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Music History Monday: November 18

Posted by Jeff Harris, November 18, 2013 11:35am | Post a Comment

To read more Behind The Grooves, go to http://behindthegrooves.tumblr.com.

On this day in music history: November 18, 1972 - "If You Don't Know Me By Now" by Harold Melvin & The Blue Notes hits #1 on the Billboard R&B singles chart for two weeks, also peaking at #3 on the Hot 100 on December 9, 1972. Written and produced by Kenny Gamble and Leon Huff, it is the first major hit for the Philadelphia vocal quintet. Lead singer Teddy Pendergrass will initially join The Blue Notes as their drummer, but will move front and center when Harold Melvin discovers that he can sing. Harold Melvin & The Blue Notes will be among the first acts signed to Gamble & Huff's Philadelphia International Records in 1971. "If You Don't Know Me By Now" is originally written for the Chicago-based R&B group The Dells, but will not recording it when they can't reach a deal with their record label. Instead, it is given to The Blue Notes and is released as their second single, becoming an immediate smash on both pop and R&B radio. "If You Don't Know Me By Now" is certified Gold in the US by the RIAA.
 


On this day in music history: November 18, 1974The Lamb Lies Down On Broadway, the sixth album by Genesis is released. Produced by Genesis and John Burns, it is recorded at Island Mobile Studios in Wales, UK from August - October 1974. The 23-track double LP is a concept album centering around the character Rael and his surreal odyssey while searching for his brother John. The majority of the songs are written by the band with the exception of Peter Gabriel who is largely absent from the writing and rehearsal sessions due to his wife experiencing major complications while having their first child. When Gabriel returns, he'll insist on writing and in some cases re-writing lyrics to certain songs, which will create friction between band members during the recording sessions. It will become their most successful release to date in the US and is regarded as one of the best progressive rock albums of all time. It will also be the final album to feature original lead vocalist Peter Gabriel, who will leave the band following the subsequent tour in support of the record. The Lamb Lies Down On Broadway will peak at #10 on the UK album chart, peaking at #41 on the Billboard Top 200, and is certified Gold in the US by the RIAA. Check out the 7" single!
 

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70's Pop/Rock Artist Bob Welch Departs this Life

Posted by Billyjam, June 8, 2012 11:40am | Post a Comment

Bob Welch "Ebony Eyes" (1978)

Is it just me or does it seem like the frequency with which we are losing artists has been rapidly increasing over the past year? It seems like every week word of some great musician who came to fame in the '60s, '70s, or '80s has passed on. The latest to add to that sad, long list is '70's rock artist Bob Welch, known for both his solo work and membership of Fleetwood Mac, who died yesterday at age 66. Unlike many of the other artists who have passed on recently due to natural causes, the singer/songwriter/guitarist whose career never quite reached its full potential, was the victim of a self-inflicted gunshot wound to the chest.  As one of my fellow WFMU DJs noted following this tragic news, Welch qualified as a "classic tortured shoulda-been left-behind '70s artist."

  Welch recorded some timeless pure pop-rock perfection, including his hits "Hot Love, Cold World,” “Precious Love,” "Sentimental Lady" (originally recorded with Fleetwood Mac but then later reworked by Bob Welch), and 1978's "Ebony Eyes" (video above), which would be the biggest hit of his career.  But despite all of the successes Welch enjoyed, he never really reached the level of appreciation he deserved. He was unfortunate in that he had split Fleetwood Mac before they became hugely popular and then, on top of this, his own solo career stagnated back in the '80s. The two post-Mac groups he formed, Paris and Avenue M, never really took off and, as accurately noted in today's LA Times, his "early contributions [to Fleetwood Mac] helped pave the way for the sound the band is celebrated for today." Welch rarely gets much credit for those contributions.

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Perennial Melodies: Sukiyaki for the Sentimental

Posted by Kelly S. Osato, March 28, 2010 02:39pm | Post a Comment
A few weeks ago the vocalist Eduard Khil and his heart-swelling vocal flexes were nothing to me, but now I cannot think of a day gone by without my acknowledging the impression his song has left on my heart. For those who've yet to encounter Khil, his claim to international stardom comes of the internet meme known as "Trololololololololololo," a video clip circa 1976 that features a dapper dandy (Khil) vocalizing a song called "I Am Glad To Be Finally Returning Home" with plenty of laughing ha-hahs and hearty bellowing tro-lo-los as he gestures with casual fluidity, occasionally directing viewers to consider the paltriness of the set pieces that flank him. It is an aural and visual happy-pill dressed in sunny yellow, an upper to be taken when the spirit lags and, for about the last two weeks, it's been the very first thing I enjoy in the morning. 


As if the simple joy and outdated charm of that performance alone wasn't enough to make me fall head over feet for Eduard Khil, he has since been featured in another recent post, a Russian press interview, showing Khil sitting down to view his viral video along with several parodies of it added into the mix (including one starring recent Academy Award recipient Christoph Waltz as seen on Jimmy Kimmel Live!). Khil's delightful reactions to these parodies and subsequent video statement in which he addresses the people of the world to invent lyrics to the much beloved song (which, according to Khil, originally flaunted rather raunchy lyrics --- so naughty in fact that they were never published, but decidedly ditched the for trololo vocalization in hopes that the song stood a chance at being appreciated but for its melody). He then suggests that everyone choose a time to gather and synchronize (via the internet ) to sing their version of the song all together, in their own tongue, in the style of "We Are The World." Okay, so he doesn't mention "We Are The World," but of course he doesn't have to, the sentiment is there, especially as, according to Khil, the song is about returning home and, in his mind, the newfound popularity of his tune represents an eternal homecoming of sorts, and a happy one at that. Bravo Eduard Khil and Спасибо.
sakamoto kyu kyuu ue wo muite arukou single sukiyaki 45rpm cover art
Digesting Khil's suggestion that the world set out to celebrate our affection for a singular melody, his melody, by independently crafting original lyrics to accompany a borrowed tune recalled to mind a sweet, bewitching song that I first heard many years ago in an elementary level Japanese class: Sakamoto Kyu's (坂本 九) sentimental hit "Ue wo Muite Arukou" or "I Walk With My Head Held High." Though introduced as a classroom exercise, I became one of many folks in that class who couldn't shake the lovely melancholy of such a tune, even if we couldn't understand everything Sakamoto-san crooned. Like the Russian "homecoming" song, the sentiment of acute longing and heartache expressed in Sakamoto's song, regardless of the presence of meaningful lyrics (and the potential inability to make sense of them), is clearly understood simply because of its perfectly crafted, jaunty-yet-melancholy melody. In fact, this song topped the U.S. Billboard charts for three weeks in 1963 under the title "Sukiyaki" (renamed because the execs at Capitol and HMV thought the original title too difficult to pronounce and/or remember). To date, Sakamoto Kyu's hit single has been the only song sung entirely in Japanese to ever top the charts in the states and it is the only Japanese song to ever enter the U.K. Billboard charts. Indeed, it must be all about that [sigh] sentimental melody. 
a taste of honey sukiyaki sakamoto kyu japanese song cover single hit sentimental song
And it's that melody that has been, for better or worse, shanghaied halfway 'round the world, the old fashioned way (that is, without knowledge of its being taken until it "arrives"), as a borrowed tune dressed in several languages, most notably as the sentimental slow jam "Sukiyaki" performed in 1981 by A Taste of Honey, the disco ensemble famous for crafting the hit dance single "Boogie Oogie Oogie." All I have to say is thank heavens they resisted suggestions to turn Sakamoto's tune into a disco jam, instead opting for turning it out as a soft-focused ballad which probably has everything to do with the song becoming Honey's final number one single of their career. Unlike Eduard Khil, however, Kyu Sakamoto cared not for the Misses Honey's take on his wistful walk-a-long hit and reportedly sued Capital Records for copyright infringement, a litigious action that pantsed those who had thought the song fruit of the public domain tree, ripe for the taking, and so plucked the tune and inanely kept the altered name "Sukiyaki."
sukiyaki hot pot japanese dish sakamoto kyu a taste of honey love song
By the way, sukiyaki (a Japanese steam-pot dish) has next to nothing to do with the original lyrics of Sakamoto's song or the romantic interpretation laid down by Honey's Janice Marie Johnson, who found that English translations of "Ue wo Muite Arukou" could be viewed three ways: as a man on his way to his execution, as someone trying to be optimistic despite life's trials, or as the story of an ended love affair (of course she opted to paint the English lyrics in the waning light of a love gone bad). My favorite quote related to the ridiculousness of naming a song for a word that is short, catchy, recognizably Japanese and familiar to English speakers comes from a Newsweek columnist who reportedly likened naming Sakamoto's song "Sukiyaki" to issuing a popular tune like "Moon River" in Japan under the title "Beef Stew," a total wah-waah.
4pm sukiyaki a taste of honey sakamoto kyu
Of course there have been other takes on the popular tune, mostly covers of A Taste of Honey's "Sukiyaki" rather than further takes on Kyu Sakamoto's crooning hit, but there's certainly nothing like the real thing. Featured below are several videos, the first being a 1963 video of Sakamoto himself walking and singing "Ue wo Muite Arukou" with his head held high ("so the tears down fall from my eyes" according to the original Japanese lyrics) followed by a live performance of "Sukiyaki" by A Taste of Honey complete with the aforementioned Johnson and bandmate Hazel Payne clad in kimonos, koto accompanyment on the song, finished with a whispered "sayonara" at the end. Then we have a 1995 version of "Sukiyaki" delivered by American R&B ensemble 4 P.M. (p.s. did they gank that set from that Heavy D & the Boys video for "Now That We Found Love" or what) and then a live version of "Sukiyaki" en Español as performed by Selena on the Johnny Canales Show.