The trio heaved spasms of tears that flooded the dock like a prodigious nor’easter.

In contrast, I took my sweet time and profusely shook Mr. Hovey’s hand as I embarked from the Daysailor, which seemed to sigh in relief as it was tied to the mooring, I observed Mummie standing adroitly in the modest parking lot adjacent to the dock. With her hands resting assuredly on her hips, she was clear-eyed, chuckling to herself, and obviously amused that her baby had gotten himself into another kerfuffle entirely of his own making.

I skated past the overwrought rendezvous of Harry, Pete, and Mama on the dock, and climbed up the ladder to the parking lot with a cheery, bemused expression on my face.

As I neared my mother, I gleefully bellowed, “Well, Mum, you can’t win ‘em all!”

Her wheezed cackle could be heard all the way to Orleans.

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Musical Fossils – Songposts from the Vault

 

 

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For the past 8 years, I have regularly posted “musical thoughts” in connection with both time and place giving credence and perspective to songs that deserve to be reexamined and pondered about all these years later. Enough of my loyal followers have asked if I could publish these “asides” regularly, and so, I am giving it a try. I promise to add to the mix weekly. For your convenience, I will do so at the very top of this blog entry. Enjoy!

August 22:  You Keep Me Hangin’ On,” Vanilla Fudge, 1968. Take a Motown hit composed by Holland, Dozier, and Holland and originally recorded by the Supremes, combine Garageband sensibilities with psychedelic overtones, and you’ve got Vanilla Fudge’s remake of “You Keep Me Hangin On.”  The band’s drummer, Carmine Appice, recalls: “In 1966, when I joined the band, there was a thing going around the New York area and Long Island that was basically slowing songs down, making production numbers out of them and putting emotion into them. The Vagrants were doing it, they had Leslie West in the band. The Hassles were doing it, they had Billy Joel. It all started with The Young Rascals. We were all looking for songs back then that were hits and could be slowed down with emotion put into them. ‘You Keep Me Hangin’ On’ lyrically was a-hurtin’ kind of song, and when The Supremes did it, it was like this happy song. We tried to slow down the song and put the emotion the song should have into it with the hurtin’ kind of feeling the song should have. We then made it sound like Procol Harum. It obviously worked – and we sold a million copies of it.” By the fall of ‘68, the Vanilla Fudge’s version of “You Keep Me Hangin’ On” had morphed into the quintessential “makeout” song. Whatever. Being 14 forever sounded good until you really thought about it. Then it didn’t seem like such a great prospect.

August 19:  “Love Will Find a Way,” Pablo Cruise, 1978. Inevitably, some songs frame our summers, and Pablo Cruise’s “Love Will Find a Way” is one of those ballads that unequivocally captures the essence for those of us who were young and impressionable 40 years ago this August. Not to be confused by the rock anthem by Yes with the same title, Pablo Cruise’s “Love Will Find a Way” not only has beautiful hooks but the musician here, especially bass player Bruce Day and lead guitarist David Jenkins, drive this single to the moon. To hear David Jenkins croon, “Once you get past the pain…” is to remember that time in dreams remains frozen forever. In the end, “Love Will Find a Way” proved to be one of those freezeframe songs, which came to define the summer of 1978.

August 17: “Give a Damn,” Spanky and Our Gang, 1968. One of the truly astonishing songs that emerged 50 summers ago, “Give a Damn” did not receive any airplay in several markets because of the “curse word” in its title. Thankfully, though, the ballad was exceedingly popular in the Northeast, the Industrial Midwest, and the in the San Francisco and LA radio markets. The week after it was released, Spanky and Our Gang performed the song live on The Smothers Brothers Comedy Hour, resulting in CBS’ Standards and Practices division receiving numerous complaints about the song’s title being used during “family viewing hours.” One such complaint reportedly came from President Richard Nixon (of course). Partly because of that, “Give a Damn” then become progressive Republican John Lindsay’s campaign song during his successful run for mayor of New York. After all of these years, this is still a powerful vendetta against inequality. When one of my students asked me about it after listening to it, she said, “If you have no empathy, you have literally died inside.” Thank God for the wisdom of the young!

August 16:  Aretha Franklin passed on early this morning. The Queen of Soul ironically died on August 16, the same death date as The King of the Blues, Robert Johnson (1939), and The King of Rock and Roll, Elvis Presey (1977). (That Babe Ruth also succumbed to cancer on August 16, 1949, means that the heavens seem to seek American Masters for membership into their permanent union). That Miss Franklin could sing random names from your town’s phone book and make them sound reverent. However, because each of the tunes she sang in her 60-year career captured an element of either truth, joy, sadness, salvation, or pathos, her voice invariably moved mountains. In the rock and roll era, Aretha had no peer vocally; in the end, she was rock and soul’s Billie Holiday, finishing ahead of such giants as Sam Cooke, Elvis Presley, Ray Charles, and Marvin Gaye. When the great Otis Redding, who wrote “Respect,” first heard Aretha’s 1967 cover version, he famously turned to guitarist Steve Cropper and said, “Damn, that girl just stole my song!” If you take the time to watch this short clip when Miss Franklin was at the very top of her game, you will see a once-in-a-lifetime talent soar to the heavens even as she invites us to take a ride with her. We were truly blessed to have Aretha in our midst for so young.

 

August 14:  “Summertime, Summertime,” The Jamies, 1958. 60 years ago this week, virtually every jukebox in America was playing this hit novelty song, a tune where doo-wop met kitsch. In my mind, it conjures listening to it blaring from a rickety transistor radio on Cape Cod’s Nauset Beach as the smell of onion rings and fried clams came wafting upon us from the legendary eatery, Philbrick’s Snack Shack. It’s hard to believe it, but it’s true – the Boston Red Sox legendary public address announcer, the late Sherm Feller, wrote “Summertime, Summertime,” and made a small fortune off of it!

 

 

 

August 11: “The Look of Love,” Sergio Mendes and Brasil 66. First of all, there’s that unique arrangement, which made this underappreciated group so memorable to those of us who listened to pop music back then. From the get-go, Sergio Mendes’ music was “easy listening personified” and combined such disparate sounds as psychedelic pop, light jazz, and bossa nova. Mendes and Brasil ’66 (which featured Mendes on keyboards and a revolving cast of two female vocalists, bass, guitar, drums, and percussion) never sounded better than here on this Burt Bacharach and Hal David classic, first made famous by the immortal Dusty Springfield. In the end, this version of “The Look of Love” remains one of the greatest cover recordings of the 1960s. As Professor Dumbledore exclaimed to Harry Potter in The Goblet of Fire, “‘Ah, music, a magic beyond all we do here!”

August 8:  “Wavelength,” Van Morrison, 1978. This ode to early American rock ‘n roll proves to be kinetic, infectious, and emotive. In the title track of a highly underrated album, which was released 40 years ago this month. From the Smokey Robinson prelude to the Eddie Cochran-inspired chorus, Van pays homage here to the music that literally saved him physically and spiritually throughout his Northern Ireland upbringing. As he later admitted on an extended in-studio interview on WBCN Boston, “Everything I learned about music came from the radio, and everything that truly mattered to me came from listening to American rhythm and blues songs. That music saved me.” As the Irish Bard sings in the song: “When I’m down you always comfort me/When I’m lonely you see about me/You are everywhere you’re ‘sposed to be/And I can get your station/When I need rejuvenation – Wavelength!” I agree, Van, and I can relate totally. 

August 5:  “Classical Gas,” Mason Williams, 1968. One of the truly great instrumentals of the 1960’s, Williams’ ballad went to #1 a half-century ago this week. Later on, it was nominated in the Song of the Year category at the 1968 Grammys. If you asked the legendary Wrecking Crew members if they had a number one hit on their own – they ended up having 41 number one hits with artists as disparate as Sam Cooke, Sonny and Cher, Frank Sinatra, the Beach Boys, the Ronettes, Lou Rawls, the Mamas and the Papas, Nat Cole, and the Righteous Brothers – they would unanimously respond, “Of course. ‘Classical Gas’.” While guitarist Mason Williams fronted them on this recording, Williams had long been a member of the Wrecking Crew. Some of the luminaries who support him here include percussionist Hal Blaine, bass guitarist Carol Kaye, rhythm guitarist Glen Campbell, and pianist Leon Russell. Ultimately, 13 members of the most significant instrumental group of the rock era produced a neo-pop-classical masterpiece, which has been re-recorded by more than 100 bands and artists since the song was released 50 years ago this summer.

August 2:   “One Summer Night,” The Danleers, 1958. This doo-wop quartet from Brooklyn, New York released this timeless summer song 60 years ago this month where it soared to the number three spot on the Billboard Top 40. The ballad’s sanguine premise was that the warmest of seasons automatically triggered a semblance of romance. Who didn’t want to fall in love during the summer? And why wouldn’t you listen to these sweet harmonies as you readied yourself for your first kiss, listening to the Danleers’ lead singer Jimmy Weston croon: “You kissed me, oh, so tenderly/and I knew this was love/and I as held you, oh so close/I knew no one could ever take your place, ohhhh.” I have to admit, that “ohhh” at the end always got me. Ultimately, this exquisite 45 conjures up a ‘57 Convertible under the blazing street light at a local filling station framed by such Eisenhower-era artifacts as hoop skirts, saddle shoes, ducktails, and penny loafers. 

July 31:  “Eternal Flame, “The Bangles, 1988. The Bangles were not known for emotional depth, but this plaintive ballad from the girl group’s 1988 album, Everything, takes the bop out of their usual teeny bopper sound, leaving only a piercing distillation of self-absorbed, teenage angst. If love here burns like the sun, it is set against the storm of “a whole life so lonely.” And the girlish tremble of Susanna Hoffs’ vocals, which flip into a vulnerable head voice for most of the higher notes, poignantly embodies the song’s yearning for security. 

July 28:  “Begin the Beguine,” Artie Shaw and His Orchestra, 1938. I once heard Jonathan Schwartz introduce this American Songbook standard by calling it “a perfect offering, which reminds us all when swing was really swing.” For the uninformed, Artie Shaw’s instrumental version of “Begin the Beguine” utterly dominated the airwaves in prewar America when this single was filmed 80 years ago this weekend. The Connecticut native and his legendary arranger, Jerry Gray, spent two mind-numbing weeks arranging the classic Cole Porter standard and ended up producing a cover in “four-four time that ‘bended’ the Charleston,” (vernacular for making it danceable). Shaw then filmed it in front of a live studio audience in Manhattan, where it was later shown on thousands of screens in cinemas via Movietone. What resulted, of course, turned out to be unadulterated magnificence. I concur with the late jazz critic, Leonard Feather, who once said famously that while Benny Goodman was clearly the better bandleader, Artie Shaw was the greatest jazz clarinetist of all time, surpassing Goodman and everyone else.

July 25:  “Changing of the Guards,” Bob Dylan, 1978. What is there to say about this hypnotic, puzzling, pulsating song except to say that it’s quintessential Bob Dylan. The opening number to Street Legal, we find our hero here with patches of lyrics that he throws against the wall in order to see if they might stick. Like “All Along the Watchtower,” Dylan is stuck in the Middle Ages here, which makes it even more exhilarating for the listener. As critic Tony Atwood writes, “Bob’s lingering fascination with all the possibilities of rhyme at this time, and that quite possibly is the heart of the matter – the song is about rhymes and how they can be manipulated in a five line poem. The music is the same for each verse, but what happens in the lyrics changes, changes and changes again just like that half-remembered dream.” In such a scenario, the lyrics don’t really matter, what matters is the feel, and feel is what we get layered on with the sax and the chorus repeating certain words as we go along, for reasons that will never become clear. Needless to say, this is Mystery Bob doing his best to push the envelope as he has done throughout his public career.

July 23:  “Sunshine of Your Love,” Cream, 1968. Released 50 years ago today as a single, bassist Jack Bruce and Pete Brown came up with “Sunshine of Your Love” toward the end of an all-night session, which inspired the opening line: “It’s getting near dawn/When lights close their tired eyes.” The killer riff was inspired by none other than Mr. Jimi Hendrix, who was fiddling around with Eric Clapton one day and started playing the chord as a backdrop to Clapton’s improvisation at the time. Eric later added the memorable chorus hook while drummer Ginger Baker laid down a gargantuan, tomtom heavy beat to complete the sound with aplomb. For those of us who remember, “Sunshine of Your Love” was popular just when rock ‘n roll began to feel its oats and break out of its own shell into something close to a revelation. Tom Petty once claimed that this number launched the concept of the genre that became known as “classic rock.”

July 21: “Racing in the Streets,” Bruce Springsteen, 1978. 40 years ago this week, I was obsessed not only with Darkness on the Edge of Town (the Boss’s latest album, which had just been released six weeks previously) but, most especially, this heartrending ballad, which ended the first side of the album like a cry in the night. At the time, two years before I became a teacher and in-between jobs, fearful that I was caught in the clutches of waiting to die – just like the protagonist in “Racing in the Streets” – this ballad bore through me like a power drill. In retrospect, what always grabbed me about this tune was the last two minutes following from the defiant last verse, where pianist Danny Federici and Bruce let the music continue to tell the story without even saying a word. It always came off as sad but hopeful, “like they ain’t done yet.” When I hear it these days as a 63-year-old, a person who is still working, still finding my groove, it makes me miss my old friends from high school when we used to listen to Bruce, drink beer, and have a good time, hanging out and hanging on to one another for dear life.

July 18:  “Roll With It,” Steve Winwood, 1988. Because he was in his 25th year as a recording artist (and barely 40 at the time), ol’ Stevie could still dial it up with the best of them. Here, he pulls off a rarity – by paying homage to the old Motown Sound through the lens of a very techno eighties feel. This single dominated the airwaves throughout the summer of 1988; for goodness sakes, it even sounds like summer. By the way, “Roll With It” holds the distinction of being the last number one song of the late Casey Kasem’s 18-year-run as host of American Top 40. That seems very appropriate – given the song and the artist.

July 15:  “This Guy’s in Love With You,” Herb Alpert and the Tijuana Brass, 1968. As Doctor Seuss once wrote, “You know you’re in love when you can’t fall asleep because the reality is finally better than your dreams.” That is why the earnestness of Alpert’s voice overcomes his lack of virtuosity as a singer and makes this single both searing and memorable. A classic Burt Bacharach/Hal David number, this song, the number one tune in the US 50 years ago this week, remains as fresh and intense as it was when it was released a half-century ago.

July 13:  “Guess I’ll Hang My Teardrops Out to Dry,” Frank Sinatra, 1958. This searing ballad has become one of Sinatra’s most enduring numbers since it was first released 50 years ago this summer. While he was known as “One-take Frank” in the movie business, his fastidiousness when making music was legendary. “Guess I’ll Hang My Tears Out to Dry” took almost a day of precise outtakes to get it right, according to chronicler Will Friedwald.  As he did on all 12 tracks of his masterwork, Frank Sinatra Sings For Only the Lonely, Sinatra would inevitably enter the studio; greet the musicians individually; saunter up to the front of the room; make notations on the sheet music, and then patiently walk through what he wanted to hear from each musician. “Every time you saw him enter the studio to record, it became a workshop into how to make a textbook record,” Quincy Jones said near the end of Sinatra’s career.  There are mythical bootlegs of Sinatra’s precise directions to his supporting musicians in scores of sessions out on YouTube. Like an experienced traffic controller, you hear him patiently walking his band through a maze of notes that eventually evolves into a highly imaginative, intuitive sound. When I first heard such outtakes, thanks to New York radio personality Jonathan Schwartz, it reminded me of Leonard Bernstein’s sagacious entries that framed his epic Young People’s Concerts Series back in the sixties. In “Guess I’ll Hang My Teardrops Out to Dry,” the orchestra and the singer create a symmetry that is indistinguishable, two forces of nature that have merged seamlessly. As with every ballad on this album, the storyline means everything here. Sinatra is a chronicler weaving out a story that grips your heart and hurls it into the abyss. It all leads to a Casablanca-like ending:  “’Yes’ – somebody said/ ‘Just forget about her’/So I gave that treatment a try/And strangely enough/I got along without her/Then one day/She passed me right by/Oh, well…..” When the tune ends, you feel as if the green light at the end of Daisy’s dock has just gone out for the last time.

July 11:  “Last Dance,” Donna Summer, 1978. Roxbury, Massachusetts’ own Donna Summer was the number one act in the world in 40 years ago, a period in which she had twelve top ten hits over a span of three-and-a-half years. This infectious number-one tune from the summer of 1978 was arguably the best of the bunch, a disco tour de force, which is one of the few singles of the genre to be later inducted into the Rock n’ Roll Hall of Fame. In every way, “Last Dance” remains a terrific song!

July 9:  “The Flame,” Cheap Trick, 1988.  In a decade dominated by anthems – a harbinger of American Idol and all that was to come – Cheap Trick’s “The Flame” was the kind of song that you could hold up to the window as archetypal of the kind of overblown but seductive music that dominated the airwaves three decades ago. Given the time period, then, it was not at all surprising that this was the number one song in the US 30 years ago this week.

July 6:  “Two Out of Three Ain’t Bad,” Meatloaf, 1978. Described as a “beefy loser” at the time, a marketing ploy that ended up working brilliantly for the former Marvin Lee Aday, who, in reality, had a drop-dead gorgeous wife by his side, Meatloaf ended up taking this affecting song to the top of the singles chart 40 years ago this week. To his enormous credit, the singer-songwriter’s sense of urgency is evident throughout here. With Todd Rundgren in the producer’s chair, coupled with a string of evocative chord changes and an infectious melody, what’s not to like here? Of course, any song that contains the line, “But there ain’t no Coupe de Ville hiding at the bottom of a Cracker Jack box,” has my total attention – if not my admiration.

July 3:  “Twilight Time,” The Platters, 1958. “Twilight Time,” one of the most revered doo-wop tunes in early rock history was actually composed in 1944 by songwriter Buck Ram and was then recorded by The Three Suns. Originally released three days before D-Day, the original version of the song went to number 8 on the US Billboard Top 40 as the Allies marched into Paris later on that summer. Irving Berlin once stated famously, “Every great song has a second shelf life,” and such was the case for “Twilight Time.” 14 years later, the classic doo-wop quintet, the Platters, rerecorded it, and, because of the exemplary quality of both the production and the group, it soared to number 1 in the early summer of 1958. Former opera singer Tony Williams sang the lead on the updated version of “Twilight Time” (he also soloed on “My Prayer) and provided the essential ingredients to make a lovely ballad even more sustaining. In 1998, the Platters’ “Twilight Time” was formally inducted into the Rock and Roll Hall of Fame in the song category.

July 1:  Dressed Up Like Nebraska,” Josh Rouse, 1998. This turned out to be the first significant hit for one of my favorite contemporary singer-songwriters, the vastly underappreciated Josh Roush. Like everything that he has produced after this initial single, the musicianship is well-crafted, clean, and exhilarating. In my mind, Roush has always sounded as if he came out of the same can of hash as Cat Stevens, James Taylor, Jackson Browne, and the late Jim Croce. Some critics have chastised him for that, but why lash him to the pole if he was born 30 years too late? After all, Rouse’s best album, 1972, essentially said the same thing in 12 memorable songs. A suggestion: if you are looking for a marvelous way to be formally introduced to the greatness of Josh Rouse, may I suggest that you go to YouTube and listen to his entire 2013 album, The Happiness Waltz? You won’t be disappointed. I promise.

June 30:  “Good Golly, Miss Molly,” Little Richard, 1958. 60 years ago today, this renowned early rock classic was released as a single by Specialty Records in LA. In every way, it was most assuredly “the devil’s music,” something that Little Richard knew, ran away from, and finally embraced during a six-decade public career. Of course, when this iconic recording was released, white kids all over the country laughed to themselves that the decidedly unhip and racist white sensors were clueless that he was singing, “Good Golly, Miss Molly – sure like to ball!” You could well argue that the ensuing generational gap began right then and there.

June 28:  “Lovely Day,” Bill Withers, 1978. Sun, rain or hurricane, it doesn’t matter what the weather is doing, you need to check out this classic nugget from revered soul man, Bill Withers, and you’ll agree that it is indeed a lovely day. Near the end of this original tune, “Still Bill” holds a single note for 18 seconds, which is purportedly the most extended note in a U.S. Top 40 single in history. I presume that the ballad’s unflappable buoyancy is what energized him to such an epic feat! Happy 80th birthday to one of the greats – the fabulous Bill Withers.

June 26:  “The Lonely Sea,” The Beach Boys, 1962. The common misconceptions of those skeptical of the artistic value of The Beach Boys’ music is that the group didn’t show signs of progress until Pet Sounds. This is emphatically not true; some of their best work was written and recorded between 1962-65, including my favorite Boys’ LP, Little Deuce Coupe, which contained 12 cloying songs about girls, cars, and the summer. “The Lonely Sea,” recorded when Brian Wilson was just 19, has an arrangement that is as sparse as could be – some lightly brushed drums, an almost apologetic bass, and a gently picked, heavily-tremeloed lead guitar that supports Brian’s evocative lead vocal and his brothers/cousins’ impeccable backups. A haunting way to kick off the summer, but after all, Donald J. Trump is president, so I am rather glum these days.

June 23:  “Sweet Blindness,” Laura Nyro, 1968. A stellar original song, which Laura wrote and recorded and then passed onto the Fifth Dimension, who made millions off her work (“Wedding Bell Blues,” “Save the Country,” “Stoned Soul Picnic,” and “One Less Bell to Answer”). This gem was actually composed not long after Nyro graduated from high school. Ultimately, “Sweet Blindness” was one of the featured numbers from Laura’s celebrated second album, Eli and the Thirteenth Confession. On the her website, a fan recently posted this sprite number and added, “The brilliant complexity of Nyro’s songs, the beautiful melodies, and her soulful, joyous, gorgeous voice/singing invariably casts me in a sustained rapture, longing that she was still with us.” As former New York Times critic, Frank Rich, once noted, Laura Nyro’s time changes were as complex as Sondheim, and her melodies were as lush as Carole King.

June 20:  “Someday, We’ll Be Together,” Bruce Springsteen and the E Street Band, 1978. A Phil Spector, “Wall of Sound” production wrapped around Roy Orbison vocals, a Righteous Brothers backup, Dave Clark percussion, and a melody right out of the Goffin-King songbook, this was one of 70 songs (holy fuck!) that Springsteen wrote during his most prodigious year as a songwriter. While everyone who knew and loved Bruce had heard this on one bootleg or another, it turned out to be one of the signature songs of his 2010 retro release, The Promise, which included many of the numbers he composed during that incomparable year. From my perspective. everything about “Someday, We’ll Be Together” is a revelation.

June 18:  “For Your Precious Love,” Jerry Butler, and the Impressions 1958. The spiritual tenor of the vocals came from the Impressions’ church roots. At the beginning of their professional careers, both Jerry Butler and Curtis Mayfield had sung together in the Northern Jubilee Gospel Singers. Eventually, the Impressions became an outshoot of their church male choir. Interestingly, the lyrics were drawn verbatim from a poem Butler had written in high school and then immortally incorporated into this R&B classic, which was later recorded by the great Otis Redding years later. While Mayfield has always gotten his just due, Jerry Butler has somewhat flown under the radar screen over the years. In my mind, he should be recognized as one of early rock’s genuine immortals. One of the iconic soul performances of the 1950s, Butler’s version of “For Your Precious Love” was inducted into the Rock and Roll Hall of Fame as a single in 1998.

June 15: “Miss You,” The Rolling Stones, 1978. The Stones were in Toronto jamming with Beatles-blues legend Billy Preston when they came up with this infectious riff that had been inspired by a harmonica player they had just heard “in a Paris bar about three in the morning.” In the end, the Glimmer Twins had their first number one song in five years. The disco riffs’ notwithstanding, this is the group at its very best.

June 13:  “Stupid Cupid,” Connie Francis, 1958. Recorded 60 years ago today, this Neil Sedaka and Howie Greenfield number was given to Connie Francis, despite the fact that the then 19-year-old Sedaka felt that the ballad was much too juvenile for the sultry Francis. Actually, Connie ended up having a ball recording it and toyed with the vocals to such an extent that she eventually asked Sedaka to consider writing a sequel to it. One of the most playful singles of the 1950s, Francis felt that this ballad was a career saver – “Everyone thought I could only sing stuff like ‘Who’s Sorry Now,’ but ‘Stupid Cupid’ proved them all wrong.”

June 9:  “Sugar Mountain,” Neil Young, 1968. When Joni Mitchell heard the rough cut of this early masterwork from fellow Canadian Neil Young, she immediately composed, “The Circle Game,” in response. For that alone, this ode to childhood and impending lost innocence should be heralded by any serious music lover. 50 years to the day after it was first recorded. its colors still light up the sky: “Oh, to live on Sugar Mountain/With the barkers and the colored balloons/You can’t be twenty on Sugar Mountain/Though you’re thinking that you’re leaving there too soon/You’re leaving too soon…” In retrospect, there is no modern popular songwriter who has done more great things with the notion of the passage of time than Neil Young. Long may he run.

June 7:  “If I Can Dream,” Elvis Presley, 1968. Recorded 50 years ago today for The King’s legendary comeback special, Presley never sounded or looked better in his lifetime. It would be a long, agonizing decline downhill over the next nine years, but for this one evening, Elvis was on top of his game, reverently singing a ballad about hope, perseverance, and wonder. In a fascinating, what-if, moment, when the Beatles watched this performance on the telly back in England, they immediately contacted Colonel Parker with the hope of composing an album of songs for Elvis, which they would then backup at the Abbey Road Studios. Parker, one of the true villians in rock and roll histroy, said no. Can you imagine if the Beatles had choralled Elvis into the Abbey Road studeos to record an album of original Lennon-McCartney music? Good God.

June 4: “Baker Street,” Gerry Rafferty, 1978. 40 years ago this month, the late Gerry Rafferty’s iconic, “Baker Street” became a top-five hit in the United States, Canada, Australia, and the United Kingdom – and for a good reason. If there were an official anthem for loneliness, it might well be “Baker Street.” First and foremost, there was the hypnotic saxophone refrain of the late Raphael Ravenscroft who provided a brushstroke of pathos to the entire affair, and then there was Rafferty’s quivering vocals singing lyrics that seemed to draw blood. When I later lived in London and frequented Baker Street on occasion, the Bogartesque mystery I had imagined was largely missing. I realized then that the number was entirely internal and left open to the imagination of each person. In other words, pure art.

June 1: “Reach Out of the Darkness,” Friend and Lover, 1968. Anytime the word, groovy, turns out to be the centerpiece to the opening phrase of a song, it is an instant attention-grabber. That “Reach Out of the Darkness” entered the Billboard Top 10 fifty years ago this week seems utterly incomprehensible. It seems like yesterday to many of us, of course, but in an era of peace, love, and understanding, it was evident that we needed music like this ethereal anthem that spring. After all, Martin King had died in early April and Bobby Kennedy would perish the week that “Reach Out of The Darkness” reached its zenith on the charts. Two months later, our politics ended up spilling out onto the streets of Chicago.

May 27:  “Parker’s Mood,” Charlie Parker, 1948. Recorded 70 years ago today, “Parker’s Mood” was produced for the Savoy label with the Charlie Parker All Stars, comprising of Parker on alto sax, Miles Davis on trumpet, John Lewis on piano, Curley Russell on bass, and Max Roach on drums. This classic was deservedly selected by Harold Bloom for inclusion on his shortlist for his tome, American Sublime, a book of the greatest works of American art produced in the last century. As Bloom wrote about Parker, “The man dripped with genius – and it shows throughout ‘Parker’s Mood’. Can you imagine listening to a tune where Miles Davis served as just a pure prop in any musical number?”

May 23:  “Free,” Train, 1998. The band’s first single, which was released 20 years ago this week, made it to the Billboard Top 10 and featured memorable lyrics, an infectious hook, and crisp musicianship. In every way, it would serve as a forerunner to all of the fantastic songs that came after that from Train and its talented frontman, Patrick Monahan. This is for my lifelong friend, Liz Pepper, who died unexpectantly three years ago today and who included this pulsating song on a CD she sent to me back in 2011. I will always love you, Liz!

May 21:  “Well, All Right,” Buddy Holly, 1958. Recorded 60 years ago this afternoon, this classic acoustical foray into folk music by one of the Founding Fathers of rock and rock is another example of why Holly’s genius prevails all these years later. A single so influential that Bob Dylan said that he tried to model his first four albums on its “haunting simplicity,” the original Crickets backed him up here, minus rhythm guitarist Nicky Sullivan. The flipside to “Heartbeat,” this single, like much of Holly’s work was more popular in the UK, where a young John Lennon tried to hash out the chords with the help of his mate, Paul McCartney. By 1959, the Quarrymen included “Well, All Right” in concerts at Pete Best mother’s Liverpool venue, the Casbah Club. Oh, to be a fly on that wall!

May 19:  “The Weight,” The Band, 1968. The Band were underground legends before their debut album even came out. They backed Bob Dylan during his confrontational 1966 British tour and recorded a bunch of classics with him at their house in Woodstock, New York. Just like Dylan’s John Wesley Harding, released in late 1967, The Band’s Music From Big Pink is covered in rustic Americana with a heap of hippie sprinkle dust on top. ‘The Weight,’ the album’s timeless classic, is still reinvented by new generations of artists a half-century later. Songwriter Robbie Robertson has long claimed that “The Weight,” one of the few Band numbers in which Rick Danko, Levon Helm, and Richard Manuel all take turns singing lead, is about the impossibility of sainthood. As music critic Tom Moon wrote recently, “Sounding less like a polished choir than a wandering militia, they appear displaced, out of time. They might as well be selling elixirs from the back of a horse-drawn rig, moving at the slow, deliberate pace of backroads rural America in the days before [farm-to-table] artisan shallots.” No wonder Music from the Big Pink was named by the Smithsonian as one of the 100 best albums of the twentieth century.

May 15:  “Fast Car,” Tracy Chapman, 1988. How can something so simple scrape to the bottom of one’s heart so quickly and profoundly? There’s genuine magic in this great ballad, which was released 30 years ago today. From my vantage point, it has the same feeling that Springsteen emitted a few years previously, “Now I work at the carwash/where all it ever does is rain.” And to think that Tracy got her start in the Harvard Square T Station with an open guitar case and a stack of pitched quarters – her take-home-pay for the day. I remember her first during those fledgling days, and I am glad that I invariably threw a quarter into her guitar case every time I passed by. She always threw me a smile. Always.

May 12:  “MacArthur Park,” Richard Harris, 1968. Here are seven “weird facts” to help you put this incomparable song in its proper context: Weird Fact 1 – yes, this was the future Albus Dumbledore singing the most unlikely pop song of the 1960s. Weird Fact 2 – yes, this was composed by the eccentric but truly gifted Jimmy Webb, who also wrote “Wichita Lineman,” “Up Up and Away,” and “For All We Know.” Weird Fact 3 – the ballad, which was once called by legendary rock critic, Greil Marcus, as ”the worst song ever composed,” was written as part of a cantata. Ultimately, “MacArthur Park” was one of the few pop songs ever produced that followed a classically structured style. Weird Fact 4 – Jimmy Webb has always claimed that the ballad’s lyrics were not an ode to psychedelia. As he exclaimed to Terry Gross of NPR in 2014, “Everything in the song was visible. There’s nothing in it that’s fabricated. The old men playing checkers by the trees, the cake that was left out in the rain, all of the things that are talked about in the song are things I saw. And so it’s a kind of musical collage of this whole love affair that kind of went down in MacArthur Park. … Back then, I was kind of like an emotional machine, like whatever was going on inside me would bubble out of the piano and onto paper.” Weird Fact 5 – yes, that is actually Richard Harris hitting that final falsetto note in which he bellows, “Oh, no!” Weird Fact 6 – this is the longest number one song in pop history at 7:20. “Hey, Jude” is second at 7:11. Finally, Weird Fact 7 – has anyone in history ever left the cake out in the rain?

May 10:  “I’m So Young,” The Students, 1958. Recorded 60 years this afternoon this doo-wop classic became a staple for the Beach Boys when they began performing publicly in Southern California in 1960. While it barely made it onto the Billboard Top 40 six decades ago, its prominence came to life when the Beach Boys continued to perform it as an oldie, particularly in their most prolific live performance era – the mid-1970s. Yes, that’s jazz guitar legend Wes Montgomery supporting the four lads from Chicago. Who knew?

May 8:  “With a Little Luck,” Wings, 1978. 40 years ago this week, this was the number one song in the US. Paul’s songs after his Fab Four days could be annoyingly infectious; you’d have the tune in your head for the rest of the day and plead for an exorcism, but nothing worked. It was entrenched. Of course, my friend, Howie Edelstein, would argue that it’s Sir Paul’s genius as a “melodic savant” that was behind it all. Try to get this out of your head: “With a little luck we can help it out/We can make this whole damn thing work out/With a little love we can lay it down/Can’t you feel the town exploding?” What then follows is a luscious orchestral follow-up that you can’t help but love. As a lifelong “John person,” I often rolled my eyes and then ended up admiring Paul’s fetching duality.

May 5:  Art & Dotty Todd, “Chanson d’Amour,” 1958. This most unlikely married singing duo from Baltimore had an enormous hit on their hands 60 years ago this May with a song written by composer Wayne Shanklin (“The Big Hurt,” “Primrose Lane,” and “Jezebel”). Shanklin ended up giving it to the couple when they were performing at the Chapman Park Hotel in Los Angeles. Before they knew it, they were singing it live on the Dick Clark Show. As one of my buddies once said to me, this was the kind of song that young adolescents danced the fox trot to at in the late fifties and early sixties at school-sponsored get-togethers!

May 3:  “Play with Fire,” The Rolling Stones, 1965. A truly astonishing track from 1965’s Out of Our Heads, the song was initially released as a B-side on “The Last Time,” and songwriting credit is given to the entire band (when this was the case, they used the pseudonym, Nanker Phelge.) On this track, Jack Nitzsche plays the harpsichord, Phil Spector plays bass, Jagger plays tambourine and sings vocals and Richards plays acoustic guitar. Said Jagger in 1995, “’Play with Fire” still sounds amazing – when I heard it last. I mean, it’s a very in-your-face kind of sound and very clearly done…there’s a fidelity there that’s lacking in our earlier works.” The ballad describes a girl that’s high up on society’s ladder, and is known for the lyric, “so don’t play with me cause you’re playing with fire.” They were always a dangerous band, and they resort to playing with fire here. Of course they did.

May 1:  “Stormy Weather,” Lena Horne, 1943. 75 years ago today, this iconic single was released in conjunction with the film of the same name. Originally written in 1935, everyone from Astaire to Bessie Smith to Sinatra to Fitzgerald to Armstrong ended up recording it. However, it has always been “Lena’s Song.” As an aside, I recently played “Blue Skies” by Bing Crosby and Lena’s version of “Stormy Weather” as cultural flipsides. The buoyancy of 1925’s “Blue Skies,” was cast aside by the enduring gloom that prevails in 1935’s “Stormy Weather.” I’ve invariably found it exhilarating to teach history to teens through the lens of art. Ir works like a charm.

April 27:  “Everybody Knows (I Still Love You”), The Dave Clark Five, 1964. This underrated number remains one of my favorite Dave Clark Five numbers, a single so infectious that it should have its own zip code. From the unforeseen chord changes to the incredible instrumentation provided by saxophonist Denis Payton and lead guitarist Lenny Davidson, it is Dave Clark himself who drives the bus here with his propelling percussion work. The song is bridged together by the group’s version of Lennon-McCartney-Harrison-like harmonies, led by alpha dog vocalist, Mike Smith. Like most DC Five fans, I have never tired of listening to this indelible single after 54 years.

April 25:  “Slip Away,” Clarence Carter, 1968. Released 50 years ago today, this sweet-soul-music single is as timeless today as it was the day it came out. Like so many of Atlantic’s releases that year, it was recorded at the iconic Muscle Shoals Studio and was produced by the legendary Jerry Wexler. Yes, that’s the great Steve Cropper on lead guitar and the inimitable Donald “Duck” Gunn on the bass. Carter, who was an Otis Redding protégé, wrote and sang the lead vocals here, which went to number 3 on the Billboard charts. Producer Rick Hall of Muscle Shoals fame, later called, “Slip Away,”… “a seamless number by a collection of artists at the top of their game.”

April 22:  “Thunder Island,” Jay Ferguson, 1978. Ah, a prototypical mid-spring jingle-jangle to remind us that summer will be upon us soon enough! Joe Walsh provides the essential guitar licks here, while the late, great Leon Russell provides the seamless keyboard and the seamless production work. Not a bad combination to have if you are going to produce a one-hit wonder, which Jay Ferguson achieved 40 years ago this month.

April 19:  “Tighten Up,” Archie Bell and the Drells, 1968. Recorded on October 17,1967, it took the Drells’ recording company, Philadelphia International Records, 20 weeks to release it, but it was obviously worth it, as “Tighten Up” turned out to not only be a million-single seller but was the soundtrack of a dance craze that went worldwide after that. Archie Bell later claimed that this was the first disco song ever recorded, and while I disagree – there’s too much funk and soul it – I get the connection. By the way, Archie Bell served in Vietnam not long after this single was released.

April 15:  “Just One Look,” Linda Ronstadt, 1978. Another early-’60s R&B cover released 40 years ago this month by the sublimely talented Ms. Ronstadt in a decade full of them from her. This time, the tune came from Doris Troy, and it made for yet another approachable remake for Ronstadt — who had the highest charting remake of this song ever. Throw in a ’70s-cool satin outfit and roller skates on the 45 cover’s image, and how could this not succeed? I will admit it: I will never get over my unabiding love for Linda Ronstadt from the moment I saw her on television fronting the Stone Poneys back in 1967!

April 12:  “Unwind,” Ray Stevens, 1968. In the great lost 45 category, Ray Stevens’ “Unwind” would surely be in the top 100. Of course, it only made it to number 22 on the Billboard charts 50 years ago this week and then disappeared into the abyss. Perhaps because it wasn’t a “funny” song by the Al Yankovitz of his day, no one took it seriously. When I played it to a friend recently, though, he asked if Stephen Sondheim had written it. “It sounds like an outtake from Company,” she said with all sincerity. I laughed and said, “You know, you just might be right.” The melody is out of this world; the orchestration is superb. Even Stevens, normally not a crooner, does an admirable job here.

April 9:  “Any Old Time,” Billie Holiday and Artie Shaw, 1938. 80 years ago this past January, the great Artie Shaw was convinced that 23-year-old Billie Holiday had “the perfect swing voice” for his then-fledgling big band and hired her to sing. What made that so remarkable? Well, Holiday had just become the first African-American vocalist to front an all-white jazz ensemble. Her tragically short life was a mess, but Holiday banished misfortune every time she opened her mouth to sing. No artist is perfect, but she came damn close. As with any of her recordings, this is pure magic. Happy 103rd birthday, Lady Day!

April 7:  “Don’t,” Elvis Presley, 1958. Phil Everly once stated that this was his favorite Elvis recording, and there have been more than a few Elvis fans over the years who have said the same thing to me. Because the oldies stations have largely ignored it, this Lieber and Stoller classic sounds as fresh and impassioned as it did when it was released as a single 60 years ago this morning. In the end, there was only one Elvis.

April 4:  “I Heard it Through the Grapevine,” Marvin Gaye, 1968. Legendary Motown producer Norman Whitfield had a reputation for recording the same song with a number of Berry Gordy’s acts, changing the arrangement and the timing in order to make it “sound brand new.” This annoyed many of the label’s artists, especially such acclaimed songwriters as Stevie Wonder, Smokey Robinson, and Marvin Gaye, but in this case, Gaye thankfully acquiesced. “I Heard it Through the Grapevine,” a major hit in 1967 for Gladys Knight and the Pips was given to Gaye to redo. Whitfield and co-writer Barrett Strong set the track in a slower, more mysterious tempo, which enabled Marvin’s version to become the best-selling Motown single of the 1960s. On Rolling Stone’s list of all-time greatest singles in the rock era, Marvin’s version of “I Heard it Through the Grapevine” is number 81. Not bad for a “cover.”

April 2:  Win Your Love for Me,” Sam Cooke, 1958. Sam Cooke reached down deep into the depths and brought up pure soul for all of us to love for the rest of time. He had a rare ability to do gospel – his original musical genre, which made him a star, the way it’s supposed to be — authentic, clean, straightforward. Gospel drove Sam Cooke through his greatest songs, the same way it did for Ray Charles, Aretha Franklin, and Otis Redding. Like Nat Cole, Cooke had an incomparable voice. Ultimately, Sam could sing anything and make it work. As the late Lester Bangs once wrote in Crawdaddy, “It was his power to deliver — it was about his phrasing, the totality of his singing, which made him immortal.” 60 years ago this week, Cooke came out his follow up to “You Send Me,” the vastly underrated, “Win Your Love for Me.” Of course, Sam Cooke could have sung out the names of the street signs in Boston, and it would have sounded great.

March 28:  “The Sky’s the Limit,” The Duprees, 1968. Amidst the avalanche of psychedelia, soul, funk, and guitar-driven hard rock of 1968, the Duprees, an incredibly successful Doo-Wop group from Jersey City, released this incredible throwback just as Jimi Hendrix was putting the finishing touches on a Band of Gypsys. When I first heard it 50 years ago this month, I thought that it was a lost 45 from 1958. It might as well have been.

March 26:  “26 Miles (Across the Sea),” The Four Preps, 1958. A memorable Spring Break Song emerging from the depths of the Eisenhower Years, replete with four-part harmonies, white-frat-boy voices, and inconvenient getaways. For an often snowbound New England boy, this song always conjured up all of the bright-light-heat images of California in one fell swoop. Given the production team, and the time period, it is not surprising that this proverbial nugget turned out to be the number 1 song in the US and Canada 60 years ago this week.

March 24:  “Love is Like a Baseball Game,” The Intruders, 1968. One of the best songs ever written and recorded about America’s pastime by one of the truly underrated R&B groups at the time, this Philly Soul classic experienced a revival when it was released as a single 25 years after it was first recorded. Not surprisingly, it still resonates. Well done, Intruders. Play ball and go Sox!

March 21:  “Good Kisser,” Lake Street Dive, 2018. In 2009, four New England Conservatory grads get together to form a band. Four highly received albums later (and with a fifth about to be released), they are still going strong, mainly because of the vocal prowess of the group’s lead singer, the incandescent Racheal Price. That each of their songs has a heady combination of economy and soul just adds to the luster. As one of my friends said to me recently, “Lake Street Dive produces the kind of music we listened to when we grew up in the sixties.” I would take that as a supreme compliment.

March 18:  “Shame, Shame,” The Magic Lanterns, 1968. I wonder how many of you remember this classic 1960 ’s song, which you could certainly call ultimate cultural fossil? Hint – it was recorded by a one-hit-wonder group from England, it reached #21 on the Billboard Top 40 fifty years ago this week. “Shame, Shame” possesses all of the ingredients of a 1960’s hit – an infectious melody; inspired melodies, clean musicianship, and an emphasis on harmony.

March 13:  “Sweet Talkin’ Woman,” Electric Light Orchestra, 1978. Can we all agree that ELO was way ahead of its time? That Jeff Lynne understood that gorgeous melodies, infectious harmonies, pulsating rhythms, and interesting lyrics could produce something sustaining? No wonder ELO invariably recorded in Abbey Road Studio Number 2. For a spell, their productions were worthy of Lennon, McCartney, and George Martin.

March 10:  “Chain of Fools,” Aretha Franklin, 1968. 50 years ago this month, soul music was at its zenith and Aretha was The Queen. Here, she performs her smash hit, “Chain of Fools” live in a London television studio, which included a worshipful Mick Jagger who came to personally pay homage to her. As Jon Landau later wrote in Rolling Stone, “In the end, the sign of Aretha Franklin’s artistry is that she always leaves her mark – first – on the music – and then on us.”

March 7:  “Rebel Rouser,” Duane Eddy, 1958. From his vintage LP, Have Twangy Guitar Will Travel, this top ten hit reached its peak 60 years ago this week. I would describe this instrumental as a cultural fossil – a seamless mesh of time, place, and circumstance. By the way, George Harrison, who was born 76 years ago this winter, always claimed that this was the first song he ever performed publicly to an audience with as a member of the Fab Four. “I was up there on stage in Liverpool doing my Wayne Eddy thing as a 15-year-old, trying not to look at John, who was 17 at the time, and so much more hip than I was at that moment.”

March 4:  “Sabu Visits the Twin Cities Alone,” John Prine, 1978. From his brilliant album, Bruised Orange, which was released 40 years ago this afternoon John Prine provides an unforgettable mixture of humor and pathos into the real life “Elephant Boy,” an actor from India who starred in British adventure films of the ’30s and ’40s. Ultimately, this song turned out to be one of Prine’s most existential, and yet hysterical, ballads he ever recorded. Indeed, this byzantine song imagines the decline of the actor’s fortunes as times change around him, leaving him not fighting obsolescence, but rather riding its inevitable slide into a dusty descent in the jungles of America. Finally, the ballad also contains the single most absurd refrain in modern recorded music: “Hey, look Ma– here comes the Elephant Boy/bundled all up in his corduroy/headed down south towards Illinois/from the jungles of East St. Paul.” From this lens, John Prine is a national treasure.

March 1:  “Tomorrow,” The Strawberry Alarm Clock, 1968. Even though this was the Strawberry Alarm Clock’s obligatory follow-up to their 1967 smash, “Incense and Peppermint,” I’ve always felt that this song was an infinitely superior tune. Perplexingly, it only made a slight blip on the screen when it was released 50 years ago this week, ultimately becoming the proverbial “Lost 45.” How can a psychedelic tune with lots of major 7th chords not be enduring? Historically, of course, “Tomorrow” foreshadowed Zager and Evans’ “In the Year 2525″ by a year-and-a-half. By the way, the Strawberry Alarm Clock was right about 2018 at least. These days, we do indeed live…”in a world of carnivals and clowns.”

February 25:  Native New Yorker,” Odyssey, 1978. With a Love Unlimited Orchestra-like opening, an irresistible melodic hook, a pulsating disco beat, culminating in a paean to the City at the height of the Studio 54 days, what could go wrong? At the time, I hardly knew New York. While this was recorded and released in December 1977, it literally took off as the winter of 1978 commenced, where it was a top ten hit through mid-March. After having lived in the NYC metropolitan area for nearly three decades, however, I now get why there’s no place like it.

February 23:  “Reelin’ and a-Rockin’,” Chuck Berry, 1958. Released 60 years this morning, this authenitc early rock classic was actually the flip side to “Sweet Little Sixteen,” and while I always adored that exemplary single, I played the B-Side of the 45, even more, growing up. 13 years after the eminent Leonard Chess released the double-sided hit on his record label, Berry’s 1971 live version of “Reelin and a-Rockin’” on The London Berry Sessions sold more than a million copies worldwide based on the reinvented lyrics that played havoc with American censors at the time. (“Well, I looked at my watch, and it was quarter to ten/you know she turned me round/and we had me do it again!”)  Still, it was the original version that I still harken back to all these years later.

February 19:  “I Wish It Would Rain,” The Temptations, 1968. The number 1 song in the US 50 years ago this week, the lyrics of this harrowing song about a heartbroken man whose woman had just left him were penned by Motown staff writer Roger Penzabene. The lyricist had just learned that his wife was cheating on him, and in his lingering sorrow, Penzabene wrote both this and its follow-up, “I Could Never Love Another (After Loving You).” Tragically, the bereft Penzabene committed suicide barely a week after the single’s release. David Ruffin, who sang the mournful lead here, called this ballad, “The best thing we ever did as a group together.” I agree. As an aside, the legendary Boston DJ, Bud Ballou, once introduced “I Wish it Would Rain” on 1510 WMEX Radio by saying, “This sounds like February.” One of my dearest friends refused to listen to this ballad after her mother died in February 1968 because the song and the tragedy were intertwined. The power of music once again.

February 15:  “Running on Empty,” Jackson Browne, 1978. The opening cut, title-track and first single from Browne’s live concept album turn out to be a perfect metaphor for both the LP and Jackson’s increasingly demanding life on the road at the time. It’s one of his most autobiographical songs — check out the years and ages he runs through in the ballad — are a harbinger of things to come for all of us. “I don’t know where I’m running now/I’m just running on” turns out to be a whole lot of truth.

February 11: “I Second That Emotion,” Smokey Robinson and the Miracles, 1968. One of my all-time favorite Smokey songs, and the number one song in the US 50 years ago this week, this sprite number gets the short shrift by most musicologists when they review Robinson’s scintillating career. In songwriting circles, this one is often studied for its use of secondary rhymes and melodic intricacy. Smokey sprinkled in words like “notion” and “devotion” to compliment the title, all while rhyming verses with phrases like “kisses sweet” and “no repeat.” The guitar line also perfectly accents the vocal. Smokey has always credited Motown founder Berry Gordy for his songwriting evolution. FYI, Gordy was a songwriter before he started the legendary record label – he was Jackie Wilson’s chief composer in the ‘50’s – and Berry taught Robinson how to write sophisticated yet accessible tunes.

February 7:  “It’s Only Make Believe,” Robert Gordon, 1978. Featuring the legendary rockabilly guitarist, Link Wray, the early rock revivalist Robert Gordon completely outdoes Conway Twitty’s original, belting out this quintessential 1950’s ballad with such reverence that you swear it must have been recorded in the Sun Records Recording Studios in Memphis with Bill Black, Scotty Moore, and the Jordanaires. Do yourself a favor and take a listen. You will be blown away if you do. Promise.

February 3:  “Kisses Sweeter Than Wine,” Jimmie Rodgers, 1958. Jimmie Rodgers took an old Weaver’s’ standard, updated it, and made it to number one 60 years ago this week. From this lens, Jimmie Rodgers acoustic folk ballads in the 1950s turned out to be a foreshadow of the folkies who came to dominate the ensuing decade. Here was a man before his time – whose singles such as “Honeycomb” and this one – made him a rich man by 1960. (By the way, I love this particular YouTube version on an fan’s old record player. As Ringo once stated, “If it doesn’t have a scratch in it, then I don’t trust it.”)

February 1:  “The Last Time I Saw Richard,” Joni Mitchell, 1971. From her masterpiece, Blue, Joni ended the album with this heartrending ode that turns out to be a perfect storm of lyrics, vocals, and musicianship. While we did not know it at the time, it was actually a paean to her old boyfriend, Graham Nash, who, ironically, had just written his classic, “Our House,” in honor of Joni. As usual, her highly crafted lines are sung in a voice that is lilting, uncompromising, elegant, and heartbreaking. “I gave up hiding behind bottles in dark cafes a few years ago now. Was told too many Lies. I grew my gorgeous wings and flew away…” From this lens, Joni Mitchell is a Nobel Prize for Literature waiting to happen.

January 28:  “Honky Tonkin’,” Hank Williams, 1948. Could it be that this Hank classic was recorded 70 years ago today? As Hank said famously at the time, “You got to have smelt a lot of mule manure before you can sing like a hillbilly.” His tragic death at the age of 29 on January 1, 1953, still leaves one in wonder at the breadth of music he wrote, published, and recorded in a very short lifetime. In the same interview, Hank exclaimed, “I was a pretty good imitator of Roy Acuff, but then I found out they already had a Roy Acuff, so I started singing like myself.” And that’s the key to success in life. Be yourself.

January 24:  “If I Could Build My Whole World Around You,” Marvin Gaye and Tammi Terrell, 1968. From the best vocal duo in pop history, this single was the last major hit for the incomparable Marvin-Tammi partnership that included five Top Ten singles in 14 months. “If I Could Build My Whole World Around You” was recorded just two weeks before Terrell’s career virtually ended when she collapsed into Gaye’s arms as the two performed at a concert at Hampden–Sydney College on October 14, 1967 (Terrell was later being diagnosed with a brain tumor). 50 years ago this week, “If I Could Build My Whole World Around You” reached number three on the Billboard Top 40 chart. Sadly, Tammi, who was the sister of boxer Ernie Terrell, ended up having eight unsuccessful surgeries before succumbing to the illness on March 16, 1970, at the age of 24. Of course, Marvin Gaye never fully recovered from the tragic loss of his vocal partner and soulmate.  

January 18: “Burning of the Midnight Lamp,” Jimi Hendrix, 1968. With its unforgettable harpsichord intro, wah-wah guitar effects and studio trickery, ‘Midnight Lamp’ hints at the elaborate production methods Hendrix would later use on his ‘Axis’ and ‘Ladyland’ albums. It’s also notable for being his first tune to feature wah-wah guitar effects, which then became a staple of his live performances. As Freddie Mercury said succinctly in 1988, “Jimi epitomized, from his presentation on stage, the whole works of a rock star. There’s no way you can compare him. You either have the magic or you don’t. There’s no way you can work up to it. There’s nobody who could have taken his place.” All in all, Hendrix was an unfettered genius who released this tune as a single 50 years ago today.

January 15:  “Great Balls of Fire,” Jerry Lee Lewis, 1958. 60 years ago this week, the Killer’s “Balls,” as he later referred to the single, was the number 1 song on the US Billboard Top 40. Like Lewis’ previous hit, “Whole Lotta Shakin’ Goin’ On,” this classic, written by the great Otis Blackwell, is ladened with sexual innuendo, which was shocking for a white Southern musician in 1958 not named Jerry Lee Lewis. After the song was recorded, producer Sam Phillips called out from the Sun Studio control room, “There’s no follow-up to this, Jerry Lee!” Indeed, there wasn’t.

January 7:  “Everything That Touches You,” The Association, 1968. The Association attempted to compose an anthem of love, peace, and understanding – and succeeded with aplomb – only to be ignored by a weary teenage population that was growing ever more cynical due to the raging Tet Offensive that dominated the news a half-century ago this month. That this incandescent ballad hit its zenith at number 11 on the Billboard Top 40 in the winter before Dr. King and Bobby Kennedy were murdered says a lot about the troublesome days and nights we experienced back then. Still, if you lift the covers of history and just focus on the music, there’s so much to relish here. Luminous harmonies, deft lyrics, superb musicianship (thanks to LA’s legendary Wrecking Crew), and a production that was worthy of Sir George Martin, all combine to generate the Association’s most underrated classic. Sadly, it was also the band’s last substantial hit.

January 5:  “Too Much of Nothing,” Peter, Paul, and Mary, 1968. A supposed throwaway song that Bob Dylan originally composed during his hiatus with the Band in 1967, this ballad found legs when Dylan’s manager, Albert Grossman, shared it with one of his other clients, Mary Travers. Within a few months, Peter, Paul, and Mary recorded their version of “Too Much of Nothing,” which turned out to be a top ten hit for them 50 years ago this week. I have long felt that this is one of the group’s more radiant interpretations of Dylan’s music, especially in the haunting, three-part-harmony refrain: “Say hello to Valerie/Say hello to Vivian/Give them all my salary/On the waters of oblivion.” Give yourself a listen.

January 1:  “Smile Please,” Stevie Wonder, 1974. Yes, there is so much that has occurred over the past year that would make us all permanently downcast, like a perpetual shroud of pea soup fog blocking the sun. As an eternal optimist, however, I chose to believe that somehow the best days are ahead of us. Whenever I am down, I go to my default artist, Stevie Wonder, who continually reminds us that even in the darkness, we can see the stars. Thus, let’s start 2018 right with a song, which proclaims, “They’re brighter days ahead!” As always, thank you, Stevie!

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Frank Sinatra Sings Only For the Lonely

 

 

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Poor ol’ Jimmy sits alone in the moonlight

He saw his woman kiss another man

So he takes a ladder, steals the stars from the sky

Puts on Sinatra and starts to cry…

– Stephen Bishop, “On and On,” 1977

There it was, another brief item buried in the Google News feed connected to Frank Sinatra’s centennial year three years ago. The opening sentence instantaneously garnered my attention: “The first pop music concept album ever released, Frank Sinatra’s In the Wee Small Hours of the Morning is celebrating its 60th birthday this week.”

In a time when the world continued to reexamine the significance of Frank Sinatra, this was but an infinitesimal, blip-on-the-screen item when it was published in December 2015. And yet, the aftershocks of a disc that was recorded back in 1955 are still being felt all these years later.

A three-in-the-morning rumination on misery, In The Wee Small Hours of the Morning, captured Sinatra’s emotional nose-dive after he and second wife Ava Gardner’s marriage began to crumble. Despite its prevailing gloom, the disc’s influence became so widespread that it is now credited with setting the standard for all concept albums thereafter.

Previously, Sinatra had made a name for himself by generating flashy, big-band-backed records beginning in 1939. In real life, however, the winds never blew in one direction for Frank Sinatra. They inevitably swirled. ”Being an 18-karat manic-depressive, and having lived a life of violent emotional contradictions,” Sinatra once admitted. “I have an over-acute capacity for sadness as well as elation. Whatever else has been said about me is unimportant. When I sing, I believe, I’m honest.’” Ultimately, In The Wee Small Hours of The Morning was nothing less than a 52-minute hymn to pathos.

Consequently, it made perfect sense that the mercurial Sinatra followed such a depressing album a year later with the ultimate buzz: his 1956 hyperkinetic release, Songs for Swingin Lovers, which featured such beloved chestnuts as “I’ve Got You Under My Skin,” “Old Devil Moon,” and “You Make Me Feel So Young.” As Bruce Springsteen said years later, “When I need a pick-me-up, my default has long been putting on Songs for Swinging Lovers.”

Thus, when Frank then came out with another “downer” concept record 19 months later, critics and fans alike braced themselves for one of Frank’s emotionally harrowing, roller-coaster rides. But Frank Sinatra Sings For Only the Lonely wasn’t merely a 1958 follow-up to In the Wee Small Hours of the Morning.

It turned out to be his masterpiece.

More than two decades after his death, the widespread appreciation for Sinatra as an artistic immortal has reached universal affirmation. When historians list Frank Sinatra’s assorted “firsts,” his place on America’s musical Mount Rushmore is now rock-solid. After all, he was the first pop superstar of the modern era. He possessed the most recognizable singing voice in the world. He was the most significant male vocalist to bridge jazz to the wider pool of mainstream music. His incomparable “phrasing” set the standard for musicians of all stripes. He publicized such future leviathans as Billie Holiday; Count Basie; Buddy Rich, and Nina Simone when they were struggling to be heard. Because of his association with the fledgling Capitol Records, Sinatra, along with Nat Cole, moved the epicenter of the American recording industry from New York to Southern California. He was the founding father of Reprise Records, a company “created by artists for artists,” something the Beatles tried to replicate years later with Apple Records. Finally, it was Frank Sinatra who was the originator of what would become known as “the concept album.”

For the uninformed, a “concept album is a studio record where all musical or lyrical ideas contribute to a single overall theme or unified story.” Those of us who grew up in the 1960s could easily rattle off a seedbed of concept albums that are now considered classic rock’s “must-have” discs. A short-list might include Pink Floyd’s Dark Side of the Moon; the Moody Blues’ In Search of the Lost Chord; David Bowie’s The Rise and Fall of Ziggy Stardust; Marvin Gaye’s What’s Going’ On, and the Who’s Tommy.

Casual rock fans believe that the idea of the concept album surfaced somewhere around the time of the Beatles’ Sergeant Pepper’s Lonely Hearts Club Band. In actuality, it was Sinatra who turned out to be the consigliere of the genre when he introduced the notion a dozen years earlier with In the Wee Small Hours of the Morning. Whereas that 1955 recording was certainly extraordinary, it is the brutal honesty, utter despair, and lingering regret of 1958’s Frank Sinatra Sings for Only the Lonely that hangs like a shroud over every other concept album released since then. Only Joni Mitchell’s Blue and Bob Dylan’s Blood on the Tracks come close to it.

Of course, creating the very idea of a concept album was no reach for someone like Sinatra, who had famously sung for both the Harry James and Tommy Dorsey-led bands at the outset of his career. Not surprisingly, Sinatra came up with the novel idea through the process of osmosis. After all, his work as a frontman in the 1940s with both Harry James and Tommy Dorsey gave him an education in the musical bookends of sequence and connotation. When he started traveling around the country as part of a big band, Sinatra learned that there had to be a connection between the orchestra and its audience. As he became a seasoned “front-man,” he learned that thematic scheming was an essential part of any successful musical “package.”

This idea eventually led him to become increasingly obsessed with the order of his songs that comprised his old 78 RPM albums as a Columbia artist in the forties. (As an aside, Sinatra has long been credited with being the first recording artist to come up with the idea of interchanging “fast songs” and slow ballads in order to sustain the attention of the listener).

When the industry came out with the 33 RPM long-playing album in the mid-1950s, Sinatra had become even more obsessed with the process.

From his perspective, the songs had to make sense in terms of arrangement, theme, and sound. Thus, when Ava Gardner officially divorced him in 1957, he knew that he had to produce an album capturing “the blues” he felt at the time. The genesis of Frank Sinatra Sings For Only the Lonely, then, is largely biographical. Consequently, in May 1958, Sinatra, renowned arranger and producer Nelson Riddle, and conductor Felix Slatkin entered the famed Capitol Studios at 1750 Vine in Hollywood to record the follow-up to In Wee Small Hours of the Morning.

While Sinatra and Riddle had already reinvented contemporary music by creating a sound that was inimitable, their customary big band sound would not be the musical centerpiece for this particular record. At Sinatra’s request, classical maestro Felix Slatkin, a significant talent as well, brought with him a gaggle of orchestral musicians with him to the studio. As he had done years earlier with his first celebrated producer at Columbia, Alex Stordahl, Frank would be the main instrument backed by a minimalist orchestra that would play off the singer’s voice. Over the next eleven days, the collected ensemble repeatedly heard two phrases directed at them from Sinatra himself: follow me and less is more. In recalling the celebrated sessions that encompassed Only the Lonely, jazz guitarist Al Viola recalled, “Classical musicians don’t normally riff, but for Sinatra, they did, and it worked. They played off each other like it was the most natural thing in the world for them to do.”

In a canon of 14 torch songs that comprise Frank Sinatra Sings For Only the Lonely, an astonishing eight undisputed masterworks provide the crux for the album. The title track, written by longstanding Sinatra pals Sammy Cahn and Jimmy Van Heusen, serves as the quintessential splash-in-the-face that promptly triggers emotive anguish. Even at a casual listen, it is the fidelity one hears that makes this opening salvo so powerful. Part of that comes from Sinatra’s peerless facility for phrasing – his ability to seamlessly articulate each word and expression.

As Pete Hamill once famously pointed out, it was Frank Sinatra’s exquisite phrasing that taught more people how to speak English as a second language than any other person in human history. Even more remarkably, Sinatra’s aptitude to insert distinctive musical punches into each syllable separates him from everyone else. Finally, the tonal quality of his singing is unmatched. His voice sounds as clear as a bell on every word and phrase he sings.

But as any vocalist knows, phrasing is more than just pronunciation. It also contains another potent vocal element – breath control. Sinatra, like nearly every other great jazz and pop musician of his time, learned that indispensable element from the great Louis Armstrong. In addition, there is the lilt, the playfulness, the dragging out of words to bring the meaning powerfully to life. As songwriter Sammy Cahn once observed, “When Frank sings ‘lovely,’ he makes it sound love-e-ly as in ‘Weather-wise it’s such a love-e-ly day’ in ‘Come Fly with Me.’ Likewise, when he sings ‘Lonely” as in ‘Only the Lonely,’ he makes it such a lonely word.” 

The second ballad on the album, “Angel Eyes,” is so fastidiously arranged by the brilliant Nelson Riddle that Sinatra’s voice serves primarily as the lead instrument here. Because both arranger/producer and singer were notable collaborators, teamwork lay at their heart of their musicianship. As Sinatra and Riddle inevitably seemed to do whenever they worked together, their considerable egos were pushed aside, and “the song became the thing.” Thus, “Angel Eyes” is nothing less than a three-minute narrative that tells a profoundly heartrending tale. “Sinatra’s ability to tell a story had consistently gotten sharper as the voice grew deeper and the textures surrounding it richer,” claims musicologist Will Friedwald. Certainly, when Frank was a young pop star in the ‘40’s with a vibrant tenor, his voice was the equivalent of a new spring day. On “Angel Eyes, however, Sinatra, now 43-years old, sounds like finely crafted wine whose “chops” have been fermenting in a keg for years. He is not some young pup who is aching; Sinatra’s been around the block more than a few times, so the heartbreaking is even more palpable. 

Bob Haggart’s and Johnny Burke’s beloved American Songbook classic, “What’s New” is given an entirely new interpretation by Sinatra in the album’s fabled third song. Previously, the standard had been interpreted by scores of singers in a condescendingly melodramatic way. The effect was comparable to leaving a cake in the oven 10-minutes too long. In contrast, Sinatra’s version is both understated and coy, making it even more wrenching. Linda Ronstadt, who recorded “What’s New” with Nelson Riddle 25-years later, said that she “tiptoed” around ballad at first before agreeing to record it. She freely admitted to Larry King in a celebrated 2003 interview, “How can you top Sinatra?” The orchestration as charted by Riddle is evocatively restrained. To add to the gloom, trombonist Ray Sims plays off Sinatra’s voice like a mournful wail in pea-soup fog. It is one of those numbers that stays with you well after the song is over. 

“Willow, Weep for Me,” the record’s fifth number, is composer Ann Ronell’s heartbreaking, cause-and-effect breakup song – the musical equivalent of the aftereffects of a major nor’easter. It is no accident that Frank, who long revered Billie Holiday, wanted to record one of her more acclaimed ballads. Six months before he released Frank Sinatra Sings For Only the Lonely, Sinatra stated famously that…“’Lady Day’ is unquestionably the most important influence on American popular music in the last 20 years. With a few exceptions, every major pop singer in the United States during her generation has been touched in some way by her genius.” In the end, Sinatra not only gives a nod to Holiday in “Willow, Weep for Me,” but he ends the tune with the enduring plea: “Murmur to the night/Hide its starry light/So none will find me sighing/Crying all alone/Weeping willow tree/Weep in sympathy/Bend your branches down along the ground – and cover me/Listen to me plea/Hear me willow – and weep for me.”

Of course, when Frank recorded the number, “The First Lady of Jazz” would have only a year to live. In 1959, Holiday died of cirrhosis of the liver at 44 in her bed at New York City’s Metropolitan Hospital under house arrest, poverty-stricken and despondent. Of course, it was Sinatra who not only paid off all of her debts but then ended up funding Holiday’s entire service – the largest, most celebrated funeral in the city that year. In “Willow, Weep for Me” Sinatra’s haunting voice throughout the dirge is nothing less than a poignant foreshadow of Billie Holiday’s impending demise.

“Blues in the Night,” the classic pop standard composed in 1941 by the celebrated songwriting team of Harold Arlen and Johnny Mercer, proves to be a solitary inhale in an album ladened with exhales. The seventh ballad in the album, this extraordinary version should be Exhibit A as to why experts such as Wynton Marsalis have long claimed that Sinatra is “a jazz singer in all respects.” Recorded on June 24, 1958, there is no counterfeit swooning in Frank’s version of “Blues in the Night.” Instead, his voice sweeps; dips; soars, and propels like a turbulent ocean. As Billy Joel once stated, “Sinatra’s voice expresses more eloquence that I can ever say in mere words.” Years ago, when I played the ballad for a fellow musical pal, he sighed: “Frank sings ‘Blues in the Night’ so persuasively that it makes me want to ditch my girlfriend, go to a bar, and cry into my beer.” 

“Guess I’ll Hang My Tears Out to Dry,” the album’s most searing tune and the ninth song on the record has eventually become one of Sinatra’s most enduring numbers. While he was known as “One-take Frank” in the movie business, his fastidiousness when making music was legendary. “Guess I’ll Hang My Tears Out to Dry” took almost a day of precise outtakes to get it right, according to chronicler Will Friedwald. As he did on all 12 tracks on Only the Lonely, Sinatra would inevitably enter the studio; greet the musicians individually; saunter up to the front of the room; make notations on the sheet, and then patiently walk through what he wanted to hear from each musician. “Every time you saw him enter the studio to record, it became a workshop into how to make a textbook record,” Quincy Jones said near the end of Sinatra’s career. There are mythical bootlegs of Sinatra’s precise directions to his supporting musicians in scores of sessions out on YouTube. Like an experienced traffic controller, you hear him patiently walking his band through a maze of notes that eventually evolves into a highly imaginative, intuitive sound. When I first heard such outtakes, thanks to New York radio personality Jonathan Schwartz, it reminded me of Leonard Bernstein’s sagacious entries that framed his epic Young People’s Concerts Series back in the sixties.

In “Guess I’ll Hang My Teardrops Out to Dry,” the orchestra and the singer create a symmetry that is indistinguishable, two forces of nature that have merged seamlessly. As with every ballad on this album, the storyline means everything here. Sinatra is a storyteller here weaving out a story that grips your heart and hurls it into the abyss. It all leads to a Casablanca-like ending: “’Yes’ – somebody said/ ‘Just forget about her’/So I gave that treatment a try/And strangely enough/I got along without her/Then one day/She passed me right by/Oh, well…..” When the tune ends, you feel as if the green light at the end of Daisy’s dock has just gone out for the last time. 

“Spring is Here,” the record’s 10th song, is an old Richard Rodgers/Lorenz Hart standard that had long bordered on schmaltz until Sinatra reinvented the song in a tour de force rendering. Previous to Frank’s version, it was considered a novelty tune without much substance to it. When such accomplished singers such as Jo Stafford, Bing Crosby, and Billy Eckstine sang it prior to Sinatra, their individual versions sounded slightly repentant; all three artists seem reluctant to even sink even their toes into its misery. Not Sinatra. He grabs a hold of the song at the first note, plunges in head first and then plummets to the muck at the very bottom. In so doing, he claims it as his own and produces an authentic classic in the process. Of course, it is that personal touch that separates Sinatra from nearly every other artist. As songwriter Frank Military once declared, “When you listen to Frank, you always believe that he is singing directly to you.”

I can personally vouch for this for when I saw Sinatra perform live at the Jacksonville Coliseum back in 1976. I swore he was belting out number after number to me alone in a coliseum full of people. No wonder that one of his longstanding staples was entitled, “This Song’s For You.” 

The concluding ballad of the album, “One for My Baby (And One More for the Road)” is, for most Sinatraologists, the greatest thing he ever recorded. An over-the-top purist, Frank felt that the Arlen/Mercer standard was written especially for him and that only he could do any justice to it. Because of his rank perfectionism, Sinatra ended up recording the ultimate male torch song an astounding six times in four different decades. Nearly everyone agrees, however, that the version he inserted to conclude Frank Sinatra Sings For Only the Lonely was his best. Miles Davis always claimed that Sinatra “…sounded fundamentally soulful on that number, which is why nobody has ever touched it.” Ella Fitzgerald used to perform regularly “One for My Baby” to live audiences, invariably referring to it as “Frank’s song.” Out of sheer respect, Tony Bennett refused to record it for more than 35 years until he finally gave in and included it as part his 1993 tribute album to Sinatra, Perfectly Frank.

So what makes “One for My Baby (And One More for the Road”) so magical? For most fans, it is the forlornness in Sinatra’s voice; the intentional hesitation in his phrasing; the crushing refrain; the heartbeat-like, call-response provided by pianist Bill Miller, and the pillowed strings that are flawlessly layered to precision by Nelson Riddle and Felix Slatkin. All of these elements fuse into one, creating a genuine chef-d’oeuvre. People living centuries from now will continue to listen to this song in wonder. In my mind, it is the perfect ending to a perfect album. 

Although the record ultimately made it to number one on the Billboard album chart in October 1958, Frank Sinatra Sings For Only the Lonely was subsequently awarded just one Grammy the following winter. Inexplicably, it was for the disc’s perplexing cover, an original painting of Sinatra by Nick Volpe, depicting a morose Frank as a Pagliacci-like wag. To correct the obvious faux pas, the Grammy powers-that-be inducted Only the Lonely into their Hall of Fame a year after Sinatra’s death in 1999. By then, Time Magazine had already named it one of the Top 100 musical albums of the century. That same year, critic Jim Emerson wrote, “The bleakest and blackest album of popular songs ever recorded in a hundred years, so quietly powerful it can leave you slumped in your chair with the ice cubes still rattling in your glass. Every single “suicide song” (as Sinatra liked to call ’em) on Only the Lonely is a stunner that will take your breath away.” A few years later, Amy Winehouse called the record, “The single greatest album ever recorded, period.”

And, so, 60 years after the release of Frank Sinatra Sings For Only the Lonely, the hurt still burns; the regrets still linger, the music remains set in the present tense. The singer seems to be at the point of death in each and every number, and yet there is no other album out there in which you feel more alive after listening to it.

I guess that was Sinatra’s point all along. 

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Forever Came Today

When my sons were very young, I occasionally went shopping at the local Stop and Shop late at night after they were sound asleep. One evening, with the store nearly deserted, I found myself grazing in the pasta section when a supple ladylike voice behind me exclaimed, “Excuse me, sir, I am just too little! Do you mind handing me a jar of marinara sauce on the top shelf?”

I immediately grabbed it, turned around and ended up giving it to a striking, middle-aged African-American woman. She smiled broadly, thanked me profusely, and then patted my hand.

“It’s my pleasure, Maam,” I replied.

Over the next few years, we began to converse when we bumped into one another at the market. The Greenwich, Connecticut Stop and Shop regularly played oldies during the evening hours, and one time when we were conversing, the old Supremes’ tune, “Stop! In the Name of Love!” came on.

“There you are!” I laughed.

“Oh, Shaun, I was so young back then!” Diana Ross professed as she waved goodbye to me.

On another occasion, Ms. Ross and I were reminiscing about an elderly teacher who worked at a local school for years and years before retiring. One summer afternoon, she ended up striking a conversation with him. While this gentleman knew the subject that he taught intimately, friends and colleagues also recognized that his knowledge of the greater society was practically nonexistent.

Because he was naturally engaging, the veteran instructor asked Diana, “So what do you do?”

She was so stunned – no one literally had asked her that in 25 years. She took a moment, pondered what to say, and then replied, “Well, I sing a little!”

He looked at Diana Ross and remarked amicably, “Well, I sing a little too!”

Only in Greenwich, Connecticut.

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714 Homers Behind Hank Aaron

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(In 1984, I was a young fifth-grade teacher at The American School in England – pictured here. In my spare time, I also served as the Cobham Yankees starting pitcher during the baseball season. We played our home games on the TASIS campus, situated 18 miles southwest of London. In the right portion of this photograph, a local Norman landmark, St. Mary’s Church, consecrated in the historic year, 1066, is clearly visible).

34 years ago this month, I was the starting pitcher in the British Baseball League for the Cobham (Surrey) Yankees at a reconfigured baseball field in pastoral Thorpe, England. Working on a makeshift mound, I kept a roster of the opponent team in order to know the nationality of each batter. As I had learned that year, native Brits loved low balls because of their prowess in cricket. Therefore, they would be served nothing but belt high-and-above pitches. For my American and Canadian counterparts, each sphere would be hopefully thrown at the lowest point of the strike zone, the traditional “out” zone for most North American batters.

The matronly tower of St. Mary’s Church, which sat imposingly a few hundred yards behind home plate in the azure sky, framed my view behind the backstop. 20 years previously, a Roman cinerary urn, dated to 120 -150 A.D., had been discovered buried in its ancient churchyard. Local archaeologists then determined that the mainframe of the church had been completed in 1066, the year that William the Conqueror had become the king of England. In addition, the infamous Doomsday Book listed St. Mary’s Church as the main center of worship in the area.

As I glanced toward home to get the sign one glistening Sunday afternoon in late May, a familiar target wearing an authentic New York Yankees baseball uniform was motioning to me with his expansive catcher’s glove. Johnny Munson, our team’s receiver, who was then stationed at a US Air Force base in England, was Cobham’s star player. The older sibling of the late Thurman Munson, Johnny resolutely adorned one of his brother’s old uniforms and took charge of us all as his brother Thurm had during his ten-year career as a New York Yankee.

After I had gotten to know him a bit, I informed him that I had seen his brother play a handful of games in the Cape Cod Baseball League 16 summers previously. Even though I was a diehard Red Sox fan, I instantly won the elder Munson over. Johnny enthusiastically informed me that Thurman’s favorite summer growing up had been those golden months when he had starred for Chatham at the emerald ball field that was frequently shrouded in a thicket of fog at the elbow of the Cape.

After I struck out the first batter for the London Knights that afternoon on the Thorpe cricket pitch, Johnny Munson bellowed, “Keep throwing that slop, Kell,” as I then set the first six batters down in the batting order.  

After a foul ball was sprayed well behind the screen, I noticed a middle-aged man and his wife timidly approach the backstop area. By the look on their faces, they seemed stunned that they had stumbled onto a baseball game in an archetypal English town just a ten-minute drive from Windsor Castle. Eventually, the couple sat down in the stands behind our dugout and watched the game silently.

As I sauntered off the mound to end the top of the third inning, my face broke into a broad smile when it was clear who had chanced upon our game. Sitting with his spouse, the gray-haired gentleman, Bowie Kuhn, the Commissioner of Major League Baseball at the time, smiled broadly as I approached him. “Mr. Commissioner and Mrs. Kuhn, welcome to the British Baseball League!”

Bowie Kuhn cackled audibly and exclaimed, “Luisa and I are here on vacation in the UK visiting some local landmarks, and we couldn’t believe when we observed that a baseball game was being played so close to St. Mary’s Church! Talk about doing a double-take; seeing good old American hardball here in the heart of Merry Olde England!”

When I then pointed out that there was actually a Munson wearing a Yankees uniform catching behind the plate, he blurted. “We’ll all be damned!” The Commissioner was obviously pleased that Johnny was wearing his brother’s old Yankee uniform.

Mr. Kuhn then asked me where I was from. “Wellesley, Massachusetts, sir,” I replied.

The couple collectively lit up like a scoreboard. “That’s where our daughter went to college!” they shouted simultaneously. Mrs. Kuhn then added, “Isn’t Hathaway Bookshop the greatest anywhere, Shaun?

When I nodded in the affirmative, I then introduced the Commissioner and his wife to Mr. Gerry Murphy, my former history teacher and mentor from Wellesley High School who was then spending a sabbatical year teaching with me at TASIS England. Murph, who enjoyed attending our games, began waxing poetic to the Kuhns about the storied Hathaway Bookstore as well.

“Hey, Shaun,” Johnny Munson blurted out from our bench. “You’re up. Remember, National League rules today.”

I politely excused myself, approached home plate fingering a Ted Williams 33 ounce bat, and promptly launched a home run that hit the top of a European ash tree 75 feet beyond the rickety left field fence, well over 400 feet in left-center. It proved to be the farthest ball I ever hit in my life.

“Wow, a Mass Pike shot!” Johnny Munson roared from our bench.

Without blinking an eye, Gerry Murphy nudged Bowie Kuhn’s shoulder and barked, “Mr. Commissioner, you’ve now seen two historic home runs: Henry Aaron’s 715th – and Shaun Kelly’s first.”

Yup, he had.

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To Sir, With Love

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The Greenwich Country Day School’s distinguished English teacher emeritus, Mr. Tom Brody, passed away recently in Hanover, New Hampshire. Sometimes, great trees fall in the forest, and there is no one to discern it. Mr. Brody’s seedling turned out to be a veritable Sequoia. Thus, we all heard it – even from afar. As one of his former colleagues who still toils at GCDS, I have received ripples of praise for him from a gaggle of his former students the past few days. One of his English scholars wrote me earlier today, “He might be gone, but the spirit of Mr. Brody will always be in the present tense for me.”

Tom Brody’s passion for literature inspired three generations of students at Country Day to become adroit writers and deft thinkers. A teacher who loves teaching will teach a student to love learning. Mr. B. was one of those difference-makers who emphasized that the world of learning was limitless. He innately understood that our students are only as brilliant as we allow them to be. William Butler Yeats once wrote, “Education is not the filling of a pail but the lighting of a fire.” In every way, Mr. Brody was a fiery fellow (and, yes, he loved puns). His influence was such that he shaped the hearts and minds of virtually every student he taught.

As a renowned columnist and writer for Sports Illustrated in the 1960s, Tom Brody was a respected contemporary of such acclaimed writers as Frank Deford, William Nack, and Jack McCallum. (Tom’s published profiles of everyone from Johnny Unitas to Bill Russell to Willie Mays at SI are now considered literary classics).

Beginning in the fall of 1967, Mr. Brody instilled his “clarion call for lucidly written expression” within the hearts and minds of hundreds of his minions whom he coaxed and prodded in his celebrated English classes for the next three-decades-plus. Tom Brody cared – perhaps more than any instructor I’ve ever known. His legendary SPLAT Paper assignments inspired a legion of young people to write with feeling, intensity, and sagacity. He emphasized a plethora of compositional techniques including the most elusive of them all, “show – don’t tell.”

Through the venue of such immortal short stories as Stephen Crane’s “The Open Boat” and his favorite narrative beginning – “No one knew the color of the sky” – Tom’s would ultimately take his marking pen and cross out gobs of prose in order to uncover the simple truth that framed a student’s narrative. He believed that the act of writing was a sweat inducer, which…“ was more exhausting than pitching a complete game and more satisfying because printed words on a page were monuments to the process.” As Mr. Brody used to say, the first and foremost characteristic a writer must have is pluck.

In recognizing that teaching is the greatest act of optimism, Tom Brody strove to have his students learn a wellspring of lessons about life through the characters he introduced to them in a myriad of short stories, poems, and novels. While he was a great pontificator in class, Mr. Brody’s listening skills were such that I used to kid him that he was a cleric in a former life. An innovator at heart, Tom taught Lord of the Flies through the lens of Freudian psychology; he cherished the flawed Holden Caulfield and prodded his students to walk in the shoes of all people, both real and imaginative. (I well remember one class when his charges got to the critical juncture of Lord of the Flies, and Tom was almost reduced to tears. “Oh, Piggy…..dear, sweet Piggy,” he sighed.)

I was incredibly blessed when the celebrated Mr. Brody explicitly adopted me as his protege and asked me to teach with him in ninth grade beginning in 1995. Under his nimble guidance, I learned how to use the exemplary texts he so loved to bring a profound sense of enlightenment to my charges. When he retired, Tom charitably left me with his notes to over 25 short stories and seven novels, a gift that continues to light up the sky for me two decades later.

As someone who spent hundreds of hours in his luminous presence, I was able to incorporate Tom’s pedagogical template for how to bring out the best in my own students. Like all great educators, Tom Brody’s heady sense of humor, his flair for the dramatic, and his preference to clothe anything through the prism of the anecdote – especially the absurdist variety – was legendary. His passion for everything from baseball to politics to literature was indisputable. (He once told me that the thing he most loved about baseball was “the music of the game.”) The bottom line, Tom Brody invariably gave a damn. No wonder Juliet Capulet was his favorite literary figure.

Ultimately, I will remain forever indebted to him for showing me the way as a teacher, writer, and nurturer. When I heard Tom had died, I immediately thought of Dylan Thomas’s immortal refrain, which Mr. Brody often quoted. “Do not go gentle into that good night; old age should burn and rave at close of day; rage, rage against the dying of the light.” As passion fueled him like a woodstove, I am certain that in the end, Tom Brody raged on against the dying of the light.

As a master wordsmith, Mr. Thomas Cobb Brody frequently ended his trimester comments to deserving students with a favorite laudatory word, which fits pretty well right for him right here. Kudos.

Kudos, indeed.

 

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Glad All Over

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Unlike virtually every rock and roll ensemble in history, this British Invasion band was fronted by a drummer, whose unique style of play created a sound that is as distinguishable today as it was more than half a century ago. The group’s lead singer, Mike Smith, called by Bob Dylan, “the single greatest white male vocalist of the 1960s,” remained such a revered figure in musical circles that everyone from Joe Cocker to David Bowie viewed him as a revelation. The group’s saxophone player, Denis Payton, R&B-rooted solos were so fetching that it convinced a young Bruce Springsteen to hire Clarence Clemons because he wanted his septet, the E Street Band, to sound like them. Renowned guitarist and producer, Miami Steve van Zandt, called the band’s mid-1960’s singles… “the absolute best productions made during the mono era.” And Bruce Springsteen’s longtime drummer, Max Weinberg, declared, “When you attend an E Street concert today, there will be at least 20 to 25 songs featuring Dave Clark’s familiar tum-tum-rolls.” 

As Mick Jagger said to Dave Marsh of Rolling Stone Magazine, “The Dave Clark Five was the best pure rock and roll band that came from the British Invasion.”

During their heyday, the DC-Five headlined such giants as The Rolling Stones, Otis Redding, The Jimi Hendrix Experience, and The Who. When they were formally inducted into the Rock and Roll Hall of Fame in 2008, it was lifelong fan Tom Hanks who presented them to an adoring audience. Later that evening, Billy Joel, Bon Jovi, Jeff Lynne, and Joan Jett paid tribute to them during a memorable musical revue onstage at Carnegie Hall, where the DC Five had once performed 12, sold-out shows in three days 43 years before.

In 1964 and much of ’65, this celebrated band from Tottenham, North London, brazenly managed to spot the Beatles single-for-single. Like every other group at the time, however, the Dave Clark Five ultimately couldn’t match the Lennon-McCartney juggernaut, especially when the Fab Four demonstrated an astounding ability to change their sound with virtually every record. Nevertheless, for those of us who loved pop music back then, the DC Five’s music was such that everytime one of their singles popped on one of our local AM radio stations, you quickly cranked up their music to decibel 10. In the end, the band had 17 hits on the Billboard Top 40 and also appeared on the influential Ed Sullivan Show a record-breaking 18 times between 1964-68.

In a decade that gave us such LP masterpieces as Astral Weeks, Sam Cooke Live At the Copa, High Tide and Green Grass, Rubber Soul, Revolver, Blonde on Blonde, Days of Future Past, and I Never Loved a Man The Way I Love You, it was The Dave Clark Five’s Greatest Hits that was my most played album when the 1960s ended. As Bruce Springsteen commented a few years ago, “My copy of that record was so full of scratches that I had to purchase a new one by 1970.” 

I ended up purchasing The Dave Clark Five’s Greatest Hits in the fall of 1966 with some newfound money I had earned as a local paperboy. Recorded in crystalline mono by Epic Records – with the distinctive canary-yellow label – the record’s 10 songs seemed to literally jump right off the record-player like a Saturn Five rocket. For rock fans at the time, the DC Five’s uninhibited, gleeful singles chased away any stormclouds and gave us a reason to believe. “Their music reverberated, primarily because it was percussion-based, which was both original and distinctive,” remarked Bruce Springsteen in 2014. “For kids like me, their recordings were like instant adrenaline shots.” Thus, a greatest hits package of such treasures was a must for those who cherished their songs.

For marketing purposes, The Dave Clark Five’s Greatest Hits hit the ground running with its opening tune, “Over and Over,” a classic cover of the 1958 Bobby Day hit that turned out to be reimagined by the group in a genuinely inspired cover. In the late fall of 1965, it was the band’s latest single to hit the market. To the commonplace listener, however, “Over and Over” was a reminder that you needed to strap yourself in and hold on. Of course, there was a hipness to the “with-it” message, “Everybody there was there,” as well as the idiosyncratic tom-tom-beat that drove so many of Dave Clark’s songs. In addition, the intensity of lead singer Mike Smith’s vocals was omnipresent. His husky baritone in “Over and Over” knifed right through the percussion-centered musical accompaniment even as he provided a lilting keyboard riff. The memorable bridge was framed by Denis Payton, whose riveting harmonica solo proved worthy of Delbert McClinton, while the vocal harmonies sung by both drummer Dave Clark and lead guitarist Lenny Davidson provided a palpable sense of panache. The number one song in the US during Christmas week, 1965, “Over and Over” turned out to be the group’s last tangible gasp in its nearly two-year competitive battle with the Beatles.

The second tune on the album, 1964’s “Everybody Knows,” remains my second favorite Dave Clark Five number ever, a single so infectious that it should have its own zip code. From the unforeseen chord changes to the incredible instrumentation provided by saxophonist Denis Payton and lead guitarist Lenny Davidson, it is Dave Clark himself who drives the bus here with his propelling percussion work. The song is bridged together by the group’s version of Lennon-McCartney-Harrison-like harmonies, led by alpha dog vocalist, Mike Smith. When I showed this clip to my class one time, several kids were astonished that Dave’s drumset was positioned in the front – with the guitarists, keyboard player, and saxophonist behind him. In every way, the drummer was the leader of this band.

The Dave Clark Five’s Greatest Hits’ third entry, “Can’t You See That She’s Mine,” reached as high as number 2 on the Billboard Top 40 the week of July 18, 1964. It also has been my all-time personal favorite Dave Clark Five number, a tune so animated that my pulse still soars every time I hear it. Keyboard player and lead vocalist Mike Smith dominates throughout, with an amusement park ride-like introduction that morphs into his familiar gravelly vocals that exuberantly frame the rest of the song. When you see the video, however, you will surely notice the extraordinary musicianship of Dave Clark, from his riveting percussion work to his auxiliary vocals, which support Smith at every turn. Underrated lead guitarist Lenny Davidson adds the essential licks, while Denis Payton provides the finishing touches with a breathtaking solo that forms an instrumental bridge for the last verse. When I used to host oldies shows in college back in the mid-’70s, “Can’t You See That She’s Mine” was one of those songs where everyone got up and danced.

The record’s fourth number, “Bits and Pieces,” was, in reality, one of the DC Five more pedestrian releases, a B side throwaway for most bands. Here, though, in a seminal “Tops in the Pops” television presentation on the Beeb, the band proves that this number is downright irresistible. The rhythmic jungle of sound is deftly choreographed by the planned stomping of feet and reminds us why Dave Clark, who directed the band’s movements, was both the spiritual and musical leader of the group. In addition, the exceptional bass guitar work of Rick Huxley tears straight through you. As an aside, it should also be noted that the copyright to “Bits and Pieces” is still owned outright by Dave Clark. Paul McCartney once said, “We all should have all taken business lessons from Dave. John and I lost millions and millions of pounds because of our mismanagement. Dave Clark never did. He got it when none of us cared.” 

“I Like it Like That,” the single that ends Side 1 of the record, turned out to be a faultless cover of the 1961 R&B hit by Chris Kenner. In less than two minutes, Mike Smith here provides an iconic vocal performance that many rock critics believe actually surpasses John Lennon on his more famous “Twist and Shout.” This isn’t just some persistent teenage bewailing as Lennon does so fervidly throughout his Beatles hit. In Smith’s re-do of “I Like It Like That,” his vocals are a manly plea for both temptation and lust. When Tom Petty introduced the song on his Sirius radio show a few years ago, he called Mike Smith’s performance throughout the group’s cover version, “an absolute tour de force.” I couldn’t agree more.

Side 2 of The Greatest Hits of the Dave Clark Five begins with the title song of their only feature film, “Catch Us If You Can.” An exuberant harmonica solo by Denis Payton forms the bridge to some of the best harmonies the band ever recorded. Not only is Dave Clark’s drumming truly buoyant here, but his primal screaming, which spoofed Paul McCartney’s Little Richard-like yowl is downright hysterical. Like virtually all successful DC Five numbers, the simplicity of the number belies the complexity of the musicianship.

Many fans of the DC Five regard that the seventh tune included in their greatest hits package, “Because,” as the most illustrious single they ever generated. Within the context of 1964, this was the group’s famed retort to the Beatles’ “This Boy” and “Do You Want to Know a Secret?” In every way, it was a beautiful slow song, whose luminous harmonies and melodies matched the lyrics themselves. Mike Smith’s reverent vocals, his improvisational organ solo that forms the bridge, and the exceptional bass guitar licks by the underrated Rick Huxley create a veritable masterpiece. Paul McCartney once called “Because” a “daunting song” to match if you happened to be in the rival band. “Those blokes threw everything they had into that one,” claimed Sir Paul. Brian Wilson recently called “’Because’ one of the two or three best songs that were recorded in 1964.” Throughout that summer, this gorgeous single dominated the radio waves on both sides of the Atlantic, reaching number one in North America by the Fourth of July. Such indelible musical memories still beat inside of us like a second heart.

“Any Way You Want It,” a frolicking, speed-of-sound-rocker, logically followed “Because on the album, reminding listeners that the Dave Clark Five were primarily a fast-paced dance band. Mike Smith admitted years later that the DC Five were intentionally mirroring the Beatles “big vocal sound” throughout this radiant gem, which features four of the band’s members in a classic call-response refrain to soloist Mike Smith’s strident lead vocal. The reverberated “hey…hey…hey” was not electronically mastered; Smith actually used vocal elocution to pull off the trick! This is one of those songs that remind you that the authentic joy transcended any gloom in virtually every one of The Dave Clark Five’s singles.

Only the DC Five could follow-up one impossibly fast-paced rocker with another, as they did on their greatest hits package with the indefatigable 1964 smash, “Do You Love Me?” A remake of the Contours ’62 Motown classic, the boys here decide to record their cover version in Mach 3 speed, daring the listener not to get up in dance forthwith by undocked impulse. Mike Smith’s singing here is an epiphany, but you could argue that it is Dave Clark’s machine-gun-drumming that drives the engine. Saxophonist Denis Payton provides the musical harmony with his decisive playing, providing a musical blueprint for Clarence Clemons to emulate a generation later for the E Street Band. Like all eminent Dave Clark Five numbers, the ongoing collaboration between the circle of band members here is extraordinary.  

Not surprisingly, the tune that concludes their greatest hits package also happens to be the DC Five’s most sustaining, hit record. With its marching band stomps that supports an irrepressibly adolescent chorus, “Glad All Over” became the first major British Invasion hit in North America by a band other than the Beatles. It was also the single that knocked “I Want to Hold Your Hand” off the top of the British hit parade. “I was going through my record collection, and I saw the title ‘Glad All Over,'” remembered Dave Clark Five singer Mike Smith to journalist Dave Marsh of Rolling Stone. “I couldn’t remember what the song was like, but I thought it was a great title. So I sat down at my dad’s piano and wrote ‘Glad All Over.'” As Bruce Springsteen recollected years later, “The title of their most popular song was how we felt each time we heard a Dave Clark single back then.”

While The Dave Clark Five continued to achieve palpable success through 1966, they managed to generate just one more significant hit in the States thereafter. Their last top ten single, a phenomenal cover of Marv Johnson’s 1959 classic, “You Got What it Takes,” was released in late April 1967, skirting the psychedelic singles that would then dominate just the subsequent Summer of Love. Although the band continued to have modest success in the UK for a spell, by 1970, they quietly disbanded. The proverbial one-trick pony, the band had exhausted their unique musical template and didn’t – couldn’t – reinvent themselves as the Beatles did so with aplomb. Let’s be honest, you didn’t turn to the DC Five to figure out the mysteries of life as you did when you listened to the Moody Blues or the Pink Floyd. Ultimately, their music just made you feel better at the time. In retrospect, that was not a bad legacy to maintain.

Still, for the group’s legion of fans including me, we all continued to wave their banner and never stopped listening to them. We were thrilled when Dave Clark ended up working with such artists such as Freddie Mercury, Stevie Wonder, and Cliff Richard as a producer and musical entrepreneur. We rejoiced when keyboardist and singer Mike Smith began performing with his own band in 2001 after a 25-year hiatus and were stunned to discover that he still had the same umph behind his vocals. We also wept when Smith died of complications to a fall suffered at home, just two weeks before he and the band were to be formally inducted into the Rock and Roll Hall of Fame. Happily, when Bruce Springsteen and the E Street Band began to steadfastly cover a batch of the DC Five’s singles onstage, we rejoiced that a new generation of fans had begun reexamining the group’s timeless music.

For Christmas 2016, my wife ended up giving me an unexpected pleasure – a turntable with a built-in speaker. I instantly fingered through my stack of old records that I had kept and quickly located The Dave Clark Five’s Greatest Hits.

Riddled with scratches made by a careless needle 50 years ago, the DC Five’s music still filled me to the brim with sustained delight. When my son, Max, asked about the cacophony of audio blemishes throughout the album, I reminded him that some were so old that they had been made while Martin Luther King and Bobby Kennedy were still alive. “You are listening to an antique, Max, a cultural fossil from a different time and place!” I bellowed.

Max chuckled and began to listen.

“Good tunes!” he exclaimed. I merely smiled and nodded my head affirmatively. a smile planted on my face, my right foot tapping away at the beat of every song. It made a good day even that much better.

I guess that was the point The Dave Clark Five was trying to make all along. That music like theirs has the capacity to make you feel glad all over.

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