Don’t Let the Sun Go Down on Me – Send it to Engelbert Humperdinck. #MusicisLife #TedTocksCovers #EltonJohn #BernieTaupin

Maybe it was the tension?

Fifty years ago, Elton John was at the top of the music world. He was riding a wave of success that put him up in the same stratosphere as The Beatles and Elvis Presley. Beginning in 1972 with ‘Honky Chateau’ and ending with 1975’s ‘Captain Fantastic and the Brown Dirt Cowboy’ Elton John had a string of five consecutive #1 albums. In between, Elton had hits with ‘Don’t Shoot Me I’m Only the Piano Player’, ‘Goodbye Yellow Brick Road’ and the subject of today’s feature ‘Caribou’ which featured ‘Don’t Let the Sun Go Down on Me’ as the first single.

Due to the run of success, expectations were high, however there were nearly insurmountable challenges. Touring demands forced Elton John and his band to shoehorn studio time in during a small window of time that was available in January of 1974.  The band and production team headed to the Caribou Ranch recording studio in Colorado and recorded most of the album that would carry the name of its origin. It was recorded in nine days. According to producer Gus Dudgeon the band was “under enormous pressure” and high in the mountains, things were reaching a boiling point.

By the time everything was done and the banded headed to Budokhan Theatre in Tokyo, Japan to resume the acclaimed ‘Goodbye Yellow Brick Road’ tour, Dudgeon was left with a whole lot of pieces to a puzzle that was thought by some to be a scrambled mess. The material lacked the cohesion of Elton John’s previous projects. The frazzled producer was able to gather the best of the material and blend in some quality backing vocals, add some horns and other studio treatments and present the music world with something that approached the Elton John standard.

It was accepted.

Maybe it was because he was so close to the process, but when it all was over Dudgeon proclaimed that it was;

…a piece of crap … the sound is the worst, the songs are nowhere, the sleeve came out wrong, the lyrics weren’t that good, the singing wasn’t all there, the playing wasn’t great and the production is just plain lousy”.

Of course, it rapidly ascended to #1 upon its release on this day in 1974. Maybe it was not Elton John’s best work, but under the circumstances they got the best they could out of him. Not only is ‘Don’t Let the Sun Go Down on Me’ one of Elton John’s most celebrated songs, but among fans at least, the record offered some interesting deep tracks.

One wonders what would have happened if they had a solid two months to perfect the creative process.

Everything here is hindsight, and what is considered mediocre Elton John is still high end in the grand scheme of the musical timeline.

Once again, the glue that allowed the Elton John train to continue to ramble down the line was lyricist Bernie Taupin.

Bernie is on record as saying he does not specifically recall sitting down to write ‘Don’t Let the Sun Go Down on Me’ but he is very clear on the fact that he would never allow his lyrics to be classified as mundane.

I like to be more interesting than a good old ‘I love you, you love me, my heart will break if you leave me. Throw in a curveball. ‘Don’t Let the Sun Go Down on Me.’ Put a dark twist on them.”

What if he and Elton John could create yet another musical statement that allowed listeners to recall the Phil Spector ‘Wall of Sound’. This became the goal.

My only recollections of this is that we wanted to write something big. I mean, big in that dramatic Spectory (as in Phil Spector) style, like ‘You’ve Lost That Lovin’ Feelin’. Hopefully being powerful without being pompous.”

With the help of Gus Dudgeon, everything came together in this very way. Years later, Taupin came clean on a few aspects of this song’s creation and his body of work in general. This is really quite funny.

I’m not sure that with this in mind it made me fashion the lyrics any differently. Although, in retrospect, they do seem to have a slightly more Brill Building flair to them, so it’s entirely possible that I did. Of course, I always seem to have to revert to a crib sheet to check these things, as I just seem to have a really bad memory of my own work. In fact, it makes me think of a situation that I found myself in a few years ago watching some TV with some friends of mine. There was a game show on where one of the categories happened to be my lyrics. And there were, I believe, five questions, and four of them I got wrong.”

As always, Bernie Taupin’s lyrics are right there in black and white. Available to us all. Delivered by Elton John as though the world depended on these words in this very moment. For over half a century this combination has helped millions of people take the magnitude of their personal experience and apply meaning to help them get through.

Just one more example of the power of music, even though, in the moment Elton John thought it was crap.  Looking back, that is so hard to believe, but like always, the sun sets and we gather our thoughts and the dawn of a new day brings hope, even if you think you are losing everything.

I can’t light no more of your darkness
All my pictures seem to fade to black and white
I’m growing tired, and time stands still before me
Frozen here on the ladder of my life

Too late to save myself from falling
I took a chance and changed your way of life
But you misread my meaning when I met you
Closed the door and left me blinded by the light

Don’t let the sun go down on me
Although I search myself, it’s always someone else I see
I’d just allow a fragment of your life to wander free
But losing everything is like the sun going down on me

I can’t find, oh, the right romantic line
But see me once and see the way I feel
Don’t discard me just because you think I mean you harm
But these cuts I have, oh, they need love to help them heal

Don’t let the sun go down on me
(Don’t let the sun)
Although I search myself, it’s always someone else I see
I’d just allow a fragment of your life to wander free
(Don’t let the sun)
But losing everything is like the sun going down on me

Don’t let the sun go down on me
(Don’t let the sun)
Although I search myself, it’s always someone else I see
I’d just allow a fragment of your life to wander free, yeah
(Don’t let the sun)
But losing everything is like the sun going down on me”

As stated earlier, much of what we recognize 50 years later as an Elton John masterpiece, can be attributed to the studio vision of Gus Dudgeon. After Elton John and his entourage headed off to Japan, he began to put the pieces together in what Bernie Taupin referred to as the ‘Spectory’ way. This included inviting a handful of backup singers to Brother Studios in Santa Monica to add their talents to the chorus. The list included, Dusty Springfield and members of America and Three Dog Night. This first collective didn’t fit with the recording but it gave Dudgeon a better idea of what the song did need. Here, he invited Del Newman to create a horn arrangement featuring Tower of Power. This creative touch added to the overall presentation. With the music complete, Dudgeon took another crack at the backing vocals. This time he brought in Carl Wilson and Bruce Johnston of the Beach Boys and Daryl Dragon and Toni Tennille of Captain and Tennille fame.

Music fans may recall that the Bruce Johnston/Toni Tennille combination appeared on another famous recording a half decade later. Let’s take a look behind ‘The Wall’ by Pink Floyd. They contributed backing vocals to the album’s ominous opening track and three songs to side four of this epic album.

Here is ‘In the Flesh Part 1’

This is ‘The Show Must Go On’ which depicts ‘Pink’ in a drug induced dream state.

As Pink perceives himself as a neo-Nazi fascist dictator his presence from the podium culminates in the track ‘In the Flesh Part 2’

His dictatorial vision gives way to inciting a riot in suburban London. Here is ‘Waiting for the Worms’

This is all an interesting aside which once again demonstrates how important the backing vocals are in delivering the tension behind the lyrics and a song.

Here is Toni Tennille recalling her contribution to the Pink Floyd classic. Note, her very candid admission that she was only vaguely familiar with Pink Floyd’s work. Tennille considers this as her claim to hipness as she recognizes Pink Floyd as more than just a rock group. For her it was another lovely Sunday morning in Los Angeles. Awesome.

Now, check this out. This is the Elton John vocal track and as the chorus hits, the backing vocals wash over you like a tidal wave. This is incredible. This will take you to a different level of appreciation.

Through all of this it is producer Gus Dudgeon who emerges as the MVP. Here is his honest assessment. Every time I read this quote, I chuckle despite myself as I imagine the scene. Elton John was in a state. This is a passage from Philip Norman’s biography, ‘Sir Elton: The Definitive Biography’.

 When Elton recorded this track, he was in a filthy mood. On some takes, he’d scream it, on others he’d mumble it, or he’d just stand there, staring at the control room. Eventually, he flung off his headphones and said, ‘Okay, let’s hear what we got.’ When Gus played it for him, Elton said, ‘That’s a load of crap. You can send it to Engelbert Humperdinck, and if he doesn’t like it, you can give it to Lulu as a demo.'”

Ironically, these words brought to mind the scene that inspired ‘The Bitch is Back’ which of course was the second single from ‘Caribou’.

The Bitch is Back – Let the fever catch you. #MusicisLife #TedTocksCovers #EltonJohn #BernieTaupin #TheRollingStones #DavidBowie #RodStewart #TinaTurner #LitaFord #MileyCyrus

Wouldn’t it be amazing if even in our worst moments the people around us were able to translate our emotions and give them back to us in this kind of creativity?

Wouldn’t the world be a better place if we were all so in tune with each other?

We need love to help us heal, and as I so often state;

Music is Love! Music is Life!

Now, let’s take a look at several versions of ‘Don’t Let the Sun Go Down on Me’ through the years.

To begin, George Michael plays an integral part.

Once again, Live Aid becomes part of the story. Here is Elton John who graciously hands the vocals over to George in an emotionally wrought delivery of this stunning piece of music. George Michael introduces the song as one of his favourite Elton John tracks. Mutual admiration. How great was George Michael? This will answer the question.

For Elton John, the ladder of his life became a little unsteady and in order to prevent himself from falling he entered rehab. Much of 1991 saw him in recovery. At about the same time, George Michael released his album ‘Cover to Cover’ and went on tour. He regularly included the song, and famously, during the final show at Wembley Arena on March 23 1991, he brought out a surprise guest. Needless to say, Wembley erupted.

The live recording of this song was released as a single later that year, and was a number one hit in both the United Kingdom and the United States.

In 1993, Elton John included ‘Don’t Let the Sun Go Down on Me’ as part of his album ‘Duets’. Proceeds from this release went to several children’s charities with a primary focus on education and AIDS.

From here we can enjoy several interesting presentations of ‘Don’t Let the Sun Go Down on Me’. There are some industry legends coming your way.

Let’s begin with Roger Daltrey in 1987 from his album. This is from the soundtrack for ‘The Lost Boys’. This sounds like a continuation of ‘Love Reign O’er Me’. Few are better.

The best. Here is the extraordinary Joe Cocker. This is from his 1991 compilation album, ‘The Best of Joe Cocker’. The sheer emotion he delivers brings it forth like a Shakespearian soliloquy. Once again, the backing vocals turn it into something almost heavenly in its brilliance.

Still in 1991, this is Oleta Adams. Admittedly, I was not familiar with her work but after listening to this I wanted to dig deeper. This is from here album ‘The Very Best of Oleta Adams’ which was produced by Roland Orzabal of Tears for Fears fame. The connection was real because Adams collaborated with Tears for Fears on their 1985 album ‘The Seeds of Love’. This is fantastic. Consider it a must listen.

Three years later in 1994, Gloria Estefan released her album ‘Hold Me Thrill Me Kiss Me’ which included this cover of ‘Don’t Let the Sun Go Down on Me’. Mostly forgettable.

Still in 1994 here is Elton John and Billy Joel working together during their ‘Face to Face’ tour. This is a live version from Veterans Stadium in Philadelphia. Just listen to the delivery. Legendary! It is hard to believe that thirty years has passed since this tour.

Now we jump all the way ahead to 2016 when Elton John shared the stage with Lady Gaga. This was during Elton’s 2016 show on the Sunset Strip. This special event was presented to promote his album ‘Wonderful Crazy Night’. Watch as she enters the stage and before delivering her part, she takes time to give Elton John a kiss. Then they offer a flawless duet that effectively connects three generations of music fans.

Let’s continue with another artist who comes up often in Ted Tocks Covers. In 2018 Miley Cyrus added her talent to the Elton John tribute ‘Revamp’. I just love this. Miley has a value system that s closely aligned with Elton John’s which only adds to the importance of this cover.  

As much as I was lukewarm on the bio pic ‘Rocket Man’, Taron Egerton did a great job portraying Elton John. I don’t like it when the directors play fast and loose with the timelines and present it to the masses as fact. Do it right or don’t do it at all. Having said that, I stand by my sentiment that ‘Rocket Man’ would make a fantastic musical if they addressed the chronology issue.

Remember Elton John’s vitriol related to his assessment of the original take of ‘Don’t Let the Sun Go Down on Me’? Well, here is Engelbert Humperdinck and his cover version from 2020. Undaunted by his 2020 tour being canceled due to COVID-19, Humperdinck hit the studio and recorded a six-song album of covers called ‘Sentiments’. It included ‘Don’t Let the Sun Go Down on Me’ and ironically, also ‘You’ve Lost that Lovin’ Feelin’’ which partially inspired Elton John and Bernie Taupin.

Ted Tocks Covers has featured Marc Martel on a handful of occasions mostly as a result of his quality covers of Queen and Freddie Mercury. Here is his interpretation of ‘Don’t Let the Sun Go Down on Me’. Always top notch.

Yet another important collaboration is Elton John with the incredibly talented Brandi Carlile. So good. She just exudes the spirit of any song she delivers. Side by side with Elton John, it becomes essential. The fact that this is from Dodger Stadium, adds to the importance of this performance.

Continuing with the theme of quality collaborations and connections to greatness here is Dolly Parton with Elton John. Her album ‘Rockstar’ was released to lend credence to her induction into the Rock and Roll Hall of Fame’. This duet represents about a century of musical brilliance.

Earlier this year Elton John and Bernie Taupin were presented with the Gershwin Prize for Popular Song. During the presentation Charlie Puth honoured Elton John and Bernie Taupin with this tribute. He puts a stamp on it with his close.

We love you Elton and Bernie. Thank you”

Amen!

Elton and Bernie respond in kind, rising in unison to give Puth a standing ovation. A very special moment.

The trials and tribulations of Elton John’ career are well documented. Through it all there was a constant presence that served Elton John well in terms of his creative output and as an emotional outlet. That beacon has been his lyricist and respected companion, Bernie Taupin. Here is Elton John reflecting on their unprecedented partnership.

We’ve never ever had an argument professionally or personally, which is extraordinary because most songwriters sometimes split up because they get jealous of each other. And it’s exciting because it’s never changed from the first day we wrote songs. I still write the song when he’s not there and then I go and play it to him. So, the excitement is still the same as it was from day one and that’s kept it fresh and it’s kept it exciting.”

Through the years, Taupin’s words managed to reflect Elton John’s mindset in a way that borders on spooky. For two people to channel each other’s creative expression so consistently is extraordinary. They continue to stand side by side and when the accolades rain down, they look at each other and acknowledge their role in what has been one of music’s most enduring partnerships.

To think, there have been several periods when Elton John thought he was done. One of those times was in the mid ‘80s when he was diagnosed with non-cancerous polyps on his vocal chords. He was deeply concerned that his career was done.

Here is Elton John and his famous recording with the Melbourne Symphony Orchestra. This live performance from Sydney in December of 1986 has long been heralded as a triumph. To add to the endless fascination with Elton John as a performer take note of the fact that this series of Australian shows saw Elton don a costume that had him perform as Mozart for a portion of each show.

Not only has Elton John connected the generations with his music since the late ‘60s, he has transcended the centuries.

On many occasions he stumbled, but through his music, he saved himself from falling and we all benefited.

When the sun sets on Elton John’s career, not only will we remember the music, but we will honour the resilience.

Ted Tocks Covers Hall of Fame – Year Four Inductees #MusicisLife #TedTocksCovers #ArethaFranklin #LindaRonstadt #ElvisPresley #JoeCocker

Three years ago, Ted Tocks Covers began a fun tradition.

Welcome to year four of the Ted Tocks Covers Hall of Fame. Once again, four significant acts will be added to the 12 groups, artists and lyricists that have been appointed by this panel of one. If you are a recent follower of this feature, here are the previous three

Ted Tocks Covers Hall of Fame – Year One Inductees

The Beatles

The Rolling Stones

Led Zeppelin

Willie Dixon

Ted Tocks Covers Hall of Fame – Year Two Inductees

Rush

Warren Zevon

Grateful Dead and Robert Hunter

John Prine

Ted Tocks Covers Hall of Fame – Year Three Inductees

Bob Dylan

Neil Young

Tom Petty and the Heartbreakers

The Tragically Hip

This annual post has become a favourite of mine, even though narrowing it down to four at a time is a major challenge. Perhaps, the most rewarding aspect of this exercise is the fact I get to go back and listen to a ton of great music. Then, I labour over who the four inductees will be with a focus on their legacy on music as a whole, and most importantly, to this feature, the world of cover versions.

This year’s four inductees quite literally embody why I write Ted Tocks Covers. Each of these artists are phenomenal in their own right. In fact, they are downright legendary. From this standpoint they belong in this quaint little Hall of Fame. But, further to this criteria, these artists often took time to share cover versions by musicians that came before. They were themselves influenced and motivated to the point that they recorded songs by such huge names as B.B. King, Howlin’ Wolf, Carl Perkins, Arthur ‘Big Boy’ Crudup, Otis Redding, Bob Dylan, Buddy Holly, Frank Sinatra, Mike Stoller, Jerry Leiber, Ray Charles and The Beatles.

It is this lineage that inspired me to write this blog. There is a lot of merit in each and every one of the original artists that produced these timeless recordings. This fact is undeniable. The fascination continues through the years as artists like the four I am about to share offer their own take on the songs that came before. They put a stamp on the significance of the original song, and by virtue of their greatness they take many a wonderful song and put it on the lexicon of timeless.

It is the level of timeless and legendary where these performers truly reside. Each of them is definitely timeless. Truly essential. They served to define their generation of performers and their influence has gone on to influence several generations of musicians that followed.

Therefore, they define to the perfect degree why I first began to write Ted Tocks Covers, and why I dreamed up the idea of having my own little tribute known as The Ted Tocks Covers Hall of Fame.

So here you go.

The first inductee is Aretha Franklin. The ‘Queen of Soul’. What else can I say? Aretha Franklin, was the first woman inducted into the Rock and Roll Hall of Fame and now fittingly, the Ted Tocks Covers Hall of Fame.

On that night in 1987, she was inducted by Keith Richards, and even back then, while describing Franklin, ‘Keef’ astutely stated that there are;

No superlatives left.”

Keith Richards

From that day, Aretha Franklin still had three decades of performing and recording to come. Accepting on Aretha’s behalf was her brother Cecil, and the acclaimed record company magnate, Clive Davis. It was Davis that read Aretha Franklin’s speech to those who had gathered to pay tribute to that year’s inductees.

To be the first woman inductee into the Rock and Roll Hall of Fame is a historical moment and indeed a milestone in my career … It is with many thanks and appreciation that I proudly accept and take my place in the Rock and Roll Hall of Fame.”

Aretha Franklin

In a career that spanned over seven decades, Aretha was inspired by gospel, soul and the blues. When she was a teenager, aspiring to greatness she entered the orbit of such huge names as Ray Charles and Sam Cooke.

It’s hard to imagine the music world without Franklin, but her songs and her legendary career will continue to live on for years to come — and so will the path she paved for the female artists that will come after her.

With the exception of one, each of these songs are covers. But as you sift through the list of songs and listen to Aretha Franklin’s take on these classics, you get a sense of how important she is in terms of presentation and style. It is that quality that has carried on through the years.

It’s all about Respect. The respect that she so richly deserves.

Respect

Eleanor Rigby

Jumpin’ Jack Flash

Cry Like a Baby

I Knew You Were Waiting

Goin’ Down Slow

Everyday People

Love the One You’re With

Let it Be

You Can’t Always Get What You Want

Bridge Over Troubled Water

The Weight

People Get Ready

Border Song

Amazing Grace

The Thrill is Gone

Since I began writing Ted Tocks Covers at the beginning of 2018, a name that came up frequently as I dug deeper into the songs, I was writing about was the alluring Linda Ronstadt.

For Linda Ronstadt, being a performer was all about diversity. She began on the edge of the country rock movement that emerged from the Gram Parsons era of the Byrds and the burgeoning vision of Jackson Browne and the Eagles. She was connected because she was so good. Just listen to the Stone Poneys. They were actually ahead of their time. It was out of this artistry that Linda Ronstadt developed both a following and a network of musicians that gave her a massive platform.

She rode the wave.

Listen as Glenn Frey of the Eagles inducts Linda Ronstadt into the Rock and Roll Hall of Fame back in 2014. This is a good speech. Not only is it well written, but Frey speaks to how Linda Ronstadt refused to rest on her laurels and settle on one genre.

Linda Ronstadt recorded 31 albums. She sold over 100 million records and had a career that spanned five decades. She has been a shining example and a true inspiration to every woman who ever stood in front of a microphone and sang her heart out. And through it all, she remains nothing but authentic. You see, Linda lives in a place where art trumps commerce, where self-exploration trumps self-exploitation, where hard work and integrity trump fame and failure. She never wanted to be a star, she just wanted to make good music.”

Glenn Frey

Linda Ronstadt began with country rock, then moved on to Broadway with ‘The Pirates of Penzance’, then jazz, before moving on to a tribute to Mexica classics. Virtually every style she recorded harkened back to her days enjoying music in her family home.

If I didn’t hear it on the radio, or if my dad wasn’t playing it on the piano, or if my brother wasn’t playing it on the guitar or singing it in his boys’ choir, or my mother and sister weren’t practicing a Broadway tune or a Gilbert and Sullivan song, then I can’t do it today. It’s as simple as that. All of my influences and my authenticity are a direct result of the music played in that Tucson living room.”

Linda Ronstadt

In many ways Linda Ronstadt never left that comfortable place.

She shared her voice with beauty, grace and love.”

Glenn Frey

Linda Ronstadt’s voice that could grab people’s hearts and ears no matter what style.

Just Like Tom Thumb’s Blues

Love Me Tender

Rock Me on the Water

River

Cry Like a Baby

Bad Case of Lovin’ You

I Fall to Pieces

That’ll Be the Day

Willin’

Crazy

It’s So Easy

Get Together

I Believe in You

Return of the Grievous Angel

A Salute to Tom Petty

A Salute to Warren Zevon

Different Drum

You’re No Good

Next up is the King of Rock and Roll; Elvis Presley

Once again, we are in a position where superlatives have all been used so nothing truly original can be uttered. Similar to Aretha Franklin and Linda Ronstadt, Elvis Presley was influenced by countless artists who came before. He and his musical peers were literally pioneering the rock and roll genre in the mid to late ‘50s. Once again, we are presented with a list of songs that were written by the blues artists of the day. We also get a true gospel influence. Elvis also gathered inspiration from bluegrass musicians and the ultimate evolution into what would become country music. Almost seamlessly Elvis managed to bundle everything up and share it in a way like no one had ever done before. There was a sex appeal that conservative America struggled to accept. Words and phrases were offered with a double entendre that had been offered in the music of blues artists for years, but because they were Black, the voice was somewhat suppressed in mainstream America. Elvis brought it to the forefront and people began to emulate the style. It was the delivery; the performance that defined the man. He had the charisma and the moves to put it all together. Elvis was a conduit. Seventy years later, he is still essential.

When Elvis Presley was inducted into the Rock and Roll Hall of Fame it was an interesting choice of presenters. Watch as John Lennon’s sons Sean and Julian Lennon share memories of their father John. They recall how much he credited Elvis with everything that followed in terms of music.

Our father was a big fan of Elvis’s and, of course, Elvis was loved all over the world, and we are all influenced [by] him. I think a lot of people in the world get a lot of pleasure from listening to him and love him greatly. Elvis was the thing, whatever people say, he was it. I was not competing against Elvis, rock happened to be the media I was born into – it was the one, that’s all. Those people who picked up paintbrushes, like Van Gogh, probably wanted to be Renoir or whomever went before him. I wanted to be Elvis.”

Julian Lennon

This speaks volumes. John Lennon and The Beatles knew their place in the lexicon of music history. Once again, this is why I write Ted Tocks Covers. Even those we consider to be the greatest, drew from a wide array of inspiration. This is a common theme in music.

Reinforcing this point, once again I turn to John Lennon.

Without Elvis Presley there would never have been The Beatles.”

John Lennon

As the Elvis Presley Rock and Roll Hall of Fame induction speech continued his long-time friend, George Klein delivered what is part eulogy and part induction speech. Ten years after his death, this quote speaks to his status in rock and roll history.

Elvis Presley wasn’t a star, he was a damn galaxy!”

George Klein

Very true in terms of his place in music history. Klein goes on to share this beautiful passage from a speech that Elvis Presley gave during a rare public appearance in the early ‘70s. This speaks to the way Elvis defined his own purpose. There is a sense of humility in this passage. Elvis knew he was never bigger than the music. It is partially because Elvis so clearly understood his place in the bigger picture that he remains essential.

Without a song, the day would never end;

 Without a song, a man ain’t got a friend;

 Without a song, the road would never bend;

Without a song…

 So, I keep singing a song.”

Elvis Franklin

And without I song I wouldn’t write these tributes. In terms of rock and roll, this is where it all began. Once again, take note of the fact that the 30 features that follow are either cover versions of classic songs or creations written for Elvis to present in his own inimitable way.

Love Me Tender

Amazing Grace

Bridge Over Troubled Water

Return to Sender

A Mini Salute to BB King

Always on My Mind

Heartbreak Hotel

Baby What You Want Me to Do

Early Morning Rain

My Way

Burning Love

Sweet Caroline

Suspicious Minds

I Got a Woman

That’s All Right Mama

Hound Dog

Tutti Frutti

Whole Lotta Shakin’ Goin’ On

Blue Suede Shoes

Mystery Train

Such a Night

Baby Let’s Play House

Polk Salad Annie

I’m So Lonesome I Could Cry

The Last Farewell

Little Sister

Bog Boss Man

Blue Moon of Kentucky

All Shook Up

 Jailhouse Rock

Last up is the great Joe Cocker. For several years now Ted Tocks Covers has declared that Cocker is the greatest cover artist of all time.  I stand by this quote and here is why.

The spirit of his delivery. It was immediate. Whether you were listening or watching, the Joe Cocker vibe came through in the performance and you felt like anything was possible.

Joe Cocker defined soul. In my opinion, he was the natural evolution from Ray Charles. Joe Cocker had a deep respect for his American counterpart.

When Joe Cocker took the stage or stood behind the microphone in the recording studio, he not only channeled the artist he was honouring, he took his interpretation to a different level. The intensity of his mannerisms defined Joe Cocker. He was like a shaman casting a spell and the mood he evoked became a pressure cooker, just waiting to explode.

The power of Joe Cocker was immediate thanks to the vision of producer Denny Cordell. His debut album featured the Grease Band. Cocker’s soulful rendition of ‘With a Little Help from My Friends’ blew people’s minds. Here, Paul McCartney paid tribute when he was commenting on Joe Cocker’s death ten years ago.

He was a lovely northern lad who I loved a lot and, like many people, I loved his singing. I was especially pleased when he decided to cover ‘With a Little Help from My Friends’ and I remember him and (producer) Denny Cordell coming round to the studio in Savile Row (central London) and playing me what they’d recorded and it was just mind-blowing, totally turned the song into a soul anthem and I was forever grateful to him for doing that.”

Paul McCartney

Like so many of the greats, the best tributes come from his peers and there is a long line of musicians that have advocated for Joe Cocker.

With all eyes on him, Cocker brought his act to the stage during Woodstock and he stole the show. A year later he teamed up with his long-time friends Chris Stainton and Leon Russell among many others. The result was the ‘Mad Dogs and Englishmen’ tour which borders on legendary over fifty years later. Joe Cocker put so much of himself into that tour that it nearly killed him. He left everything on the stage, and it has to be noted, the drugs took a toll.

But he prevailed.

The hits ran through the decades, and the legend only grew.

Unlike the other three honourees featured today, Joe Cocker is not in the Rock and Roll Hall of Fame.

In a sense, Ted Tocks Covers has beaten the institution to this recognition.

Joe Cocker had a captivating presence and his soulful delivery grabbed you by the throat and the heart at the same time.

Every time.

Put him up where he belongs. Ted Tocks Covers is leading the charge.

Here are several Ted Tocks Covers features that have included Joe Cocker.

#1 on the Same Date 14 Years Apart

Jamaica Say You Will

Summer in the City

Unchain My Heart

Delta Lady

Midnight Rider

The Letter

Something

Can’t Find My Way Home

Feeling Alright

Up Where We Belong

Whiter Shade of Pale

A Little Help From My Friends

When a Man Loves a Woman

You Are So Beautiful

You Can Leave Your Hat On

First We Take Manhattan

Don’t Let Me Be Misunderstood

To summarize, todays’ feature is all about how music has evolved through the years. If you look at the songs featured you will note that original versions date back as far as the 1770s in the case of ‘Amazing Grace’, and go all the way through to pretty much the present day when we check out the cover versions. That’s 250 years of musical power, and how songs and performance inspire everyone from the artist who shares their talent to the vast audience who take everything in.

Music has the power to define our lives.

This sentiment has been demonstrated over and over again in the pages of Ted Tocks Covers.

The four artists honoured today speak to that premise. They each did it their own way.

Aretha Franklin paved the way for women and represents the pinnacle of achievement. Quite appropriately, many others have followed, but the Queen of Soul was first.

Linda Ronstadt succeeded in literally every style she presented, and never let the prevailing trends determine her path. She went in her own direction. Her vocal prowess became her calling card and she drew people in like a mythological siren.

Elvis Presley pretty much knows no peers, but somehow at the same time he is the best example of how even the greatest artists of all time had their head on a swivel for the best artists to emulate. By borrowing from those who surrounded him, Elvis quite literally served to pioneer the genre of music known as rock and roll. Through 70 years this all-encompassing definition has splintered into more elements than we can even count. But, one thing will always be true.

If you ask any musician to share a list of most influential artists of all time, I guarantee you Elvis Presley will appear on the majority.

Finally, Joe Cocker just managed to interpret everything he heard in such a dynamic way. Music is about presentation. It appeals to the senses. Obviously, a good recording will allow a listener to hear the quality. With Joe Cocker, you also saw how the song moved him. You could truly feel the emotion. He was electrifying. A case could be made that Joe Cocker also touched upon the other two senses.

Hopefully you can spend some time with today’s feature and explore these essential artists. There are over 80 posts and I suspect well over 200 acts within these words. Each are sharing their take on a number of songs. In every case the musical timeline will flow back to the four people honoured today.

You Are So Beautiful – A message of love and acceptance. #MusicisLove #TedTocksCovers

The beautiful thing about the history of music and the creativity that flows through the songs that define our lives is that quite often the anecdotes that stem from the song’s creation become part of the song’s lore. Name the song, and if you are willing, it will not take long before you find yourself following a fascinating trail of people and places that played a role in a piece of music that we consider meaningful. It is one of the contentions of Ted Tocks Covers that many times the origin of the song plays a crucial part in recognizing its importance, on a broader scale.

Today’s feature represents just one example of this truth.

For the full story we will have to ‘Get Back’ to 1974 and spend some time with Billy Preston. Here is a short take on ‘You Are So Beautiful’ which was released in May of 1974 on Billy Preston’s ninth solo album ‘The Kids and Me’.

At a glance, this timeless track is credited to Billy Preston and his song writing partner, Bruce Fisher. When the thoughts began to spill onto the page, Preston was focused on writing a tribute to his mother, Robbie Lee Williams who was an actress and a driving force in his life. As early as the age of three, Billy Preston was deemed to be a piano prodigy.

Consider this succession of musical associations. Through the ‘60s, Billy Preston was the keyboard player for Little Richard, Sam Cooke and Ray Charles. He was famously invited to be a member The Beatles. Speaking of The Beatles, they are all on record as stating that Billy Preston helped to galvanize the group during the recording sessions that resulted in ‘Let it Be’.

I’ve Got a Feeling – I think they passed the audition. #MusicisLife #TedTocksCovers #TheBeatles #JohnLennon #PaulMcCartney #TheDirtyMac #ChrisODell #BobbyWhitlock #GeorgeHarrison #RingoStarr #BillyPreston #PearlJam #JayAlarcio #GreatCanadianCovers

You can actually hear the roots of ‘You Are So Beautiful’ in his 1969 song ‘Let Us All Get Together Right Now’. Here is that gripping collaboration that was written with Doris Troy.

 A short time after ‘You Are So Beautiful’ was released, Billy Preston learned that his friend Sam Moore of Sam and Dave fame, was performing “You Are So Beautiful’ as a romantic overture to the women in his audience. Preston was quick to correct this misinterpretation.

That song’s about my mother!”

Billy Preston

Here is a live version of Sam Moore and Billy Preston sharing the stage at the Porretta Soul Festival. This borders on a religious experience.

A short time after Billy Preston released ‘You Are So Beautiful’ in 1974, Joe Cocker opted to record a slower version of the track, at the urging of his producer Jim Price. This track which was released as part of ‘I Can Stand a Little Rain’, resides as Cocker’s highest selling solo single. This is a combination of Cocker’s soulful delivery and pure passion.

The list of significant names continues.

It was forty years ago today that Dennis Wilson of the Beach Boys drowned while boating and diving at Marina Del Rey. It is the connection between Billy Preston and Dennis Wilson that ties today’s feature together, because people closest to this group of friends are adamant that although Dennis Wilson is not listed as a contributor to this song, he played a role in the version that Billy Preston ultimately recorded.

Here is an interesting clip from Preston and Wilson’s friend Billy Hinche who claims to have been in the same room while the pair were working on ideas. He is clear that while he’s not sure to what degree the song was done together, he definitely saw and heard them developing ‘You Are So Beautiful’ while sitting around a piano upstairs at the Rainbow Bar and Grill on the Sunset Strip.

Interestingly, Dennis’s brother Brian denies that Dennis had anything to do with ‘You Are So Beautiful’.

From about 1975 through 1983 the Beach Boys featured Dennis Wilson coming out from behind his drums to perform a version of ‘You Are So Beautiful’. This exists as a tribute to their devoted fans who came to see them at Knebworth in 1980. Notice how the younger Wilsons revere their older brother, Brian.

By the time he died Dennis Wilson was a drug and alcohol addled mess, but he had a beautiful voice. Just spend some time listening to ‘Pacific Ocean Blue’. You will want to listen to it over and over again.

Jim Ladd turned me on to this album.

Earlier in 1983 Joe Cocker was riding a wave of popularity. ‘Up Where We Belong’ was soaring. The duet that featured Jennifer Warnes defined the movie ‘An Officer and a Gentleman’. The song won a Grammy for Best Pop Performance by a Duo, and an Academy Award for Best Original Song. With the decade long gap in years between his late ‘60s and early ‘70s success and this massive commercial acclaim, this was seen as a resurgence for his career.  It was through this exposure that some more obvious connections came to light and brought his legend to a new music generation. Perhaps none more so than when he was invited to share the spotlight with his mentor, Ray Charles.

This clip of Joe Cocker and Ray Charles singing ‘You Are So Beautiful’ comes from a special TV tribute to the career of Ray Charles.

For more on the connection between Ray Charles and Joe Cocker please see ‘Unchain My Heart’.

Unchain My Heart – The inevitable connection between #RayCharles and #JoeCocker. #MusicisLife #TedTocksCovers #TheBeatles #DaveMason #BlindFaith #TheLovinSpoonful #PercySledge #TheBoxtops #TheRollingStones #REM #ChrisStainton #EricClapton #BillyPreston

As the 20^th century was closing out Joe Cocker joined forces with Luciano Pavarotti and guitarist Alex Britti. The combination of classical guitar with these iconic vocalists becomes a thing of beauty. Two totally different styles come together. It is pure magic and the audience explodes as the song concludes.

Here is another special performance. This time we get Billy Preston and Sam Moore along with Eric Clapton, Zucchero and Robert Randolph. This is from Moore’s 2006 album ‘Overnight Sensational’. It seems fitting that ‘You Are So Beautiful’ was the closing track.

The sentimental flavour continues with the one and only Smokey Robinson. In 2005 he released ‘Golden Slumbers: A Father’s Love’. The sub-heading offers a deeper glimpse at the album’s mission.

“Heartfelt songs celebrating the bond between father and child.”

Keeping with the Motown legends, enjoy Diana Ross from her 2006 album appropriately entitled ‘I Love You’. This was the 24^th studio album of her career. Among Diana Ross’s seemingly endless list of accomplishments is receiving the Presidential Medal of Freedom from President Barack Obama in 2016.

This is an evocative rendition.

Speaking of evocative, here is a strong version from Charles Lloyd and the Marvels from his album ‘I Long to See You’. The accomplished jazz saxophonist released this collection in 2016. It included a combination of traditional pieces and a few more recognizable contemporary tunes like ‘Masters of War’ by Bob Dylan, ‘Last Night I Had the Strangest Dream’ with Willie Nelson on guitar. For the purposes of today’s feature, ‘You Are So Beautiful’ is presented with the soothing voice of Norah Jones. That is Bill Frisell on guitar.

Covers run well into the hundreds and they all tell a story. Each and every one of them is singing to someone special and that sentiment has carried on for almost 50 years.

Anyone who listens can relate to this obvious fact, but there is something deeper. There is a sense of vulnerability as the music develops and something eternal in this proclamation. From Billy Preston on, everyone who sings ‘You Are So Beautiful’ is shouting their devotion from the mountain tops.

From their individual pulpit, they are preaching, and through this voice there is an unmistakable passion and intensity, but there is also a message that speaks to patience and perseverance when things are not optimal. Because, within the beauty of love, exists a space to accept each other’s flaws. It is this place in our hearts that interlocks and when that connection is made, it truly makes us whole.  

You really are so beautiful…

You Can Leave Your Hat On – A witty and willfully perverse bit of erotic absurdity. #MusicisLife #TedTocksCovers

Today we give a tip of the hat to prolific song writer Randy Newman. He turns 80 today.

What better way to offer best wishes than to feature ‘You Can Leave Your Hat On’.

Randy Newman is on record as stating that he thought the song was a bit of a joke, but over time he grew to like it. This ambivalence has been revealed in his discussion, and through his response to the many cover versions that have been offered over the years.

‘You Can Leave Your Hat On’ was released just over 50 years ago on the album ‘Sail Away’. He had been sitting on the song since the late ‘60s. Reluctantly, he added it to his third album, partially at the insistence of producers Lenny Waronker and Russ Titelman, and perhaps due to the fact that the album was lacking in material. It clocked in at just over half an hour.

Hindsight being 20/20, this was clearly the right decision. Truth be told, Randy Newman had a front row seat in watching ‘You Can Leave Your Hat On’ take the world stage and unveil itself one stitch of clothing at a time.

Here is Mark Deming of ‘All Music’ with his accurate description. It is a;

 …witty and willfully perverse bit of erotic absurdity”

Mark Deming

This quote is so good I used it in the introduction as well as the body.

Looking back on his own recording of ‘You Can Leave Your Hat On’, Randy Newman was self-deprecating. He thought it was;

Too low for me to sing it. I can’t rock it too hard, which maybe I should have…or maybe not.

Randy Newman

Again, he comes across as ambivalent; like it was an accidental hit. In other interviews Newman laments that he could barely be heard over Ry Cooder’s guitar. Clearly, this is a bit of an exaggeration, but it is part of Newman’s charm. He seems quite willing to share the song’s success with all who came later.

From the perspective of Ted Tocks Covers which is now just shy of 1700 features, ‘You Can Leave Your Hat On’ represents one of the purest examples of the evolution of an original song being taken and molded by the many artists who opted to press their cover versions to vinyl.

First, credit must be given to Randy Newman and his faculty as a social observer. This is apparent in many of his songs. In ‘You Can Leave Your Hat On’ Newman zeroed in on the subtleties of human behavior. Through this sociological approach his compositions often came across as humorous and satirical.

‘You Can Leave Your Hat On’ was written from the perspective of a man who has an illusion of control. It was summarized in this one appeal.

‘You can leave your hat on’. It comes across like a concession, by the male, but truth be told it was the female who was dominating this interaction.

Consider that this was written at the dawn of what became known as the sexual revolution.

The subject claims to know what love is. Here is Randy Newman talking a little bit in circles as he comes to grips with its popularity as a sexually stimulating piece.

The guy is just – I always thought of him as a fairly weak fellow. It sounded like – and to me, I would’ve thought the girl could break him in half. He’s not asking much. You know, Joe Cocker and Tom Jones had hits with it, and they did it, you know, about higher than I did and louder, as if it were a real sexual kind of thing. I could have done it. I just didn’t think of it. But I thought of it as, you know, as not very.”

Randy Newman

See what I mean? The perspective of the characters in this song changes based on the manner in which the song is delivered.

Elements of the song’s popularity as an interpretive piece were apparent immediately and you can thank Etta James. She modified the title to just ‘Leave Your Hat On’ in her 1973 cover. Listen to the horns and the pulsating funk style. This version gave the song an additional intensity. It set the standard. Just listen to this breathtaking delivery.  

Predictably, we follow up with Three Dog Night’s 1975 cover. This is important but it could be considered a little more mainstream due to this act’s FM radio popularity.

Of course, it is no secret that Three Dog Night enjoyed immense popularity a half decade earlier with the 1970 #1 hit, ‘Mama Told Me Not to Come’ which of course was penned by, Randy Newman.

Mama Told Me Not to Come – The craziest party there could ever be. #MusicisLife #TedTocksCovers #RandyNewman #ThreeDogNight #TheAnimals #FamilyGuy

The following year brought this terrific version from Merl Saunders and Aunt Monk. Saunders comes up often in Ted Tocks Covers. Always so good.

Speaking of Ted Tocks favourites, here is the legendary Joe Cocker. Absolutely perfect. This cover version from 1986 became extremely popular because of its appearance in the movie ‘9 ½ Weeks’ featuring Kim Basinger and Mickey Rourke. The term overtly sexual in describing this song took flight on this stage.

Moving on to the ‘90s we get this important cover version from Bill Wyman in 1992. The value stems from the timing. Wyman quit the Rolling Stones a short time later. In many ways this was his coming out party as a solo performer. He was asserting his own independence. The easy thing to do would have been to work on this track with Mick Jagger on vocals, but Bill took the road less traveled and as a result, it is an intriguing cover.

Speaking of Bill Wyman, follow this.

Wyman married his first wife, Diane Cory in 1959. Their son Stephen was born in 1962. The couple separated in 1967 and were divorced in 1969.

In June of 1989, Bill married 18-year-old Mandy Smith. They had known each other since the mid ‘80s. The marriage lasted two years.

About the same time, the senior Wyman was getting cozy with future wife, Suzanne Accosta in 1993, his son Stephen was involved in a relationship with Patsy Smith, the woman he would go on to marry.

Patsy was Mandy Smith’s mother.

This made Bill Wyman his own son’s ex son-in-law. Not only that, he was also the father in-law of his ex-mother-in-law and to top it all off, the stepgrandfather of his ex-wife.

Back to the sexual overtones of ‘You Can Leave Your Hat On’ there is no better example than the great Tom Jones. This supercharged version embodies three decades of sexual appeal. Tom Jones propensity for this style made him the perfect artist to deliver this message, however by this time the original intent of Newman’s lyrics had been lost. Listen to this quality cover though because it speaks to Jones’s vitality.

Tom Jones’s version was integral to the popularity of the brilliant low budget British movie ‘The Full Monty’. Its power as a striptease song was solidified. It is important to note that the roles were reversed. Famously, from the director’s standpoint Joe Cocker’s version was considered to be too earnest, which opened the door to Tom Jones being called upon. Here is the thought process.

We recorded it in an afternoon on a day off when I was on the road on a UK tour. Composer Anne Dudley was doing the music. They had Joe Cocker’s version of ‘You Can Leave Your Hat On’, but the director thought his performance was a bit too serious. Who knew that this film would do what it did? It was supposed to be a low-budget, small British film, but it became a worldwide smash, so I was thrilled be a part of it.”

Tom Jones

For Tom Jones it was a matter of being in the right place at the right time, but it certainly helped that he had the perfect image as a performer. Click on the link below and it will share the scene from ‘The Full Monty’.

Having said all this, we all need to remember it all began with Randy Newman who in this post comes across as a reluctant hero. To his credit, he frequently points to the unending talent of those who followed.

All the others took the baton and ran. The message evolved over time.

The value lies in the interpretation, but the original version tells the story.

First We Take Manhattan – The extremist positions that compel our attention. #MusicisLife #TedTocksCovers

It was on this day in 2016 that the music world lost singer, songwriter and extraordinary poet Leonard Cohen.

Today’s feature is ‘First We Take Manhattan’ which can be traced back to the early ‘80s. Beyond the brilliant lyrics, the song’s release history makes it an interesting story.

Let’s have a look.

In 1986, Jennifer Warnes was working with Roscoe Beck on a tribute to Leonard Cohen. Warnes had a long history with Cohen going back to the early ‘70s when she toured with him as a backup singer. As recently as 1979 Cohen had worked with Warnes on her song ‘Song for Bernadette’. This collaboration occurred while they were on tour that yielded the album ‘Field Commander Cohen: Tour of 1979.

The bass player on this tour was Roscoe Beck. This familiarity with the Leonard Cohen catalogue is important.

Roscoe Beck had recently moved to Los Angeles from Austin, Texas and he had been invited by Joni Mitchell’s manager, Henry Lewy, to join in on some sessions. It was determined that Joni preferred the playing of Jaco Pastorius. Undaunted, Lewy mentioned that he was also working on a new recording for Leonard Cohen.

(Henry) called me one day for a session with Leonard Cohen, and the session went well. We played a couple of songs and recorded a couple of things on the spot that went on his record he was making. At the end of the session, Leonard turned to me and he said, “That was really nice. Let’s do it again.” And Henry Lewy said, “Well, he has a whole band, you know.” And Leonard said, “Well, next time, bring them all.” And so, that’s what happened.

Roscoe Beck

This marked the beginning of a strong connection that would have far reaching benefits.

Material for what would become ‘Famous Blue Raincoat’ consisted of songs spanning Cohen’s career from his recording debut in 1969 through to the 1984 album, ‘Various Positions’.

Perhaps most intriguingly, Leonard Cohen gave Beck and Warnes two brand new songs called ‘Ain’t No Cure for Love’ and today’s feature, ‘First We Take Manhattan’. These songs would become the foundation of Leonard Cohen’s ‘I’m Your Man’ in 1988.

The link between Warnes and Cohen is crucial because in terms of popularity Jennifer Warnes was sizzling, as she was coming off the success of her Grammy Award winning 1983 duet with Joe Cocker, ‘Up Where We Belong’.

The ultimate popularity of ‘Famous Blue Raincoat’ led to the recording industry reconsidering their assessment that Leonard Cohen had become, in the words of Roscoe Beck; ‘A&R poison’.

Here is Roscoe Beck’s recollection of how these songs came to be part of the album.

I was working on Jennifer Warnes’ record of Leonard’s songs, ‘Famous Blue Raincoat’, so I called him in Montreal to ask if he had any new material for it, and he played me, ‘First We Take Manhattan.’ I was stunned. Leonard had written on keyboards since the early ’80s, but this was a much more heavily synthesized, Eurodisco approach.”

Roscoe Beck

Roscoe Beck couldn’t believe his good fortune. He knew he had a gem, and he was working with the ideal person to deliver the message. Cohen had layered some backing vocals and that is the place where Jennifer Warnes had originally excelled. The beauty of ‘First We Take Manhattan’ is that Cohen had shown a desire to move on from his folk origins.

He’d stacked female backing vocals that were quite a surprise. The song was such a departure from the folkiness of his past. It was a fresh start.”

Roscoe Beck

To give you a sense of what Beck heard, here is an early demo. This is from ‘A Moving Picture’ which is described as a ‘romantic dance fantasy’.

For the Jennifer Warnes version the vision was a little bit different and it came with the assistance of one of Roscoe Beck’s good friends from his days in Austin, Texas. When he learned that Stevie Ray Vaughan was coming to Los Angeles for the Grammy Awards, Beck organized some studio time. Apparently, Stevie Ray hadn’t brought his trademark guitar along, but he was happy to help his old friend. Roscoe Beck lent Stevie Ray Vaughan his own Stratocaster. The legendary guitarist provides the perfect accompaniment to Jennifer Warnes delivery.

Just listen.

From the background of the song, we move on to the thought process behind the poetry. Roscoe Beck is on record stating that Cohen’s lyrics hit him right between the eyes.

I was also taken aback by the lyrics. They scared me. The singer’s character seemed mentally unstable, and I wondered what the song was about. Leonard says it’s someone who’s an outsider, demented and menacing. I had an eerie feeling about it.”

Roscoe Beck

Here is where we come back to Leonard Cohen. Through the years he had fun discussing this offering, but what remains true is the song exists as a prophecy.

I think it means exactly what it says. It is a terrorist song. I think it’s a response to terrorism. There’s something about terrorism that I’ve always admired. The fact that there are no alibis or no compromises. That position is always very attractive. I don’t like it when it’s manifested on the physical plane – I don’t really enjoy the terrorist activities – but Psychic Terrorism. I remember there was a great poem by Irving Layon that I once read, I’ll give you a paraphrase of it. It was ‘well, you guys blow up an occasional airline and kill a few children here and there’, he says. ‘But our terrorists, Jesus, Freud, Marx, Einstein. The whole world is still quaking.”

Leonard Cohen

The poem that Cohen is referring to is called ‘For Jesus Christ’, and here is the closing stanza.

Your stoutest, most selfless partisans in Europe

labored nearly two thousand years

to twist your Cross into the Swastika

that tore into our flesh like a fish-hook.”

Irving Layton

Almost four decades later we are still circling the drain where religious extremists and political opportunists, seem determined to destroy the world.

“ felt for some time that the motivating energy, or the captivating energy, or the engrossing energy available to us today is the energy coming from the extremes. That’s why we have Malcolm X. And somehow, it’s only these extremist positions that can compel our attention. And I find in my own mind that I have to resist these extremist positions when I find myself drifting into a mystical fascism in regards to myself.”

Leonard Cohen

It is a lust for power driven by a select few. The orchestration is the purest form of evil, and the most disturbing thing is we can see the story unfolding before our eyes.

So, this song, ‘First We Take Manhattan,’ what is it? Is he serious? And who is we? And what is this constituency that he’s addressing? Well, it’s that constituency that shares this sense of titillation with extremist positions. I’d rather do that with an appetite for extremism than blow up a bus full of schoolchildren.”

Leonard Cohen

Take a look at the world around you and tell me that an element of what Leonard Cohen shared in ‘First We Take Manhattan’ is not playing out in theatres in the United States, the Ukraine and the Gaza Strip.

There is a ‘man’ behind the curtain playing the role of puppet master and millions of unwitting fools seem perfectly fine repeating history, guided by a signal from the heavens.

They sentenced me to twenty years of boredom
For trying to change the system from within
I’m coming now, I’m coming to reward them
First we take Manhattan, then we take Berlin
I’m guided by a signal in the heavens
I’m guided by this birthmark on my skin
I’m guided by the beauty of our weapons
First we take Manhattan, then we take Berlin

I’d really like to live beside you, baby
I love your body and your spirit and your clothes
But you see that line there moving through the station?
I told you, I told you, told you, I was one of those

Ah you loved me as a loser, but now you’re worried that I just might win
You know the way to stop me, but you don’t have the discipline
How many nights I prayed for this, to let my work begin
First we take Manhattan, then we take Berlin

I don’t like your fashion business mister
And I don’t like these drugs that keep you thin
I don’t like what happened to my sister
First we take Manhattan, then we take Berlin

I’d really like to live beside you, baby …

And I thank you for those items that you sent me
The monkey and the plywood violin
I practiced every night, now I’m ready
First we take Manhattan, then we take Berlin

I am guided

Ah remember me, I used to live for music
Remember me, I brought your groceries in
Well it’s Father’s Day and everybody’s wounded
First we take Manhattan, then we take Berlin”

Leonard Cohen

Whether you simply scan these lyrics and raise an eyebrow, or go full submersion, you will identify that this Leonard Cohen poem speaks of global terror.

It takes aim at people who subscribe to a dubious value system. Values of course is a subjective term.

Leonard Cohen never did anything half way. He was a devout Jew. He lived several years in relative isolation as a Buddhist monk. Interestingly Leonard Cohen was also a decorated and dedicated Freemason.

Each of these doctrines reflect philosophies that yield little in the way of compromise.

But take a look at this line in the opening verse…

I’m guided by a signal in the heavens
I’m guided by this birthmark on my skin
I’m guided by the beauty of our weapons
First we take Manhattan, then we take Berlin”

Leonard Cohen

Read on because the deepest clues to the song’s meaning are best gathered as you watch the video.

Cohen appears as a shadowy figure. During this clandestine meeting he is seen on a beach getting directions from a woman. Symbolically he is looking out over the beach which has some overt military overtones.

By combining Manhattan and Berlin, Leonard Cohen blends some classic East/West or Cold War references.

Arguably these cities represent symbols of the free world going back to ancient times right through to the present day.

Think back to a famous speech given by John F. Kennedy sixty years ago.

Two thousand years ago, the proudest boast was ‘civis ramanus sum’ [“I am a Roman citizen”]. Today, in the world of freedom, the proudest boast is “Ich bin ein Berliner!”… All free men, wherever they may live, are citizens of Berlin, and therefore, as a free man, I take pride in the words “Ich bin ein Berliner!”

John F. Kenndy

I could write on forever, because the poetry of Leonard Cohen has a depth rivaled by few in the musical world.

I will leave it here.

Before moving on to the cover versions of “First We Take Manhattan’ here is a live video from Austin City Limits in 1989. I am always captured by the interplay between Leonard Cohen and his back up singers. This is another area where Leonard Cohen never compromised. They brought out the best in him, and in exchange he frequently gave a lot of himself when it came to launching their careers. Coming full circle, we can point to Jennifer Warnes as the prime example.

Now, we take a look at two slightly less familiar cover versions, and they are phenomenal.

In 1991, R.E.M. offered this ominous version. The stark guitar work by Peter Buck drives the song as Michael Stipe delivers the message.

But then, there’s Joe Cocker. This is from his 1999 album ‘No Ordinary World’ which is a prescient title. ‘First We Take Manhattan’ is the opening track. What a strong way to open.

On this day the most appropriate way to close is with Leonard Cohen on stage in London in July of 2008. This is a triumphant recording. Cohen appears almost larger than life.

Once again, the mystique of the backup adds an essential layer. Sharon Robinson and The Webb Sisters deservedly share the spotlight with an icon. Sure enough, there is Roscoe Beck on bass guitar.

Leonard Cohen once stated;

I don’t trust inner feelings. Inner feelings come and go.”

Leonard Cohen

‘Everybody Knows’ that the essence of a healthy existence lies in our ability to evolve. Looking back to 35 years ago when Leonard Cohen released ‘I’m Your Man’ he was seen as the unlikely messenger to a society that had been so entrenched in their own appalling extravagance that a crash was inevitable.

On a deeper level, maybe ‘First We Take Manhattan’ is about our own existential journey.

Who are we?

Sometimes we need to step back and take stock of our personal inventory before we move too far down the road.

We need a guide; there is no doubt about that. The issue lies in our ability to make wise decisions in this space.

Too often, at least one third of the global population make the worst of choices.

Guided by the beauty of their weapons.”

Leonard Cohen

I mean this both figuratively and literally.

I think Leonard Cohen did too.

Don’t Let Me Be Misunderstood – Sometimes I find myself long regretting some foolish thing I’ve done. #MusicisLife #TedTocksCovers

When music moves you emotionally, it goes from simply being a form of entertainment to something transformative. This experience can occur at any given time. Sometimes, we become absorbed in a song the first time we hear it. Other times, a piece of music we have been listening to for years strikes you as a revelation long after it first hit your ears. I often refer to this moment as ‘hearing it for the first time, again’.

In a fast-paced world where our senses are overwhelmed with sounds and images it is difficult to really take everything in as it was intended. In the end, it is up to us, and if we can take the time, that moment of discovery becomes pretty special; especially when it occurs decades after the song was released.

Here is a look back at ‘Don’t Let Me Be Misunderstood’ almost six full decades after its release.

Admittedly, my introduction to ‘Don’t Let Me Be Misunderstood’ came through the familiar version from The Animals (More on that in a bit) but in my ongoing focus on the origin of the songs we know and love, I learned there is way more to this passionate plea.

In a historical sense we can thank the great Nina Simone for the delivery that set the tone for this track. She took the lyrics that were written by a composer and arranger named Horace Ott. It seems Ott had a wicked dispute with his girlfriend, and eventual wife, Gloria Caldwell. Feeling bad, following the confrontation, Horace sat down at the piano and wrote the melody and chorus for ‘Don’t Let Me Be Misunderstood’. Satisfied with this shell of a song, he brought in his writing partners, Bennie Benjamin and Sol Marcus. Benjamin and Marcus tuned into what Ott was saying and completed the lyrics. Due to some legalities related to how song writing credits could be listed at the time, Horace Ott left his name off the list that included Bennie Benjamin and Sol Marcus. Instead, he entered the name Gloria Caldwell.

For the record, Horace Ott and Gloria Caldwell worked things out. They were later married and stayed together

The power behind this collaboration was immediately apparent, and it was presented to Nina Simone who was working on her album ‘’Broadway-Blues-Ballads’. It is here that ‘Don’t Let Me Be Misunderstood’ set the standard that many artists have strived to match for decades.

It’s all in the delivery. The tempo is slow and deliberate. It is contemplation. Presented like an apology in real time, all accented by a carefully considered assortment of instruments. The backing choir reinforces every word.

Throughout her career, Nina Simone was seen as a complex character. She was difficult to categorize. Combine this with an absolute unwillingness to compromise on anything and her fierce devotion to the Civil Rights movement and you get a sense of how personal these lyrics were for Nina every time she presented this song. For more on Nina Simone, I highly recommend that you check out the documentary ‘What Happened, Miss Simone?’ on Netflix. To get a broader sense of her musical contribution by all means refer to any or all of the following:

Makeba – Her music inspired a powerful sense of hope in all of us. #MusicisLife #TedTocksCovers #Jain #MiriamMakeba #SaturdayNightLive #BillHader #NinaSimone

Just Like Tom Thumb’s Blues – If pain was art. #MusicisLife #TedTocksCovers #BobDylan #GordonLightfoot #JudyCollins #NinaSimone #TownesVanZandt #GratefulDead #NeilYoung #LindaRonstadt #BryanFerry #RamblinJackElliott

Why (The King of Love is Dead) – They’re shooting us down one by one. Don’t forget that. #MusicisLife #TedTocksCovers #NinaSimone #MartinLutherKingJr #SabrinaStarke #MelodyAngel #JohnLewis

Nobody’s Fault But Mine – Tracing a significant date in music history from a blues and gospel legend to one of the best drummers ever. #MusicisLife #TedTocksCovers #LedZeppelin #BlindWillieJohnson #JohnRenbourn #PaulButterfieldBluesBand #NinaSimone #BlindBoysofAlabama #LucindaWilliams #RyCooder #JohnBonham #JimmyPage #RobertPlant

Mr Bojangles – A timeless song with a fascinating line of influence. #MusicisLife #TedTocksCovers #JerryJeffWalker #BillBojanglesRobinson #GratefulDead #NittyGrittyDirtBand #DavidBromberg #SammyDavisJr #GeorgeBurns #NinaSimone #TomTHall #TomJones #ToddSnider #WillieNelson #WaylonJennings

The House of the Rising Sun – The evolution of a classic song. #MusicisLife #TedTocksCovers #ClarenceAshley #GwenFoster #GeorgiaTurner #LeadBelly #PeteSeeger #JoanBaez #NinaSimone #DaveVanRonk #BobDylan #TheAnimals

Wild is the Wind – Let the wind blow through your heart. #MusicisLife #TedTocksCovers #JohnnyMathis #NinaSimone #ShirleyHorn #BarbraStreisand #GeorgeMichael #DavidBowie

Before I move on to the incredible list of cover versions; if the name Horace Ott is familiar it is because he did the arrangements for ‘YMCA’ (among others) by The Village People.

When asked about the choice to record ‘Don’t Let Me Be Misunderstood’, Eric Burdon of The Animals doesn’t know for sure how it arrived at the studio. It may be due to the fact that the group did a strong cover of ‘House of the Rising Sun’ which had also been connected to Nina Simone due to her strong cover. Simone and Bob Dylan were in the same orbit in New York’s Greenwich Village folk scene. By extension, the idea to follow with ‘Don’t Let Me Be Misunderstood’ was suggested, likely by producer Mickie Most. This is Eric Burdon’s summation;

It was never considered pop material, but it somehow got passed on to us and we fell in love with it immediately.”

Eric Burdon

The Animals recorded this version in November of 1964 and by the early part of 1965 ‘Don’t Let Me Be Misunderstood’ became a Top 5 hit in the U.K and Canada and #15 in the United States.

Looking back at this period, The Animals sound was heavily driven by Alan Price’s distinct organ. The group did their best to maintain this sound in the live setting but every so often Eric Burden would slow it down in order to pay his respects to the stylings of Nina Simone.

Before I play The Animals track, note that Nina influenced The Animals and The Animals influenced an aspiring artist from New Jersey named Bruce Springsteen. When he wrote ‘Badlands’ he admits to stealing the keyboard melody from The Animals.

Here is Eric Burden and The Animals.

There is a connection between the next two covers.

 In 1967, The Moody Blues recorded ‘Don’t Let Me Be Misunderstood’ as part of their BBC Sessions about the time they had released the classic album ‘Days of Future Passed’ (see Nights in White Satin). This is as solid as you would expect from this iconic band.

About the same time a couple of friends in Sheffield were stirring up some attention in area pubs.  Joe Cocker and Chris Stainton had joined forces to create The Grease Band. Producer Denny Cordell who had enjoyed success with Procol Harum and The Moody Blues brought Cocker and Stainton to London where they put together an improved edition of the Grease Band. In order to gain attention in this crucial market Cordell had the Grease Band take up residency at the famous Marquee Club. In 1968, Joe Cocker released the album ‘With a Little Help from My Friends’ which famously included the Beatles cover. Lesser known but just about as good is Joe’s cover of ‘Don’t Let Me Be Misunderstood’.

I’ll say it again; Joe Cocker is the best cover artist ever.

A decade later in 1977, we get a completely different look at this ‘60s classic. This is Santa Esmerelda. Some refer to it as a disco version, but truth be told it is the flamenco flair that makes this cover so good. Enjoy!

In 1980, guitar virtuoso Gary Moore recorded several tracks for what would become a solo album called ‘Dirty Fingers’. This recording was set aside for something his people considered to be more ‘radio friendly’, but from this song list, three found their way onto a 1981 EP. Here is Moore’s supercharged version of ‘Don’t Let Me Be Misunderstood’. This track was later included on the eventual release of ‘Dirty Fingers’ in 1983.

What happens when a prolific artist shows up at the studio but his voice isn’t quite up to the rigours of the recording process? For Elvis Costello, the solution was to change the plan. In the mid ‘80s Costello was in Los Angeles recording ‘King of America’. He had planned to record ‘I Hope You’re Happy Now’ but he had a sore throat which resulted in a raspy delivery that didn’t suit the song. This forced him to shift on the fly.

Here is an interesting recollection from Elvis Costello where he notes the similarity between his vocal track and what many have compared to Tom Waits. This was not an accident.

Rather than scrap the session we cut a slow, violent version of the Animals/Nina Simone song: “Don’t Let Me Be Misunderstood”. The next day we borrowed Michael Blair from Tom Waits’ band to add a marimba part, and the record was complete. This may seem ironic as I attacked the song with a vocal capacity that Tom might have rejected as being too hoarse.”

Elvis Costello

What happened next did happen against Costello’s wishes. Columbia released ‘Don’t Let Me Be Misunderstood’ as the album’s single. They felt the familiarity of the piece would drive sales. Elvis was opposed to this, but he had little say in  the matter because it seems he had accumulated a significant debt to his label, and every decision was geared toward paying things down.

My US record company, Columbia, showed their customary imagination in releasing the safe ‘cover’ song as a single ahead of any of the more unusual and heartfelt balladry I had composed. ‘Don’t Let Me Be Misunderstood’ made little impression, and my mounting debt to the company seemed to make them unwilling to risk any further effort on my behalf”

Elvis Costello

Don’t misunderstand this point though. This is a quality cover. It just should not have been a single from an eternally creative and essential recording artist.

Here is an interesting cover by Lou Rawls in 1990. Rawls combines his interesting R&B, soul and blues style and delivers a quality version of this great song.

Back to Joe Cocker. I couldn’t resist including this updated version that includes Billy Preston and Chris Stainton on keyboards and Kenny Aronoff and Jim Keltner on drums. If that is not enough, check out the backup singers Portia Griffin, Maxine Sharp, Myrna Smith and the one and only Merry Clayton of ‘Gimme Shelter’ fame. What a groove.

Perhaps the most innovative cover of ‘Don’t Let Me Be Misunderstood’ is this 2002 version by Trevor Rabin of early ‘80s Yes fame. This was released as part of the soundtrack for the Goldie Hawn and Susan Sarandon film ‘Banger Sisters’. The intriguing track is enhanced by a strong injection of piano and powerful studio effects.

Here is a real treat. Watch and listen as Cyndi Lauper takes on ‘Don’t Let Me Be Misunderstood’ like she is in a one act play. She was made to play this role. This is a stunning performance. This one hit me hard. I think I wiped away a few tears. Cyndi is one of a kind.

This is from her 2004 live album, appropriately called ‘Live…At Last’.

The covers will continue. Sorry…I just can’t help myself. These are just so good so no attempt to reduce the number of versions seemed acceptable. So, we carry on.

Yet another name who comes up often whenever I explore cover versions for this blog is John Legend. This recording from 2006 caught my attention, and now I share it with you as part of this feature.

Famously, Cat Stevens returned to the music scene in 2006 using his given name Yusuf Islam. He released an album called ‘An Other Cup’ which included ‘Don’t Let Me Be Misunderstood’. Here is Islam during a live performance known as Yusuf’s Café Session. This is why Cat Stevens/Yusuf Islam has sold over 100 million albums.

Remember Simply Red? Enjoy this quality cover by Mick Hucknall from 2012.

For the final three covers we are going to give the stage to the women because frankly, they steal the show.

First, we have Mary J. Blige from a 2015 album called ‘A Tribute to Nina Simone’. Keeping Nina’s memory alive.

That same year Lana Del Rey recorded this incredible cover, including it on her album, ‘Honeymoon’. Del Rey channels Nina Simone. As I listen, I suspect she saw Cyndi Lauper once or twice. Just a hunch.

Yet another example of how musical influence flows down through the years.

Speaking of influence, I will conclude with this 2018 recording by Lady Gaga. The trumpet work from Brian Newman compliments her voice. What a performance. This is from Brian Newman’s album ‘Showboat’ and it goes down as Brian Newman featuring Lady Gaga.

These two are close. Lady Gaga is the godmother to Newman’s daughter.

Nice!

What I have shared represents just a fraction of the amazing versions of ‘Don’t Let Me Be Misunderstood’. For example, Eric Burdon himself has at least three other versions that I noted at a glance. He went from The Animals to a self-indulgent eight-minute piece in 1974, to an electronic version in 2013, immediately followed by a reggae offering one year later.

I urge you to explore on your own.

For another take on the many faces of ‘Don’t Let Me Be Misunderstood’ see this article by Ryan Leas of ‘Stereogum’.

https://www.stereogum.com/1832453/21-covers-of-dont-let-me-be-misunderstood/lists/

Before I set off on my 58^th trip around the sun, I want to reflect on where I am as I type this today.

Truthfully, I sit here and the music is whispering in my ear like a soft breeze on a summer day. There is no doubt that music and more specifically the words of the many artists I admire exist as a spiritual guide.

Today’s song holds a degree of wisdom that we can all draw from.

We all have our moments.

Baby, do you understand me now
Sometimes I feel a little mad
But don’t you know that no one alive
Can always be an angel
When things go wrong I seem to be bad
But I’m just a soul whose intentions are good
Oh Lord, please don’t let me be misunderstood

Baby, sometimes I’m so carefree
With a joy that’s hard to hide
And sometimes it seems that all I have to do is worry
And then you’re bound to see my other side
I’m just a soul whose intentions are good
Oh Lord, please don’t let me be misunderstood

If I seem edgy I want you to know
That I never mean to take it out on you
Life has its problems and I get my share
And that’s one thing I never meant to do
Because I love you
Oh, Oh baby don’t you know I’m human
Have thoughts like any other one
Sometimes I find myself long regretting
Some foolish thing some little simple thing I’ve done

I’m just a soul whose intentions are good
Oh Lord, please don’t let me be misunderstood
Yes, I’m just a soul whose intentions are good
Oh Lord, please don’t let me be misunderstood
Yes, I’m just a soul whose intentions are good
Oh Lord, please don’t let me be misunderstood
Yes, I’m just a soul whose intentions are good
Oh Lord, please don’t let me be misunderstood …”

Horace Ott, Bennie Benjamin, Sol Marcus and Gloria Caldwell

Sometimes we all feel misunderstood. We struggle to get a point across. We get caught up in the frustrations of day-to-day life. We feel we are not being seen in the way we intended.

When this gap appears, we can wallow in regret. This only creates limitations. When we allow these hurdles to become a barrier, our progress is impeded and we stagnate.

Too often, this is a space where I feel I have resided over the past five years or so. I am trying to break out of this cycle, but it feels like a swirling vortex and I keep getting pulled back in. Much of my concern stems from a desire to feel valued.

Any value I offer can only flow from the passion I convey in what I say and do. The ability to adequately communicate my feelings is a crucial step. Whatever I lack in style, I aim to make up for in dedication and devotion. If I am sharing my personal thoughts, you can rest assured that I believe what I am saying, but I am never so entrenched that an intelligent counterpoint to my beliefs can’t give me pause for thought, or perhaps make me reconsider.

In the end, I trust my instincts, and it is my genuine excitement for what I am sharing in Ted Tocks Covers that helps me articulate my thoughts. It begins with the music. Frequently, I am able to make sense of the world around me as a result of the words of the artists I follow.

Then I share with you.

Through it all, I talk the talk. Sometimes I need to make sure I put on my shoes and walk the walk.

There are places I need to go, although right now the destination remains uncertain.

I’ll get there.

Purple Haze – Woodstock Day 3 – Lately things they don’t seem the same. #MusicisLife #TedTocksCovers

Today is the anniversary of Day 3 of Woodstock. As stated in my previous two posts, my initial plan was to share an old Ted Tocks feature discussing an artist and a Woodstock performance from 54 years ago.

But then…

I thought I would go all in and spend three days celebrating the festival that changed music history.

In taking you back over five decades I will do everything I can to keep the words to a minimum and the music to a maximum. I will walk you through today’s performing artists in order, while sharing their setlists for reference. From here I will link any Ted Tocks features that have offered a song performed at the festival.

If I have not featured the artist on Ted Tocks Covers, I will grab a set highlight and share that song in order to give you a taste.

Hopefully it will be a fun trip. No brown acid here. Just a ton of amazing music that will take us back to a time where ‘FREEDOM’ was not just another word co-opted by a bunch of people who don’t even know what it means.

Imagine going to a concert and discovering Joe Cocker was the opening act?

I mean how could it get any better?

Note the setlist below. The first two songs were handled by Joe Cocker’s ‘Grease Band’ which was comprised of Henry McCullough, bassist Alan Spenner and drummer Bruce Rowland.

When the Grease Band was done Joe Cocker came out and fired off a searing version of Bob Dylan’s ‘Dear Landlord’ which in his inimitable way, he dedicated to Max Yasgur.

1. Who Knows What Tomorrow May Bring? (Grease Band)
2. 40,000 Headmen (Grease Band)
3. Dear Landlord

“Now, each of us has his own special gift
And you know this was meant to be true
And if you don’t underestimate me
I won’t underestimate you”

4. Something’s Goin’ On

5. Do I Still Figure in Your Life

6. Feelin’ Alright

Feeling Alright – An influential song from the ’60s and a bunch of incredible covers. #MusicisLife #TedTocksCovers #Traffic #DaveMason #JoeCocker #RareEarth #ChairmanoftheBoard #GladysKnight #TheJackson5 #IsaacHayes #FreddieKing

7. Just Like a Woman

8. Let’s Go Get Stoned

9. I Don’t Need No Doctor

10. I Shall Be Released

I Shall Be Released – Today’s classic song and a brilliant cover. #TedTocksCovers #MusicisLife #TheBand #BobDylan #RichardManuel

11. Hitchcock Railway

12. Something to Say

13. With a Little Help from My Friends

With a Little Help From My Friends – All these years later and still guaranteed to raise a smile. #MusicisLife #TedTocksCovers #TheBeatles #JoeCocker #JohnBelushi #TedeschiTrucksBand

Speechless! So good. So much passion.

Yes…Joe Cocker! The best cover artist ever. Better than Elvis. Absolutely…I will stand by that statement every day, and twice on Sunday. Especially, on a Sunday when he is playing at Woodstock before a crowd of half a million people.

Earlier, I mentioned Max Yasgur. It was on Sunday afternoon, just before Joe Cocker performed, that the owner of the land that provided the venue for Woodstock greeted the massive crowd with this speech for the ages.

I’m a farmer…I don’t know how to speak to twenty people at one time, let alone a crowd like this. But I think you people have proven something to the world — not only to the Town of Bethel, or Sullivan County, or New York State; you’ve proven something to the world. This is the largest group of people ever assembled in one place. We have had no idea that there would be this size group, and because of that you’ve had quite a few inconveniences as far as water, food, and so forth. Your producers have done a mammoth job to see that you’re taken care of… they’d enjoy a vote of thanks. But above that, the important thing that you’ve proven to the world is that a half a million kids — and I call you kids because I have children that are older than you are — a half million young people can get together and have three days of fun and music and have nothing but fun and music, and I – God Bless You for it!”

Max Yasgur

This was a speech that bridged generations, cultures and ideologies.

Everyone thought it was the music that brought the people together, and in a sense they are right. But in the end, it was a farmer. A salt of the earth farmer, who just understood that people are inherently good, if they are just left to their own devices.

Like Joe Cocker said;

That farming guy who came out, he seemed a nice little bloke”

Joe Cocker

Well said Joe.

To say Max Yasgur left an impression on this world would be an understatement.

Somehow Country Joe and the Fish were expected to follow Joe Cocker’s set, and a wicked thunderstorm, with what was their originally scheduled time slot.

After the rain and cleanup many festival attendees opted to leave.

1. Rock and Soul Music

2. Love

3. Not So Sweet Martha Lorraine

4. Sing Sing Sing

5. Summer Dresses

6. Friend, Lover, Woman, Wife

7. Silver and Gold

8. Maria

9. The Love Machine

10. Ever Since You Told Me That You Love Me (I’m a Nut)

11. Improvisation

12. Rock and Soul Music (reprise)

13. The “Fish” Cheer/I-Feel-Like-I’m-Fixin-To-Die Rag (see Day One – ‘Freedom’)

After Country Joe and the Fish, Ten Years After featuring Alvin Lee took the stage and hammered out a career defining performance. Anyone in the audience that was not left spellbound by Alvin Lee’s energetic delivery would have needed to be checked for a pulse.

1. Spoonful
2. Good Morning Little Schoolgirl (including two false starts)
3. Hobbit
4. I Can’t Keep from Crying Sometimes
5. Help Me
6. I’m Going Home

I’m Goin’ Home – A guitar clinic by #AlvinLee and #TenYearsAfter at #Woodstock that takes listeners on a musical trip through the past.

And he did…Lee and his band hopped in a waiting helicopter and flew home. But, not without the watermelon that some ambitious fans carried to the stage front and offered as a gift to the music gods.

Preceding Woodstock, The Band had not played very many shows as just The Band, but the value of those shows and the fact that the group’s debut album was the talk of the music industry, made them a major attraction. The groups set combined tracks from ‘The Band’ with familiar songs from their collaboration with Bob Dylan; ‘Music from the Big Pink’ as well as a couple of classic covers.

1. Chest Fever

Chest Fever – The anniversary of #TheLastWaltz. #MusicisLife #TedTocksCovers #TheBand #WidespreadPanic

2. Baby Don’t You Do It

Baby Don’t You Do It – When the world falls apart some things stay in place #MusicisLife #TedTocksCovers #MarvinGaye #LamontDozier #EdwardHollandJr #BrianHolland #TheBand #FourTops #JohnMellencamp #Aerosmith #BillyBragg

3. Tears of Rage

4. We Can Talk

5. Long Black Veil

6. Don’t Ya Tell Henry

7. Ain’t No More Cane

8. This Wheel’s on Fire

9. I Shall Be Released

I Shall Be Released – Today’s classic song and a brilliant cover. #TedTocksCovers #MusicisLife #TheBand #BobDylan #RichardManuel

10. The Weight

The Weight – For my cousin Christopher. #MusicisLife #TedTocksCovers #TheBand #Mumford&Sons #ArethaFranklin #DuaneAllman #TheStapleSingers #JeffHealey #Weezer #MusicforChange

11. Loving You is Sweeter Than Ever

The unfortunate thing about this set is the fact they weren’t able to go on until 10 pm and by this time people were continuing to stream out of the festival in order to make their way home after a long weekend of music, peace and some degree of chaos.

One of the most underrated performances at Woodstock came from blues master Johnny Winter. He took the stage at midnight as the festival marked its fourth calendar day. Based on his set, you get the sense he would have played all night.

His delivery was a fire and brimstone history lesson from the pulpit of a Texas blues preacher.

Winter is yet another performance that didn’t make the movie or soundtrack album, but Johnny Winter carved out a respectable career as a performer, Grammy Award winning producer and blues mentor.

The bass player you are hearing with Johnny Winter is Tommy Shannon, who a little over a decade later would work with Stevie Ray Vaughan as part of Double Trouble.

1. Mama, Talk to Your Daughter
2. Leland Mississippi Blues
3. Mean Town Blues
4. You Done Lost Your Good Thing Now/Mean Mistreater
5. I Can’t Stand It (featuring Edgar Winter)
6. Tobacco Road (featuring Edgar Winter)
7. Tell the Truth (featuring Edgar Winter)
8. Johnny B. Goode (featuring Edgar Winter)

As the morning moved on, Blood Sweat & Tears took the stage with their unique blend of rock, jazz and blues. They faced a few challenges. Their horn section had some difficulty with the intonation due to the humidity in the air. They worked through it, but the general sound quality became an issue for this group of perfectionist musicians. Nevertheless, the set was strong, and they received a nice ovation and treated the appreciative crowd to an encore.

1. More And More/Just One Smile
2. Something’s Coming On
3. I Love You More Than You’ll Ever Know
4. Spinning Wheel
5. Sometimes In Winter
6. Smiling Phases
7. God Bless The Child
8. And When I Die

And When I Die – Sometimes by going deep inside the music we gain the strength to carry on. #MusicisLife #TedTocksCovers #LauraNyro #PeterPaulandMary #BloodSweatandTears #DuaneAllman #TennesseeErnieFord #JuniorWalkerandtheAllStars

9. You’ve Made Me So Very Happy

Evidently, Blood Sweat and Tears made the resilient crowd very happy too.

There is no doubt that one of the most anticipated performances at Woodstock would be Crosby Stills Nash & Young. As a trio they had released their debut album in May of 1969. As the summer moved on, the album was climbing the charts due to the success of ‘Suite: Judy Blue Eyes’ and ‘Marrakesh Express’. Touring was a necessity, in order to promote the album and meet the overwhelming public demand to see the supergroup in a live setting. This presented a small stumbling block. In addition to his vocal contributions, Stephen Stills had played bass, lead and acoustic tracks on the debut album. This would be impossible to replicate live. At the suggestion of Atlantic Records executive, Ahmet Ertegun, the trio reached out to Stills’ old friend and Buffalo Springfield bandmate, Neil Young. Motown bass player Greg Reeves and studio drummer Dallas Taylor rounded out the ensemble, and in the early hours of August 18, Crosby Stills Nash & Young took the stage for what was just their second live show.

Here is the set list.

1. Suite: Judy Blue Eyes
2. Blackbird

Blackbird – You were only waiting for this moment to arise. #MusicisLife #TedTocksCovers #TheBeatles #CrosbyStillsandNash

4. Helplessly Hoping

5. Guinnevere

6. Marrakesh Express

7. 4 + 20

8. Mr. Soul

Mr. Soul – Is it strange I should change? I don’t know. Happy Birthday to #NeilYoung. #MusicisLife #TedTocksCovers #BuffaloSpringfield #Metallica #Cher #TheEverlyBrothers #IronandWine #Rush

9. I’m Wonderin’

10. You Don’t Have to Cry

11. Pre-Road Downs

12. Long Time Gone

13. Bluebird

14. Sea of Madness

15. Wooden Ships

Wooden Ships – Set a course and go…#MusicisLife #TedTocksCovers #DavidCrosby #StephenStills #PaulKantner #CrosbyStillsandNash #JeffersonAirplane #HotTuna #DharmaforOne #JasonIsbellandthe400Unit

16. Find the Cost of Freedom

16. 49 Bye-Byes

This is the second time we’ve ever played in front of people, man. We’re scared s—less!”

Stephen Stills

When asked to elaborate on this line later, Stills clarified that the trepidation stemmed from the impressive group of peers that stood side stage to watch the group’s set.

Nobody knows for sure how many people remained in the audience, but those who did were treated to a 90-minute set for the ages.

To Graham Nash, it was all like a dream.

The next day, back in New York, it was like, ‘Did that really happen? Was it just a giant acid flash or a hallucination?’ It was only later that I began putting it into perspective. It was a coming of age, a flowering of a generation of kids who decided they could take responsibility for their own lives and affect their destiny, that they could coexist with a few hundred thousand other people and not get into violent scenes and have a great time. A lot of us in the years since have shied away from the Woodstock myth. It’s like, if you were at Woodstock and you’re enthused about it, then you’re a ’69 hippie, you’re to be discounted. But there’ll never be anything as good as Woodstock, because it was the first and the best. I don’t think you can re-create that. There was a certain glow about the Sixties, a certain naiveté and exploration, an excitement for the future that doesn’t exist anymore.”

Graham Nash

For one, Neil Young is an example of a performer who ‘shied away from the myth.

Who cares? It doesn’t matter, I was there, I saw it. Who gives a shit? I couldn’t care less.”

Neil Young

Next question.

And then there were three.

The Paul Butterfield Blues Band is yet another phenomenal act that on any other day would have blown people’s minds but as the sun was rising on Monday morning it was all that they had to deliver an incredible set of music to some of the most diehard music fans on the planet.

1. Born Under a Bad Sign
2. No Amount of Loving
3. Driftin’ and Driftin’
4. Morning Sunrise

5. All in a Day

6. Love March

7. Everything’s Gonna Be Alright

To say this isn’t what they signed up for would be an understatement.

This inspired a tongue in cheek Ted Tocks feature from a few years ago.

Mystery Train – A Memphis blues classic. #MusicisLife #TedTocksCovers #JuniorParker #ElvisPresley #TheBand #PaulButterfield

If the Paul Butterfield Blues Band had to summon the energy to perform, Sha Na Na provided the opposite in the sense that they took the stage like a group of whirling dervishes. Their gold lame suits and slicked back hair completed the perfectly choreographed set. For half an hour these guys put on a fast- paced musical clinic that would leave an aerobics instructor panting.

1. Get a Job
2. Come Go with Me
3. Silhouettes
4. Teen Angel
5. (Marie’s the Name) His Latest Flame
6. Wipe Out
7. The Book of Love
8. Little Darlin’
9. At the Hop

10. Duke of Earl

11. Get a Job (reprise)

The crowd ate it up.

As the penultimate act, Sha Na Na created enough of a change of pace that the old phrase, to expect the unexpected held true.

This set the stage for the grand finale.

Estimates from those who were there suggest that by the time Jimi Hendrix took the Woodstock stage about 40,000 people remained.

Reports from the show have indicated that in the early part of the set, the audience felt Hendrix was being a little too self-indulgent. It seems that these intrepid music fans had determined that their ability to hang on for four days gave them the opportunity to offer some input to Jimi’s song selection.

They began to call out for more familiar material.

You could leave if you want to. We’re just jamming, that’s all.”

Jimi Hendrix

Eventually Jimi obliged with his guitar and a blazing five song finale that was included his now famous ‘Star Spangled Banner’ salute to Woodstock nation.

1. Message To the Universe (Message to Love)
2. Getting My Heart Back Together Again

3. Spanish Castle Magic

4. Red Hous

Red House – That’s where my baby stays #MusicisLife #TedTocksCovers

5. Master Mind (feat. Larry Lee
6. Lover Man (feat. Larry Lee)
7. Foxy Lady
8. Jam Back at The House (Beginning)
9. Izabella
10. Gypsy Woman/Aware of Love
11. Fire

Fire – Today’s fiery song that burst onto the music scene and a fine array of covers. #MusicisLife #TedTocksCovers #JimiHendrix #RedHotChiliPeppers #ThoseDarnAccordions #AliceCooper #BrunoMars

12. Voodoo Child (slight return)/Stepping Stone

Fire – Today’s fiery song that burst onto the music scene and a fine array of covers. #MusicisLife #TedTocksCovers #JimiHendrix #RedHotChiliPeppers #ThoseDarnAccordions #AliceCooper #BrunoMars

13. Star-Spangled Banner
14. Purple Haze
15. Woodstock Improvisation/Villanova Junction
16. Hey Joe

Hey Joe – A brief history behind this classic rock staple. #MusicisLife #TedTocksCovers #JimiHendrix #BillyRoberts #TheLeaves #TimRose #NielaMiller #TheSurfaris #TheByrds #DeepPurple #SoftCell #PaulRodgers #Seal #TheOffspring #BandofJoy #RobertPlant

By 11:15 am, the show was over.

 Ladies and gentlemen, thank you so very much. It’s been a delight seeing you. May we wish you anything that the person next to you wishes for you. Good wishes, a good day, and a good life. Thank you.” 

Chip Monck

Nothing like this will ever happen again.

Joe Cocker Hits #1 on the same day 14 years apart – #MusicisLife #TedTocksCovers #JoeCocker #TheBeatles #TedeschiTrucksBand #JenniferWarnes #BuffySainteMarie

Ted Tocks Covers is on record as saying Joe Cocker is the finest cover artist ever. Typically, I don’t make these bold declarations too often. I try to reign them in by saying things like ‘one of my favourites’ or ‘in my top 10’. These expressions allow me to maneuver a little. However, in the case of Joe Cocker I stand by the statement. Today’s feature is a very short example of his greatness, using two songs that hit #1 14 years apart.

On this day 53 years ago, Joe Cocker was at the top of the charts in the U.K. with what definitely exists as one of the best cover versions ever; ‘With a Little Help from My Friends’. The cover of the Beatles classic first appeared as a single in 1968, and it was subsequently shared as a track on his debut album of the same name. The album was released in May of 1969. It was a tip of the hat to The Beatles and to the many friends who assisted in bringing his talent to people’s ear. Consider the fact that no less than 25 friends joined Cocker by sharing their talent. Jimmy Page plays guitar. One of the last studio gigs he did before taking the world by storm with Led Zeppelin. ‘With a Little Help from My Friends’ has the distinction of being a #1 song three times by three different performers, but Joe Cocker was the first on this day in 1968, followed by Wet, Wet, Wet in 1988 and Sam and Mark in 2004. It says here that Joe’s version was the best. In fact, I will go out on a limb and say that it is even superior to the track The Beatles released on Sgt. Pepper’s Lonely Hearts Club Band’.

Talk amongst yourselves. In the meantime, here is a comment from Paul from Liverpool.

It was just mind blowing, totally turned the song into a soul anthem and I was forever grateful for him for doing that.”

Paul McCartney

 So, there you go.

As mentioned, 14 years later Joe Cocker was again buoyed by friends but ‘Up Where We Belong’ took a bit of convincing. In fact, Joe considered the demo ‘dreadful’. But, together with Jack Nitzsche, Will Jennings and Buffy Sainte Marie, Cocker collaborated to the point that this stunning love song was unveiled to the world as part of the movie ‘Officer and a Gentleman’. The duet with Jennifer Warnes was released to radio stations and it flopped. However, in context with the movie, the passion within the song stole the show. As noted, it reached #1 on this day in 1982. ‘Officer and a Gentleman’ debuted in late July of 1982 and just over three months later the powerful combination of movie and song and quality musical collaboration drove it to the top of the charts.

This represents just two examples of Joe Cockers greatness. I have featured Joe Cocker in several posts, and I even tied them all together in an essay that unequivocally states my opinion on his status as an artist. Here is that post.

‘Joe Cocker’

Have a great day. Approach everything you do with the power and passion of Joe Cocker and if necessary, ask for a ‘little help from your friends’.

Delta Lady – The master of space and time. #MusicisLife #TedTocksCovers #LeonRussell #JoeCocker #RitaCoolidge #TomJones #DavidCassidy #CountingCrows #BobbyKeys #DanBaird #TedeschiTrucksBand #EltonJohn

Was Joe Cocker’s voice an extension of Leon Russell’s piano prowess on this song or was it the other way around?

And the backing vocals by Rita Coolidge and Bonnie Bramlett…Just amazing!

This is a brief tribute to ‘Delta Lady’ and the many players who played a role in introducing it to the soundtrack of our lives.

‘Delta Lady’ is considered to be one of Joe Cocker’s defining songs. One of many. The song was written by the great Leon Russell. Not only did Joe Cocker sing it; he interpreted it. Because that is what Joe does to songs. Singing, was never quite enough.

The layers of interest related to ‘Delta Lady’ begins with the song’s inspiration. Leon Russell wrote this powerful piece for his girlfriend at the time, the alluring Rita Coolidge. Coinciding with this relationship was a collaboration between Russell and Joe Cocker on Russell’s newly formed Shelter Records which was a partnership with Denny Cordell. With Russell handling arrangements of the songs as well as contributing keyboards, he offered his latest creation to Cocker.

I never really thought of myself as a songwriter, so it was exciting to have any recognition at all.”

Leon Russell

For Rita Coolidge, she recalls serving tea to everyone in the studio, but fortunately for us all, she was invited to sing backing vocals. Her prominent role as the song’s muse as well as a key contributor to the first recording remains to this day.

Little did I know when Joe (Cocker) was recording Delta Lady at Leon’s Skyhill Drive Studios and I of course was there making tea for everybody. Little did I know that song was gonna stick with me for the rest of my life.”

Rita Coolidge

One other great song inspired by Rita Coolidge was the beautiful Russell piece ‘A Song for You’ which was inducted into the Grammy Hall of Fame in 2018.

To me, A Song For You may be the most beautiful song ever written. I have felt that way from the day that Leon wrote it. I mean, it’s so amazing. I think it’s the most beautiful love song ever written. So yeah, I’m totally honored that I had anything to do with that song.”

Rita Coolidge

Out of the Joe Cocker recording sessions evolved another legendary chapter in music history. This is what became known as the “Mad Dogs and Englishmen’ tour. This tour featured Leon Russell as the musical director along with an astounding twenty plus musicians/singers in the entourage. Through the miracle of coordinating all of these performers and orchestrating all of the on-stage logistics, Leon Russell became known as the ‘master of space and time’. Here is ‘Delta Lady’. You can hear Joe Cocker introduce the song, and Coolidge as the muse in his own inimitable way.

In 1970, Leon Russell recorded ‘Delta Lady’ for his debut studio album. This features Bonnie Bramlett and Merry Clayton on backing vocals.

This is an interesting version recorded in 1970 for a PBS special called Soundstage: Homewood Session which featured several studio musicians. The beauty of this version actually begins with a false start. Russell reigns everyone in, and then shows his mastery as a band leader driving home a classic honky-tonk rendition of the R&B inspired track.

Exploring options for cover versions of ‘Delta Lady’ was a fun exercise. Here is a great performance featuring Joe Cocker with Tom Jones on ‘This is Tom Jones’ TV special in 1970.

As I dug deeper, I found this performance from a 1974 David Cassidy live album. There was more to Cassidy than being  cast as a teen heart throb.

I have always been a fan of Counting Crows, so when I found this 2010 version of the band playing ‘Delta Lady’ live I was intrigued. Check it out.

Here’s a treat. This is the prolific saxophonist Bobby Keys, who also happens to have been one of about two dozen Mad Dog members during the Cocker/Russell experience in 1970. This is filmed live outside of a library in Nashville in 2013. That’s Dan Baird of Georgia Satellites on lead guitar and vocals. A pretty cool, yet moderately obscure performance.  

Now things come all the way around. Here is the Tedeschi Trucks Band performing at the Lockn Festival in 2015. This time it is under the musical leadership of Derek Trucks and Susan Tedeschi.

This version is important because of the combination of Tedeschi Trucks Band and Leon Russell. It is even more noteworthy for the fact that Derek and Susan attribute the Mad Dogs and Englishmen sound as a driving force behind their vision of what Tedeschi Trucks band would strive to be.

To people of a certain generation, Leon was a star, a total badass. Then he got lost in the mix a bit. But young musicians know him. In the last five, 10 years, he became a cult hero again. He was definitely behind the curtain. You don’t remember the first time you heard him. But he was always there.”

Derek Trucks

Here is Rita Coolidge’s commentary on that tour which in many ways represented a swan song for Leon Russell. The remarkable thing was, Russell was failing physically at the time but when he was on stage he became one with the piano. They were joined by original Mad Dogs and Englishmen performers, Chris Stainton on keyboards as well as backing vocalists Claudia Lennear and Rita Coolidge. Here is Coolidge’s recollection of that show.

…his talent is astounding. I was reminded again of that when he and I did the Lockn’ Festival (in 2015) with the Tedeschi Trucks Band. When he sits down at the piano, there’s nobody like him.”

Rita Coolidge

Just a phenomenal music moment and in truth, the perfect way to end.

And yet it seems the city scene is lacking
I’m so glad you’re waiting for me in the country”

Leon Russell

As I listen, I am pretty sure Leon Russell was right. The city scene is definitely lacking these days. Let’s go back to the ‘delta’ and start all over.

How important is Leon Russell to music history over the past half century? Watch this interview from ‘CBS Sunday Morning’ which features Elton John.

Listen to ”The Union’ from 2010. It is like a spiritual awakening.

Joe Cocker Hits #1 on the same day 14 years apart. #MusicisLife #TedTocksCovers #JoeCocker #TheBeatles #TedeschiTrucksBand #JenniferWarnes #JackNitzsche #WillJennings #BuffySainteMarie

‘With a Little Help from My Friends’  #1 on this day in 1968.

and

‘Up Where We Belong’ #1 on this day in 1982.

If that isn’t enough Joe Cocker for you, then move on to this exploration into the inevitable link between Ray Charles and Joe Cocker.

‘Unchain My Heart’

Have a ‘Joe’ Friday!