Come See About Me – Tears won’t wash away the fears. #MusicisLife #TedTocksCovers #DianaRoss #TheSupremes #BrianHolland #LamontDozier #EddieHolland

Happy 80^th birthday to the one and only Diana Ross.

To mark this occasion let’s see about the ‘First Lady of Motown’ through the classic 1964 release from The Supremes we all know as ‘Come See About Me’.

Yet again, Ted Tocks Covers is featuring a song written by the brilliant song writing team known as Holland-Dozier-Holland.

I’ve been crying (ooh, ooh)
‘Cause I’m lonely (for you)
Smiles have all turned (to tears)
But tears won’t wash away the fears

That you’re never ever gonna return
To ease the fire that within me burns
It keeps me crying baby for you
Keeps me sighin’ baby for you

So won’t you hurry
Come on boy, see about me
(Come see about me)
See about you baby
(Come see about me)

I’ve given up my friends just for you
My friends are gone and you have too
No peace shall I find
Until you come back and be mine

No matter what you do or say
I’m gonna love you anyway
Keep on crying baby for you
I’m gonna keep sighin’ baby for you

So come on hurry
Come on and see about me
(Come see about me)
See about you baby
(Come see about me)

Sometime’s up (ooh, ooh)
Sometime’s down (ooh, ooh)
My life’s so uncertain (ooh, ooh)
With you not around (ooh, ooh)

From my arms you maybe out of reach
But my heart says you’re here to keep
Keeps me crying baby for you
Keep on, keep on crying baby for you

So won’t you hurry
Come on boy, see about me
(Come see about me)
See about you baby
(Come see about me)

You know I’m so lonely
(Come see about me)
I love you only
(Come see about me)

See about your baby
(Come see about me)
Hurry, hurry
(Come see about me)”

Brian Holland, Lamont Dozier and Eddie Holland

Featuring The Supremes and Holland-Dozier-Holland is always a fun exploration because the journey to the top of the charts never seems to be a straight line. Here is the story.

One of the many trademarks of The Supremes version of ‘Come See About Me’ is the fade in created by Brian Holland and Lamont Dozier. It was one of those ‘what would happen if we did this?’ moments. ‘Come See About Me’ is one of the first times the fade in was employed. This technique has been replicated millions of times over the last sixty years.

The recording features Diana Ross on lead vocals and Florence Ballard and Mary Wilson on backing vocals. When the stunning musical talent of The Funk Brothers is laid over the track, magic ensues. It becomes medicine for the soul.

Consider this; ‘Come See About Me’ was recorded during a two week period that also brought us ‘Baby Love’ and ‘Where Did Our Love Go’. It was also the third of five consecutive #1 songs for The Supremes. This run also included ‘Stop in the Name of Love’ and ‘Back in My Arms of Again’.

The end result was a Billboard Hot 100 #1 on two separate occasions in late 1964 and early 1965 as well as a #3 hit on the Soul chart. The Supremes were instrumental in bringing Motown to the mainstream and their influence on well over a half century of music still remains. You could say they reign ‘supreme’.

Quite literally they serve to define the Motown sound, but perhaps most importantly they demonstrated to talented young girls everywhere that even in a male-dominated world, they never had to reside in the background. Sadly, this is a message that a cabal of misogynist agents are still struggling with. I am taking direct aim at radical right wing political parties, reactionary, self-serving religious zealots and shockingly, the United States Supreme Court (which has demonstrated themselves as ‘Supreme Light’ in recent years.  

Why are these interests so threatened?

That’s a topic for another day, but thank heavens we have music like The Supremes to help us through the misery that these severely compromised and appalling entities manage to peddle.

Back to Motown we go, where although The Supremes were the first to record ‘Come See About Me’, it was Nella Dodds who was the first to release the song as a single.

Nella was three months shy of her 15^th birthday when her version of ‘Come See About Me’ made its way to #74 on the Billboard Hot 100. When Berry Gordy Jr. saw the success, his team at Motown clamoured to release The Supremes recording. As we all know it was Diana Ross and The Supremes that obscured the now somewhat forgotten Nella Dodds, and her original release. This whirlwind of releases happened within a matter of weeks in October of 1964.

Two months later, on December 27, 1964, The Supremes appeared on the Ed Sullivan Show.

Three youngsters from Detroit.”

Ed Sullivan

This appearance followed their mid-December appearance at the top of the charts, and it served as a catalyst to it becoming #1 again the week of January 10, 1965.

Consider all of this success, and then note that Diana Ross was just 20 years old when all of these accolades were shining down on The Supremes.

Soon after the release of ‘Come See About Me’ and its strong success in many English-speaking countries, The Supremes followed a recent trend of recording hit songs in German. The German version is known as ‘Jonny und Joe’ and it features a slightly different narrative.

It seems the song writer is telling the story of being torn between both Johnny and Joe who both invite her on a date. She struggles to choose, because she claims to like them both. On the other side, the would-be lovers get angry and decide to fight over her. In the end, she still can’t choose. Nobody wins. Fade out.

Like so many songs of such massive popularity and influence there are numerous quality cover versions of ‘Come See About Me’. One of the first is by Mitch Ryder and the Detroit Wheels in 1966.

Motown struck again in 1967 when Junior Walker and the All Stars took ‘Come See About Me’ to the top 10 of the R&B charts, and the top 25 of the Pop charts.

Fast forward to the mid ‘70s we get Mark Farner and Don Brewer performing as Grand Funk Railroad on their 1974 release ‘Monumental Funk’. This is really good. Farner’s multi-instrumental talent shines through on this recording.

The big names continue. Enjoy this 1979 cover from Bonnie Pointer of the Pointer Sisters. Fifteen years after the original, but the lineage to the The Supremes is evident.

Two years later, the great Martha Reeves of Martha and the Vandellas fame offered this wonderful rendition. This is from her 1981 compilation album ‘The Best of My Life’. Presently, Martha Reeves has been honoured with a star on the Hollywood Walk of Fame. There is now a fundraising movement to raise the $55,000 to pay for the star. I didn’t realize this was a thing? Apparently, they are close to achieving the goal and the honour should be bestowed upon Martha Reeves in the near future.

In 1984, former Supreme, Mary Wilson offered this quality collaboration with talented pianist Neil Sedaka. Sadly, Mary died in February of 2021. This is a strong version which demonstrates the magnitude of her powerful voice.

Heading across the pond, here is Welsh singer Shakin’ Stevens. This is from his 1987 album ‘Let’s Boogie’. Stevens is one of many artists who is extremely popular in the U.K. but never really resonated in North America. The Shakin’ Stevens version actually outperformed The Supremes version on the U.K. charts.

We remain in the U.K. as we present a jazz-funk take on ‘Come See About Me’ from the James Taylor Quartet. This talented ensemble formed in Rochester, Kent, England. In 2007, they recorded ‘James Taylor Quartet Plays Motown’. I was attracted to this cover by the name and I stayed for the music. Really good.

Keeping with the instrumental focus please enjoy 2008 Charles Wright and The Watts 103^rd Street Rhythm Band. Ted Tocks Covers included this important band in ‘Papa’s Got a Brand New Bag’ back in 2019. You will get lost in this version. It was released in 2008, but it comes from a live recording captured at The Haunted House in May of 1968.

Musically speaking this is the perfect way to send you off and enjoy your day.

As I write, I consider the reality that time keeps marching on.

Today we celebrate this milestone for Diana Ross; a music icon.

80 years old and her name conjures happy thoughts and positive memories

Take a moment and reflect on the fact that sixty years have gone by since Motown and The Supremes released this series of classic songs. Clearly, there is value in the music which has truly become the soundtrack of our lives, but there is so much more.

You can hear optimism in everything The Supremes recorded. Their positive presentation offered hope for a society embroiled in civil rights tensions. The music of The Supremes and by extension Motown literally transcended race. Younger generations embraced the message and the positivity. Many thought we were on our way to real change.

Music can serve to enact change. It can be a catalyst. I know you are listening.

Consider this quote from Plato, centuries ago. He was on the wrong side of this argument but the premise is accurate.

Any musical innovation is full of danger to the whole state, and ought to be prohibited. When modes of music change, the fundamental laws of the state always change with them.” 

Plato

Keep sharing because the ‘fundamental laws’ are trending in the wrong direction simply because the wrong people hold the balance of power.

You’ve Really Got a Hold on Me – A walk through six decades of a Motown classic. #MusicisLife #TedTocksCovers

Listen to that voice. It’s irresistible.

Today’s feature is ‘You’ve Really Got a Hold on Me’ by Smokey Robinson and the Miracles.

‘You’ve Really Got a Hold on Me’ was written in a hotel room while Smokey was visiting New York City. In his role as Vice President of Motown, Robinson was negotiating a publishing deal for the label. Unfortunately, the discussions were not going well. Robinson wasn’t happy with the way things were going and he channeled his frustrations down in the form of a song. He wanted to write something that reflected his present mood and he didn’t mind if it came across as controversial. There is a certain significance to this approach because this tone was not typical of the era. It stood out.

Smokey Robinson is on record in stating that he was heavily influenced by Sam Cooke’s ‘Bring it On Home to Me’ when he began to compose ‘You’ve Really Got a Hold on Me’. This connection goes back to the ‘50s when Sam Cooke and The Soul Stirrers would perform at Smokey’s church. There are definite similarities to the arrangement. Where the song differs is the narrative. Where Sam Cooke appears as the male who did his partner wrong, Smokey is speaking to a partner who he reveres despite some apparent transgressions.

Play the songs together and you will hear the similarities in presentation, but then you get hit with Smokey’s line.

I don’t like you, but I love you”

Smokey Robinson

Smokey literally flips the narrative and the song takes off from there.

Was he truly speaking from the perspective of a jilted lover. I doubt it. That is just a theme that sold records in the early ‘60s. He was being mistreated by his publisher and he managed to tell the story in this timeless way.

Smokey Robinson and the Miracles recorded ‘You’ve Really Got a Hold on Me’ in October of 1962 with The Miracles. You can almost picture the scene at Hitsville U.S.A. Studios in Detroit. The song featured second tenor Bobby Rogers on co-lead while Claudette Rogers Robinson, Pete Moore and Ronnie White share the backing vocals. Eddie Willis and Marv Tarplin share guitar parts. ‘You’ve Really Got a Hold on Me’ goes to another level when the R&B legends The Funk Brothers take the stage.

When ‘You’ve Really Got a Hold on Me’ was released the folks at Motown felt that it would be best represented as the B-side to ‘Happy Landing’ but it didn’t take long before the people decided which song they preferred. Continuing with the Sam Cooke influence, ‘Happy Landing’ was also derived from the style of their mentor.

‘Happy Landing’ features Marv Tarplin on guitar. Peter Moore was unavailable for this recording because he was fulfilling his military service obligation. Once again, The Funk Brothers add their talents. With. ‘Happy Landing’ you get a song with a similar theme presented in a more upbeat way. It is easy to say Motown backed the wrong song but in terms of what was selling ‘Happy Landing’ was more reflective of the times.

In short, the DJs played it and people listened. The verdict came down firmly on the side of ‘You’ve Really Got a Hold on Me’.

Everything seems to flow from the piano introduction, and then as people turned their ear to the piece, Smokey drew them in with his voice.

Smokey was telling a story and people could relate. It was raw emotion. He was laying his soul to bare.

Just one example of how highly regarded Smokey Robinson and the Miracles were in this era. ‘You’ve Really Got a Hold on Me’ was taking the charts by storm during the early days of Motown and while they were touring in a music revue with The Supremes, Stevie Wonder and Marvin Gaye, it was Smokey who closed the show.

The bar had been raised.

The end result was a Top 10 single and a Billboard R&B #1.

‘You’ve Really Got a Hold on Me’ sold over one million copies. It was just the second Miracles hit to achieve this lofty number. Here is the first. Enjoy ‘Shop Around’ from 1960.

As much as ‘You’ve Really Got a Hold on Me’ stands on its own as a song, Smokey Robinson and the Miracles were catapulted to greater heights as a result of their association with The Beatles. The Fab Four opted to record the song on their second album; ‘With the Beatles’. This recording hit #1 on this day sixty years ago.

You can credit Motown President Berry Gordy with this wise business decision. He had the foresight to give The Beatles a deal on recording Motown tracks because he recognized the importance of the British market. ‘With the Beatles’ also featured the Barrett Strong hit ‘Money’

Money (That’s All I Want) – A significant moment in live music history lighting the way for live performances right through to the present. #MusicisLife #TedTocksCovers #PlasticOnoBand #TheBeatles #BarrettStrong #Melanie #LeonardCohen #FlyingLizards

And ‘Please Mr. Postman’ by The Marvellettes.

Please, Mr Postman – A significant moment in music history from #TheMarvelettes. #MusicisLife #TedTocksCovers #TheBeatles #TheCarpenters

This exposure was huge for Motown. Not only did these tracks help to launch The Beatles, but the exposure and positive association elevated the Motown sound. While none of these tracks were hits in the U.K., The Beatles as well as producer George Martin had their ears to the ground and they recognized the quality and potential of these recordings; especially in the early days when they were perfecting the song writing craft.

‘You’ve Really Got a Hold on Me’ has the distinction of being the first song The Beatles recorded for ‘With the Beatles’.

It features John Lennon and George Harrison on lead vocals and Paul McCartney on harmony. The song took seven takes. Four of them were completed right through. Four additional takes exist simply as edit pieces where a small portion of the song was captured. The final recording was spliced together based on take 7, 10 and 11.

The subtle title-change from ‘You’ to ‘You’ve’ is actually credited to The Beatles who noted that Smokey Robinson and Bobby Rogers are actually saying ‘You’ve Really Got a Hold on Me’ in The Miracles recording.

Here is Paul McCartney reflecting on The Beatles song selection back in the early days of the band.

A lot of our tracks may not have been ‘cool’. I think if we’d just been cool, we wouldn’t have made it how we did. But that was a great aspect of us. John would do ‘A Shot of Rhythm and Blues’ or ‘You Really Got a Hold on Me’ – you could call that cool.”

Paul McCartney

If it wasn’t cool at the time, then The Beatles definitely helped to make it the hip choice. Here you can enjoy four significant moments with The Beatles.

Here is the album version from ‘With the Beatles’.

This is the well-known recording ‘Live at the BBC’ for the show ‘Saturday Club’.

Then we go to a larger audience in Stockholm, Sweden. Listen as John introduces it.

I’d like to do a number by an American group called The Miracles.”

John Lennon

To many, this was an introduction to Smokey Robinson and The Miracles. Aligning with The Beatles was a wise decision by Berry Gordy, for sure, but it also helped The Beatles develop their delivery and identify song writing structures that sell.

This is also pre-album release.

Here is a rag tag effort from the ‘Let it Be’ sessions. The beauty of this recording is the keyboard backing provided by Billy Preston.  

Before we move on to the cover versions let Smokey Robinson tell U how to get to ‘Sesame Street’. This is clever.

The cover versions of ‘You’ve Really Got a Hold on Me’ number well into the hundreds. I couldn’t just feature Smokey Robinson and the Miracles and The Beatles so I thought, maybe I could do a Top 10.  It soon became apparent that reducing it to even ten was virtually impossible. This is why you are about to get a virtual ‘You Got a Hold’fest’’.

Keeping it in Motown, we will begin with The Supremes in 1964. This is a nice cover, but what else would we expect from this iconic act.

One year later we can feel The Beatles influence on The Zombies, but built right in there is a definite salute to Sam Cooke. This is from their debut album appropriately titled ‘Begin Here’.

Later in 1965 The Temptations stepped up to the microphone and delivered this stunning cover that puts their talent on full display. In Motown greatness begets greatness.

Still in 1965 Sonny and Cher take us to Los Angeles and we stand before the Wall of Sound’.

Percy Sledge stays very true to The Miracles in this strong cover.

Let’s head back to England with The Small Faces. They make it their own. Listen to Ian McLagan on the Hammond B3. What a treat. The vocals by Steve Marriott will blow your mind. In my opinion this is the best version. This is why Smokey wrote it. Listen to the emotion, the anguish. I can’t stop listening to this version.

Jackie DeShannon recorded ‘You’ve Really Got a Hold on Me’ on her 1968 album ‘Laurel Canyon’. This up-tempo recording is a good cover that becomes all the more intriguing when you realize that is Barry White on backing vocals.

Ted Tocks Covers is a big fan of Laura Nyro and this version of ‘You’ve Really Got a Hold on Me’ includes an interesting duet with Labelle. The layering of vocals is reminiscent of The Supremes. This is from her 1971 recording ‘Gonna Take a Miracle’

Now we take a trip to the Maritimes. Here is Shirley Eikhard who may be best known for writing ‘Something to Talk About’ which became a hit for Bonnie Raitt.

Sometimes perspective is everything. In 1976, Bonnie Bramlett released her album ‘Lady’s Choice’. It included this quality cover. The subject matter is appropriate based of her difficult relationship with Delaney

One year later Eddie Money recorded his debut album. This cover of ‘You’ve Really Got a Hold on Me’ put a firm stamp on what would become a solid career.

Off we go to the ‘80s and this 1982 recording by Bobby McFerrin who is perhaps best known for ‘Don’t Worry Be Happy’. This is a duet with Phoebe Snow. The interplay between the two is really strong. This needed to be shared.

In 1984, Michael Jackson released a compilation album called ‘Farewell My Summer Love’. In 1998, The Jackson 5 was included on an ‘Ultimate Rarities Collection #1 – Motown Sings Motown Treasures’. Here is the Michael Jackson version. The recording actually goes all the way back to 1973.

On more than one occasion Ted Tocks Covers has referred to the Cyndi Lauper album ‘At Last’ from 2003. Lauper literally reaches and grabs you with this cover. This is so good. She is talking to someone. I love this cover. Right up there with The Small Faces.

The huge names keep on coming. Rod Stewart has always been very open about how the voices of Motown influenced his career. In 2009 Stewart released a collection of cover songs called ‘Soulbook’. This is just a rock-solid cover by a legend.

Not to be outdone, but by no means was he trying to compete with Sir Rod, Phil Collins of Genesis fame released a collection of songs that influenced his life in music. It was appropriately entitled ‘Going Back’. You can feel the love.

Famously, at the 2014 Grammy Awards, Steven Tyler of Aerosmith was invited to present the Grammy Award for Record of the Year alongside one his mentors, Smokey Robinson. Caught up in the ‘sweet emotion’ of the moment Tyler serenaded Smokey. This is just fun…

Thanks Steven! That was beautiful.”

Smokey Robinson

It was definitely genuine.

Here is the resulting duet. Two generations of vocalists. Two very different styles. This is why I write Ted Tocks Covers.

To conclude, here is a surprise. Who knew KC and the Sunshine Band was still out there delivering new material in 2015? This is from ‘Feeling You! The 60s’. This feels like a good stepping off point.

Shake it!

The legacy of ‘You Really Got a Hold on Me’ has continued for decades. It was inducted into the Grammy Hall of Fame as a single in 1998. The legend goes on and on. Over sixty years of music magic.

Well over 20 versions of a Motown classic and I am not even close to being tired of this song.

That speaks volumes.

Thank you for indulging me.

Baby Love – Oh baby…Yet another Motown classic. #MusicisLife #TedTocksCovers

Let’s talk about the song writing process with a focus on one of the most prolific teams to ever have their creativity pressed to vinyl.

I am talking about Brian Holland, Lamont Dozier and Eddie Holland, better known as Holland-Dozier-Holland.

Today’s feature song is ‘Baby Love’ by the Supremes which was released as the follow up single to ‘Where Did Our Love Go’. This order of songs is important because the success of the aforementioned hit led to a formula for success that Holland-Dozier-Holland were somewhat forced to follow.

Read on…

It was at the insistence of Motown head Berry Gordy that Brian Holland and Lamont Dozier wrote ‘Baby Love’ to sound suspiciously like its predecessor. The style complimented Diana Ross’s strong lead vocals and the back-up provided by Florence Ballard and Mary Wilson. It has been documented that the word ‘Baby’ was mentioned 68 times in ‘Where Did Our Love Go’ so naturally the next song would be addressed to his ‘Baby Love’. Lamont Dozier is on record as saying that the song was about his “first love who he never got over.”

The process was so rigid in these early days of Motown, Berry Gordy insisted that the song writers punch in when they arrive to work in the morning, and punch out at the end of the day. This workmanlike routine was inspired by Berry Gordy’s knowledge of people who worked on the assembly line at the nearby Lincoln-Mercury plant. Holland-Dozier-Holland reluctantly complied.

Here is Lamont Dozier’s basic recollection of the way their songs came together

I would collaborate with Eddie on lyrics and with Brian on melodies. Then Brian and I would go into the studio and produce the actual record although Eddie should have been put down as one of the producers because he helped teach the artists the tune when the lyric was finished.”

Lamont Dozier

From here you get the classic Supremes style which employed studio techniques such as foot stomping, handclaps and echoes. This became their signature sound.

So, what happened when Holland-Dozier-Holland shared the original demo of ‘Baby Love’ with Berry Gordy?

It was rejected. The verdict came down firmly on the side of no…According to Gordy it was lacking something.

When H-D-H finished it the first time. I said ‘It’s great, but it has no life, there’s no gimmick here…of course they disagreed with me. But they went back into the studio and re-cut it. And at the beginning, they put in the little thing, ooh-ooh-ooh – that little bit. And I said, that’s perfect!”

Berry Gordy

We all know the result of this extra push.

In hindsight, Brian Holland agreed.

When we cut ‘Baby Love’ the first time, it was a little too slow. We wanted to add a little more pep to it.”

Brian Holland

‘Where Did Our Love Go’ and ‘Baby Love’ both went to #1 on the Billboard top singles charts. This success made them the first Motown act with two #1s. This led the way to five #1s in a row. The remaining three were ‘Come See About Me’, ‘Stop In the Name of Love’ and ‘Back in My Arms Again’.

Read how closely Brian Holland was aligned with Lamont Dozier in the approach to the song writing process.

When we write a song, we try to express real feelings about a real situation. In writing the song for The Supremes it was obvious that we were writing for pretty young girls, of whom one is the so-called lead singer. Therefore, in writing ‘Baby Love,’ we pictured a simple story about a girl whose boyfriend has left her and who loves him very dearly and who would like the boy to come back. The music fits this simple story.”

Brian Holland

They make it sound so easy.

Enjoy ‘Baby Love’ from ‘Top of the Pops’ in 1964.

Nearly sixty years after their celebrated chart success, the Supremes still exist as a standard for quality recording techniques and delivery. Naturally, efforts to either replicate or interpret their work exists across in interesting range of artists.

Tim Curry is most famous for his role as Dr. Frank N.Furter in ‘The Rocky Horror Picture Show’. Here he is doing a strong interpretation of ‘Baby Love’ in 1976. This was released on the album ‘From the Vaults’ in 2010.

The bridge from the Supremes to La Toya Jackson seems rather obvious. This 1995 cover is a clear homage to the artists who paved the way. La Toya turns this emotional plea into something bouncy and fun. Much like the original.

You can always count on Erasure to offer something a little different. This is strong. This brilliant cover was delivered on a tribute album known as ‘Motown Mania’ which was released in 2000.

It gets even better. Who else should be featured other than the original song writer, Lamont Dozier? This is from his 2002 album ‘Reflections of Lamont Dozier’. This is next level. He recites the lyrics as though it’s a list of reasons why the couple should reconcile. Who can say no to this?

Every once in a while, Donny Osmond comes up in my research and I can never resist sharing his covers. This is from 2014. This song takes Osmond back to his formative days and his genuine love for music.

The first time I heard ‘Baby Love’ was on the radio. I was 7 years old. It impressed me so much that 13 years later I contacted the writing and arrangement team of Holland-Dozier-Holland and asked them to produce an album for me – ‘Donald Clark Osmond’. I really wanted to do a remake of this song but I am no Diana Ross. So I thought, what if I approach this song like Al Green? He too is another artist that affected my musicality.”

Donny Osmond

Here is the result.

There is no better way to conclude than this medley that was offered by an intriguing combination in 2018. Here is Lamont Dozier and Graham Nash. This collaboration was appropriately entitled ‘Reimagination’. It includes four of the five #1 hits. Other tracks on this collection include Dozier presenting his music alongside Lee Ann Womack and Todd Rundgren, and more. Check it out. Until then, close your eyes and listen.

Remarkably, four of the key figures in this post are still with us.

Living legends, each and every one of them.

Diana Ross will celebrate her eightieth birthday in March of next year.

Brian Holland has his name on 145 hit songs in the United States and another 78 in the United Kingdom.

Eddie Holland – Alive and kicking at turned 84 last month. His musical resume closely rivals his brother’s. He also worked with the great Norman Whitfield. (See ‘Papa Was a Rolling Stone’)

Berry Gordy Jr – Is alive and kicking at 93. The mastermind behind Motown Music has his fingerprints on an entire genre of music. Music fans owe this man a huge thank you.

Please take a moment to remember the greatness of each of the following.

Florence Ballard – Died on February 22, 1976

Mary Wilson – Died on February 8, 2021

Lamont Dozier – Died on August 8, 2022

One of the many purposes of Ted Tocks Covers is bringing the creative process into focus, and emphasizing the role of the many people who bring the music to our ears. Today’s feature is a perfect example of collaboration, and the minor tweaks that turn something ordinary into a sound that has become literally timeless.

Enjoy and share.

For just shy of three minutes, today’s song will make you forget everything, or better yet, it might make you realize that everything will be alright.

A Day in the Life of a Music Fan – Come Along for the Ride – #MusicisLife #TedTocksCovers #TheKinks #RodStewart #TheBeatles #TheSupremes #GunsnRoses #Nirvana #Aerosmith #JoePerry

A Day in the Life of a Music Fan – Come Along for the Ride

Here is a treat for music lovers.

I couldn’t decide on just one song to feature on this day, so I have opted to provide a list of great songs that are tied to this day in music history.

There should be something fun here for everyone. Just click on the link of any song you like and enjoy the music and the short story.

‘You Really Got Me’

This song by The Kinks was sitting at #1 on this day in 1964. It features a studio musician by the name of Jimmy Page on tambourine.

‘Good Morning Little School Girl’

Across town, that very same day Rod Stewart’s first single was recorded. Ironically, it features a rising star by the name of John Paul Jones who would later connect with Jimmy Page and form Led Zeppelin.

The Beatles classic album Revolver hit #1 on this day in 1966. Take your pick.

‘Tomorrow Never Knows’

‘Taxman’

‘Got to Get You Into My Life’

This Supremes hit was the #1 single in the United States on this day in 1966.

‘You Can’t Hurry Love’

I know…The Beatles again.

‘Hey Jude’

 This classic song was #1 in the U.K. on this day in 1968. At the time it was the longest #1 song

ever, coming in at just over seven minutes.

“Nah, nah, nah, na, na, na nah.”

Fast forward to 1988 and I give you ‘Sweet Child of Mine’ by Guns n’ Roses which was #1 on this day, that year.

Three years later, shortly after Nirvana released their album ‘Nevermind’ the Kurt Cobain penned social commentary ‘Smells Like Teen Spirit’ vaulted to #1 and defined the grunge sound while making Cobain the reluctant voice of a generation.

The Beatles…again.

Fifteen years ago today, in a poll conducted by Britain’s Q Magazine, ‘A Day in the Life’ was selected the #1 British song of all time. It was said to be;

“The ultimate sonic rendition of what it means to be British.”

And finally, let’s take a moment and wish Joe Perry of Aerosmith a Happy 70^th Birthday. Here is the classic ‘Walk this Way’ which owes its distinct riff to Jeff Beck’s influence and a New Orleans funk band known as The Meters.

#MusicisLife and the inspiration always runs deep when you look under the covers.

Have a great day!

River Deep, Mountain High – Celebrating the anniversary of the recording of one of the finest vocal performances on record. #MusicisLife #TedTocksCovers #TinaTurner #PhilSpector #EllieGreenwich #JeffBarry #TheWreckingCrew #TheAnimals #DeepPurple #TheSupremes #TheFourTops #AnnieLennox #NeilDiamond

Today’s feature song owes its origin to the great songwriting tandem of Jeff Barry and Ellie Greenwich, and the production prowess of the mercurial Phil Spector. For more on this artistic combination see ‘Doo Wah Diddy’ and ‘Da Doo Ron Ron’. For Phil Spector’s part, he considered ‘River Deep – Mountain High to be his finest work. Considering his run of success in the ‘60s this is quite a compliment. Here is a brief story of how Phil Spector identified the perfect artist to deliver the song, and how in time, it became the pinnacle of rock and roll vocal performance.

In the early part of 1966, Phil Spector saw the Ike and Tina Turner Revue perform on the Sunset Strip. Subsequent to that performance, he invited them to appear on the ‘Big T.N.T. Show’. In truth, it was Tina Turner that really captured Spector. His goal was to merge her sensational voice and powerful presence with the incredibly versatile session musicians known as ‘The Wrecking Crew’ and his ‘Wall of Sound’ production style. The song he had in mind was ‘River Deep – Mountain High’. There was one obstacle. He didn’t really want Ike Turner involved, and the couple was signed to Loma Records. When Phil Spector wanted something, he usually managed to get his way. When you are this influential, money talks. He managed to strike a deal with Ike Turner to release the song as Ike and Tina Turner, and he paid Loma Records $20,000 which is the equivalent of over $160,000 today, to use their name on the recording. With this legal process complete, Spector signed Ike and Tina Turner to his own Philles Records. With this background arrangement done, it was time to record.

By any standard the recording process behind ‘River Deep – Mountain High’ was an epic scene. Phil Spector managed to incorporate 21 session musicians to record the superlative backing track. The more I listen to this recording, the more blown away I become. Especially, as I learn more about what Tina Turner endured to get what Phil Spector deemed to be an acceptable vocal track. Turner literally put everything she had into this career defining track.

I must have sung that 500,000 times. I was drenched with sweat. I had to take my shirt off and stand there in my bra to sing.”

Tina Turner

Here is a dramatization of that scene from Tina Turner’s bio pic ‘What’s Love Got to Do with It’. A shout out to Angela Basset who does a brilliant job of portraying Tina Turner.

It was on this day in 1966 that Tina Turner laid down this essential vocal track.

The perfectionism paid off, but it took some time. ‘River Deep – Mountain High’ was not successful in its initial U.S. release. The song owes some of its success to how well it was received in the U.K. and Europe where it went to #3. Two legendary British acts picked up ‘River Deep – Mountain High’ and recorded their own interpretations. Enter, The Animals and Deep Purple.

Here are The Animals from 1968 with the pleading voice of Eric Burden, and a solid musical accompaniment by the band. This was released as a B-side to their single “White Houses’.

For me, the Deep Purple version takes the musical interpretation to a new level. They take the original combination of vocal prowess and orchestration and blend a classical edge. Their version appeared on their 1968 album, ‘The Book of Taliesyn’.

The Deep Purple rendition owes its strength to the early incarnation of the band when they were more of a progressive act featuring Rod Evans on vocals, Nick Simper on bass and Ritchie Blackmore on guitar. These players, along with Ian Paice on drums and the keyboard wizardry of Jon Lord create an early prog rock masterpiece. Compare the introduction to Sprach Zarathustra (Thus Spoke Zarathustra) by Richard Strauss (1896). 

This is just an excerpt. For the full half hour version, check it out on Youtube.

The renewed interest resulted in the song being reissued in 1969. The fact that ‘River Deep – Mountain High’ didn’t resonate in the U.S. upon its initial release in 1966 was disturbing to Phil Spector and he dropped out of the recording scene for a couple of years. This began a downward descent. Part of the reason for the lack of public acceptance may be associated to the fact it was not considered to be reflective of the struggles black culture was facing during this tense civil rights period. Ike Turner suggested that Tina was an R&B force and ‘River Deep-Mountain High’ was a white pop song. In his words, the song was out of step with the movement that encouraged black singers to celebrate their own culture.

In contrast, George Harrison declared it a masterpiece.

(It is) a perfect record from start to finish. You couldn’t improve on it.”

George Harrison

With the song’s ultimate success, it did capture the imagination of numerous artists, who recorded their own version of ‘River Deep – Mountain High’. One of the most interesting interpretations was done by a combination of post Diana Ross, Supremes and the Four Tops in 1970.

Fast forward a couple of decades and here is a splendid cover version by Annie Lennox in 1992. She approaches it with humility and then knocks it out of the park like the true professional she is…WOW! This is what Ted Tocks Covers is all about. Artists who approach an original with the reverence and then their cover pays the deepest tribute to the original.

I will close this post with another iconic performance. Here is Neil Diamond performing ‘River Deep – Mountain High’ on Late Night with David Letterman in 1993. Again…Incredible! Great vocals by Neil Diamond, but a tip of the hat should also go to the backing vocalists.

I hope your day gets ‘stronger in every way’ buoyed by the amazing versions of today’s feature song.

Lust for Life – Today’s classic song, the rhythm that inspired it, the songs that it inspired and a couple of well done covers. #MusicisLife #TedTocksCovers #IggyPop #DavidBowie #TheSupremes #MarthaandtheVandellas #Jet #MotleyCrue #TomJones #ThePretenders

Happy 72^nd birthday to the one and only James Osterberg!

Silence!

Okay…Happy birthday to the one and only Iggy Pop.

Today we will feature one of Iggy Pop’s best known songs. Everybody loves ‘Lust for Life’. Where there is a great song, there is a great story and today is no exception.

When you blend the songwriting talents of Iggy Pop and the one and only David Bowie (yes, the six degrees of David Bowie prove true again) you get music magic and a raw energy that sets a standard for rock and roll. Now is a good time to mention that the original music for ‘Lust for Life’ was written on a ukulele. Iggy Pop wrote the words while Bowie created the riff. This was the beginning. The drum beat that has become synonymous with ‘Lust for Life’ was created by Hunt Sales. The rhythm was based on an Armed Forces call signal that Iggy Pop heard while waiting to watch an episode of Starsky and Hutch. It is that distinctive drum pattern that drives the energetic song.

It must be noted that for Hunt Sales’ part in the song he is clear that he borrowed from some predecessors himself. He points to The Supremes and Martha and the Vandellas.

Check out the pattern of these songs and then I will show you a song that came after ‘Lust for Life’ that cited Hunt Sales’ rhythm as an influence. I share this as an opportunity to illustrate that ‘the beat goes on’.

Here is ‘You Can’t Hurry Love’.

Note the similar beat in ‘I’m Ready for Love’.

Then we move on to post 1977 when artists and drummers who were inspired by ‘Lust for Life’ created their own take. One of the best examples is ‘Are You Gonna Be My Girl by Jet.

The energy in this song rivals Iggy Pop but the tie always goes to the original.

Speaking of originals and cover versions that reminds me of the purpose of this blog. ‘Lust for Life’ has left an indelible mark on pop culture and as an extension it has been connected to blatant commercialism. There is a commercial for a cruise company. No idea which one. Doesn’t matter. The point is, the song grabs people. The sign of a great song. The gift of ‘Lust for Life’ is in its spirit and inspiration. As a result, there have been several very good cover versions.

Here is Motley Crue with a solid drum track from Tommy Lee. Not a fan, but tis is good.

In the world of unlikely collaborations here is Tom Jones working with The Pretenders on a cover version of ‘Lust for Life’. It appeared on his 1999 album Reload that features a series of excellent duets with prominent acts. This is fantastic. Tom Jones is another artist that I have not paid nearly enough attention to, but his versatility is astounding. This is only rivalled by the sheer reach of his six decade career. A Ted Tocks tease here, but I will draw from this production again. Maybe on Tom Jones’ birthday. Gold mine!

Happy Easter! Appreciate every moment and make your lust for life apparent to everyone around you.

It’s Not Unusual – Today’s classic song and a couple of ‘supreme’ covers. #MusicisLife #TedTocksCovers #TomJones #TheSupremes #FlorenceBallard

‘There’s always something there to remind me’ about Sandie Shaw. In today’s feature there is a direct connection between Sandie Shaw and the fact that today’s feature; ‘It’s Not Unusual’ became a smash hit for Tom Jones and helped to launch a career that is still going strong. This is how it all happened back in 1964/5 leading to it hitting #1 on the U.K. Charts on this day in 1965.

‘It’s Not Unusual’ is a song written by Les Reed and Gordon Mills. The songwriting duo offered the song to Sandie Shaw who was a rising star in the British music scene. Shaw had different ideas though. She had recently heard Tom Jones and was so impressed by his delivery that she suggested that Reed and Mills offer the song to him. Tom Jones recorded ‘It’s Not Unusual’ in November of 1964. It got off to a bit of a slow start due to what BBC Radio considered to be Tom Jones’ overtly sexual image. The song became popular due to overwhelming exposure on ‘pirate radio’ in the U.K. Eventually the BBC relented and before long the song became an international sensation. Gradually Jones hit the big time in the United States with his image being enhanced by three appearances performing the hit on the Ed Sullivan Show. The first was on May 2, 1965, then again in June and a final time on April 21, 1968. ‘It’s Not Unusual’ is considered to be Tom Jones’ signature song.

There are a couple of sidebars to ‘It’s Not Unusual’. Jimmy Page of Led Zeppelin fame lists this recording as one of several he played on as a session player. Songwriter and musical arranger Les Reed disputes this though. He claims the only guitarist in the session was Joe Moretti. The fact that Jimmy Page was a constant presence in studios during that time period makes it possible that he was present in some way. The other interesting note and the perfect item to show how tight the music scene was in England in the ‘60s, emerged from a momentary crisis in the studio when the keyboard player for Jones’ backup band, The Squires, did not show up. Chris Slade, who would go on to become the drummer for AC/DC is alleged to have run across the street to a local coffee house called ‘La Giaconda’ to get their piano player. An unknown 17 year old by the name of Reginald Dwight. He would go on to become the music legend we all know as Elton John.

‘It’s Not Unusual’ remains a vital song in music history and has been recorded by numerous artists through the years. My choice for today’s cover is by The Supremes because they took a couple of turns at recording it in various forms. In 1966 the iconic act recorded it for their album Supremes A’ Go Go, but it did not make the cut. It was ultimately released on their collection of unreleased recordings and rarities.

As an extension of this Florence Ballard of the Supremes recorded her own version of ‘It’s Not Unusual’ for her debut solo album in 1968. The ultimate release of the solo album ‘You Don’t Have To’ also left this recording off but it showed up on a CD release called The Supreme Florence Ballard. Here is that recording.

It seems for the Supremes as a group or as individuals it was not unusual to record ‘It’s Not Unusual’.