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Posts Tagged ‘Creedence Clearwater Revival’

By Joel Francis

Joe Tex – I Gotcha (1972) Like a lot of people, I was introduced to Joe Tex through the Reservoir Dogs soundtrack. Like most of Quentin Tarantino’s musical moments, “I Gotcha” was placed perfectly in the film, when the guys bring the captive cop back to the warehouse. I can’t remember where or when I first encountered “You Said a Bad Word,” but that song captured the same sexual menace, braggadocio and funk as “I Gotcha.” If you liked one, you would surely like the other. Lucky for me, those songs kick off each side of this album. “Give the Baby Anything That Baby Wants” was another single released from this album in the same vein as “I Gotcha” and “Bad Word.” The ballads on here aren’t bad, but when I spin this record I want to strut.

Cannonball Adderly – Mercy, Mercy, Mercy! Live at The Club (1966) If you don’t recognize the name Cannonball Adderly, you may know him as the saxophone player who isn’t John Coltrane on Miles Davis’ Kind of Blue. This album is a world away from Davis’ celebrated release, but it is fantastic in its own right. The title song actually crossed over on the pop charts and it’s easy to see why. It kind of rolls in from nowhere before building into a big gospel-fueled chorus. Composer Joe Zawinul takes a solo on the electric piano as the melody percolates until the band churns back into that big chorus. It’s the kind of song that could go on forever. To my ears, it also points the way to the jazz television themes of the 1970s and ‘80s, like Bob James’ “Angela,” used for Taxi and Mike Post’s theme for “Hill Street Blues.” If Zawinul’s name sounds familiar, he played on Davis’ fusion landmarks “In a Silent Way” and “Bitches Brew” before founding Weather Report with Wayne Shorter. Oh, and the rest of this live album is great, too.

Neko Case – The Tigers Have Spoken (2004) Technically this is a live album, but there’s no crowd noise or stage banter (until a hidden track at the end), so you could be forgiven for thinking this is a studio release. Either way, hearing Neko Case perform songs by Buffy Saint Marie and Loretta Lynn is a treat. Gospel music isn’t the first thing that comes to mind when I think of Case, but she and her top-shelf band do right by “This Little Light.” My hometown even gets a nod on “The Train from Kansas City.” All in all, The Tigers Have Spoken isn’t as essential or immediate as the many studio albums containing her original compositions, but it is a great homage to some of the people who inspired her.

Red Kate – Unamerican Activities (2016) Nearly every December for the past several years the RecordBar has hosted a great tribute to the late Clash singer and guitarist Joe Strummer. I always make it a point to attend because it is an opportunity to hear songs by my favorite band performed live. Red Kate were the closing performers in 2018 and blew me away with their intensity. Afterward, I struck up a conversation with lead singer L. Ron Drunkard – shout-out to that amazing stage name – who is exactly who you’d expect him to be: A guy who fell in love with punk music as a kid and has been playing in bands for most of his life while holding down a day job to pay the bills.

The music on Unamerican Activities reflects that proletariat, we’re-all-in-this-together perspective. These songs hit hard and punch back at the ruling class. No one’s working for the clampdown in these quarters.

Roy Orbison – All-Time Greatest Hits (1986) Every music collection needs so Roy Orbison, so this was one of the earliest albums I bought. A closer look reveals this aren’t the original recordings of Orbison’s best-known songs, but remakes done in 1986. The big clues are that the musician credits are the same for all tracks and there aren’t any licensing arrangements for the singles that were initially issued across several labels. The good news is that the producers didn’t try to update the Orbison sound. There are no gated drums or synthesizers and Orbison still hits all the right notes on “Cryin’” so this collection still works for me.

Public Enemy – Fear of a Black Planet (1990) Despite its provocative title, Public Enemy’s third album isn’t as incendiary as the first two. This isn’t to say Chuck D is pulling any punches. “Burned Hollywood Burned” torches the movie industry for black stereotypes and the lack of black actors a generation before #OscarsSoWhite. “Fight the Power” doesn’t attempt to hide its manifesto. Deeper into this dense album “Pollywannacracka” discusses interracial couples (before Jungle Fever, I might add). Flava Flav’s comic relief comes in the form of “911 is a Joke.” Ha ha.

In a way, Black Planet is a distillation of the first two albums in manner more palatable to mainstream tastes. It’s PE’s best-selling album, but also the last album where nothing feels forced and it doesn’t seem like they are trying too hard. Looking at current headlines and the spike in hate crimes since 2017, it seems the concept of a black planet is still a very present fear in society today. Welcome to the terrordome.

John Fogerty – Blue Ridge Rangers (1973) John Fogerty was snake-bitten and gun-shy after the demise of Creedence Clearwater Revival. His label owner swindled him out of songwriting royalties and his brother Tom had sided with the label before bitterly leaving CCR. This is probably why John Fogerty’s name is hard to find anywhere on this debut solo album. The Blue Ridge Rangers are actually Fogerty playing all the instruments. He does a good job sounding like Nashville session players during this romp through a dozen country standards. My favorites are the gospel songs “Working on a Building” and “Somewhere Listening,” each featuring a choir of Fogertys on backing vocals. The performance of Hank Williams’ “Jambalaya” is as close as the album gets to CCR territory.

Willie Nelson – Phases and Stages (1974) Finding someone who doesn’t like Willie Nelson is like encountering someone who hates rainbows, ice cream and puppies. I mean, I guess mathematically that person has to exist, but you never expect (or hope) to encounter him or her. I’ll never forget a former co-worker’s diatribe against Nelson, but I took some satisfaction in knowing the disdain was for political, rather than musical reasons.

Phases and Stages is the album that immediately preceded Nelson’s breakthrough, Red-Headed Stranger and also the second of what would be three consecutive concept albums. I’d say that period represents peak Nelson, but the truth is that Nelson turns out so many albums and so many of them are solid that any valleys are likely to be followed by a couple more peaks. If you love country music, rainbows, ice cream and puppies, you should have this album. If you don’t like any of these, I feel sorry for you.

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Marvin Gaye – “I Heard It Through the Grapevine,” Pop # 1, R&B # 1

By Joel Francis

Producer and songwriter Norman Whitfield had finally triumphed. His fourth attempt at recording “I Heard It Through the Grapevine” had finally made it past Berry Gordy’s Quality Control meetings and triumphed at the top of the charts. Now, just over a year later, he wanted to release an earlier version of the song recorded by Marvin Gaye. Label honcho Berry Gordy had denied Whitfield’s request to release Gaye’s “Grapevine” before Gladys Knight had a hit with the song. His stance would not change. Whitfield was successful, however, in getting the song inserted on Gaye’s “In the Groove” album. Just as he had hoped, listeners started requesting “Grapevine” and DJs clamored for Motown to release the song as a single. Finally released in late October, 1968, “Grapevine” shot to the top of both the pop and R&B charts, outselling Knight’s version and becoming the biggest-selling Motown single to date. The song was so popular, Gaye’s album “In the Groove” was renamed “I Heard It Through the Grapevine.”

The path to getting the song recorded wasn’t much smoother. Whitfield spent a month recording the backing track with the Funk Brothers, Detroit Symphony and backing vocal group the Andantes. During these sessions, Gaye and Whitfield started to argue over the vocal arrangement. Whitfield, who worked primarily with the Temptations, wanted Gaye to sing above his natural ranges, as David Ruffin did on the Tempt’s hit “Ain’t To Proud To Beg.” Gaye initially resisted, but finally gave in. The combination of Gaye’s rasp and the Andantes convinced Whitfield he had a hit. Now he had to persuade Gordy.

Gaye’s version of “I Heard it Through the Grapevine” bears little resemblance to the song Knight took to No. 1. The defining organ line in Gaye’s arrangement barely appears in Knight’s version. Her reading was all about funk and atmosphere; Gaye’s speaks directly to the lyrics. His strained voice is haunting and filled with pain. And while the emphasis is placed on the strings, check out the great interaction between the bass and drums and the great drum sound. It almost sounds tribal.

This reading of “Grapevine” has become the definitive version, but that hasn’t stopped dozens of other artists from trying their hand. Hoping to strike lightning thrice, Whitfield gave the song to the Temptations, who included it on their 1969 album “Puzzle People.” In 1970, Creedence Clearwater Revival released a blistering 11 minute version that featured lots of fretwork and jamming from the usually concise quartet. Talk-box titan and funkmaster Roger Troutman took the song back to No. 1 on the R&B charts with his 1982 cover. The song was also famously co-opted by the California Raisins (and sung by former Jimi Hendrix drummer Buddy Miles) in 1986.

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(Above: Bruce Springsteen isn’t even close to being the biggest legend onstage in this historic performance of “I Saw Her Standing There” from 1987.)

By Joel Francis

“Rock Hall Live,” an exquisite nine DVD box set of performances and speeches from the past 25 years of Rock and Roll Hall of Fame induction ceremonies is a treasure trove for all music fans, but it should especially attractive to Bruce Springsteen fans. Springsteen appears on all but two of the discs in more than a dozen performances and nearly as many speeches. As the unofficial MC of the collection, Springsteen makes more appearances than anyone else.

The Daily Record previously reviewed “Rock Hall Live.” On Monday and Friday of this week it will examine every Springsteen performance on the collection. Although these performances are scattered throughout the box set, we will look at them in chronological order. On Wednesday, The Daily Record will review Springsteen’s concert at the Sprint Center in Kansas City, Mo. (NOTE: Tuesday’s concert was cancelled because of the death of Springsteen’s cousin and road manager. On Wednesday The Daily Record will discuss Stevie Wonder’s 1968 hit “For Once in My Life.”)

1987 – “(Oh) Pretty Woman” (with Roy Orbison)

The footage from these early inductions – 1987 heralded the Hall’s second class of members – is shaky and the audio is questionable at best. Surrounded by Bo Diddley, Smokey Robinson, B.B. King, Carl Perkins and scores of other music legends, and awestruck Springsteen pays tribute to the man he immortalized in the lyrics to “Thunder Road.” Springsteen is so excited he forgets the song in a couple places, but his joy at being able to celebrate with Roy Orbison is infectious. Two years later, Orbison was gone and Springsteen paid him another tribute by performing “Crying” at that year’s ceremony.

1988 – “I Saw Her Standing There” (with Mick Jagger and the Rock Hall Jam Band)

It takes the cameraman a few moments to find the vocalist amongst the throng of performers onstage, but the camera finally lands on Billy Joel, belting out the first verse from the peanut gallery. Mick Jagger takes the second verse with an assist from George Harrison. Somewhere onstage, Ringo Starr is one of several happy drummers, making the occasion the closest thing to a Beatles reunion to happen until the Anthology project. (Paul McCartney was feuding with Harrison and Starr at the time and opted not to attend.) After a guitar solo from Jeff Beck, Springsteen finally gets the mic for the third verse. Despite forgetting a few of the words, he exuberantly finishes the number with Jagger.

1988 – “(I Can’t Get No) Satisfaction” (with Mick Jagger and the Rock Hall Jam Band)

In his 2004 speech inducting Jackson Browne to the Rock Hall, Springsteen says he wishes he’d written “Satisfaction.” Sixteen years earlier, Springsteen realized part of his dream by performing the number with half of its authors. Surrounded by John Fogerty, Bob Dylan, Harrison, Beach Boy Mike Love, Jeff Lynne, Tina Turner, Ben E. King and keytar-rocking band leader Paul Schaffer, Springsteen trades lines with Jagger on the chorus. Sporting a gray suit and bolo tie and backed by E Street drummer Max Weinberg somewhere in the swarm, Springsteen is little more than a vocal prop in this chaotic number.

1993 – “Green River,” “Born on the Bayou,” “Who’ll Stop the Rain” (all with John Fogerty and Robbie Robertson)

Springsteen plays rhythm guitar and adds backing vocals to this trio of Creedence Clearwater Revival classics. Still upset at his former CCR band mates, John Fogerty refuses to perform with Doug Clifford and Stu Cook. The tension between the three is evident during the acceptance speech, but it completely dissolves once Fogerty straps on his guitar and steps behind the mic. The songs don’t really need three guitarists, but Springsteen is elated to be performing with yet another idol and happy to let Robbie Robertson and Fogerty do all the heavy lifting. There is also rehearsal footage of Springsteen, Fogerty, Robertson and bass player Don Was playing around with different arrangements. Robertson is clearly in charge of the ensemble and again Springsteen seems content to observe. Springsteen does jump into action, however, to work out the harmony vocal line with Fogerty and to successfully lobby for the inclusion of “Green River.”

1994 – “Come Together” (with Axl Rose)

This is a bad idea on paper and it’s even worse onstage. Springsteen looks stiff, sharply strumming a black Stratocaster that matches his tuxedo. A few paces away, Axl Rose more relaxed wearing jeans and flannel as he bobs and weaves like a snake hearing some inaudible flute. This isn’t a duet so much as two performers doing the same song in a shared space. Rose’s voice is fine in its own context, but it’s rarely complementary. His performance here is so grating it makes one long for Aerosmith’s version (shudder). Springsteen seems relieved when the song finally ends.

Keep reading:

Springsteen Rocks the Hall (part 2)

Review: Boss is Bigger than Big 12 Tourney (2008)

Bruce Springsteen and Tom Morello – “The Ghost of Tom Joad”

Review: Springsteen’s “Dream” Needs More Work

Springsteen in the Waiting Room: Drop the Needle and Pray

New DVD Set Celebrates Rock Hall Performances

More Bruce Springsteen in The Daily Record

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