Boom Shaka Laka-Laka (Soul June 13th 1970)

In March 1970 the “Woodstock” movie gave fans the opportunity to experience the already seminal festival, 3 days of Music, Peace & Mud, from the comfort of a cinema seat. The documentary, a box-office smash, captured the spirit of the counterculture & showcased its music with new levels of camerawork, editing & sound. Of course Jimi’s incendiary “Star Spangled Banner”, the charge, the bolt, the buzz of “With A Little Help…” by Joe Cocker & the dynamism of the Who. Man, the film even made Ten Years After seem exciting. Another highlight had been a Sly & the Family Stone b-side in 1969 but “I Want To Take You Higher” was revived & climbing to #33 in the Cash Box Top 50 in R&B Locations for this week in 1970. Just two places above it was another version of the song.

 

 

 

Ike & Tina Turner - I Want To Take You Higher (1970, Vinyl) | DiscogsIn 1951 Ike Turner & his Kings of Rhythm featuring Jackie Brenston recorded “Rocket 88” now recognised as a foundation stone of Rock & Roll. When the record was released it was credited to Jackie Brenston & the Delta Cats it sold half a million copies & Ike & his band were paid just $20 each for the session. Undeterred he continued as a session player, songwriter (again not always credited) & talent scout, making connections with what seems to be most everyone on the R&B scene. Relocating to St Louis the Kings of Rhythm were a hot live act & in 1957 Ann Bullock, a young singer joined the group. Ike was offered real money ($20,000 in 1960!) by the Sue label who recognised the earthy power of his new vocalist. “A Fool In Love” by Ike & Ann, now Tina Turner, sold a million records & they were on their way. The Ike & Turner Revue, the Kings of Rhythm Orchestra, the Ikettes & the electrifying Tina regularly shook up the US TV Pop shows & I’m sure that anyone who saw a live show by them had quite an experience. In 1966 ace producer Phil Spector bought their contract so that Tina could front his Wall of Sound. The result, the monumental “River Deep Mountain High”, is an artistic triumph yet barely scraped into the US Top 100. In the same year the Rolling Stones invited the duo to join their UK tour.

 

Tina Turner on the Cover of Rolling Stone - Rolling StoneIn 1969 Ike & Tina supported the Stones again on a US tour, they were reaching a wider, more diverse, audience & Tina, photographed by film director Robert Altman, made the cover of the “Rolling Stone”. Ike, always astute to changing tastes, adapted the Beatles’ title track & Jagger/Richards’ “Honky Tonk Women” to his bluesy R&B for the “Come Together” LP (1970). Sly’s “I Want To Take You Higher” was another track that people would know. It’s lacking the flexibility of the Family Stone but became a furiously Funky opener to the Revue’s set, Tina & the Ikettes dancing & singing up a storm while the bandleader kept it tight. These were good years for the duo, their records were more popular, European tours were a great success & they travelled to Africa for the “Soul to Soul” concert. This goodwill towards them stood Tina in good stead when she relaunched as a solo singer. Ike Turner was undoubtedly a piece of work. I’m more inclined to believe Tina’s autobiography than I am the “What’s Love Got To Do With It” film but he was violently abusive towards Tina, controlling over her & his band. There’s no doubt though his talent as a Blues guitarist & arranger contributed to a great deal of fine music & kept Ike & Tina Turner at the top for over 15 years.

 

 

 

JET MAGAZINE NOVEMBER 12, 1970 *ARETHA FRANKLIN*: Various, Various ...By 1970 Aretha Franklin was the “Queen of Soul” & she still is. While signed with Columbia there had been 9 varied LPs which established her versatility & her quality. A move to Atlantic Records, matched to more contemporary material, brought instant then enduring success. Between 1967 & 1974 every 45 but one released by Ms Franklin reached the R&B Top 10 while many of them & her albums crossed over into the higher reaches of the Pop charts. (The one exception was her remarkable live Gospel version of Marvin Gaye’s “Wholy Holy”, a highlight of the “Amazing Grace” filmed concert, which I’m guessing didn’t receive the same radio airplay as the others). The African-American female voice was very influential in the development of twentieth century popular music, Bessie Smith, Billie Holiday, Ella Fitzgerald & Nina Simone all brought an emotional honesty & a progression to their art. I grew up with “Respect” & “I Say A Little Prayer”, Aretha Franklin is as important as those great singers.

 

45cat - Aretha Franklin With The Dixie Flyers - Spirit In The Dark ...“Spirit In The Dark” is the title track of Aretha’s second LP of 1970. The lead track “Don’t Play That Song (You Lied)” had been her ninth R&B #1 & the new release, rising to #17 this week, was on its way to the Top 3. The album, including 5 songs written by her, was recorded with three different bands, the New York session men, the Muscle Shoals boys, flown up the the Big Apple from Alabama & the Dixie Flyers, the new unit established at Atlantic’s Criterion Studios operation in Miami. The groove though is strong & consistent throughout another outstanding album for Lady Soul. Both singles credit the Flyers on the label & for “Spirit..” her friends & regular back-up Sweet Inspirations showed out adding to the lovely, extempore Blues-Gospel feel. In March 1971 Aretha, the Sweets & King Curtis’ group played three nights at San Francisco’s Fillmore West. Joined onstage by Ray Charles & Billy Preston, “Spirit…” became a joyous 15 minute long jam, one of the greatest things you could hear & see. In October 1970 Angela Davis, a former UCLA professor, an activist, a Communist, “a dangerous terrorist” according to President Nixon, was arrested & charged with aggravated kidnapping and first degree murder of a judge. Aretha Franklin, a friend of Martin Luther King Jr who had sung at his funeral, expressed her support for Davis & publicly offered to pay her bail. “Black people will be free. I’ve been locked up and I know you got to disturb the peace when you can’t get no peace”. I’ll just leave it at that

 

 

 

 

Bobby “Blue” Bland, official picture of Duke Records, Houston, TexasWhen we were kids my best friend & I always bought the British music weekly “Record Mirror” because their charts page included the US Top 50. We liked to be ahead of the game about any new sensations or the latest 45’s from our favourite acts. Bobby “Blue” Bland was a name we often saw in the chart’s lower reaches, the “Bubbling Under” & “New Releases” lists but his records were rarely played on even the UK pirate radio stations. When we did hear Bobby his music seemed to lack the immediacy of the shiny Soul sounds that excited us so much. Of course we were wrong, we were young. Bobby “Blue” Bland, absolutely from the top shelf of American singers, was making music for grown ups & I’ve been one of those for some time.

 

Bobby had been recording since 1951 & had been a big deal since his breakthrough with the swinging Blues “Further On Up The Road” in 1957. In the early years of the new decade his voice matured into a unique, often understated combination of sophistication & grittiness allied to an unsurpassed interpretive gift. With Joe Scott’s Big Band Blues arrangements there was a long run of R&B Top 10 hits including the stately, passionate “I’ll Take Care Of You”, a definitive “Stormy Monday Blues” & intense “Lead Me On”. It’s a list & if you know Bobby’s work then you have your own favourites.

 

Bobby Bland (@BobbyBlueBland) | TwitterBobby Bland saw little of the cash generated by these hits. “If Love Ruled The World”, #48 in this week’s Top 50, was the latest to have his label head’s name on the credits of a song he probably didn’t write. The song’s idealistic lyric has its heart in the right place & Bobby’s performance finds both the heart & the soul of it. The records kept his name at the top of the bill on an endless & exhausting touring life often in clubs ill-suited to his talents. By 1968 he was disillusioned, dependent on alcohol & his band had quit on him but all Bobby could do was sing & there was a string of dates to fulfill. He continued with just a rhythm section before finding a new band &, in 1974, a bigger record label. The hits, including “Ain’t No Love In the Heart of the City”, kept on coming & so did the respect of a new generation of artists & fans (myself included). Bobby kept on keeping on until just before his passing in 2013 by which time he was in the Blues, the Grammy & the Rock & Roll Halls of Fame. Nowadays there’s little better than a Bobby “Blue” Bland album & a glass of fine single malt whiskey to indicate that maybe, just maybe, I’m finally a grown up.

 

 

You Can’t Mix Love With Money ‘Cause If You Do It’s Gonna Hurt Somebody (Arthur Alexander)

Last weekend, the 9th of June, marked the 20th anniversary of the death of Arthur Alexander a singer/composer from Alabama of such significance that I am prepared to suspend the First Law of loosehandlebars &…just this one time… use the “U” word. Arthur Alexander is  underrated & here is the proof, the whole proof & nothing but the…you get me !

 

 

So Randy Newman, a strong contender in a very strong field for a place on the Great American Songwriter podium, brings along Mark Knopfler off of Dire Straits to play with the world class house band on NBC’s “Sunday Night”. He has, even in these pre Disney/Pixar years, a stack of his own quality songs but chooses to perform a song by, in his words, “a great songwriter” Arthur Alexander. In 1962 teenager Randy was still trying to figure out how to write a pop song. “You Better Move On” is of a standard to which he aspired. It is a lovely, precise, assertive bit of work.

 

The song was the first hit to be recorded at a converted tobacco warehouse in Muscle Shoals where Rick Hall was establishing FAME studios. Arthur had a deal with Dot Records of Nashville who did not really know what they had.  The B-side to  the Mann/Weil written follow up, “Soldier Of Love” was evidently the superior track. In 1962 the generation of young British musicians, inspired by pick up an instrument by that first rock & roll explosion, were leaving school &  ready to make their own noise. They, like Randy Newman in L.A., were listening to Arthur too.

 

 

4 of these listeners were the Beatles. They performed 3 songs Alexander recorded, another, “Anna (Go To Him)”, made it on to the debut LP. The songs suited John Lennon’s emphatic vocals & the logical, simple pop/country/soul/rock structure (Arthur really did have it going on !) was a big influence on his songwriting. I’m giving up “All I’ve Got To Do” & “You’re Gonna Lose That Girl”, you know of others. In 1963, down in that London, the Rolling Stones were recording an EP of 4 songs for their label (the one that had turned down the Fab 4) which thought an LP would be a little previous. 3 of the tracks were well-known up-tempo rockers. It was “You Better Move On” (see above)  showing a more restrained, soulful Stones, which got played on the radio.

 

“Every Day I Have To Cry Some”, written by Alexander was given to Steve Alaimo, a teen idol/TV presenter who made better records than his jaunty interpretation of a plaintive song. Arthur did not get to record his song until 1975 & it’s a little busier than it would have been 10 years earlier. The quality of his voice still shines though. Back at the cultural centre of the planet in 1964 the song was claimed by a class act.

 

 

 

What a great clip. A video capsule of Swinging London in 1964, good music, everyone looking sharp, smiling & they are only sharing the dancefloor with a Beatle ! “Ready Steady Go” was must-see TV not just because it featured the best music around but it captured that notion that post-war Britain had changed & that there would be no going back. Dusty Springfield had a season ticket to R.S.G. interviewing the Mop Tops on their 1st appearance & here she is performing a track from her “I Only Want To Be With You” EP. The singer did her share of overly dramatic ballads, be-wigged & mascara masked on creaky variety shows like the other women singers. On R.S.G. she could relax & show her excellent taste in the soul music that she rode shotgun for in the UK. She was too old to be a Mod but she was still a face. Dusty’s smoky voice was a special talent suited to both ballads & belters. For me, when she was giving it that soul shimmy, singing a Motown or an Arthur Alexander song she looked to be a happy & attractive young woman.

 

There has been a lot written about Dusty since her passing about the insecurities she suffered over her looks, her sexuality & most other things. It’s a wonder she ever left the house. I was not even a teenager when this clip was filmed, I could neither locate Lesbia on a map nor had I even met a lesbian. I did know that Dusty was the Queen of British music with too much about her to take the cabaret/Eurovision route on offer to female artists in the music business. I was right, she never did.

 

 

One of the fables embroidered into Rock’s Rich Tapestry is the saga involving Phil Spector, Ike & Tina Turner & “River Deep Mountain High”. The Tycoon of Teen pays Ike to stay away from the studio then makes Tina sing till she’s hoarse to create his Wall of Sound masterpiece. This tower of force is ignored by the American record buying public, the master producer retreats to his mansion to lick his wounds. I saw it in a movie so it must be true. “River” is now accepted as a classic but so is the follow-up 45, the Spector produced, Holland-Dozier-Holland written, “A Love Like Yours (Don’t come Knocking Everyday)”, it’s just that this cymbals-in an-echo-chamber gem complicates the story.

 

There are 4 other tracks from the Spector/Turner partnership. The commercial failure of “River” discouraged  both Phil & Ike from completing the planned LP. One of those 4 is this Wrecking Crew symphonic take on “Every Day I Have To Cry”. I’m not personally convinced of the merits of Arthur Alexander on steroids. I love Spector’s productions & understand how he felt the song was strong enough to bear a little extra weight. It is the clarity & restraint of his songs which is so effective, the strength is implied …mmm, attractive. So, the 2 biggest groups in the world, Dusty…Bob Dylan covered Arthur’s debut single later.

 

Heavy friends but he was driving a bus in the 1980s. There were a couple of later records & the collected work of Arthur Alexander is a deep soul delight. His legacy though is more than a nice set of hits. His natural ability with melody & emotion pointed the way forward for the Beatles, the Stones & others who preferred their pop music to include some integrity. He really was that good.