Tell Me – Sixty years later and they keep coming back. #MusicisLife #TedTocksCovers #TheRollingStones

The Rolling Stones debut album was released in the United Kingdom on this day sixty years ago.

Interestingly, the album was released on the Decca label in the U.K., and six weeks later it was released in North America on London Records, with a subtitle that labeled them as ‘England’s Newest Hitmakers’. This tag demonstrates the effort to follow up the unprecedented success of The Beatles. Was this a marketing strategy? An unintended result of this approach saw the immediate rivalry between fan bases develop.

The album spent 12 weeks at #1 in the U.K. in 1964, while in the United States it managed to make its way to #11. Remarkably, ‘England’s Newest Hit Makers’ remains the only Rolling Stones American studio album release not to make the top five on the Billboard album charts.

Think about that?

There is a significance to this because, incredibly, Mick Jagger and Keith Richards are still active all these years later. In fact, The Rolling Stones re-released ‘England’s Newest Hit Makers’ in August of 2022 and this re- issue coincided with the band’s 60^th anniversary tour.

Looking back sixty years this month, it is clear that The Rolling Stones and The Beatles took very different routes to success, and their ultimate status as legendary musical acts. On this date in 1964 The Beatles were celebrating 14 songs on the Billboard Hot 100, the Stones charted a more traditional course. It was all about the blues. Here is a review by Sean Egan of BBC Music that was shared in a 2010 book called ‘1001 Albums You Must Hear Before You Die’.

It’s a testament to the group’s brilliance that the result was still the best album to emerge from the early 1960s British blues boom … the ensemble lovingly delivered some of their favourite shots of rhythm ‘n’ blues.”

Sean Egan

In fact, although the album was called ‘England’s Newest Hit Makers’ it contained exactly one original Rolling Stones song. That is today’s feature, ‘Tell Me (You’re Coming Back’) which offered a glimpse of what Mick Jagger and Keith Richards were destined to become as a song writing team. While the rhythm and blues tributes served as a launching pad, the ultimate goal was to create a musical evolution.

[‘Tell Me’] is very different from doing those R&B covers or Marvin Gaye covers and all that. There’s a definite feel about it. It’s a very pop song, as opposed to all the blues songs and the Motown covers, which everyone did at the time.”

Mick Jagger

First Mick, Keith, Brian, Bill and Charlie needed to get the listeners attention, and then through the years they would come back…again and again and again…

For The Rolling Stones, ‘Tell Me’, which dropped the ‘You’re Coming Back’ on subsequent pressings, followed their two previous singles which famously offered the John Lennon/Paul McCartney song ‘I Wanna Be Your Man’

and the Buddy Holly classic ‘Not Fade Away’.

Yes folks, there was a time when The Rolling Stones needed an introduction. The delivery of ‘Not Fade Away’ in this clip served notice to the world.

The Rolling Stones were not just another band from England.

As much as The Rolling Stones had a dream about where they wanted to head as an act, much of what they were producing was being orchestrated by their management and production team. ‘Tell Me’exists as a prime example. The song was recorded during a couple of sessions at Regent Sound in West London. The recordings included tracks both with and without Ian Stewart on piano. In the end, it was revealed by Keith Richards that the entire song was literally a series of spliced overdubs.

‘Tell Me’ … was a dub. Half those records were dubs on that first album, that Mick and I and Charlie and I’d put a bass on or maybe Bill was there and he’d put a bass on. ‘Let’s put it down while we remember it,’ and the next thing we know is, ‘Oh look, track 8 is that dub we did a couple months ago.’ That’s how little control we had.”

Keith Richards

The recording shared at the outset of this post is the ‘long version’. It clocks in at 4:06. It does offer the Ian Stewart piano track, however the first pressing of ‘The Rolling Stones’ offered the piano-less track. The longer version that includes Ian Stewart is by far the superior piece of music. By the time ‘Tell Me’ managed to make its way to the United States on ‘England’s Newest Hit Makers’ it had been slightly edited to 3:48. The manipulation continued. When ‘Tell Me’ was determined to be the U.S. single, it was once again edited down to under three minutes to increase the likelihood of radio play. With Willie Dixon’s ‘I Just Wanna Make Love to You’ as the B-side, ‘Tell Me’ rose to #24 on the Billboard Hot 100. Not quite the level attained by The Beatles, but The Rolling Stones got just enough of a taste of success to determine what needed to be done to get to the next level.

By the time their second record, ’12 x 5’ rolled around in November the band had recorded three originals among their collection of R&B tributes. From that time forward the Stones committed to creating just a little bit of their own material on each album, while always sticking to their roots. For Mick and Keith, the song writing talent did not come quite as easy as it seemed to be for John Lennon and Paul McCartney, but in time they clearly got the hang of it. Famously, manager/producer Andrew ‘Loog’ Oldham is said to have confined them to a kitchen and to not come out until they had written something of merit. According to Keith Richards;

So, what Andrew Oldham did was lock us up in the kitchen for a night and say, “Don’t come out without a song.” We sat around and came up with ‘As Tears Go By’ It was unlike most Rolling Stones material, but that’s what happens when you write songs, you immediately fly to some other realm. The weird thing is that Andrew found Marianne Faithfull at the same time, bunged it to her and it was a fuckin’ hit for her – we were songwriters already! But it took the rest of that year to dare to write anything for the Stones.”

Keith Richards

Mick Jagger tells a slightly different story.

Keith likes to tell the story about the kitchen, God bless him. I think Andrew may have said something at some point along the lines of “I should lock you in a room until you’ve written a song” and in that way he did mentally lock us in a room, but he didn’t literally lock us in. One of the first songs we came out with was that tune for George Bean, the very memorable ‘It Should Be You’.

Mick Jagger

Here is ‘It Should Be You’ by George Bean.

And then The Rolling Stones and what goes down as their first true original. This dates back to 1963.

Just one more thing. Listen to ‘One Mint Julep’ by Ray Charles, which was produced by Quincy Jones, and note the similarities in the music.

Nevertheless, Mick and Keith had a template and they just kept right on going. It was a little sluggish at first, but once they got the hang of it…Once again, the significance of ‘I Wanna Be Your Man’ is recalled. This time by John Lennon. This speaks to how Mick and Keith observed John and Paul put the song together.

We were taken down to meet them at the club where they were playing in Richmond by Brian Epstein and some other guy. They wanted a song and we went to see what kind of stuff they did. Mick and Keith heard we had an unfinished song – Paul just had this bit and we needed another verse or something. We sort of played it roughly to them and they said, “Yeah, OK, that’s our style.” But it was only really a lick, so Paul and I went off in the corner of the room and finished the song off while they were all still sitting there talking. We came back, and that’s how Mick and Keith got inspired to write … because, “Jesus, look at that. They just went in the corner and wrote it and came back!” You know, right in front of their eyes we did it. So, we gave it to them.”

Keith Richards

It took a while for the Jagger/Richards style to emerge. Here is a case in point. Somehow, ‘Tell Me’ was initially offered as a Saturday afternoon dance routine.

This is a clip from a BBC show called ‘Take 7’ which was a variation on American Bandstand.

Compare this tame presentation to the greasy, garage band style portrayed in this footage from 1978. Style can either be emulated or cultivated. In the case of The Rolling Stones; they invented rock and roll raunch. Some would object to the suggestion that they are innovative, but when an act establishes trends and travels six decades of rock and roll terrain, there will always be paths that needed to be forged. The Rolling Stones reside at the cutting edge of originality and the authenticity is accented by the fact they have always taken time to thank their music mentors.

Professors of the School of Rock.

This may be their best quality.

As I moved ‘through the past darkly’ in search of cover versions of ‘Tell Me’ it was interesting to note that this song has fewer covers than most every other Rolling Stones feature I have written. The good news is what ‘Tell Me’ lacks in quantity, it makes up for in quality.

Here is The Grass Roots from their 1966 album ‘Where Were You When I Needed You’. Evolving out of The Wrecking Crew, The Grass Roots are best known for songs like ‘Midnight Confessions’ and ‘Live for Today’. This is just a solid, straight forward nod to the Stones original.

Ted Tocks Covers always make time for The Andrew Oldham Orchestra. It’s important to understand how Oldham perceived the songs he produced, and then applied to an orchestral style. Elements of this are obvious in the Rolling Stones original. The importance of Andrew ‘Loog’ Oldham in the success of The Rolling Stones success cannot be understated.

Once again, a Ted Tocks Covers exploration has delivered me to former Cheap Trick drummer, Bun E Carlos. This is from his 2016 album ‘Greetings from Bunezuela’. The vocals are courtesy of Alejandro Escovedo.

When writing about The Rolling Stones it all becomes about perspective. Everything is seen through a lens that looks back through sixty years of music history. When you compound the analysis with the R&B artists who inspired them, the retrospective can take a listener back nearly a century. The reason ‘Tell Me (You’re Coming Back)’ is such a fascinating focal point stems from its significance as the band’s first original single. At the time there was an element of mystery. Were they just another band. Were they really ‘England’s Newest Hit Makers’. Would the fickle buying public gravitate to the message, and less refined style. Where The Beatles were seen as the boy next door type, The Rolling Stones were more like they undesirables from the wrong side of the tracks.

How would it all play out?

Six decades ago, this was all a story to be told.

Today we have the benefit of knowing the answer.

Sentimental Journey – Countin’ every mile of railroad track that takes me back. #MusicisLife #TedTocksCovers #LesBrown #DorisDay #BenHomer #BudGreen

Today’s feature conjures images and emotions that can only be summarized as unimaginable.

Let’s take a journey…a ‘Sentimental Journey’. Pack your bags and get on the train. We can count every mile of railroad track that will take us back about eighty years.

Whether by circumstance or fate, a major part of the popularity of ‘Sentimental Journey’ was in its association to the end of World War II and the Allied soldiers coming back home. Much like ‘Vera Lynn’, ‘Sentimental Journey’ speaks to yearning. There was a promise to return…

…To reunite.

…”We would meet again, some sunny day”…

Some did…and sadly, many didn’t.

Gonna take a sentimental journey
Gonna set my heart at ease
Gonna take a sentimental journey
To renew old memories

Got my bag and got my reservation
Spent each dime I could afford
Like a child in wild anticipation
Long to hear that “All aboard!”

Seven, that’s the time we leave, at seven
I’ll be waitin’ up for heaven
Countin’ every mile of railroad track
That takes me back

Never thought my heart could be so yearny
Why did I decide to roam?
Gonna take a sentimental journey
Sentimental journey home

Sentimental journey”

Bud Green

Typically, one might chastise lyricist Bud Green for rhyming ‘yearny’ with journey in this short piece of poetry, but he was simply trying to capture a mood. There is something about the nature of this piece of music that actually makes this phrasing more authentic. The sentiment of the song implies someone who typically would not be in a position where they would be so moved that they would choose to write a poem. This only adds to the value, and it becomes just one more reason why for eight decades it has been covered over 200 times by an impressive range of big-name artists.

‘Sentimental Journey’ can be traced back a little earlier than its date of recording in November of 1944.  When it was finally recorded, and ultimately released in 1945, it was credited to Les Brown and His Band of Renown. This popular act had been playing the song live for a period of time. The actual recording was delayed due to a musician’s strike that ran from 1942-44. Les Brown and his band leader Ben Homer had gotten together with Bud Green and written the words and music that would go on to paint the portrait of so many much-anticipated reunions. What they needed at the time was a voice to deliver the message, because every landscape needs a captivating focal point.

This role would be filled by Doris Day.

The song was recorded for Columbia Records. By the time it worked its way through the system of pressing and packaging that had also been delayed as a result of prioritizing resources for the war effort, it was early 1945. The timing coincided with the Allied forces’ liberation of Europe from the Nazis, and their fascist agenda. Based on this connection ‘Sentimental Journey’ became a homecoming theme for thousands of veterans. It remained on the charts for 23 weeks. It hit the pinnacle on March 29^, 1945.

The first #1 hit for Doris Day (see ‘Que Sera Sera’).

Less than a month later Germany surrendered to the Allied troops.

And the soldiers returned with the voice of Doris Day soothing their soul, and the music of Les Brown keeping time with the clickety clack of the train rolling down the tracks.

Once again, is there any better means of conveying emotion, and the deepest meaning in a song than summoning the image of a train transporting an isolated figure in deep contemplation.

Never thought my heart could be so yearny.”

Bud Green

So awkward, yet so perfect.

Cover versions of ‘Sentimental Journey’ began almost immediately. Here, I invite you to enjoy at least one from each decade from the 1940s through the 2010s.

We begin with Ella Fitzgerald in 1947. This cover was recorded with Eddie Heywood and his Orchestra on the Decca label. The album was called ‘Ella and Her Fellas’.

Drawing from cues offered by DJ Alan Freed and his Rock and Roll Band, legendary rock and country singer Conway Twitty recorded this upbeat cover version and released his album ‘Conway Twitty Sings on MGM Records’. They weren’t very creative with their album titles in the early days of rock and roll.

Over in England in 1961, Cliff Richard had one foot in the orchestral presentation and another on the possibilities of being a rock and roll heartthrob. Here is the view from the bridge.

Back in the good ol’ U.S.A., Frank Sinatra was doing much the same thing; though he remained a crooner and did just fine.

Dinah Shore recorded her own orchestral take on ‘Sentimental Journey’ along with Nelson Riddle in 1959, but it was this 1963 tribute to Doris Day and Les Brown that combined the brilliance of Ella Fitzgerald that really caught my attention. This is just a special recording.

Every time Lou Rawls’ name comes up, Ted Tocks Covers takes time to listen. This cover from his 1964 album ‘Lou Rawls Tobacco Road with Big Band Backing by Onzy Matthews’ is sensational. One more example of the boring presentation in terms of album titles.

Here is what I am talking about. I am bouncing around a little and moving away from my usual effort to present chronologically. Here is the great Ray Charles in 1960. The album is ‘Genius Hits the Road’. I’ll buy that. Put the needle on side one and listen to the musical gifts Ray is going to share. This album did not include ‘Sentimental Journey’ in its original pressing. This cover appeared on the 1997 re-issue that included seven bonus tracks.

This 1970 release by Ringo Starr is important. ‘Sentimental Journey’ exists as Ringo’s debut solo release and it came at a time when each of the Beatles were releasing their much-anticipated solo efforts following the breakup of what many consider to be the greatest band of all time. For Ringo, it is all in the presentation. He brings the journey to the stage. This album title is the prefect summary for Ringo who if pressed, I would suggest is the most sentimental of the Beatles four members. Just my educated guess. Generally speaking, John was cynical. George was philosophical, Paul is pragmatic and always looking forward. Ringo just strikes me as someone who would reflect on the past and smile, just a little bit longer.

Sadly, the death of Roger Whittaker slipped past me back in September of 2023. When I saw that he recorded ‘Sentimental Journey’ in 1982, on his album also called ‘Sentimental Journey’, I had to stop and listen. Listen to his trademark whistle. As you listen, you feel like you are joining Roger for the ride.

Let’s go back to the orchestral style and this 1991 recording by Rosemary Clooney. This is from her tribute album ‘For the Duration’ which is entirely focused on songs that were popular during World War II. This features Rosemary and a small jazz band. If you ever want to take yourself back to the music of the war era this might be a nice place to start.

It was this release by Willie Nelson exactly 30 years ago today that inspired today’s journey. This is from Willie’s album ‘Moonlight Becomes You’. Every time I hear this music legend I just listen and smile. I still count seeing Willie Nelson live, among my many thrills as a music fan. He doesn’t come north of the border too often.

One year later in 1994, Barry Manilow released a tribute to the orchestral classics of yesteryear. Among his tributes was ‘Sentimental Journey’. This is from his album ‘Singin’ with the Big Bands’.

Another essential artist that left us in 2023 was Tony Bennett. Here is his cover from ‘Here’s to the Ladies’, from 1995. This was released on Columbia Records fifty years after the original recording.

Getting a little closer to home, enjoy this acoustic cover by Sarah Harmer and Jason Euringer from their album ‘Songs for Clem’. Here, I will note that Clem is Clem Harmer; Sarah’s father. This album was a gift from Sarah to her father. It was so good, everyone close to Sarah Harmer urged her to release it as an independent offering. One year later, Sarah broke through with her album ‘You Were Here’, and ‘Songs for Clem’ was re-released on the Universal Music Canada label. Acoustic, combined with little bit of jazz and a touch of swing. This is an essential cover. Call it Ted Tocks Covers’ top choice. As I look out my window toward the Niagara Escarpment, I see the natural beauty that Sarah has worked so hard to preserve. She grew up less than five miles from where I presently sit.

From the time of Amy Winehouse’s sad passing in 2011 some interesting footage and quality recordings have emerged. Here is an early recording featuring Amy covering this war era classic. She is finding her footing. A throwback to another era. Tragically, gone too soon.

People who were around in the ‘70s will remember the sad love song, ‘Don’t It Make My Brown Eyes Blue’. Well, here is Crystal Gayle and her beautiful cover of ‘Sentimental Journey’ nearly three decades later in 2003. This is from her album ‘All My Tomorrows’.

Another essential female vocalist from the 70s is Rita Coolidge. Here is a quality cover by Coolidge from 2005. She recorded ‘Sentimental Journey’ on her album ‘And So is Love’. One more in a seemingly endless list of great covers.

As I move closer to the finish line, this cover by ‘Wonder Woman’, Lynda Carter caught my attention. The multi-talented actress/singer released an album called ‘Crazy Little Things’ in 2011. It is full of incredible covers. Many songs on this album are classics that I have featured in Ted Tocks Covers and unfortunately my detective work in finding quality covers of great songs only took me to this recording, today. I will aim to share more of this in future posts.

In March of 2017, Bob Dylan released an album called ‘Triplicate’. This three-disk album consists of covers of several American classics that he recorded live while touring with his band. The offering is shared without overdubs, so it is Bob Dylan without a net. Each disk is comprised of ten songs. ‘Sentimental Journey’ resides on disk three. ‘Triplicate’ drew rave reviews from critics, but it fell a little flat commercially. Whatever…This is a good cover by the reserved artist who has done things his way for over sixty years.

While I write, I reflect on the emotion that ‘Sentimental Journey’ evokes. The song is a metaphor. Music delivers the message and as is so often the case, we are being carried through the track on a train. Throughout the piece we are presented with words and images that speak to optimism. The subject is going to set their mind at ease, and renew old memories. Filled with anticipation, the train will carry the weary traveller to their version of heaven.

Considering the era that ‘Sentimental Journey’ was recorded, and the time in history that coincided with its release, the sentimental value speaks wholly to the power of music and its ability to take people back to a time and place.

Through the alluring voice of Doris Day, ‘Sentimental Journey’ speaks to the greatest generation.

One simply can’t imagine what they had to endure.

Eighty years later, the train whistle blows, and the weary traveller just smiles knowing that soon they will be home.

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…

Ted Tocks Covers – Top 3 Posts for November #MusicisLife #TedTocksCovers

In Ted Tocks Covers’ world everything is trending upward.

This is a satisfying feeling. Late in November, Ted Tocks posted feature #1700 which is the result of over 70 months of writing and listening in order to share this passion. Focusing on the music and the magic and the stories behind what brought these songs to our ears is endlessly fascinating, and I am happy to say the reader engagement continues to grow. This past month over 430 Ted Tocks features generated page views.

Once again, in November Ted Tocks continued the trend of surpassing the number of views from the month before, and it became the second-best month ever in terms of readership statistics, capturing over 5200 page view. In addition to this, the site received over 4300 visitors. The numbers are steadily trending upwards since adding Instagram, and a LinkTree that gathers all of the mediums that share my content.

A shout out to my son, Sebastian for helping me navigate this process. It all means just a couple more steps to my morning routine. I just wake up fifteen minutes earlier and start typing.

I continue to share this information during my monthly recaps, because it serves as a positive preamble to the songs that drove the engagement. I will conclude with the features that made the top 3 for the month, but most importantly it all serves as a way to express my thanks to those who follow.

Ted Tocks Covers helps me tell a story. It begins with the music I discuss, and on occasion it flows into what is happening in my life. Here, I must repeat myself in saying that your support provides validation, because some days the readership this project enjoys is the fuel that motivates me as I enter the day…The real world, so to speak.

So often in my life music is the engine that drives the vehicle I call Ted Tocks Covers, and I continue to maintain that you, the reader, are the passenger. Thank you for coming along for the ride.

As part of my effort to make sense of things I tap into a variety of inspirational sites that share elements of wisdom. Here is one passage that served to keep me moving in a positive direction.

Today and over the next few days, the theme is about positivity and sharing yourself with others. There’s an influence expanding feelings of security, comfort, and joy. It’s a moment for you to tap into whatever abundance is available to you right now. The intention is to increase feelings of gratitude and living in the moment – to savour what makes you feel alive and connected.”

Words of Inspiration

Writing Ted Tocks Covers makes me feel alive and knowing that it is being enjoyed by YOU definitely gives me a feeling of connection.

Ted Tocks Covers IS ME sharing myself with others.

In November, Ted Tocks Covers was enjoyed by people in 83 countries worldwide. The highest engagement by far comes from residents of the United States. In fact, the U.S. represents over 80 percent of the readership. Keeping it in North America, Canada resides at #2, followed by the United Kingdom, Australia and Ireland (A shout out to our distant relative Hilary and her family).

As we crawl toward the conclusion of 2023, Ted Tocks continues to average nearly 120 page views a day on the year. The readership is up 58% over last year. While this is nothing huge by blogging standards, for a hobby it is quite validating. I continue to be pleased that my love of music is relatable to so many, and gradually…slowly, more and more people seem to be coming on board. As I near the end of my sixth year, I am happy to share that Ted Tocks Covers has managed to build an audience of over 600 followers. This is a fact that continues to blow my mind. From a modest hobby, to something that others seem to enjoy. It all makes me smile.

Quite often, it is music that serves to soften the most hardened among us. It definitely gives us a place to land smoothly.

As always, before I move on to the top three Ted Tocks Covers features for November, I would like to give a nod to an important post from the past that has achieved a significant milestone or received a noteworthy volume of readers in the past month.

Let’s ‘Mess Around with Ray Charles.

Mess Around – Today’s classic song and an exploration of the roots that inspired it, before it went on to inspire many cover versions. #MusicisLife #TedTocksCovers #RayCharles #DrJohn #AhmetErtegun #PeteJohnson #CharlesDavenport #PinetopSmith #PinetopPerkins #TheAnimals #JohnCandy #SethMacFarlane

‘Mess Around’ by Ray Charles goes back 70 years, but the influence that allowed him to create this seminal recording has roots that are approaching a century. This post was a lot of fun to write because it took me through some family memories of watching ‘Family Guy’, ‘Ted’ and who can forget the classic scene with John Candy in ‘Planes, Trains and Automobiles’? This movie has been a U.S. Thanksgiving tradition for this Canadian family for at least 20 years. We all sit down and watch it, and still laugh at all the classic scenes. What a movie! What a scene! It personifies John Candy, and it is an homage to Ray Charles and the greats that inspired his legend. Hopefully you can enjoy this post if you haven’t read it, or if you have, it is worth looking at again because the history of music is important. The best way to understand the present is by knowing how strongly it is connected to the past. This post surpassed the 500 page-view mark in November. This makes me happy because Ray Charles is an artist who has always bridged the past and the present.

Now for this month’s top three songs.

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

#3. You Can Leave Your Hat On – This feature celebrated the occasion of Randy Newman’s 80th birthday. It tells the story of a song that Newman had written off as somewhat of a joke. Fortunately, several prominent artists saw a whole lot of merit in what Randy Newman had created. It began with Etta James and then in time we were blessed with the brilliance of Joe Cocker and Tom Jones. Mix in some huge pop culture connections and ‘You Can Leave Your Hat On’ has become a phenomenon. Randy Newman has a friend in Ted Tocks Covers and it seems any time Tom Jones and Joe Cocker enter the story the numbers rise.

Now and Then I get the Rolling Stone Blues #MusicisLife #TedTocksCovers #TheBeatles #TheRollingStones #MuddyWaters

#2. Now and Then – Spending time with The Beatles is always a wonderful way to begin the day. When Ted Tocks Covers is able to mix The Rolling Stones into the same post, it becomes a daily double. That is exactly what happened when these two music legends unveiled their latest releases in October. It began with the Stones first new album since ‘Bigger Bang’ in 2005. They called it ‘Hackney Diamonds’. A short time later The Beatles blew the entertainment world away with their AI and studio technique aided masterpiece ‘Now and Then’. What we ended up with is a musical celebration that may never be matched. Hearing John Lennon’s voice on record all these years later is special to say the least, but, this is a true collaboration. When you tie in The Rolling Stones effort the magic of the moment becomes even more significant because it was almost exactly 60 years ago that John Lennon and Paul McCartney gave ‘I Wanna Be Your Man’ to their London friends. These two bands may forever be connected. People tried to present them as rivals but they were friends on a similar trip. In this post, I spoke to this nostalgic connection. We are lucky to experience this moment six decades later.

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

#1. First We Take Manhattan – Speaking of legends, how about the great Leonard Cohen? The top post for November was the 1988 gem ‘First We Take Manhattan’. There is a definite intrigue when looking into how this song made its way into the public conscience. For that we have Roscoe Beck and Jennifer Warnes to thank. This pair had a long-time connection to Cohen, and together they worked to revive the song writing legend’s career. It definitely worked. Released on the 1987 tribute album ‘Famous Blue Raincoat’ Warnes’s version was technically the original but she was working from a promising Cohen demo. Like so many Leonard Cohen songs, his lyrics appear as prophetic. All these year later it remains chilling. Mix in cover versions by R.E.M. and Joe Cocker and you get one more cool post for the Ted Tocks’ archives.

Anyway, happy listening. As you listen, take some time and explore the deeper meaning. Understand what the artist is telling you, and then explore a little bit more.

If you missed the features listed above the first time around, by all means enjoy them now. If you think a friend might like to spend a few minutes with some good music, please share because…

#MusicisLife

If you haven’t already, please sign up yourself or invite other people to follow Ted Tocks Covers at:

Linked In – https://www.linkedin.com/feed/

Facebook – https://www.facebook.com/TocksTed

Mastodon – https://thecanadian.social/home

Instagram – https://www.instagram.com/tedlindsay66/

Linktree – https://linktr.ee/admin

Blog Site – https://wordpress.com/view/tedtockscovers.wordpress.com

By signing up to the blog site, Ted Tocks Covers posts will be delivered to your email, and you can read it on your own time. The benefit of this is, you are not held captive by Facebook or Instagram and their ridiculous algorithms.

You can always follow Ted Tocks Covers on Facebook, Instagram or LinkedIn where I post every day, with either new content or reposts of past features. Here, I have also created a Linktree account so everything is together.

Thank you for continuing to read Ted Tocks Covers. I will be in touch. You can count on that. There are many great stories to come in the days ahead.

This is all part of the plan.

Stay safe and have a grateful day!

Hit the Road Jack – Celebrating over sixty years of a signature song, tracing it to an unsung hero. #MusicisLife #TedTocksCovers #RayCharles #PercyMayfield #MargieHendrix #JerryLeeLewis #TheAnimals #TheEasybeats #HelenReddy #TheStampeders #OliviaNewtonJohn #JohnFarnham #JohnMellencamp #OmarandtheHowlers #LeslieWest #WillieNelson #WyntonMarsalis #NorahJones #ThePentatonix #TheHeymacs

Every once in a while, Ted Tocks Covers puts some posts together that for the most part lets the music do the talking.

Just answer one question.

Who steals the show in the Ray Charles version of ‘Hit the Road Jack’?

Is it Ray or his star Raelette Margie Hendrix?

Send me your thoughts.

‘Hit the Road Jack’ was written by R&B artist Percy Mayfield in 1960. It began as an a cappella demo. Mayfield sent it to music executive Art Rupe.

Tracing Art Rupe back through the years is an interesting exercise because without him you may never have heard of Little Richard, Fats Domino, Robert ‘Bumps’ Blackwell or Ray Charles. It was Rupe’s eye for talent that led to Ray Charles playing piano on a recording by Guitar Slim for his label, Specialty Records. Here is ‘The Things that I Used to Do’ by Guitar Slim. This is classic blues and Ray Charles was front and centre with his piano work and production credit…in 1953.

What a life Rupe led. He passed away in April of this year, at the age of 104.

Ray Charles saw so much talent in Percy Mayfield that he signed him to his Tangerine Records label, employing him primarily as a songwriter. Charles subsequently recorded fifteen of Mayfield’s compositions.

A fascinating musical connection.

Here is Ray Charles in 1963 with The Raelettes, doing an early live version of ‘Hit the Road Jack’ which the year previous, won a Grammy for Best R&B Recording.

Three decades later, here is Ray Charles live in England doing the show ‘Saturday Live’. Listen to the dynamic preamble. This is Ray telling a story. He has the audience in the palm of his hand. As always, The Raelettes knock the song out of the park. They become the story.

Through the years ‘Hit the Road Jack’ has been covered by countless musicians of varying degrees of fame. For today’s feature I have put together an interesting grouping of one dozen covers. Enjoy!

It all begins with the legendary Jerry Lee Lewis who knows a thing or two about being sent packing. He has been married seven times. He recorded ‘Hit the Road Jack’ in 1963 as a single, but I opted to share this 1969 live version because it offers a glimpse of his extraordinary style. This is recorded at a Holiday Inn in Memphis.

Jumping back a few years, here are The Animals from 1966. Eric Burdon turns ‘Hit the Road Jack’ into a one act play. Listen to Alan Price on the keyboards.

Let’s do a little more globetrotting and check out The Easybeats from Australia. This is from their 1968 album ‘Falling Off the Edge of the World’ which was the North American version of their domestically released album ‘Vigil’.

Let’s hang around with the Aussies for a while. Here is Helen Reddy from 1972. This is from the same album that gave the world ‘I Am Woman’ fifty years ago.

Now we move on to Canada and The Stampeders from 1975. This version famously features the legendary DJ, Wolfman Jack. This is a ton of fun. Just a little bit tacky, but that was the ‘70s.

Here is a quality live version, and it is offered by Olivia Newton-John and John Farnham. . This needed to be shared because we lost Olivia earlier this week. I love this.

In 1998 John Mellencamp released a version of ‘Hit the Road Jack’. It was actually a bonus track that exists as one of his early recording seasons back in 1976 when he was getting started under the name ‘Johnny Cougar’. This is so cool.

Who remembers Omar and the Howlers? In the mid ‘80s they had a hit called ‘Hard Times in the Land of Plenty’. Here is their version of ‘Hit the Road Jack’ from 1998. One more tale of woe. This song seems to bring out the soulful best in every artist.

In 2006, Leslie West of Mountain fame recorded an album called ‘Blue Me’ which included this powerful version of ‘Hit the Road Jack’.

Is it just me or does every cover somehow manage to outshine the one before? Enjoy this collaboration between Willie Nelson, Wynton Marsalis and Norah Jones from 2009. Willie says ‘Hit the Road Jack’; remember that one?

And then this happens…If you do nothing else today, listen to this.

A while back I wrote about Dolly Parton and featured ‘Jolene’. Part of that post included Dolly with the Pentatonix. Here they are again from 2013 with their version of ‘Hit the Road Jack’. Fittingly it is a cappella, just the way Percy Mayfield intended all the way back in 1960.

As I navigated about fifty cover versions and even more possibilities, I stumbled upon this fun presentation by The Heymacs. It has well over three million views. It is so good, I had to share it. A nice way to conclude the cover potion of today’s post.  

All of this is a way of celebrating ‘Hit the Road Jack’ as an integral song to the soundtrack of our lives.

Percy Mayfield was born on this day in 1920.

He passed away on August 11, 1984, just one day shy of his 64^th birthday. At his funeral Little Richard performed ‘Swing Low, Sweet Chariot’.

Forever immortalized by this song and his many links to greatness.

Praise!

Eleanor Rigby – No one was saved #MusicisLife #TedTocksCovers #TheBeatles #PaulMcCartney #RayCharles #ArethaFranklin #BobbieGentry #TheJerryGarciaBand #WalkOfftheEarth #AliceCooper

Today was an interesting day in the history of The Beatles. There are actually two items of significance. As they embarked on their final U.S. tour The Beatles played at Shea Stadium to a crowd of 45,000 people. Huge numbers for sure, but they fell 11,000 short of a sell out which seems unfathomable. Just one year earlier they filled the 56,000 seat venue. At the very same time, their most recent album release, ‘Revolver’ was becoming recognized as a musical masterpiece and its early success coincided with the release of ‘Yellow Submarine’ and ‘Eleanor Rigby’ as a double A single. Both the album and the single were released in early August and on this day 55 years ago the songs hit #1 on the U.K. charts.

These milestones provided signposts on The Beatles transformation timeline from a prolific pop act to a studio-based band that focused on recording wizardry and the possibilities of experimental sound. Clearly it was a sign of things to come.

When ‘Revolver’ hit the turntable listeners were definitely hit with a myriad of sound. It began with George Harrison’s lament to the punitive British tax system and ‘Taxman’, before heading right into ‘Eleanor Rigby’. Is John Lennon’s dark English wit behind this track order? You pay taxes and then you die. Hmmmm! ‘Eleanor Rigby’ has the distinction of being a song by The Beatles where none of the four members actually play an instrument. Despite this fact, ‘Eleanor Rigby’ exists as a true collaboration in terms of the input that led to the ultimate offering.

Let’s start with the brilliance of producer George Martin who opted to bring in a classical string ensemble that included no fewer than eight players. The instrumentation was comprised of four violins, two cellos and two violas. The score was created by George Martin. Geoff Emerick who acted as engineer experimented with the sound by adjusting the microphones proximity to the performers. As Emerick moved the mics closer to the staunch, classically trained musicians, they responded by moving their chairs away. This game continued until George Martin’s voice emanated from the recording booth requesting that they stop. It seems that the octet thought that the closeness of the microphones may reveal mistakes in their playing. It was ultimately decided that two versions would be recorded, one with vibrato and one without. This would offset some of the anxiety. Ultimately the latter style was chosen and if record sales serves as any indication, all was good. It went to #1 in Canada, the U.K. and New Zealand. More on George Martin’s contribution as we move on to the lyrical portion of the song.

The true power of the piece resides in its thoughtful message. As songs about loneliness and old age go ‘Eleanor Rigby’ is right up there in terms of its evocative power. Rivalled only by ‘Hello in There’ by John Prine in this writer’s opinion. In its original state ‘Eleanor Rigby’ was a Paul McCartney composition, but it became a matter of full group discussion. According to Sir Paul, the character actually began as Miss Daisy Hopkins.

I was sitting at the piano when I thought of it. The first few bars just came to me, and I got this name in my head … “Daisy Hawkins picks up the rice in the church”. I don’t know why. I couldn’t think of much more so I put it away for a day. Then the name “Father McCartney” came to me, and all the lonely people. But I thought that people would think it was supposed to be about my Dad sitting knitting his socks. Dad’s a happy lad. So I went through the telephone book and I got the name “McKenzie”

Paul McCartney

As the song evolved he modified the lead role to ‘Eleanor’ as a nod to Eleanor Bron who starred with The Beatles in the movie ‘Help’. It is also thought that the surname came from a store in Bristol called ‘Rigby and Evens Ltd. Wine and Spirits. McCartney had written the first verse and he shared it with his bandmates and John Lennon’s long time friend Pete Shotten. Each of the gang contributed thoughts that would become integral in the final version. George Harrison suggested the powerful “Ah look at all the lonely people” hook. Ringo suggested the idea that Father McKenzie would write words to a sermon that no one would here. Another veiled shot at the national decline in religious attendance. He also offered the idea that the priest would while away the hours by darning his socks. Contrary to Paul’s recollection, Pete Shotten suggested the name be changed from McCartney so as not to confuse listeners into thinking that the lyrical genius was writing about his own father. As the song moved toward its conclusion Pete Shotten also suggested that the characters come together in a fateful twist that sees Father McKenzie presiding over Eleanor’s funeral. Through various accounts of the creation of ‘Eleanor Rigby’ it seems apparent that John Lennon’s role was either adding emphatic support for good ideas and a strong thumbs down for ones he did not agree with. Interestingly, he was not in support of Shotten’s idea to bring the characters together at the end, but McCartney disagreed, and the rest is history.

The final piece of the puzzle was the lyrical arrangement in conjunction with the strings. This is where George Martin once again took things one step further and created a thing of beauty. He extrapolated on Harrison’s “Ah, look at all the lonely people” idea and blended it with “all the lonely people”. This relationship is called counterpoint and speaks to the relationship between two musical lines which are harmonically interdependent while being independent in rhythm and contour. A fascinating observation that adds so much to the song. Again, it always seems where this ensemble got together in the studio there was no detail left without careful attention and masterful resolution.

As always, the result is both timeless and magical. All while driving home a very powerful sociological message. Check out the magnitude of ‘Eleanor Rigby’ years later as Paul McCartney performs it live at what essentially exists as a modernized ‘Shea Stadium’ – CitiField. As you watch the video you can see members of the audience who are moved to tears.

Once again, The Beatles genius shines through.

For more from ‘Revolver’ check out ‘Got to Get You into My Life’ and ‘Tomorrow Never Knows’

At last count it is estimated that ‘Eleanor Rigby’ has been covered 609 times through the years, according to the website ‘Second Hand Songs’.

Initially ‘Eleanor Rigby’ presented a powerful option for two of the greatest soul singers ever. First, here is Ray Charles from 1968.

Just one year later the great Aretha Franklin released her version of the classic song.

Again from 1968 here is Bobbie Gentry and a very thoughtful presentation. The mercurial vocalist does a nice job. Not overstated at all, and the musical accompaniment lends a theatrical element.

Here is an instrumental offering from the Jerry Garcia Band. Sometimes words are not necessary. This is from a famous 1980 live recording that was released long after Jerry’s passing. This video is cool too, with its presentation of a guy lost in a world of Vincent Van Gogh wonderment. For the full context you can hear this version as it rolls into the J.J. Cale classic ‘After Midnight’. It comes highly recommended from Ted Tocks Covers.

Let’s fast forward to the 21^st century and Burlington’s own Walk Off the Earth featuring Mike ‘Beard Guy’ Taylor. Just a cool guy. He is missed. See ‘You Don’t Know How it Feels’.

To conclude the cover portion of today’s post, check out Alice Cooper from 2014 and this tribute to the music and writing of Paul McCartney. The shock rock giant and industry legend is always very open about how influential The Beatles were in his rock and roll journey. The reverence shines through in this flawless recording.

There is no denying the legacy of ‘Eleanor Rigby’ on a broad level of measures. When a song becomes so highly regarded one aims to look at what the industry peers are saying. This becomes a point of validation and inspires further exploration. I will leave you with this quote by one of the most prolific and renowned songwriters and producers ever.

The Beatles are second to none in all departments. I don’t think there has ever been a better song written than ‘Eleanor Rigby’.”

Jerry Leiber

Yep, none other than Jerry Leiber. What more can be said?

The praise doesn’t get much higher, nor has it ever been more deserved.

Let it Be – 50 years later. A half century of solace. #MusicisLife #TedTocksCovers #PaulMcCartney #TheBeatles #ArethaFranklin #BillWithers #JoanBaez #RayCharles #NickCave #FerryAid #LiveAid

Today’s edition of Ted Tocks Covers will be a musical exploration of some of the many versions of ‘Let it Be’ by The Beatles. There are two things I have noticed while researching this post. First, perhaps no song mirrors The Beatles’ break up more than ‘Let it Be’. As we all know, the band was in a state of turmoil. They had essentially broken up and as a result the song was in a relatively constant state of flux between the time of the initial studio work by Paul McCartney to its first band recordings and its ultimate album release. It would be accurate to say that an entire book could be written surrounding the tumult created by the many issues that tore The Beatles apart during this era. For the purposes of today’s post, I will try to focus on the music. Initially with The Beatles/Paul McCartney, and then a series of astounding cover versions. Enjoy!

About this time fifty years ago, The Beatles were dominating the musical conversation. ‘Let it Be’ was released as a single earlier in 1970, and on May 8,^, 1970, the album of the same name burst onto the scene. It was The Beatles twelfth studio album and it would be their last. The single featured production by George Martin. An alternate mix was released on the album version. This was produced by Phil Spector. Each of these versions featured different visions of the same composition. While George Martin opted for a soothing guitar track by George Harrison and an understated orchestral backing, Phil Spector went all in on the distorted Harrison track and the orchestral accompaniment. Here is the album version.

Whenever George Harrison is featured more prominently, I am all in. His guitar work really shines. It could be classified as aggressive. It contrasts the mood of the song in such a way that he almost attacked what was the current plight of the band. He was basically saying “You guys go on fighting. I have got shit to do.”

Briefly, as it has been widely shared, the inspiration for ‘Let it Be’ came to Paul McCartney in a dream. McCartney’s mother died of cancer when he was 14 years old. During this troubled period, from 1968 to 1970, he was coming to grips with the band’s internal decline. In the dream his mother, Mary suggested he just ‘let it be’. Essentially, telling his son that things would run their course and work out in time. This phrase stuck with him and the therapeutic outpouring became the lyrics we all know.

When I find myself in times of trouble
Mother Mary comes to me
Speaking words of wisdom
Let it be

And in my hour of darkness
She is standing right in front of me
Speaking words of wisdom
Let it be

Let it be, let it be, let it be, let it be
Whisper words of wisdom
Let it be

And when the broken-hearted people
Living in the world agree
There will be an answer
Let it be

For though they may be parted there is
Still a chance that they will see
There will be an answer
Let it be

Let it be, let it be, let it be, let it be
Yeah, there will be an answer
Let it be

Let it be, let it be, let it be, let it be
Whisper words of wisdom
Let it be

Let it be, let it be, let it be, let it be
Whisper words of wisdom
Let it be

And when the night is cloudy
There is still a light that shines on me
Shine until tomorrow
Let it be

I wake up to the sound of music
Mother Mary comes to me
Speaking words of wisdom
Let it be

Let it be, let it be, let it be, yeah, let it be
There will be an answer
Let it be

Let it be, let it be, let it be, yeah, let it be
There will be an answer
Let it be

Let it be, let it be, let it be, yeah, let it be
Whisper words of wisdom
Let it be.”

Paul McCartney

Paul McCartney humbly summarizes things this way.

It was great to visit with her again. I felt very blessed to have that dream. So that got me writing ‘Let It Be’.”

Paul McCartney

The composition of ‘Let it Be’ can be traced all the way back to the period of time that The Beatles were recording The White Album. Rehearsals of the track are evident as far back as early January, 1969. This coincides with the beginning of the filming of the ‘Let it Be’ documentary. Listen to this…

Over the month of January 1969, McCartney and The Beatles navigated their way through the track, first recording their parts on January 23, and creating a master take on January 31. This version featured McCartney on piano and Billy Preston on a Hammond organ. Here is what ultimately became known as the remastered version for The Beatles in Anthology released in 2000. You will notice less distortion on George’s guitar solo.

Here is what has become known as the ‘Naked’ version of ‘Let it Be’. You will notice a much simpler drum track by Ringo. On the album version Phil Spector created a tape delay effect on the hi-hat. Up until the time of the release of the ‘Naked’ version in 2003, Starr had been very vocal about not liking that unnecessary feature.

One more Beatles version before I move on. Due to the never-ending internal battles the band was going through at the time, production work was being passed around. George Martin became fed up with the process. The torch was passed to an up and coming producer by the name of Glyn Johns. Johns took a few stabs at the piece. His original mix was created in May of 1969 during some of Paul McCartney’s outtakes that were earmarked for an album that was going by the working title ‘Get Back’. Early in 1970 he created a second version heard here.

Neither version of ‘Let it Be’ would ever be officially released.

No matter how you break it down, ‘Let it Be’ is among the best songs ever written. This is not an overstatement. I imagine it has helped millions of people through difficult times.

Now we will move on to a handful of cover versions, collaborations and tributes. I will try to lay it out in chronological order.

We will begin with the Queen of Soul; Aretha Franklin. Once again with Aretha, her version of the song turns into a religious experience. This also goes back 50 years.

Fittingly, I will now feature the great Bill Withers. This is from 1971. Sadly, he passed away earlier this year. Another music legend has passed, but fortunately his contribution to modern music will always be remembered. This cover version of ‘Let it Be’ stands among his many wonderful recordings. He offers a much different groove which speaks to his vision as an artist. Withers’ take develops in such a powerful way that it almost becomes a revival.

Also, in 1971, Joan Baez added ‘Let it Be’ to her album called ‘Blessed Are’. She included the line “there will be no sorrow” as a nod to the lyric Paul McCartney shared in the film version of ‘Let it Be’. The heavy emphasis on Baez’s beautiful voice also adds to the spiritual nature of the song. Note the backing vocals by The Holladay. Just a stunning performance.

In 1977, the great Ray Charles offered his take on ‘Let it Be’ and true to his legendary status he did not disappoint. He treats it like a soliloquy until he is joined by his backup singers. Then it turns into a call and response before it evolves into a powerful explosion of soul.

A nautical disaster that took place in March of 1987 inspired a charitable recording of ‘Let it Be’ that included not only Paul McCartney, but Boy George, Kate Bush, Gary Moore and Mark Knopfler, among others. It was called Ferry Aid in memory of what became known as the Zeebrugge disaster. On March 6, 1987 a ferry carrying 193 passengers and crew capsized after leaving a Belgian port. Everyone on board drowned in the tragedy.  The single hit the top of the U.K. charts and all proceeds from the 500,000 sold copies of the single went to families of the victims. It should be noted that this recording spawned a bit of a ‘jump the shark’ moment in the age of ‘80s charitable relief efforts. Evidently, it’s a fine line between compassion and cynicism.

The Sean Penn movie ‘I Am Sam’ featured a Nick Cave cover of ‘Let It Be’ on the soundtrack album. The character played by Penn, is a devoted Beatles fan so the connection to ‘Let it Be’ is very powerful.

Jumping back to 1985 here is Paul McCartney performing ‘Let it Be’ at Live Aid with Alison Moyet, David Bowie, Pete Townshend and Bob Geldof. This was Sir. Paul’s first live performance in five years. He says he was nervous. Imagine! Listen to the Wembley crowd as they take in the magic of the moment while singing along. Is it just me, or does Pete Townshend act like he has never actually heard ‘Let it Be’ before?

From the massive Wembley audience, to this much more intimate gathering at New York City’s Grand Central Station. This promotional event took place in 2018 to generate awareness for McCartney’s 2018 release ‘Egypt Station’.

For over 50 years people have found solace in these words. No doubt, the message will extend to future generations. What I have presented today barely scratches the surface of the many versions that exist, by The Beatles, Paul McCartney and countless other artists who wanted to pay homage to the legendary songwriter.

I Got a Woman – An essential song that blended gospel, R&B and soul. #MusicisLife #TedTocksCovers #RayCharles #TheSouthernTones #ElvisPresley #JohnnyCash #JuneCarter #MississippiFredMcDowell #JohnnyWoods #TheEverlyBrothers #TheHoneyDrippers #TomPettyandtheHeartbreakers #StevieWonder #JohnMayerTrio

Today’s version of Ted Tocks Covers is a classic example of how music evolves when artists have the vision to blend the best of two or more genres. In order to illustrate this point, I will focus on the legendary Ray Charles and his monumental song ‘I Got a Woman’. This classic R&B single owes its roots to a gospel song called ‘It Must Be Jesus’. In all of Ray Charles’ visionary wisdom, he adapted the presentation in order to pay homage to his ‘woman’. Here is a brief summary of how the song took shape before I move on to the most important element of this post…How ‘I Got a Woman’ continues to inspire musicians 75 years after its release.

Picture this! Ray Charles and his band were traveling between gigs back in 1954 and this song comes on the radio.

‘It Must Be Jesus’ spoke to Ray Charles in a way that went beyond enjoyment. He began to consider what could happen if he merged the gospel reverence to ‘Jesus’ and turned it into a more secular piece that paid tribute to a beautiful woman. With the help of his trumpet player, Renald Richard, Charles wrote ‘I Got a Woman’. Within this piece you get the gospel origin, a jazz inspired horn section and the beginning of what became Ray Charles signature R&B/soul sound. This became the template for a litany of classic Ray Charles songs. ‘I Got a Woman’ hit #1 on the R&B chart in January of 1955. The first of many for this cross genre/cross generation musical icon.

I can’t really do justice to explaining how influential Ray Charles was, and is, as an artist. It has all been stated by many, more knowledgeable than me. For the purpose of today’s post, it should suffice to let the music do the talking. I will walk you through the decades and you can enjoy this musical feast. It is both jaw – dropping and awe inspiring.

The homage all begins with ‘The King’ himself; the great Elvis Presley. I was torn between a live version or this studio version from 1956. In studio Elvis added some rockabilly to the cross-genre presentation.

Contrast this to the live version which took on a more gospel tone, with the remarkable assistance of his backup singers. Another example of a song that sends chills up and down your spine.

So, where do we go from here?

How about Johnny Cash?

 Together with the magnificent June Carter, they turn it into a mutual admiration piece. It changes the perspective, but it works so well.

Here’s a version that made me sit up and smile. Let’s have Fred McDowell and Johnny Woods bring it all back to its blues roots. This is what its all about, because blues, jazz, R&B, gospel and soul are all interconnected. I could listen to this all day. Watch for more about Fred McDowell in future Ted Tocks. His story needs to be shared. He is a blues master who doesn’t get nearly enough credit, although the greatest artists of the last half century absolutely adore him.

Here is a go-go delivery brought to us by the vocal prowess of The Everly Brothers. I just thought this provided an interesting scene with the dancers and the enthusiastic audience. It truly reflects the era.

Listen to this version by The Honeydrippers. Robert Plant has always acknowledged his musical roots when it comes to his astonishing vocal brilliance. For every great Robert Plant vocal performance this legendary vocalist could likely point to ten artists that inspired him. As amazing as he is, he has always been humble when it comes to his reverence for the singers who paved the way.

Ted Tocks Covers has a rule. If Tom Petty covered it, it will be featured. I miss Tom Petty. Another artist who always mentioned those who came before him. He never took all the credit, because he knew so much of what he became, was directly related to his influences.

Another clear example of music’s lineage is illustrated through this live tribute by the great Stevie Wonder. He turns ‘I Got a Woman’ into a revival. There is no doubt that Stevie Wonder was inspired by Ray Charles.

To close out today’s feature, here is John Mayer along with Steve Jordan on drums and Pino Paladino on bass. We all know John Mayer as a versatile guitarist with a wide ranging resume of musical performance. He shines in this atmosphere. Steve Jordan is a highly sought after drummer who is recognized mostly for his role as drummer for the Saturday Night Live band and David Letterman’s Late Night band. He is also Keith Richards’ go to guy for his solo projects. Pino Paladino is an extraordinary bass player who is best known for taking over from John Entwistle in The Who.

Having said all of this, it should be noted that the original lyrics do not really stand the test of time.

Well, I got a woman, way over town
That’s good to me, oh yeah
Said I got a woman, way over town
Good to me, oh yeah
She gives me money when I’m in need
Yeah, she’s a kind of friend indeed
I got a woman, way over town
That’s good to me, oh yeah

She saves her lovin’, early in the mornin’
Just for me, oh yeah
She saves her lovin’, early in the mornin’
Just for me, oh yeah
She saves her lovin’, just for me
Ah, she, loves me, so tenderly
I got a woman, way over town
That’s good to me, oh yeah

She’s there to love me
Both day and night
Never grumbles or fusses
Always treats me right
Never runnin’ in the streets
Leavin’ me alone
She knows a woman’s place
Is right there, now, in her home

I got a woman, way over town
That’s good to me, oh yeah
Say I got a woman, way over town
That’s good to me, oh yeah
Oh, she’s my baby, don’t you understand
Yeah, I’m her lovin’ man, now
I got a woman, way over town
That’s good to me, oh yeah
Well, don’t you know she’s all right
Well, don’t you know she’s all right
She’s all right, she’s all right

Ray Charles and Renald Richard

She knows a woman’s place
Is right there, now, in her home.”

Ray Charles and Renald Richard

Clearly, this line is a little troubling in 2020. This is not lost on me. This post is mostly about the music. Music inspires change. Hopefully we can continue to move forward as a society. This cannot be done unless we truly understand our past. If we take the good, and eliminate the bad, we can only see better days ahead.

In the meantime…listen to the music play…

Sweet Home Alabama – A salute to the amazing vocals of #ClydieKing. #MusicisLife #TedTocksCovers #RayCharles #GrahamNash #TheRollingStones #ArloGuthrie #LynyrdSkynyrd #HumblePie #EltonJohn #LindaRonstadt #BobDylan #TheBlackberries

I really struggled with how to present this edition of Ted Tocks.

I spent a weekend marveling at the absolutely amazing talent that was Clydie King.

I couldn’t decide on one song to feature so I will present several examples of why Clydie King will be forever known as one of the best ‘backup singers’ to ever be recorded or to perform on stage. This is not just my opinion. For confirmation I will point to Ray Charles, Mick Jagger, Jerry Garcia, Graham Nash, Linda Ronstadt, Bob Dylan, Elton John, Joe Cocker, Arlo Guthrie, Barbra Streisand, Steely Dan, Lynyrd Skynyrd, Humble Pie, Joe Walsh, Carly Simon, and Neil Diamond. These names only scratch the surface of her contribution. Clydie King was one of the most in demand backup singers in music for two decades, from the mid ‘60s through the early ‘80s. You may not know her name, but you will definitely know her voice. Read on and I will briefly share her story, while featuring a series of great songs that I suspect will leave you wanting more.

Clydie King was born in Dallas, Texas. Her mother died when she was two, and she was raised by her older sister. In the early ‘50s at about seven years old she began to sing in her church choir. Her gospel rooted voice can be attributed to this early inspiration. Her gift as a singer was recognized almost immediately. She was so good that she received an invitation to appear on the nationally televised Art Linkletter talent show. Shortly after that appearance her family moved to Los Angeles. In her early years she recorded for several record labels. This included a series of recordings from about 1956 through the early ‘70s where she sang as part of a series of acts including; Little Clydie and the Teens, Clydie King and the Sweet Things, The Brothers and Sisters of Los Angeles and Brown Sugar. Some of her early ‘60s recordings were produced by Phil Spector. By 1966, Clydie King was so highly regarded that she was asked by Ray Charles to join his Raelettes, where she met her life-long friend Merry Clayton. Clydie King and Merry Clayton both credit their time with Ray Charles as crucial to their career development. Here is a quote from Merry Clayton that explains:

We thought we knew how to sing, but he taught us both how to do it in a group. We learned to do what we do and how to be a beautiful woman and how to stand and sit.”

Merry Clayton

Essentially, through Ray Charles, Clydie King and Merry Clayton learned the art of performance, especially as backup singers. They learned when to lay low and when to shine while in the spotlight. Here is a perfect example. This version of ‘Ode to Billie Joe’ from 1968 featuring Clydie King and Ray Charles sends chills:

They mastered the skill to such an extent that for about ten years they were among the most sought after backup singers in music. Clydie King left Ray Charles and the Raelettes in 1968 in order to spend time with her children. This opened doors to an incredible array of backing vocal gigs with a stunning array of artists, many of whom are listed above.

One of the most distinctive recordings of Clydie King’s career was “Sweet Home Alabama’ by Lynyrd Skynyrd. The memorable contribution from King and Clayton almost never happened. The band reached out relatively late in the recording process and apparently it took a bit of convincing.

According to an article in ‘Rolling Stone’ Magazine it more or less went down like this:

Clayton was home when she got a call from King about a last-minute session. “I said, ‘What are we singing?’” Clayton says, and King told her it was a group called Lynyrd Skynyrd and a song called “Sweet Home Alabama.” At first, Clayton refused to do the song — “I said, ‘I’m not singing about Alabama! I remember those poor little girls killed by racists!’” — but King talked her into it. After the session, King told Clayton, “We did our part and this song will live in infamy, Merry. And we’ll continually get paid.”

Rolling Stone

Clydie King was not wrong. Those vocals are iconic. Clayton and King represented the first time that Lynyrd Skynyrd would feature backup singers on record. They were so good that Lynyrd Skynyrd realized that they needed backup singers on their albums and tours going forward. This led to them forming The Honkettes, which featured Cassie Gaines, Jojo Billingsley and Leslie Hawkins.

Since this Ted Tocks is more about Clydie King than ‘Sweet Home Alabama’ I will spare a closer look on the ambiguous nature of the song itself.

At the risk of jumping around, now I want to take you on a mini tour of Clydie King’s contribution to music in the ‘70s. Personally, I can’t get enough of listening to her sing. Enjoy!

Here she is lending her talent to one of my favourite vocalists; Graham Nash and his powerful protest song ‘Chicago’. This is beautiful. King is joined by Venetta Fields, Sherlie Matthews, Dorothy Morrison and Rita Coolidge. Yet another stunning array of backing vocalists.

Now we join The Rolling Stones during the recording of their influential ‘Exile on Main Street’ album in 1972. What would ‘Tumbling Dice’ be without this vocal contribution from King, Fields and Matthews? This trio would become known as The Blackberries. Ironically, at one time Clydie King recorded and marketed herself as ‘Brown Sugar’, although she had no involvement in The Rolling Stones song of the same name.

There are no superlatives to adequately describe this vocal contribution.

Here is one of my personal favourites. ‘City of New Orleans’ was written and recorded by Steve Goodman in 1971. Arlo Guthrie recorded his version in 1972 and in order to add some texture he looked to Clydie King and Venetta Field to provide this backing vocal track. According to sound engineer Lenny Waronker;

The choruses also had a choral effect achieved by
triple-tracking singers Clydie King and Venetta Field, and then adding
stereo delay and reverb and double-tracking;an effect that Arlo was no fond of…We wanted an angelic sound, but not too much church, so we
told them to back off on the vibrato, and we built up at least three
tracks of background vocals, plus Arlo’s vocals, and they really took
the chorus to another place.”

Lenny Waronker

Now, check out Humble Pie and this cover of the old Ike and Tina Turner song called ‘Black Coffee’. The Blackberries contribution to this track is the perfect compliment. Steve Marriott leads with his unique style of rock, soul and blues, but King, Matthews and Fields take it to another level.

Hopefully you are enjoying this presentation? Just a few more songs to go. We will stay in England and feature Clydie King with the immortal Elton John. It doesn’t get much better than this (well actually it does). Check out Clydie King and her contribution to ‘The Bitch is Back’. This song suffered a bit commercially because it was banned by radio stations in the U.S. for using the word ‘bitch’. This laughable. As puritanical American radio stations were celebrating this sanctimonious stance their President was embroiled in one of the country’s most embarrassing political crises. Notice I said; ‘one of’? Little has changed.

Here is Linda Ronstadt and her career defining song ‘You’re No Good’ from 1976. Clydie King and Sherlie Matthews are featured on backing vocals and as usual they put a stamp on the song’s presentation.

Now we fast forward to 1979/80 and yet another incredible collaboration. Bob Dylan was in the midst of his ‘Christian rock’ phase and part of that included a tour to promote his album ‘Slow Train Coming’. During the tour, Clydie King replaced Carolyn Dennis on backing vocals. This began a long association between Dylan and King, who struck a strong bond that was cemented by both music and faith.

She was my ultimate singing partner. No one ever came close. We were two soulmates.”

Bob Dylan

Check out this passionate cover of Abraham, Martin and John. It leaves you speechless. They are truly in a zone. I would be hard pressed to find a time where Bob Dylan sounded better as a vocalist. Clydie King had that ability. She made everyone better. Now it is yours to discover.

The beauty of this post is it allows me to set up several others. You heard it here first. Clydie King will be part of future posts, because as I delved deeper into this tribute, I found some incredible connections to some phenomenal cover versions. Each of the songs I posted today could be features unto themselves. The story will continue. My only regret is that this post is a tribute to Clydie King who passed away one year ago today. She is remembered fondly through her immense contribution to music.

I hope you enjoyed this post as much as I enjoyed writing it. If you are pressed for time…just listen to the music. There is really nothing I can say to add to Clydie King’s library. Hopefully I have steered you in that direction.

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

Today’s post will be very heavy on music and relatively light on words. Sometimes you just have to let the music do the talking. It all begins with the great Ray Charles. It is pretty clear that Ray Charles is one of the most influential singers ever. As this post unfolds, we will profile a man who endeavored to channel Ray Charles in his performance every time he entered a studio or grace a stage. Before I go there, let’s focus a little on today’s feature song; ‘Unchain My Heart’.

The back story of ‘Unchain My Heart’ is really interesting. It was written in 1961 by Bobby Sharp and recorded by Ray Charles later that year. Shortly after writing the song, Sharp who was a drug addict ran into some money problems and sold ‘Unchain My Heart’ to a jazz musician, band leader, composer and arranger named Teddy Powell, who went under the pseudonym Freddy James. The price was $50. If that were not enough, Powell demanded half of the songwriting credit. Over twenty-five years later Sharp fought successfully to regain the rights to the song, and it is presently listed under his publishing company B. Sharp Music.

When Ray Charles recorded ‘Unchain My Heart’ and released it in late 1961, he was accompanied by his back up singers, the Raelettes. With their soulful accompaniment Ray Charles sang about his desire to be ‘free from a woman who just won’t let him go’. It is considered one of Charles’ most popular tracks and it personified the soul masters’ delivery. ‘Unchain My Heart’ was actually the working title of the 2004 bio pic ‘Ray’.

In 1987 ‘Unchain My Heart’ was popularized for a new music generation, by Joe Cocker, who covered it on his solo album of the same name. Joe Cocker was obsessed with Ray Charles as a young boy and into his early 20s. His earliest performances featured Ray Charles covers, and through this adulation and distinct stage presence he gained a reputation as a rising star in the British club scene. Eventually, what began as an effort to emulate Ray Charles evolved into a style unto itself. In this interview Ray Charles and Joe Cocker sit together and discuss both the influence and the evolution.

Here is the 1987 cover version of ‘Unchain My Heart’. This is so good.

The Joe Cocker story began over two decades earlier. In 1964, Joe Cocker signed a solo contract with Decca Records. It was while performing in pubs in his native Sheffield, England, that Cocker caught the attention of producer Denny Cordell who also worked with The Moody Blues and Procol Harum.  The combination of Cordell’s influence and Joe Cocker’s musical friendship with the great keyboard player and bassist, Chris Stainton that Cocker’s career really began to take off in 1968/69 with the formation of the legendary ‘Grease Band’. Joe Cocker’s list of accomplishments as a vocalist is lengthy. For the purpose of today’s post Ted Tocks Covers will declare him the best cover artist ever. Allow me to present my case through a series of Joe Cocker recordings over the years. This will only scratch the surface of his artistry, but by the time I am through hopefully I will have you convinced. Enjoy!

For many, it all begins with one of his most famous covers. Here is ‘With a Little Help from My Friends’.

This version is legendary. He stole the show at Woodstock. This is notable, but read what Paul McCartney had to say about the Joe Cocker version of the song:

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

So, Paul McCartney was grateful to Joe Cocker for his cover version. What more can I say? A lot more, as it turns out.

Keeping with The Beatles, through the success of ‘With a Little Help from My Friends’ a bond was established with the Fab Four that would remain for decades. Here is Joe Cocker doing ‘Something’ by George Harrison.

How about ‘Feelin’ Alright’? The song was written by the great Dave Mason of Traffic but covered by Joe in such a way that it literally became a Joe Cocker song. For Dave Mason’s part, he was ‘alright’ with that.

Out of Traffic came Blind Faith. Here is a ‘Can’t Find My Way Home’ cover by Joe Cocker. Nice to see Chris Stainton on keyboards in this 1996 live version.

Sorry to jump around. I am trying my best to create connections here, and sometimes they work chronologically and sometimes there is a gap in years. From The Beatles to Traffic to Blind Faith I want to jump back to remarkable covers of three ‘60s classics. First, we give you to a taste of ‘Summer in the City’.

Here he is covering ‘When a Man Loves a Woman’, the Percy Sledge classic.

After Joe Cocker’s success with his first two solo albums and the acclaim he received following his Woodstock performance he was faced with some difficult decisions. This presented a dichotomy that in some ways defined him as a vocal legend and played a devastating role in damaging him as an individual. In late 1969 he dissolved the Grease Band because he was physically exhausted from the rigors of touring. Within a year his management team convinced him to go back on tour by stating that if he didn’t, he would be forgotten. The idea that success was fleeting served as the catalyst for the iconic Mad Dogs and Englishmen Tour that featured more than 20 musicians and vocalists. The Tour was headed up by the legendary Leon Russell who took care of all of the musical arrangements and hiring of musicians. The entourage was stupendous. All Joe Cocker had to do was perform. On stage he was at his best. Off stage he was a disaster, fueled by an ill-advised preponderance to ingest virtually every drug that was presented. When the tour was over, he returned to Sheffield a tired and broken man, financially broke and physically, mentally and emotionally drained due to a drug dependency that threatened his future. Here is ‘The Letter’ from that tour.

…and ‘Honky Tonk Woman’.

By no means was Joe Cocker limited to the ‘60s when he chose songs to cover. This version of ‘Everybody Hurts’ by REM will make you stop in your tracks. It is so heartfelt.

The point I am trying to make is no matter what song Joe Cocker covered he accomplished a minimum of two things. He illustrated the brilliance of the original artist through his salute and he managed to make every song his own. Virtually every artist he covered agrees with this notion.

Before I close this post, I want to make it clear that Joe Cocker was not ‘just’ a cover artist. Here is a brilliant original that he wrote with his long-time friend and collaborator, Chris Stainton. ‘High Time We Went’ was released as a single in November of 1971. It represented his comeback following the Mad Dogs and Englishmen tour. The comeback album was released in Europe and called ‘Something to Say’. It was released without ‘High Time We Went’. The self-titled U.S. version of the album contained the single and was released in 1972. It achieved top 30 status in the United States. Unfortunately, the album struggled in Europe. Here is the original version.

How respected is Joe Cocker? Check this out. When Eric Clapton needed a song to close out the musical celebration surrounding his 70^th birthday party, what song did he turn to? You guessed it…It’s ‘High Time We Went’ with Derek Trucks, Jimmy Vaughan and Doyle Bramhall II. That’s Paul Carrack on keyboards, sharing the vocals with Bramhall and Clapton. This is fantastic.

The reason I share this salute to Joe Cocker with you is because it was on this day five years ago that we lost Joe Cocker to lung cancer. He is so dearly missed in the music world. His memory will live on through the many songs he recorded over parts of six decades. He will be remembered by me as the greatest cover artist who ever lived, but not only that, he is clearly one of the finest rock/soul vocalists ever. In a perfect world, I may have convinced at least one of you of this belief. Hopefully you enjoyed this mini retrospective of Joe Cocker’s career. His distinct stage presence and commanding artistry will never be forgotten. The more I listen to him, the more I respect him. What a musical trip.

Thank you, Joe!

‘You Are So Beautiful’

Here are three more Ted Tocks features written since this post was initially shared.

Here is ‘Don’t Let Me Be Misunderstood’ written and composed by Horace Ott and recorded by countless artists including Joe Cocker.

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

Now here is ”First We Take Manhattan’ which was famously written by the great Leonard Cohen.

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

And finally, enjoy ‘You Can Leave Your Hat On’ which was written by Randy Newman.

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

There may be more to come…

Enjoy your day.