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Posts Tagged ‘Sweet Home Chicago’

(Above: Paul McCartney goes to Kansas City with a little help from his friends.)

By Joel Francis
The Daily Record

The Big Apple has “New York, New York,” “Empire State of Mind” and dozens more. The Windy City has “Sweet Home Chicago” and “Jesus Just Left Chicago.” Tom Waits gifted the Twin Cities with not one but two songs (“Christmas Card from a Hooker in Minneapolis” and “9th and Hennipen”). Visitors to the Bay City are encouraged to “wear some flowers in (their) hair” while the City of Angels gets “California Love,” “Beverly Hills” and “Hollywood Swingin’.” Heck, the even the Gateway City has “St. Louis Blues.”

But there’s only one universally known song about my hometown: “Kansas City.” (Only obsessive music fans and listeners of a certain age will recall “Everything Is Up To Date in Kansas City” and “Train to Kansas City.”) When listening to Jay-Z, Frank Sinatra, Tom Waits and Louis Armstrong boast about other American cities I try to find comfort reminding myself that the Beatles only sang about one city during their career and they chose “Kansas City.”

“Kansas City” is the only song visiting performers feel obliged to work into their setlist. Willie Nelson played it at Farm Aid earlier this month and Paul McCartney used it to open his 1993 show at Arrowhead Stadium (the recording from that night also appears the album “Paul Is Live”). I’ve heard the song so many times in concert I feel like someone should tell all touring acts that no, really, they don’t have to play “Kansas City” on our behalf.

It’s not like the song is invisible around town. Twelfth Street and Vine may be gone (typical of my hometown – undermining its greatest assets), but the song is still very present. Go to a Royals game and if you stick around until the end you are guaranteed to hear “Kansas City.” If the boys in blue win, fans are treated to the Beatles version. If they lose then Wilbert Harrison is piped through the speakers.

“Kansas City” was seven years old by the time Harrison got his hands on it. Originally recorded by bluesman Little Willie Littlefield in 1952, the song was written by a couple of 19-year-old Jews inspired by a Big Joe Turner record. Littlefield’s performance featured a somewhat racier chorus, ending with the line “with my Kansas City baby and some Kansas City wine.” When Federal Records received Littlefield’s recording they promptly rechristened it “K.C. Lovin’.”

Wilbert Harrison

Harrison had been performing “K.C. Lovin’” for years before he decided to record it in 1959 under its original title and with the sanitized chorus we all know today. Released on Fury Records, the platter went straight to No. 1 and spawned an army of imitators. Within weeks, interpretations of “Kansas City” by Hank Ballard, Rockin’ Ronald, Little Richard, Rocky Olson and a reissue of Littlefield’s original recording could be found in record shops. Paired with his own “Hey Hey Hey,” Little Richard’s cover hit No. 27 in the UK and inspired the Beatles’ recording.

The men – boys, really – who penned “Kansas City” wouldn’t visit the town that inspired their song until the mid-‘80s, nearly 35 years after handing the tune to Littlefield. Despite this handicap, Jerry Leiber and Mike Stoller nailed their vision of “a melody that sounded like it could have come out of a little band in Kansas City,” as Stoller later explained on a UK television show.

Hot on the heels of “Hound Dog,” “Kansas City” cemented Leiber and Stoller’s reputation as rock and roll’s hottest songwriters. Before the decade was out they would write scores of hit songs for the biggest singers of the day – Elvis Presley, the Drifters, Phil Spector, Ben E. King and, especially, the Coasters – and shape the young days of rock and roll more than anyone else. A sampling of their songs from the time reads like an early rock and roll greatest hits collection: “Hound Dog,” “Jailhouse Rock,” “Smokey Joe’s Café,” “Riot in Cell Block Nine,” “On Broadway,” “Love Potion No. 9,” “Young Blood,” “Searchin’,” “Yakety Yak,” “Stand By Me” and on and on.

Jerry Leiber (left) and Mike Stoller show the King of Rock and Roll his next hit.

The duo’s use of strings on the Drifters’ “There Goes My Baby” predates (and foreshadows) the Motown sound that would dominate pop music in the coming decade. In fact many of their arrangements and innovations were so prescient that Leiber and Stoller found themselves on the sidelines for much of the 1960s. The Beatles and other British Invasion bands learned to write emulating Leiber and Stoller and other Brill Building songwriters, making third-party songwriters largely redundant. The expansive use of the recording studio rendered Leiber and Stoller’s pioneering arrangements sounding (for a while) like quaint relics of the past.

Despite these advancements, rock and roll and pop music will never outgrow the shadow of Leiber and Stoller. Grammy awards, hall of fame inductions and songwriting royalties stand as a testament to Leiber and Stoller’s perpetual influence. Even “American Idol” paused to pay tribute with an all Leiber-and-Stoller episode last spring.

Jerry Leiber, 78, died Monday. His survivors include Mike Stoller, his songwriting partner of 60 years, his family and everyone who ever picked up the guitar or sat down at the piano and tried to write a song or become a star.

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(Above: Blues legends Hubert Sumlin and James Cotton help Big Head Todd and the Monsters visit the “Killing Floor.”)

By Joel Francis
The Kansas City Star

Rock and roll tributes to the blues are hardly a novel concept, but the glossy, contemporary rock of Big Head Todd and the Monsters makes them an unexpected outfit to try such a feat.

Saturday’s concert at the Uptown was billed as “Back at the Crossroads: The Robert Johnson Centennial Concerts.” The four-piece, Colorado rock band aimed to celebrate Johnson in the months leading up to his 100th birthday in May, but this wasn’t quite the case. Johnson figured prominently in the set, but there was also a heavy dose of Chicago blues. The night was more like an exposition of the genre’s most overt influences on rock. Put another way, the first set opened with Todd Park Mohr alone onstage playing the dobro and ended less than an hour later with dueling drum solos.

Taking the stage in a dark suit and black fedora, frontman Mohr quickly put any expectations for the Monsters’ back catalog to bed, telling the one-third capacity crowd the only thing they’d be hearing was “straight, natural blues.” He was right for the most part, but an audience clamoring for “Bittersweet” – one of the band’s biggest tunes – needn’t have worried. The songs in the last third of the set sounded like typical Big Head Todd material outfitted with familiar blues lyrics.

Mohr opened with three stellar, solo acoustic numbers before being joined by Missouri native Lightnin’ Malcolm and Monsters keyboardist Jeremy Lawton. That trio, along with bass player Rob Squires who entered later, formed the core band for the night, present on nearly every number. They were augmented by drummer Cedric Burnside, grandson of the Fat Possum bluesman R.L. Burnside and Malcolm’s longtime touring partner, and Monsters drummer Brian Nevin.

The real blues cred, however, came from 79-year-old guitarist Hubert Sumlin, and 75-year-old harp man James Cotton. Sumlin’s playing can be heard on most of Howlin’ Wolf’s classic material and Cotton played on many great Muddy Waters records. Half a century later, both men were in just as fine of form today as they were in their Chess Records heyday. Sumlin’s soling was nimble and his vocal turn on “Sittin’ On Top of the World” was strong. Cotton made his harmonica moan and wail like a woman in pleasure and had so much fun during one solo that he started laughing when it was done.

Big Head Todd and the Monsters are no strangers to working with blues legends. In 1997 they worked with John Lee Hooker on a cover of his “Boom Boom” that reached the Top 40. Opinions of that track will likely frame one’s appreciation for the evening: The band either misappropriated a hero to dumb down a song or paid honest homage using their familiar idiom.

The best moments were the spare opening numbers, particularly Lightnin’ Malcolm’s duets with Cotton on “Walkin’ Blues” and “Future Blues.” Mohr really pushed himself at the mic all night and did a great job approximating the Wolf’s moans and rasp on the Chicago numbers. Cotton or Sumlin were onstage for about half of the two-hour set’s 22 songs. Their contributions were always a treat.

After the first, mostly acoustic set, the band took a 20 minute break. They returned for another hour of electric music that blurred the lines between Chicago blues, traditional bar band fare and the typical Big Head sound. Not everything worked – covers of ZZ Top’s “Jesus Just Left Chicago” and a slick arrangement that removed any sense of doom from “Last Fair Deal Gone Down” were questionable. But there was no doubt everyone onstage was having fun.

Setlist: Love in Vain; Stones In My Passway; Dry Spell; Kind-Hearted Woman Blues; If I Had Possession Over Judgment Day; Walkin’ Blues; Future Blues; Viola Lee Blues; When You Got A Good Friend; Travelling Riverside Blues. Intermission. Ramblin’ On My Mind; Preachin’ Blues (Up Jumped the Devil); Wang Dang Doodle; Sittin’ On Top of the World; Killing Floor; I Love the Life I Live, I Live the Life I Love; Jesus Just Left Chicago; Come On In My Kitchen; Last Fair Deal Gone Down. Encore: Cross Road Blues; I Believe I’ll Dust My Broom > Sweet Home Chicago.

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