From the category archives:

Capitol Records

The 1969 Grammy for Best Country Song went to   “A Boy Named Sue ” -  Shel Silverstein, Songwriter.

The  1969 Grammy for Best Country Vocal Performance, Male went to    “A Boy Named Sue”  sung by Johnny Cash.

Like the so-called labeled  Soul Gospel song “Oh Happy Day”  in the last post — this Country Song was a staple on AM radio when it came out and everyone loved it! It is another song that defies category IMHO.  I realize that the record industry insists on  charting music by category,  but frankly in the Sixties and into the Seventies for me and my friends and family good music was good music no matter what the genre!

I loved Johnny Cash ever since I first heard “Get Rhythm” and ” I Walk  The Line”  as a little girl in the Fifties. “Daddy Sang Bass” is still a fave and on my mp3 player to this day!

The Double Grammy winner “Sue”  song topped both the Adult Contemporary and Country Singles Charts at #1 and the Billboard Hot 100 at #2.

In his autobiography Cash wrote that he had just received the song and only read over it a couple of times. It was included in that concert to try it out; he didn’t know the words and on the filmed recording, he can be seen regularly referring to a piece of paper. Cash was surprised at how well the song went over with the audience – the rough, spontaneous performance with sparse accompaniment was included in the Johnny Cash At San Quentin album, ultimately becoming one of Cash’s biggest hits.

According to Shel Silverstein’s biographer Mitch Myers, it was June Carter Cash who encouraged her husband to perform the song. Silverstein introduced it to them at what they called a “Guitar Pull,” where musicians would pass a guitar around and play their songs. (SOURCE:WIKI Page “A Boy Named Sue”)

This is live at San Quentin in 1969.

“A Boy Named Sue”  Composed by Shel Silverstein

My daddy left home when I was three
And he didn’t leave much to ma and me
Just this old guitar and an empty bottle of booze.
Now, I don’t blame him cause he run and hid
But the meanest thing that he ever did
Was before he left, he went and named me “Sue.”

Well, he must o’ thought that is quite a joke
And it got a lot of laughs from a’ lots of folk,
It seems I had to fight my whole life through.
Some gal would giggle and I’d get red
And some guy’d laugh and I’d bust his head,
I tell ya, life ain’t easy for a boy named “Sue.”

Well, I grew up quick and I grew up mean,
My fist got hard and my wits got keen,
I’d roam from town to town to hide my shame.
But I made a vow to the moon and stars
That I’d search the honky-tonks and bars
And kill that man who gave me that awful name.

Well, it was Gatlinburg in mid-July
And I just hit town and my throat was dry,
I thought I’d stop and have myself a brew.
At an old saloon on a street of mud,
There at a table, dealing stud,
Sat the dirty, mangy dog that named me “Sue.”

Well, I knew that snake was my own sweet dad
From a worn-out picture that my mother’d had,
And I knew that scar on his cheek and his evil eye.
He was big and bent and gray and old,
And I looked at him and my blood ran cold
And I said: “My name is ‘Sue!’ How do you do!
Now your gonna die!!”

Well, I hit him hard right between the eyes
And he went down, but to my surprise,
He come up with a knife and cut off a piece of my ear.
But I busted a chair right across his teeth
And we crashed through the wall and into the street
Kicking and a’ gouging in the mud and the blood and the beer.

I tell ya, I’ve fought tougher men
But I really can’t remember when,
He kicked like a mule and he bit like a crocodile.
I heard him laugh and then I heard him cuss,
He went for his gun and I pulled mine first,
He stood there lookin’ at me and I saw him smile.

And he said: “Son, this world is rough
And if a man’s gonna make it, he’s gotta be tough
And I knew I wouldn’t be there to help ya along.
So I give ya that name and I said goodbye
I knew you’d have to get tough or die
And it’s the name that helped to make you strong.”

He said: “Now you just fought one hell of a fight
And I know you hate me, and you got the right
To kill me now, and I wouldn’t blame you if you do.
But ya ought to thank me, before I die,
For the gravel in ya guts and the spit in ya eye
Cause I’m the son-of-a-bitch that named you “Sue.’”

I got all choked up and I threw down my gun
And I called him my pa, and he called me his son,
And I came away with a different point of view.
And I think about him, now and then,
Every time I try and every time I win,
And if I ever have a son, I think I’m gonna name him
Bill or George! Anything but Sue! I still hate that name!

Now I have shared with you some of my favorite Johnny Cash songs. What are some of your please?

Musically Yours,

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Filed under: A Boy Named Sue, Capitol Records, Country Pop, Grammy Gold, Johnny Cash, Magnificent Male Vocalists, Shel Silverstein, Sixties

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I loved Peggy Lee singing her signature cover song  “Fever” in the Fifties  (another of my Barbie doll’s favorites to sing in a night club -- LOL) and her her songs from Disney’s 1955 American film “Lady & The Tramp” Soundtrack!

But her only Grammy win was The Grammy for  the 1969 Best Contemporary Vocal Performance, Female that went to   “Is That All There Is.”  The arrangement makes me think of  the musical “Cabaret”!

This Lieber and Stoller penned classic  charted #1 Adult Contemporary and #11 on the Billboard T op 100. This was Peggy’s (born Norma Deloris Egstrom)  last number one hit.


Is That All There Is  (partial)

And here are two of my faves from “Lady & The Tramp.” Actually I have never seen the movie all of the way through or if I did as a child I don’t recall the plot. I only remember these awesome songs! What about you? Do you recall the plot?


He’s A Tramp -- This should have been a number one pop hit IMHO. Yo go girl ;-)

The Siamese Cat Song

Lear More about Peggy at this site.

Musically Yours,

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Filed under: Capitol Records, Fabulous Female Vocalists, Grammy Gold, Is That All There Is, Jerry Leiber & Mike Stoller, Peggy Lee, Pop, Pop/Jazz, Sixties

Song writer, singer and session musician Joe Souter, known professionally as Joe South, had written and played on many hits for other artists — but  his composition “Games People Play” was his first chart topping hit at #12 on the Billboard Top 100: plus it won him not one but two Grammys as songwriter!

The 1969 Grammy for Song of the Year went to “Games People Play” written by Joe South.

The 1969 Grammy for Best Contemporary Song went to “Games People Play written by Joe South :-)

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Last but not least the 1969 Grammy for Best R&B Instrumental Performance went to “Games People Play” performed by King Curtis. Curtis, Born  Curtis Ousley,  was both a  renowned soloist and session musician on his tenor sax.

So there you have it — one awesome song and three Grammy wins!

Trivia: South  was inspired to write this award winning song by Dr. Eric Berne’s 19   book “Games People Play:
The psychology of human relationships”

More Trivia: King Curtis and Duane Allman were both session players and great friends. They played together often and both Curtis and Allman are playing in the GPP track above.

Musically Yours,

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Filed under: Capitol Records, Games People Play, Grammy Gold, Instrumental Grooves, Joe South, Joe South Composer, Magnificent Male Vocalists, Pop, Pop/Jazz, Sixties

Stevie Wonder - Uptight

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Stevie Wonder & Clarence Paul -- Blowin’ In The Wind (1966) #1 R&B; #9 Pop

The teenager Stevie Wonder began producing and composing songs with his album releases in 1966. The first release “Up-Tight” included this cover of the great Bob Dylan classic “Blowin’ In The Wind.” The Up-Tight LP charted #2 R&B and #33 on the Billboard Top 200 lists in 1966.

The anectote goes that Clarence Paul had introduced the socially aware Wonder to this folk song and that he liked it so  much that he performed it in his concerts. Stevie forgot the lyrics to the second verse during a performance and Paul coached him along. From that day forward Steveland always sang the song with Paul as a duet and it is Paul’s voice you hear on the single that was made after fans insisted it be put on wax after two years of performing it on stage.

To this day I can recall the Tuesday after school that I bought the 45 rpm and played it on the relatively new record player that grandmother had purchased for the living room. I loved Stevie’s spin on the song and actually listened to it and understood the meaning. You gotta admit that Dylan’s voice wasn’t a crowd-pleaser — so being a youngster I never really stopped to listen to what Dylan had written about until Stevie’s rockin’ re-make. Then I understood every word and I took Paul’s harmony parts when I sang it aloud ion the sofa in front of the stereo. ;-)

Covered by folk artists, rock artists, country artists, pop artists and soul artists alike, the song even inspired Sam Cooke to write another classic of the rock era on the same subject matter, “A Change Is Gonna Come.”  Cooke loved “Blowin’” so very much and said he should have written that song! He covered it in concert and on wax.

the freewheelin bob dylan

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Bob Dylan -- Blowin’ In The Wind (1963)

Bob Dylan wrote this classic masterpiece and first performed in 1962. It finally appeared on a Dylan album in 1963 titled “The Freewheelin’ Bob Dylan, that establish this man as an iconic songwriter. The LP peaked at #22 on the Billboard Top 200 Chart.

This song has been written about ad-finitum so you can probably Google it until your heart is content --  so there is not much more I can say other than giving you a link to the lyrics and letting you listen and enjoy!

For as long as it lasts on YouTube here is a piece of history -- Dylan, Peter, Paul and Mary and Stevie Wonder performing “Blowin’ In The Wind!”

And this YouTube gem is an awesome clip from the “Glen Campell Goodtime Show” that I mentioned in my previous post. Stevie Wonder guests  in this episode and he and Glen duet on “Blowin’ In The Wind.”

Musically yours,

sondanyr2

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Filed under: Blowin' In The Wind, Bob Dylan, Bob Dylan - Composer, Capitol Records, Motown, Motown Covers Pop, Pop/Folk, R&B/Motown, Sixties, Stevie Wonder and Clarence Paul

Time Out For SRATM

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Smokey Robinson & The Miracles  – Wichita Lineman (1968)

Glen Campell, the “Rhinestone Cowboy,” was one of the greatest Country-Pop Stars of the Sixties and Seventies. He even had his own TV show –  which I was a big fan of.  Every Boomer reading this post remembers his million selling version of the Jimmy Webb penned classic along with the hit follow-up “Galveston” and the hit predecessor “Gentle on My Mind.” Oh and my favorite Campell tune was “By The Time I Get To Phoenix.”: then  when Isaac Hayes covered the song it took on a whole other level of greatness for me.

Obviously Smokey Robinson and The Miracles knew a great song when they heard it.  “Lineman” is one of  some other covers that were on their 1969, #25 (Billboard Top 100) album “Time Out For Smokey Robinson and The Miracles.”A great song stands the test of time,  as both songwriters  Smokey Robinson and Jimmy Webb can attest too.

I think SRATM did a fine job on the cover.  Now here is Glenn’s original.

Glen Campbell Witchita Lineman

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Glenn Campbell – Wichita Lineman (1968), on Capitol Records, sold over two million copies, staying at number one pop for five weeks.

“Wichita Lineman” – Composed by Jimmy Webb.

I am a lineman for the county and I drive the main road
Searchin’ in the sun for another overload
I hear you singin’ in the wire, I can hear you through the whine
And the Wichita Lineman is still on the line

I know I need a small vacation but it don’t look like rain
And if it snows that stretch down south won’t ever stand the strain
And I need you more than want you, and I want you for all time
And the Wichita Lineman is still on the line

And I need you more than want you, and I want you for all time
And the Wichita Lineman is still on the line

”Time Out for Smokey Robinson And The Miracles” is still available as a 2-for import combined with the 1970 follow-up LP “Four In Blue” #3 R&B & #78 Billboard Top 200.

And I almost forgot to announce — November’s Motown Theme is obviously  “Motown Covers Pop!”  It wasn’t something they did often, but it did happen on once in a while. Sometimes they even hit it big,  as you will find out later on this month!

Now I am curious to know which rendition of “Wichita Lineman” floats your boat? ;-)   Please vote below.

Musically yours,

sondanyr2

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Filed under: Capitol Records, Country Pop, Glenn Campbell, Jimmy Webb, Motown Covers Pop, Motown/Tamla, R&B/Motown, Sixties, Smokey Robinson & The Miracles, Wichita Lineman

kyu-sakamoto1

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Kyu Sakamoto – Sukiyaki aka Japanese Love Song (1963) #1 Adult Contemporary, #18 R&B, #1 Pop

This wonderful, much covered song, composed by Hachidal Nakamura, was the first Japanese song to ever reach the top of the American music charts. I recall singing it as a child having no clue as to what the song was about … I just made up my own words to the marvelously jaunty and catchy melody!

Kyu Sakamoto was born Hisashi Oshima in 12/10/41. This well respected Japanese actor and singer  died in the  8/12/85 crash of Japan Airlines Flight 123 leaving behind his wife and two children.

taste-of-honey

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Taste of Honey -  Sukiyaki aka Japanese Love Song (1981)  #1 Adult Contemporary, #1 R&B Singles, #3 Pop Singles

It wasn’t until the 1981  cover version, by the disco era R&B “Two-Hit  Wonder”  group “Taste of Honey,”  topped the charts again that I recalled the original Japanese version of my youth. This version was slowed down in tempo and given English lyrics and then I knew it was meant to be a love song: but the lyrics that were used were not a translation of the original Japanese song.

selena

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Selena – Sukiyaki aka Japanese Love Song (1989)

This beautiful Spanish language cover of “Sukiyaki”  performed by Selena Quintanilla-Pérez (b.4/16/71 d.3/31/95) appeared on her 1989 release “Selena.”

Selena is by no means a “One Hit Wonder” but I just included her version here because it is truly beautiful and I like it and it’s my blog ;-)

I hope you enjoy all three versions as much as I do.

TRIVIA: After “Sukiyaki” was a hit for “Taste of Honey,  the duo  went to Japan and toured with Kyu Sakamoto!

And from the WIKI Kyu Sakomoto Pag:

The lyrics were written by Rokusuke Ei and the melody was composed by Hachidai Nakamura. The lyrics tell the story of a man who looks up and whistles while he is walking so that his tears won’t fall. The verses of the song describe him doing this through each season of the year. The original Japanese title was considered too difficult for American audiences to remember and pronounce, therefore a well-known word that people would associate with Japan was used – Sukiyaki, even though the word has nothing to do with the song. A Newsweek columnist noted that the re-titling was like issuing “Moon River” in Japan under the title “Beef Stew.”

For more interesting facts check out:

Kyu Salamoto’s Official Web Site

A Taste of Honey’s Official Web Site

A great Taste of Honey Fan Page

Q Productions online -  The Only Official Selena Website!


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Filed under: Capitol Records, Eighties, Hachidal Nakamura, One Hit Wonder, Pop, Pop/Folk, Pop/R&B, Selena, Sixties, Sukiyaki, Taste of Honey

The Beatles - Abbey Road

[audio http://www.hotlinkfiles.com/files/2307932_9ecgf/TheBeatles-Octopus_sGarden.mp3] The Beatles – Octopus’ Garden (1969)

Released in 1969, “Abbey Road” was the last Beatles album to be recorded (But not the last to be released). “Rolling Stone” magazine named it the 14th greatest album of all time.

“OG” was Ringo’s solo vocal  contribution the this set. He wrote the lyrics and George Harrison helped him flesh out the melody.

I hope that you have enjoyed listening and reading some of the fine contributions that Richard Starkey made to The Beatles this past month.  So often his participation, in addition to his stellar beat keeping, are overlooked and we need to give him his due — don’t you agree?

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Filed under: Bands, Beatlemania and More, British Invasion, Capitol Records, Octopus' Garden, Pop/Rock, Richard Starkey, Ringo, Sixties, The Beatles

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