The Rolling Stones debut album was released in the United Kingdom on this day sixty years ago.
Interestingly, the album was released on the Decca label in the U.K., and six weeks later it was released in North America on London Records, with a subtitle that labeled them as ‘England’s Newest Hitmakers’. This tag demonstrates the effort to follow up the unprecedented success of The Beatles. Was this a marketing strategy? An unintended result of this approach saw the immediate rivalry between fan bases develop.
The album spent 12 weeks at #1 in the U.K. in 1964, while in the United States it managed to make its way to #11. Remarkably, ‘England’s Newest Hit Makers’ remains the only Rolling Stones American studio album release not to make the top five on the Billboard album charts.
Think about that?
There is a significance to this because, incredibly, Mick Jagger and Keith Richards are still active all these years later. In fact, The Rolling Stones re-released ‘England’s Newest Hit Makers’ in August of 2022 and this re- issue coincided with the band’s 60th anniversary tour.
Looking back sixty years this month, it is clear that The Rolling Stones and The Beatles took very different routes to success, and their ultimate status as legendary musical acts. On this date in 1964 The Beatles were celebrating 14 songs on the Billboard Hot 100, the Stones charted a more traditional course. It was all about the blues. Here is a review by Sean Egan of BBC Music that was shared in a 2010 book called ‘1001 Albums You Must Hear Before You Die’.
It’s a testament to the group’s brilliance that the result was still the best album to emerge from the early 1960s British blues boom … the ensemble lovingly delivered some of their favourite shots of rhythm ‘n’ blues.”
Sean Egan
In fact, although the album was called ‘England’s Newest Hit Makers’ it contained exactly one original Rolling Stones song. That is today’s feature, ‘Tell Me (You’re Coming Back’) which offered a glimpse of what Mick Jagger and Keith Richards were destined to become as a song writing team. While the rhythm and blues tributes served as a launching pad, the ultimate goal was to create a musical evolution.
[‘Tell Me’] is very different from doing those R&B covers or Marvin Gaye covers and all that. There’s a definite feel about it. It’s a very pop song, as opposed to all the blues songs and the Motown covers, which everyone did at the time.”
Mick Jagger
First Mick, Keith, Brian, Bill and Charlie needed to get the listeners attention, and then through the years they would come back…again and again and again…
For The Rolling Stones, ‘Tell Me’, which dropped the ‘You’re Coming Back’ on subsequent pressings, followed their two previous singles which famously offered the John Lennon/Paul McCartney song ‘I Wanna Be Your Man’
Yes folks, there was a time when The Rolling Stones needed an introduction. The delivery of ‘Not Fade Away’ in this clip served notice to the world.
The Rolling Stones were not just another band from England.
As much as The Rolling Stones had a dream about where they wanted to head as an act, much of what they were producing was being orchestrated by their management and production team. ‘Tell Me’exists as a prime example. The song was recorded during a couple of sessions at Regent Sound in West London. The recordings included tracks both with and without Ian Stewart on piano. In the end, it was revealed by Keith Richards that the entire song was literally a series of spliced overdubs.
‘Tell Me’ … was a dub. Half those records were dubs on that first album, that Mick and I and Charlie and I’d put a bass on or maybe Bill was there and he’d put a bass on. ‘Let’s put it down while we remember it,’ and the next thing we know is, ‘Oh look, track 8 is that dub we did a couple months ago.’ That’s how little control we had.”
Keith Richards
The recording shared at the outset of this post is the ‘long version’. It clocks in at 4:06. It does offer the Ian Stewart piano track, however the first pressing of ‘The Rolling Stones’ offered the piano-less track. The longer version that includes Ian Stewart is by far the superior piece of music. By the time ‘Tell Me’ managed to make its way to the United States on ‘England’s Newest Hit Makers’ it had been slightly edited to 3:48. The manipulation continued. When ‘Tell Me’ was determined to be the U.S. single, it was once again edited down to under three minutes to increase the likelihood of radio play. With Willie Dixon’s ‘I Just Wanna Make Love to You’ as the B-side, ‘Tell Me’ rose to #24 on the Billboard Hot 100. Not quite the level attained by The Beatles, but The Rolling Stones got just enough of a taste of success to determine what needed to be done to get to the next level.
By the time their second record, ’12 x 5’ rolled around in November the band had recorded three originals among their collection of R&B tributes. From that time forward the Stones committed to creating just a little bit of their own material on each album, while always sticking to their roots. For Mick and Keith, the song writing talent did not come quite as easy as it seemed to be for John Lennon and Paul McCartney, but in time they clearly got the hang of it. Famously, manager/producer Andrew ‘Loog’ Oldham is said to have confined them to a kitchen and to not come out until they had written something of merit. According to Keith Richards;
So, what Andrew Oldham did was lock us up in the kitchen for a night and say, “Don’t come out without a song.” We sat around and came up with ‘As Tears Go By’ It was unlike most Rolling Stones material, but that’s what happens when you write songs, you immediately fly to some other realm. The weird thing is that Andrew found Marianne Faithfull at the same time, bunged it to her and it was a fuckin’ hit for her – we were songwriters already! But it took the rest of that year to dare to write anything for the Stones.”
Keith Richards
Mick Jagger tells a slightly different story.
Keith likes to tell the story about the kitchen, God bless him. I think Andrew may have said something at some point along the lines of “I should lock you in a room until you’ve written a song” and in that way he did mentally lock us in a room, but he didn’t literally lock us in. One of the first songs we came out with was that tune for George Bean, the very memorable ‘It Should Be You’.
Mick Jagger
Here is ‘It Should Be You’ by George Bean.
And then The Rolling Stones and what goes down as their first true original. This dates back to 1963.
Just one more thing. Listen to ‘One Mint Julep’ by Ray Charles, which was produced by Quincy Jones, and note the similarities in the music.
Nevertheless, Mick and Keith had a template and they just kept right on going. It was a little sluggish at first, but once they got the hang of it…Once again, the significance of ‘I Wanna Be Your Man’ is recalled. This time by John Lennon. This speaks to how Mick and Keith observed John and Paul put the song together.
We were taken down to meet them at the club where they were playing in Richmond by Brian Epstein and some other guy. They wanted a song and we went to see what kind of stuff they did. Mick and Keith heard we had an unfinished song – Paul just had this bit and we needed another verse or something. We sort of played it roughly to them and they said, “Yeah, OK, that’s our style.” But it was only really a lick, so Paul and I went off in the corner of the room and finished the song off while they were all still sitting there talking. We came back, and that’s how Mick and Keith got inspired to write … because, “Jesus, look at that. They just went in the corner and wrote it and came back!” You know, right in front of their eyes we did it. So, we gave it to them.”
Keith Richards
It took a while for the Jagger/Richards style to emerge. Here is a case in point. Somehow, ‘Tell Me’ was initially offered as a Saturday afternoon dance routine.
This is a clip from a BBC show called ‘Take 7’ which was a variation on American Bandstand.
Compare this tame presentation to the greasy, garage band style portrayed in this footage from 1978. Style can either be emulated or cultivated. In the case of The Rolling Stones; they invented rock and roll raunch. Some would object to the suggestion that they are innovative, but when an act establishes trends and travels six decades of rock and roll terrain, there will always be paths that needed to be forged. The Rolling Stones reside at the cutting edge of originality and the authenticity is accented by the fact they have always taken time to thank their music mentors.
Professors of the School of Rock.
This may be their best quality.
As I moved ‘through the past darkly’ in search of cover versions of ‘Tell Me’ it was interesting to note that this song has fewer covers than most every other Rolling Stones feature I have written. The good news is what ‘Tell Me’ lacks in quantity, it makes up for in quality.
Here is The Grass Roots from their 1966 album ‘Where Were You When I Needed You’. Evolving out of The Wrecking Crew, The Grass Roots are best known for songs like ‘Midnight Confessions’ and ‘Live for Today’. This is just a solid, straight forward nod to the Stones original.
Ted Tocks Covers always make time for The Andrew Oldham Orchestra. It’s important to understand how Oldham perceived the songs he produced, and then applied to an orchestral style. Elements of this are obvious in the Rolling Stones original. The importance of Andrew ‘Loog’ Oldham in the success of The Rolling Stones success cannot be understated.
Once again, a Ted Tocks Covers exploration has delivered me to former Cheap Trick drummer, Bun E Carlos. This is from his 2016 album ‘Greetings from Bunezuela’. The vocals are courtesy of Alejandro Escovedo.
When writing about The Rolling Stones it all becomes about perspective. Everything is seen through a lens that looks back through sixty years of music history. When you compound the analysis with the R&B artists who inspired them, the retrospective can take a listener back nearly a century. The reason ‘Tell Me (You’re Coming Back)’ is such a fascinating focal point stems from its significance as the band’s first original single. At the time there was an element of mystery. Were they just another band. Were they really ‘England’s Newest Hit Makers’. Would the fickle buying public gravitate to the message, and less refined style. Where The Beatles were seen as the boy next door type, The Rolling Stones were more like they undesirables from the wrong side of the tracks.
Whenever Ted Tocks Covers features a Bob Dylan song it turns into a party where some of the greatest musicians to ever grace a stage or press their creative talents to vinyl share in the festivities. Today’s feature is no exception as we briefly reflect on ‘It Takes a Lot to Laugh, It Takes a Train to Cry’ from 1965’s ‘Highway 61 Revisited’. From there, we will explore several quality versions before celebrating one of the most important background musicians of the past 60 years.
Let’s hop on the train that will take us back through the years. Prepare for a fun conclusion that pays homage to a key figure in Bob Dylan’s long and storied career.
With the advantage of nearly sixty years of track to look back on ‘It Takes a Lot to Laugh, It Takes a Train to Cry’ offers a glimpse into Bob Dylan’s relationships. If Facebook was around back in August of 1965, his relationship status may have read ‘It’s complicated’. In this song Dylan takes the listener through a series of thoughts as he assesses his standing with a present romantic interest.
Right from the opening line Dylan appears to be frustrated, when from his rail car perch, he declares that he ‘can’t buy a thrill’. With that opening line, he captures the attention of the listener; a line so rife with meaning that Steely Dan borrowed it for their debut album title. As the verse moves on, he comes across as somewhat fatalistic. If he should succumb to his burden, his baby will survive; like he is some type of martyr in the eternal battle of the sexes.
As the song moves on, Bob Dylan takes some element of control as he directs the conversation in the form of a series of questions. This passage ends with him surmising that his baby recognizes the value he brings to her life. This appears to all be in his imagination. As the song concludes the lovelorn songwriter gazes out a frosty window; which symbolically speaking is never a positive image.
The parting shot is ‘don’t say I never warned you, when your train gets lost.’ She seems to have made her decision, and he is left alone trying in vain to claim the upper hand.
By Bob Dylan standards ‘It Takes a Lot to Laugh, It Takes a Train to Cry’ is a very brief exploration into his thoughts, but it reflects a timeless story in music and life. Just one of so many brilliant Bob Dylan compositions.
Ted Tocks Covers wish is to hear what could be perceived as the response from the romantic counterpart in this poem. If that presentation is out there, please point me in the right direction.
When contemplating the true satisfaction of exploring the work of Bob Dylan, right up there with the many positives is the fact that many times there are several alternate takes and live versions. I was especially taken by the rough and rowdy feel of this alternate take.
Where the version on ‘Highway 61 Revisited’ depicts a relatively smooth and uneventful journey, this one is a rollicking ride; like Casey Jones was the engineer, and he was definitely not concerned with his speed.
As you listen to any and all of the versions leading up to here and following, read along to these thought-provoking lyrics, and consider the depth that such a brief bit of prose can convey.
Well, I ride on a mailtrain, baby Can’t buy a thrill Well, I’ve been up all night, baby Leanin’ on the windowsill Well, if I die On top of the hill And if I don’t make it You know my baby will
Don’t the moon look good, mama Shinin’ through the trees? Don’t the brakeman look good, mama Flagging down the “Double E?” Don’t the sun look good Goin’ down over the sea? Don’t my gal look fine When she’s comin’ after me?
Now the wintertime is coming The windows are filled with frost I went to tell everybody But I could not get across Well, I wanna be your lover, baby I don’t wanna be your boss Don’t say I never warned you When your train gets lost”
Bob Dylan
As a hobbyist ‘writer’, I have no illusions of ever understanding the mind of someone as lyrically complex as Bob Dylan, so I will get off that train and retreat to my own space and just listen to several outstanding versions of ‘It Takes a Lot to Laugh, It Takes a Train to Cry’.
Come on in and join me.
Before moving on to what amounts to sixteen cover versions, lets join Bob Dylan on stage with his friend George Harrison on August 1, 1971 during the Concert for Bangladesh. Bob and George are joined by Ringo Starr, Eric Clapton in a junkie haze, Billy Preston, Leon Russell and Badfinger. Remember, this is before benefit concerts were really a thing. What a moment in music history.
Think about it.
The Concert for Bangladesh, USA for Africa, Live Aid and Farm Aid; Bob Dylan was there for it all.
…When it came time to let ‘We Are the World’ fade out with the chorus, it was Ray Charles, Stevie Wonder, Bruce Springsteen and Bob Dylan taking the lead.
There’s a choice we’re making We’re saving our own lives It’s true we’ll make a better day, just you and me.”
Michael Jackson and Lionel Richie
Bob didn’t need to sing it. This is a statement and he delivers it like an orator.
Speaking of moments in music history that become somewhat obscured by the bigger story that was to follow let’s listen to this 1968 super session that featured former Bob Dylan bandmates Mike Bloomfield and Al Kooper. Bloomfield left the session before day 2. This left Kooper scrambling and the cover of ‘It Takes a Lot to Laugh, It Takes a Train to Cry’ featured the guitar prowess of Stephen Stills who had left Buffalo Springfield and was entertaining options. This is a triangle of greatness which also features former Dylan bassist, Harvey Brooks and Eddie Hoh on drums. If you ever wondered what planted the seed of possibility for Stephen Stills in terms of the vision that created Crosby Stills Nash and Young, you need look no further than this precursor.
Now in rapid succession, let’s enjoy some more covers of ‘It Takes a Lot to Laugh, It Takes a Train to Cry’. Here is Blue Cheer from 1969. This appeared on their album ‘New! Improved! Blue Cheer’.
Here is the great Leon Russell from his 1971 album, ‘Leon Russell and the Shelter People’.
Two years later in 1973 a fascinating collective of musicians got together and presented ‘It Takes a Lot to Laugh, It Takes a Train to Cry’. This is Merl Saunders, Jerry Garcia, John Kahn and Bill Vitt doing yet another quality rendition. This is so good. Each player brings their own distinct sound. In terms of contemplation, this version may offer the closest to what Dylan was going for. Jerry sounds defeated…until he plays his first solo.
Through the years the Grateful Dead displayed their love for Bob Dylan by offering a plethora of wonderful cover versions of Dylan tracks. Truth be told, my love for Bob Dylan and his ‘deep tracks’ can be attributed to the seeing the Grateful Dead live on many occasions and learning so many times that “Yep…that’s a Dylan cover.” I dug deeper and never came back. Here is the Dead in 1973.
Now let’s have a look at Bob Dylan while he is interpreted in a bluegrass style. This is the Earl Scruggs Revue from their 1973 self-titled album.
Jumping ahead over a decade to 1985, here is Marianne Faithful from her album ‘Rich Kid’. Every time I sit back and listen to Marianne, I come away more and more impressed. There is a ton of depth to her talent. For better or worse, she is forever linked to Mick Jagger, and ‘Wild Horses’… but that is another story.
Another intriguing story in music history is Iain Matthews. Iain is a talent who deserves a lot more attention in this writer’s humble opinion (See ‘Ol’ ‘55’, ‘Seven Bridges Road’ and ‘I Believe in You’). This Bob Dylan cover is from his essential 1991 album ‘Orphans and Outcasts’.
As the century came to a close Henry St. Claire Fredericks Jr., otherwise known as Taj Mahal recorded a quality version of ‘It Takes a Lot to Laugh, It Takes a Train to Cry’. This is a brilliant blues rendition of an essential Dylan track. It was featured on his album ‘Tangled Up in Blues’.
Still in 1999 we get this rare treat. Here is Bob Dylan with Susan Tedeschi, who at the time was a rising star in the music world. Enjoy this cover, and pay attention as Tedeschi’s work inspires a boatload of emotion from the usually very stoic, Dylan.
As we enter the 2000s, we get this incredible cover by Little Feat. This was part of their album ‘Chinese Work Songs’. Listening to Shaun Murphy deliver this version makes me want to get back on the train and ride the rails forever.
A couple of years later in 2002, Toto released an album called ‘Through the Looking Glass’ which consisted of eleven songs that inspired members of this band in their early days. Toto is absolutely loaded with talent. This cover includes Monet on backing vocals, and it turns into an emotional storm. When this song is over, I suspect you will want to hit replay.
Another intriguing cover is offered by the incredibly versatile and endlessly fascinating David Bromberg. This is live from 2007. Just David and his guitar. It comes across as contemplative, which is likely what Bob Dylan originally intended. Definitely a lament.
While sifting through many covers of ‘It Takes a Lot to Laugh, It Takes a Train to Cry’, I found this familiar family name. Here are The Tuttles with A.J. Lee, live in 2010. Molly would have been about 17 years old here. If one traces the lineage of influence they would find Bob Dylan, obviously, but you can also look back on the Earl Scruggs Revue cover shared earlier. The ride between the folk and bluegrass train stops is relatively short and the view is breathtaking.
Yet another name that jumped out as I was exploring covers was Bun E. Carlos, the drummer for Cheap Trick. This 2016 cover is from his album ‘Greetings from Bunezuela’ featuring Dave Pirner of Soul Asylum on vocals.
We are almost done.
Here is Lucinda Williams in 2020. This version takes it all to another level. This all flowed out of a session known as ‘Bob’s Back Pages: A Night of Bob Dylan Songs’.
To conclude the cover portions of today’s feature, here is the ever present Nitty Gritty Dirt Band from their 2022 Bob Dylan tribute album, ‘Dirt Does Dylan’. These guys never disappoint.
Admittedly, I left several amazing covers in their record sleeves. I urge you to explore on your own because I wanted to save a good portion of this post for a special guest.
Al Kooper entered the Bob Dylan story back in 1965.
He is a story unto himself, and today he turns 80, so here is a very brief look at one of the most accomplished background players and producers in music history.
To begin, who knew that Al Kooper co-wrote ‘This Diamond Ring’ which was made famous by Gary Lewis and the Playboys’?
This song went to #1 in February of 1965. Al Kooper hated it. More on this point further down.
Al Kooper was part of the Greenwich Village folk scene in New York. He used to hang out with producer Tom Wilson at the famous Brill Building. His most salient contribution to the sound of the ‘60s was the Hammond organ track on Bob Dylan’s ‘Like a Rolling Stone’. Kooper was invited to the recording sessions by Wilson who was Dylan’s producer. Bob Dylan referred to ‘Like a Rolling Stone as “a piece of vomit 20 pages long” and in the studio it wasn’t really coming together until fate took over. Here is the story.
Listen to ‘Highway 61 Revisited’ and Al Kooper’s fingerprints are all over this album. It was while recording with Bob Dylan that he met the legendary guitarist, Mike Bloomfield. Kooper admits that Bloomfield’s talents on the guitar over-shadowed his own. It was an ear for what Dylan was saying, and how his own vision could enhance Dylan’s message that propelled Kooper’s status. Al Kooper sat behind the Hammond B3 organ and played his accompanying track which was recorded on one of several takes. During the mixing, this exchange took place between Tom Wilson and Bob Dylan.
“That guys’s not an organ player?
I don’t care. Turn the organ up.”
Exchange between Tom Wilson and Bob Dylan
It was on this day that Al Kooper became an organ player, but he was capable of so much more.
The next time you listen to this iconic song, focus on Al Kooper’s contribution and understand that it was totally spontaneous.
A couple of years later, Al Kooper was handling the sound at the Monterey Pop Festival. He took a moment to introduce himself to Jimi Hendrix. He was very familiar with Hendrix’s work because they all resided in the same Greenwich Village orbit. Jimi Hendrix was intrigued because he was very familiar with Kooper’s contribution to ‘Like a Rolling Stone’. He invited Kooper to sit in on the iconic Dylan song during his set, but when Kooper asked permission from Monterey Pop organizer, Lou Adler, his request was declined.
It all ended well. Hendrix and Kooper became friends. Kooper plays piano on ‘Long Hot Summer Night’ on the ‘Electric Ladyland’ album.
The story goes on.
Kooper and Bloomfield were on stage with Bob Dylan during his controversial Newport Festival gig. Accounts of this transformative moment that helped folk enter the rock and roll realm are plentiful, but Al Kooper was there. Here you go.
In conversation Al Kooper has noted that accounts of that day may be somewhat skewed. He acknowledges that the Newport Folk crowd was agitated by the electric performance to some degree but much of the audience’s discontent stemmed for the poor mix from the Newport sound engineers. They were not at all prepared for this presentation and the crowd couldn’t hear properly. Secondly, Bob Dylan who was the headliner, only played for 25 minutes. This led to a barrage of booing and unrest until Peter Yarrow talked Dylan into going back out and playing some more.
Dylan responded by performing veiled statement.
Whatever you wish to keep you better grab it fast.”
Bob Dylan
Anyone who doesn’t understand the essence of Bob Dylan need look no further.
If you have read this far, understand that I realize I am likely preaching to the converted, but life goes on and so too, does this story.
Following Newport and his work with Bob Dylan through 1966, Al Kooper was instrumental in forming Blood, Sweat and Tears in 1967. This collaboration was short-lived due to creative differences, and it was soon after that experience that Kooper joined forces with Mike Bloomfield and Stephen Stills on the ‘Super Sessions’ recording shared above. This significant recording also included ‘Season of the Witch’.
Al Kooper’s musical versatility placed him in high demand. The list of his remarkable contributions is seemingly endless. This feature will focus on just a handful.
In 1969, Kooper was invited by Glyn Johns to join The Rolling Stones while they recorded ‘Let it Bleed’. You can hear his work on ‘You Can’t Always Get What You Want’ where he is credited with contributing piano, organ and French horn parts. Al Kooper’s subtle contributions are all over this timeless track.
Still in England and Glyn Johns, here is Al Kooper offering his talents on an alternate version of The Who’s ‘Behind Blue Eyes’. This track didn’t make the final cut, but Kooper’s Hammond organ part provides a unique take on a classic rock staple.
Looking back on Al Kooper’s incredible journey, it is arguable, but perhaps, the most significant contribution to music over his sixty-year career may reside in his role in discovering Lynyrd Skynyrd; playing on, and producing their first three albums.
Kooper first heard of Lynyrd Skynyrd as word of their strong reputation came out of Jacksonville, Florida. Once they caught on there they headed north into Georgia and Al Kooper caught their act at a club called Funocchio’s in Atlanta. Kooper knew the owner. He was captured by the band’s energy and sound, but most of all he couldn’t get over how tight Lynyrd Skynyrd was as they belted out a series of original songs so flawlessly. He asked if he could sit in with the band and their leader Ronnie Van Zant agreed. They played ‘Blue Suede Shoes’ in C-sharp. An odd choice of songs and keys.
It was a test. The band was interviewing Al Kooper and Kooper was sizing up the band.
It was only a matter of time before Al Kooper signed Lynyrd Skynyrd to his Sounds of the South label which was a division of MCA Records.
The story is told to some degree in ‘Working for MCA’.
Along come Mr. Yankee slicker, sayin’ “Maybe you’re what I want”
Want you to sign your contract Want you to sign today Gonna give you lots of money Workin’ for MCA”
Ed King and Ronnie Van Zany
…I am getting ahead of myself…
The result of this early encounter was ‘Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd’.
If you look on the sleeve, the album credits list one ‘Roosevelt Gook’ on bass guitar, backing vocals and mellotron. “Roosevelt Gook’ was an alias for one Al Kooper.
Take a listen.
Here is Tuesday’s Gone. Listen to the mournful bass line that drops almost immediately. You can also hear Al Kooper on backing vocals and to top it all off, through his production genius, he added the dreamy mellotron. It was Al Koper that took ‘Tuesday’s Gone’ from a great song to an instant classic, and this is just the first example of his role in building the Lynyrd Skynyrd legend.
As side one concludes Al Kooper lends his brilliance to ‘Simple Man’ with this subtle organ track. He turns this song into a gospel creation that has appeal through the generations. How many cool mothers have shared these words with their sons? I wonder…
Remember, these are just two songs from the first side of a freakin’ debut album. Flip the album over and the Kooper effect continues.
What would ‘Mississippi Kid’ be without the mandolin? As Ronnie Van Zant delivers the narrative Al Kooper plays the mandolin that accents the words perfectly. Songs of the South indeed. But, that’s not all. One more added touch is the understated bass drum. It is nestled under the vocals and the guitar/mandolin combination. It becomes captivating. Play it once, and inevitably you will just want to play it again. Lynyrd Skynyrd had arrived.
Once again, Kooper added an organ track to Poison Whiskey. This band was never shy about portraying the dangers of the vices that faced society. Their status as a party band was also legendary, but this was tempered by a commitment to being the best
As ‘Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd’ drew to a close the sound of ‘Freebird’ emanated from the grooves. Once again, it is the mood that drives the song. Before Gary Rossington plays his slide guitar tribute to Duane Allman, it is Al Kooper’s cathedral like organ that rings from the heavens. Just like in Tuesday’s Gone’ he adds a touch of mellotron. Some say the ‘Freebird’ jam goes on too long. I say it doesn’t go on long enough. The fact of the matter is, Al Kooper just gave the boys in the band the room to play.
This statement is not unique in any way, but it must be shared here. ‘Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd’ is one of the best debut albums ever and Al Kooper played a prominent role.
To say Lynyrd Skynyrd left an impression is an understatement. When it came time to do a North American tour to promote the album it was Al Kooper’s connection that got them an opening spot on The Who’s ‘Quadrophenia’ tour.
The promise of the first album led to people asking for more and this is where ‘Second Helping’ soon followed. It was every bit as good.
This time Al Kooper was a little bit more forthright with his contribution. Again, he produced the album, and he also lent his talent on bass and backing vocals to a couple of songs. This time his name was listed in the credits. Here is the defiant ‘Don’t Ask Me No Questions’
The opening track on side two is ‘The Ballad of Curtis Loew’ which offers a glimpse into the people that inspired the band. The old pickers that a racist society marginalized. From the perspective of a young boy not filled with any preconceived notions, a talented man like Curtis Loew held the key to a future in music. Once again, Al Kooper added a subtle piano track and backing vocals.
One other interesting note that speaks to Al Kooper’s connections. Remembering the fact that he played a role on The Rolling Stones ‘Let it Bleed’? It was here that he spent some time with Bobby Keys. A few years later Keys added his horn talent on ‘Don’t Ask Me No Questions’.
Al Kooper’s time with Lynyrd Skynyrd ended after he produced ‘Nuthin’ Fancy’ in 1975. The band had lost their focus and by the time they entered the studio to record they were not prepared to lay down their material in the same way that they presented it in the early days. It was time to move on.
Jumping back a little, remember ‘This Diamond Ring’ by Gary Lewis and the Playboys? Well, Al Kooper wasn’t happy with the pop style this band presented. While it became a hit, Al Kooper had written it with a more funky – soul oriented inspiration. In 1976, he recorded it on his album ‘Act Like Nothing’s Wrong’. Here you go.
Admittedly, I have left a lot out, and I urge you to explore more on your own.
Half a decade later Al Kooper was asked to blend some keyboards and synthesizers to George Harrison’s ‘Somewhere in England’ album. Here is Al Kooper playing electric piano on ‘All those Years Ago’
Through the years Bob Dylan never forgot Al Kooper’s contribution to ‘Like a Rolling Stone’. He was also the music director for ‘Blonde on Blonde’ later in 1965 where he worked closely with the legendary Robbie Robertson. By 1970 he added his versatility to ‘Self Portrait’ and ‘New Morning’. Two decades later Dylan invited him back to play on ‘Empire Burlesque’ and ‘Knocked Out Loaded’ in 1985 and 1986 respectively. Here is ‘When the Night Comes Falling from the Sky’ from ‘Empire Burlesque. This features Al Kooper on rhythm guitar along with Sly Dunbar on drums and Robbie Shakespeare on bass.
Through it all, Al Kooper resisted the urge to record his own version of ‘It Takes a Lot to Laugh It Takes a Train to Cry’, until 2008 when he added this track to his ‘White Chocolate’ album.
Much of this is captured in a series of interviews, articles, videos, podcasts and a couple of books including an original memoir called ‘Backstage Passes: Rock ‘n’ Roll Life in the Sixties’ in 1977 and an updated book called ‘Backstage Passes and Backstabbing Bastards: Memoirs of a Rock ‘n’ Roll Survivor’ in 1998.
In 2023, Al Kooper was finally recognized by the Rock and Roll Hall of Fame. He received the Award for Musical Excellence which while a nice recognition does not fully recognize the part he played in the soundtrack of our lives.
As the train moves on down the line, all I can do is give a nod to Al Kooper. While the credits roll they conclude with a single statement.
Ted Tocks Covers 