Benny Goodman was the first celebrated bandleader of the Swing Era, dubbed “The King of Swing,” his popular emergence marking the beginning of the era. He was an accomplished clarinetist whose distinctive playing gave an identity both to his big band and to the smaller units he led simultaneously. The most popular figure of the first few years of the Swing Era, he continued to perform until his death 50 years later.
~William Ruhlmann (allmusic.com)
Moonglow:
From Wikipedia:
Benjamin David “Benny” Goodman (May 30, 1909 – June 13, 1986) was an American jazz and swing musician, clarinetist and bandleader; widely known as the “King of Swing”.
In the mid-1930s, Benny Goodman led one of the most popular musical groups in America. His January 16, 1938 concert at Carnegie Hall in New York City is described by critic Bruce Eder as “the single most important jazz or popular music concert in history: jazz’s ‘coming out’ party to the world of ‘respectable’ music.”
Goodman’s bands launched the careers of many major names in jazz, and during an era of segregation, he also led one of the first well-known racially-integrated jazz groups. Goodman continued to perform to nearly the end of his life, including exploring his interest in classical music.
cut from “Hollywood Hotel” film (1937) – Sing Sing Sing:
“These five young rebels are outrageously true to themselves. Defiant! Angry! Sad! They are honest to the point of insult!” (original liner notes)
The Angry Young Them is Them’s first album. The album was released in the UK on 11th of June 1965. The band’s lead singer and songwriter was of course Van “The Man” Morrison. He was with Them on only two albums before deciding to go solo.
The opening track Mystic Eyes was from an 8 or 9 minute jam originally, a long intense jam session in the studio with Van making the words up on the spur of the moment. Oh why didn’t they use the long take? Anyway, a good opener.
If You And I Could Be As Two is the next song and itopens with Van’s spoken voice talking (rather angrily) before this wonderful soul ballad continues. Then it is Little Girlwhich is about watching a 14-year-old (!) school girl on her way to school, not very acceptable these days but we need to remember that Van Morrison was only a teenager himself when he sang these words (still no excuse, I know).
Just A Little Bit by Roscoe Gordon is the next one out, Morrison sings great and it is my favorite song of the non Van Morrison penned tracks. Fantastic song!
Then we are in for the weakest track on the album, I Gave My Love a Diamond. That is not a put-down, because it’s a good sixties ballad, it just pales compared to the other songs on the album.
We then get Gloria. What can I say about this song that isn’t already said thousands of times? It is one of the best rock songs ever written, sung by one of the best vocalists in rock history. Ok? ok.
Gloria:
allmusic:
“And then there’s “Gloria,” rock’s ultimate ’60s sex anthem, and one of the handful of white-authored songs that can just about hold its own against any blues standard you’d care to name.”
Bill Withers is not underrated by people who know about him and who recognizes his music, but he is unknown and criminally overlooked by the general public. He is in fact one of the greatest singer/songwriters in music history. He is soulful, but his music is not constrained to the soul genre. He writes good songs and he is a marvelous performer.
Bill Withers became a part of the L.A. music scene in the late 60s after a period in the Navy. While he was assembling airplane toilets for Boeing he was signed to the Sussex music label (in 1970) and had instant success with his first album, Just As I Am, and the acoustic ballad, Ain’t No Sunshine. Bill Withers had more in common with the singer/songwriters than with the rising disco/soul, even though there’s a strong groove in his songs, sometimes even a funky rhythm. His second release, 1972’s Still Bill, became a career high point, it contained songs like Use Me and Lean On Me, big hits both of them. The album cemented his position in music history.
In 1972 he also recorded the fantastic live album, Live at Carnegie Hall (released 1973). Nowhere is his narrative prowess and powerful vocal style more clear. This is number 19 on my list of the best live albums of all time.
The opener is a slow version of Use Me that Bill Withers turns into a seductive almost nine minute jam.
Use Me (Soul Train, 197?), not nearly as good as the Carnegie Hall version, but very good anyway:
The album also has the definitive version of Ain’t no Sunshine, a faster more jazzy interpretation than usual.
There are many great songs on the album, but the real masterpiece is Grandma’s Hands and especially Bill Wither’s long intro, he is reminiscing about his grandmother playing tambourine in the church. We hear him describe the dancing and preaching at the church, his grandmother banging on the tambourine in joy, it’s an incredible story. He then launches into a heartfelt version of the song which, again, bests the original by miles. After hearing this version and his strong introduction, you will experience the song in new and deeper way.
Grandma’s Hands (audio with slide show):
“Grandma them had one a them churches where they sung “If you wanna help me Jesus, it’s alright. If you wanna help me Jesus, it’s alright”. And at the funeral they used to have to tie the caskets down! Yeah. Yeah.” – Bill Withers from the introduction
Allmusic (Steven McDonald): A wonderful live album that capitalizes on Withers’ trademark melancholy soul sound while expanding the music to fit the room granted by a live show. Lovely versions of “Grandma’s Hands” and “Lean on Me” are balanced by heartfelt downbeat numbers like “Better Off Dead” and “I Can’t Write Left-Handed,” the latter being an anti-war song with a chilling message. The set finishes off with the lengthy “Harlem/Cold Baloney,” with lots of audience-pleased call-and-response going on. One of the best live releases from the ’70s. Continue reading 30 Best live albums countdown: 19 – Live at Carnegie Hall by Bill Withers→
Ain’t I rough enough Ain’t I tough enough Ain’t I rich enough In love enough Oooo, ooh please.
Some Girls was released in 8 June 1978 and it was their first full album with Ronnie Wood. It’s a great album, up there with the best albums in their catalogue. They mixed in some new wave sounds, added a bit of disco and kept their soul, blues and country tinged rock’n roll. Released on the height of the punk and disco era, The Stones made this masterpiece of an album. Some Girls is very much a product of it’s time, but when Rolling Stones made a record that gave a nod to these “fads,” they did so with such anger and speed that the young people in 1978 must have been struck with envy. They certainly made an album that has stood the test of time and it’s a definitive Stones album.
The Rolling Stones prove time and again that they still have what it takes.
Here are all the songs live:
1. Miss You (1978), the eight and a half minute version, a masterpiece! The guitar work on this song (this version) is simply spectacular. I read somewhere sometimes that this was one of the songs that Prince wished he had written, and we can hear on his music that he has been influenced by this tune in a big way.
2. When the whip comes down (1978) Sleezy and cool and it kind of reminds me of Star Star.
Yeah, mama and papa told me I was crazy to stay I was gay in New York, a fag in L.A. So I saved my money , and I took a plane Wherever I go they treat me the same When the whip comes down
3. Just My Imagination (running away with me) a soul number that fits The Stones perfectly. Very different from The Temptation version but equally good.
4. Some Girls (2008) Only The Rolling Stone s could have gotten away with these lyrics, they’re as politically incorrect as they possibly could be:
White girls they’re pretty funny, sometimes they drive me mad Black girls just wanna get fucked all night I just don’t have that much jam Chinese girls are so gentle, they’re really such a tease You never know quite what they’re cookin’ Inside those silky sleeves
Before diving into the music of the “US Summer Tour – 86”, let’s look at some videos leading up to the tour.
Let’s kick off with the Tokyo (backstage Budokan) interview. (It should probably have been included in part 2 of this series, but I didn’t find it till now).
10 March 1986 MTV Interview, Backstage, Budokan Hall, Tokyo
…probably I’d do ANY song that I’d ever written, but to put them in a show is a different thing, because it takes time, and there’s not a lotta time when you play for a few hours.
~Bob Dylan (1986-03-10)
..and same place.. with Tom Petty (talking about touring with Dylan):
