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Posts Tagged ‘Brill Building’

 (Above: The voice of the Byrds, Roger McGuinn, transforms “Eight Miles High” and shows off his guitar chops with this stunning acoustic arrangement.)

By Joel Francis
The Kansas City Star

The stage was empty, but the sound was unmistakable. The shimmering jangle from the 12-string blonde Rickenbacker guitar rang clear throughout the Folly Theater as Roger McGuinn, voice and architect of the Byrds, strolled out casually from stage right. The chorus of the opening song, a cover of Bob Dylan’s “My Back Pages,” resonated throughout the night: “I was so much older then/I’m younger than that now.”

For the next 100 minutes, McGuinn treated the two-thirds full theater to a stroll through his back pages, or, more specifically the music that influenced the sound of the Byrds and his songwriting. It took McGuinn half a hour to work his way up to the rock and roll era. He explained a reworking of “Jesu, Joy of Man’s Desire” ended up as “She Don’t Care About Time,” a Byrds b-side, sang a sailor chanty, a spiritual and paid homage to Woody Guthrie and Lead Belly. He also used his own “Chestnut Mare” as an example of the cowboy songs from the old West.

These performances were interesting as a musical history lesson, but the show didn’t really take off until Elvis entered the building. Calling the transistor radio the iPod of its day, McGuinn explained how the portable radio freed him from having to listen to his parents’ music (and vice versa). The thrill of watching Presley inspired McGuinn to get his first guitar.

Now inspired, McGuinn told the audience about his lessons at the Old Town School of Folk Music in Chicago, where each week not only was a new song taught but several different styles of playing it. From there he took the crowd on a expedition through the Limeliters and Chad Mitchell Trio in Los Angeles into Bobby Darin’s band before landing at the Brill Building in New York City.

It was there McGuinn first heard the Beatles and recognized the folk-chord structures they used. Alone in his vision to marry folk with the British Invasion, McGuin fled the Greenwich Villagescene for the Troubador in Los Angeles where he met Missouri native Gene Clark and group that would become the Byrds were born.

Each adventure was illuminated by a musical representation of the time, from the Limeliter’s “There’s A Meeting Here Tonight” and Joan Baez’ “Silver Dagger” to “You Showed Me,” the first song McGuinn and Clark wrote together, which later became a Top 10 hit for the Turtles.

McGuinn performed most of the set seated on a piano bench at center stage. The only musician onstage, he was surrounded by four instruments, an acoustic and electric 12-string guitar, a 7-string guitar and a banjo. The open cases around him made McGuinn look like a posh busker.

The crowd relished every note and story. The room was often so quiet you could hear McGuinn’s pick hitting the strings. He frequently had to prod the audience to get involved, even singing the chorus on major songs like “You Ain’t Goin’ Nowhere,” another Dylan cover.

Although his tenor voice had lost some of its range, McGuinn’s singing was strong and his guitar playing was impressive. The best moment was a fascinating new arrangement of “Eight Miles High” that was more Ravi Shankar than Timothy Leary. Appropriately, the autobiographical journey ended with a relatively recent song, “May the Road Rise To Meet You.”

Set List: My Back Pages; She Don’t Care About Time; Leave Her Johnny, Leave Her (Time For Us To Leave Her); Old Blue; Chestnut Mare; Pretty Boy Floyd; Rock Island Line; Heartbreak Hotel (excerpt); Unknown Spiritual; There’s a Meetin’ Here Tonight; Silver Dagger; Gambler’s Blues (aka St. James Infirmary); The Water Is Wide; You Showed Me; Mr. Tambourine Man; You Ain’t Goin’ Nowhere; Mr. Spaceman; Dreamland; Up To Me; Eight Miles High; Turn, Turn, Turn. Encore: Feel A Whole Lot Better; Bells of Rhymney; May The Road Rise To Meet You.

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ain't nothing
Marvin Gaye and Tammi Terrell – “Ain’t Nothing Like the Real Thing,” Pop # 8, R&B # 1

By Joel Francis

Marvin Gaye and Tammi Terrell’s first album together, “United,” was a smash that spawned three Top 5 R&B hits and turned Gaye into a soul superstar. A follow-up was inevitable. In March, 1968, less than three months after the release of their previous single, “Ain’t Nothing Like the Real Thing” announced the fruits of the duo’s new collaborations.

“Ain’t Nothing Like the Real Thing” is more of a Brill Building pop song than a soul number. Each singer gets two brief verses, but the heavy emphasis is on the chorus, which is usually repeated. There is a touch of Carol King’s phrasing in Terrell’s verses and the piano line – particularly the bit that introduces the first verse owes to King’s style. Although the structure is deceptively simple, the song works because the hook allows the complementary voices to dance. The clever bridge also surprises up the verse-chorus structure.

The song is definitely outside of the Motown paradigm, but Gaye’s voice , especially the soulful moans that appear after the drums and bass introduce the song, let the listener know we’re still deep in Motown territory.

Sadly, “Real Thing” was the next-to-last “real thing” Gaye and Terrell worked on together. In October, 14, 1967, following the completion of the No. 1 R&B hit “You’re All I Need To Get By,” Terrell collapsed in Gaye’s arms while performing at college homecoming in Virginia. Doctors diagnosed Terrell with a brain tumor and her days as a singer and performer were over.

Gaye completed the pair’s second album, “You’re All I Need,” by overdubbing his voice to Terrell solo recordings, a trick reprised on the duo’s third and final album, “Easy.” Largely present in name only, “Easy,” found Valerie Simpson standing in for Terrell on all but two albums. “Easy” spawned three Top 20 R&B hits, but nothing as influential or wonderful as “Real Thing.”

When Terrell died at age 24 on March 16, 1970, Motown released her final “duet” with Gaye in tribute.

“Ain’t Nothing Like the Real Thing” has been a go-to duet for 40 years. Diana Ross and the Supremes were the first to capitalize, recording a version with the Temptations in 1969. The following year the Ross-relieved Supremes cut another version with the Four Tops. The Jackson 5 included their cover on their 1972 album “Lookin’ Out the Windows.” Aretha Franklin recorded a rare solo version of the song in 1974.

Other performers to record “Real Thing” include Donny and Marie Osmond, Gladys Knight and Vince Gill, Elton John and Marcella Detroit, and Beyonce and Justin Timberlake. Michael McDonald and Boyz II Men also included interpretations of the number on their Motown tribute albums.

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