Listen to this track by British pop chanteuse and peerless interpreter Dusty Springfield. It’s “Windmills Of Your Mind”, a shimmering pop gem as taken from her seminal 1969 album Dusty In Memphis.
That album was a strategic move on Springfield’s part to make a bona fide R&B album in the very heart of where some of the greatest soul albums were created during that era. The results of this and the story behind them is an epic tale with a who’s who of characters including Jerry Wexler, Tom Dowd, Arif Mardin, and The Memphis Cats all in tow. But, all the while, Springfield proved above all that she was able to sing anything and in any style and make it all work on an LP that comes together in an extraordinary way. This tune isn’t strictly a soul song, for instance. But, it certainly has soul as Springfield sings it. So, it fits because of her voice.
Among other places, it was featured very prominently in the film The Thomas Crown Affair, starring Steve McQueen, and sung by Jose Feliciano at the 1968 Academy Awards, at which “Windmills Of Your Mind” won for best original song. Its place in the film is where a lot of casual music fans will recognize it the most. So, how did Dusty Springfield take this song, and make it the one by which all others must be judged? Read more
Listen to this track by Brummie blue-eyed soul and rock quartet The Spencer Davis Group. It’s “I’m A Man”, their 1967 hit single as taken from the self-same album I’m A Man. This would be the group’s last hit single in their original incarnation that featured Stevie Winwood on vocals and organ before he left to join Traffic later in the year.
Like many soul singers, Winwood started his musical journey in part while involved with the Church, although this time it was the C of E and decidedly not a sultry Baptist chapel somewhere in the American South. Nevertheless, access to a bona fide church organ had to be important to his trajectory. He had something that a lot of British musicians didn’t have at the time besides. Winwood didn’t just pick up his trade simply by listening to blues and soul records. The time he spent playing in pick-up bands to back up American bluesman like Muddy Waters, Howlin’ Wolf, and John Lee Hooker as they toured Britain was also an important part of his musical apprenticeship. This gained him first-hand exposure and training to achieve the real sound of the blues and get straight to the heart of soul music. It also introduced him to how all-consuming it can become to pursue a musician’s life.
That’s what this song is all about; a love song to the music itself and to the state of being in a band, despite the dangers of losing oneself while being entangled in it all. It’s a snapshot of a mind that is both juvenile and ambitious all at once, which is part of why it became a rock standard. But, it goes beyond that, too.
Listen to this track by former TV band turned actual real life band featured in their own movie, The Monkees. It’s “Porpoise Song”, a 1968 single also to be heard on the soundtrack to the movie Head. The film wasdirected by The Monkees TV series creator and director Bob Rafaelson who would go on to direct many films into the 1970s, including Five Easy Pieces with Jack Nicholson, who in turn would serve as a screeenwriter on Head. The Monkees TV producer Bert Schneider would also produce the feature. The gang was all here.
In addition to the filmmaking aspect of the project, The Monkees had other allies on this tune, with whom they had a healthy and fruitful relationship; Carole King and Gerry Goffin, who had written a number of other songs in their catalogue, including a hit song in “Pleasant Valley Sunday“. That was during the era in which the band were beamed into living rooms all over the nation. Since that period, they’d cut loose the bonds of their former personas as lovable TV goofs. They had established their own path as a real band without the fuel of a hit TV show to propel them onto the charts.
And yet, with “Porpoise Song” and with Head, that former life was still referenced, although in a more satirical light — or maybe as a way to decompress from it and make their escape once and for all. The results were, perhaps, not as they’d thought. Read more
Listen to this track by boundary-pushing jazz trumpeter and genre-defying sonic visionary Miles Davis. It’s “Shhh/Peaceful”, the first track and indeed whole of side-A on his 1969 landmark release In A Silent Way.
The album gathered some of the greatest jazz musicians of the day into one space, with the music recorded during a single session on February 18, 1969, after almost a year on Davis’ part of working up ideas, and experimenting with new textures and instrumentation. Joining jazz luminaries like Wayne Shorter, Herbie Hancock, Tony Williams, and Chick Corea, were European jazz players including bassist Dave Holland, Joe Zawinul on organ, and electric guitarist John McLaughlin.
Besides Davis’ creative vision supported by producer and engineer Teo Macero, perhaps it was this cross-cultural exchange that helped to move this project into another dimension. Likely too it was the addition of electric instruments that made this record the harbinger of Davis’ foray into what would become known as jazz fusion, wherein he would employ electric wattage to his instrumental excursions that paid no mind to traditional melodic frameworks, making critics wonder if Miles Davis was even interested in jazz any longer.
But, when it came to the critics, this piece of music, and In A Silent Way in general, much of it stemmed from a significant paradigm shift when it came to how jazz was understood, and that which was very common in the recording of rock music at the time; studio trickery undertaken after the musicians went home. Read more
The cover version, as I’ve said so many times, should bring something new to the listener that they can’t get from the original. It’s a good general rule. There are perfunctory cover versions anyway, of course. And there are ones that you think couldn’t possibly work, and yet they do and sometimes gloriously so!
But, what of the cover version that seems to have been inevitable? What of the ones that appeared to have been waiting for the artist to take it in their arms and give it some sweet musical lovin’? I’m not talking about predictability here. No. I’m talking about that “of course!” factor; of course that artist recorded that song. It was made for them, even if they didn’t write it, or record it first!
Well, here are ten of those; songs that silently demanded that they be covered by the given artist, and that the artist framed the song in such a way as to bring out personality traits in it that weren’t obvious before, true to their own personalities and previous works. Some were big hits. Some were only minor entries into the charts. Some were little-known live versions or bonus tracks. But beside all those details, with each one comes thefeeling to a listener that a sense of resolution has been revealed, that because each of these cover versions exist, finally the cosmic tumblers have fallen into place. Proceed!
She is too often irritatingly referred to as a sort of “female Bob Dylan”, which still makes my hackles rise and keeps my gag reflex in good working order. Nothing against Bob, of course. But, the two artists are not to be compared, least of all while using the tag of “female” as a modifier, and ultimately as a way to reduce her significance on the basis of gender. I will say no more about it (maybe).
Hailing from the Canadian prairies, Mitchell took her art to the folk scenes of Calgary, Toronto, Detroit, New York, and eventually to La-La land and the Laurel Canyon scene starting in the 1960s and on through the 1970s. She started off with a girl-with-guitar hippie-chick image, where she has often stayed in the minds of the uninitiated. But, Mitchell’s work is expansive and fearless well beyond labels or eras, even from her earliest period. Lately, she’s made the headlines because of her ill-health, and also due to her rather cantankerous attitudes having to do with the music industry as well as toward her contemporaries.
But, it is her art that remains to be her strongest and most vital voice, sometimes with that cantankerous outlook built in, sometimes not. And as such, I hereby present ten tracks of Joni, ten musical beacons in a galaxy of bright points that measure her unique and far-reaching artistic journey. Some are hits, while others are simply examples of her fearlessness in an industry in which she thrived, and against which struggled in equal measure.
Listen to this track by Jamaican soul singer, reggae innovator and sometime actor Jimmy Cliff. It’s “Many Rivers To Cross”, a song of hardship and burden in a true gospel style as featured prominently on 1972’s The Harder They Come soundtrack.
This record is perhaps one of the earliest that served as a collection of songs featured in a movie that also turned out to be an essential addition to any respectable record collection while it was at it. It also had the distinction of having the star of the movie as one of the contributors to it; Jimmy Cliff himself. Read more
Listen to this track by Bentonia, Mississippi guitarist, pianist, and all-around legendary bluesman Skip James. It’s “Hard Time Killin’ Floor Blues”, a sepia-toned treasure from the age of delta country blues that would be featured on James’ 1966 album Today!
The song would be sourced from his repertoire that appeared many years before in 1931 with his initial recordings on the Paramount label. During that era, Skip James’ career as a full-time musician and songwriter would be scuppered by the Great Depression. When most of your audience doesn’t have a job, it’s hard for them to buy records. So, after recording his Paramount sides, he slipped back into obscurity. This economic reality had impact on many, including Mississippi John Hurt and Son House, among others.
But, like those two other musicians, Skip James would enjoy a second wind in the 1960s, thanks to a bona fide hero’s quest to find the grail of true American culture. Read more
Listen to this track by Detroit proto-punk progenitors MC5. It’s “The Motor City’s Burning”, a song that appears on their 1969 album Kick Out The Jams. The song was written by Al Smith, and previously recorded by no less than John Lee Hooker, making an appearance on Hooker’s Urban Blues live album in 1967.
That was the year that the riots which inspired this song occurred, in July and indeed at the corner of Clairmont and 12th street in Detroit. Given that both Hooker and The MC5 called Detroit home, this was more than just a blues tune full of violence and sadness, which it certainly is. It’s not even a protest song as such. It’s more like simple a view of the action, with no sides taken, but with a personal stake in the outcome all the same.
What is that personal stake? Well, it’s all tied up in the value of home, and from a band who are not only from Detroit, but who had attached their identity to it. Read more
Listen to this track by San Franciscan psychedelic blues band fronted by transplanted Texan R&B shouter Janis Joplin. It’s “Summertime”, a re-telling of the Gershwin-Heyward American songbook classic as featured on the band’s 1968 debut album Cheap Thrills.
The song is one of three cover versions on the record, and the one with the longest pedigree having been covered by many over the years since it was written in 1935 for the musical Porgy and Bess. That musical, and certainly this song, was a snapshot of American southern life through a very romanticized lens. Maybe this band covering this song is kind of an unexpected choice for a long-haired rock ‘n’ roll band like Big Brother & The Holding Company. The song had grown a sheen of respectability by the 1960s along with the jazz traditions out of which it came. But, when you think of where jazz, the blues and rock music comes from, and the idealistic nature of the counterculture, it really isn’t all that much of a leap. After all, George Gershwin was as fascinated by African-American folk culture as any white rock ‘n’ roll singer was by 1968.
But, I think this cover version is notable for something else, too when it comes to Big Brother frontwoman Janis Joplin. In many ways, this song was waiting for her to record it. Because its story is hers. Read more