Turntable Talk #28 – Musical Road Map

Welcome to my submission for A Sound Day’s monthly feature – Turntable Talk, hosted by Dave Ruch. This is the 28th installment of this feature and I’ve had the pleasure of writing since for it since the beginning. His topics each month are always something that I look forward to writing about.

This month his instructions were to “unfold the Musical Road Map! The idea is to pick a song with a specific location in its title and write about it. Pick a song you like, even if it’s not a place that is high on your list of dream destinations. It could be a city, a country , a state or province, even some magical mystical place living in the imagination.”

As I thought about this topic, plenty of songs entered my head. The challenge I seem to face every month is to try to pick something that one of the other contributors hasn’t already picked. There were many hits that jumped right out at me (Sweet Home Alabama, I Left My Heart in San Francisco, Houston, etc…), so I started thinking about songs that would not be something too popular.

Arrivederci Roma and On An Evening in Roma, both by Dean Martin were the first songs to come to mind. Dean made me think of Frank Sinatra and New York, New York. Frank then got me thinking about Sammy Davis Jr. and I knew that the song I was going to write about would not only be something that the other bloggers wouldn’t pick, but a song that not many people have ever heard before.

Yesterday, the City of Detroit celebrated its 323rd birthday! Back in 1984, Detroit’s Mayor (Coleman Young) reached out to Berry Gordy Jr. of Motown Records to write an anthem for the city. Berry wrote “Hello, Detroit” with Sammy Davis Jr. in mind to record it. When he showed Sammy the song, Gordy says that he “fell in love with it and felt it reflected his feelings on Detroit.”

“Hello, Detroit” is certainly not the best song to come out of Motown, and it wasn’t as big as Frank Sinatra or Tony Bennett’s love letters to their respected cities. However, you cannot help but hear the love for the city as Sammy begins to sing:

You’re a fighter, you’re a lover
You’re strong and you recover
From whatever gets you down

Those words certain have a lot of truth to them. The city of Detroit has really turned around over the past decade or so. Downtown is thriving. Ford Field (Lions) and Comerica Park (Tigers) are right across the street from each other, and from the street you can see that amazing Detroit skyline.

Comerica Park and Ford Field with The Downtown Detroit Skyline in the Background

There is so much more happening in the growing city, but as with any “dated” song, things change.

Hello Detroit, you’ve won my heart
Your renaissance, and waterfronts
Give you a flare of your own

The Renaissance Center has been a staple for years, but General Motors will move out next year and, looking to the future, CEO Mary Barra doesn’t rule out the demolition of the building. The company announced the move earlier this year — pulling out of the iconic skyline staple after 28 years in the name of downsizing.

Sammy Davis Jr. said, “My home has always been show business” and Detroit was always hospitable. He said that he had “a big history of connecting things with Detroit,” as he often played the Paradise Theater in Detroit early in his career.

Toward the end of his career, he would take the stage at another theater. Sammy was there for the rebirth of the Fox Theater, along with Frank Sinatra and Liza Minelli.

Their five-night stand, complete with a 30-piece orchestra, kicked off a new era for the Fox Theatre. This kind of brought things full circle for Sammy. The Fox originally opened in 1928, and it was the same year a 3-year-old Sammy Davis Jr. performed for the first time.

Sammy performed “Hello, Detroit” on opening night at the Grand Reopening of the Fox Theater. The concert rebroadcast may have been the most dignified three hours of content to air on Showtime in all of 1989.

I remember the first time I heard “Hello, Detroit.” It gave me chills. I wish that I could perfectly sum up in my own words what the song means to me and the many folks who call Michigan home, but every time I wrote something, I wound up deleting it. Why? Because I found something online that truly expresses it better than I ever could. This is copied from lyricslayers.com:

Sammy Davis Jr.’s song ‘Hello Detroit’ is a heartfelt tribute to the city of Detroit, capturing its spirit, resilience, and unique charm. The lyrics paint a vivid picture of a city that has faced numerous challenges but continues to thrive and inspire. Davis Jr. describes Detroit as a ‘fighter’ and a ‘lover,’ emphasizing its strength and ability to recover from adversity. This portrayal resonates with the city’s history of economic struggles and its ongoing efforts to reinvent itself.

The song highlights various aspects of Detroit that make it special, from its renaissance and waterfronts to iconic locations like Belle Isle Park and Greektown. These references not only celebrate the city’s physical beauty but also its cultural and social vibrancy. The mention of Detroit’s influence on the young, encouraging them to become ‘stars and champions,’ underscores the city’s role in nurturing talent and ambition, particularly in the realms of music and sports.

Davis Jr.’s repeated affirmations of care and prayer for Detroit reflect a deep emotional connection and a sense of loyalty to the city. The song’s affectionate tone and personal touch make it more than just a tribute; it’s a love letter to a place that has profoundly impacted the artist. The references to ‘Big D,’ ‘Motor City,’ and the ‘Motown sound’ further anchor the song in Detroit’s rich musical heritage, celebrating its contributions to the world of music and its enduring legacy.

‘Hello Detroit’ is a celebration of the city’s indomitable spirit, its cultural richness, and its ability to inspire and uplift. Through his soulful performance, Sammy Davis Jr. captures the essence of Detroit, making listeners feel the same admiration and affection he holds for this remarkable city.

That sums up the song perfectly! It was used in countless promotional ads for television and radio for a few years. Some morning radio shows would play it at the beginning of their shifts every day. Sadly, it faded away and doesn’t get much play any more. That is reason enough for me to feature it here on Turntable Talk.

Hello Detroit

You’re a fighter, you’re a lover
You’re strong and you recover
From whatever gets you down
And there’s so many, many reasons
Any time, any season
Is the right time to be with you

Hello, Detroit!
You’ve won my heart
Your renaissance and waterfronts
Give you a flair of your own

Irresistible you
Hug and kissable you
You’re alive with so much feeling
And I will always be there for you
I will say a little prayer for you
And I will always care for you
Hello

Hello, Detroit!
You’ve touched my soul
Thanks for the memories
I can reach so
Winter, spring, summer and fall
You’ve got it all
Hello, hello, hello!

Hello, Detroit!

I must go through Belle Isle Park
Greet town after dark
You’re in still in the young of will
To become stars and champions

Hello, my friend!
How have you been?
It’s every air
It’s everywhere
The magical touch of you

Irresistible you
Hug and kissable you
You’re alive with so much feeling
And I will always be there for you
I will say a little prayer for you
And I will always care for you

Hello
A big deep
The motor city
And the Motown song that’s got the whole world singing

And I will always be there for you
I will always say a little prayer for you (I will say a little
prayer for you)
And I will always care for you
Hello!

(Hello, Detroit!)
(Detroit!)

(Irresistible you)
(Hug and kissable you)
(You’re alive with so much feeling)
(And I will always be there for you)
(I will say a little prayer for you)
(And I will always care for you)
(Hello!)

Hello, Detroit!

Thanks to Dave for allowing me to participate once again! I not only look forward to reading the other contributions, but to next month’s topic.

Turntable Talk #25 – A Novel Idea For a Song

It’s time once again for another submission of Dave Ruch’s Turntable Talk hosted by A Sound Day. Every month he presents our musical blogging community with a musical topic and I have been lucky enough to have participated in every one of them.

This month’s topic was difficult for me, because there were just SO many songs I could choose from. Our instructions for A Novel Idea for a Song were to “pick a novelty record you like. Or else one you love to hate if you don’t have any favorites. I’ll let you decide what exactly is a “novelty” record but I look forward to seeing your picks and maybe having a laugh or two. And maybe a cringe or two as well!“

I want to say that the first novelty song I remember hearing as a kid was Ahab, the Arab by Ray Stevens. This led to the discovery of an album that had all kinds of silly songs on it. The tracks included Mr. Custer, I’m a Nut, Hello Muddah Hello Faddah, and more. What kid doesn’t love a silly song? I began to search for more silly songs. During my search I was introduced to Stan Freberg and his amazing satires, Weird Al Yankovic and various other novelty song collections.

In the late 1980’s, the Doctor Demento Show aired on a local radio station and he played many novelty songs that were completely new to me. The songs he played were recorded anywhere from the 1920’s to the present. I had no idea that novelty songs were something that went back that far. The Dr. Demento show was where I heard Monty Python for the first time and where I was introduced to another artist – Tom Lehrer.

I read where Tom celebrated his 96th birthday this week (April 9), and that is what led me to my song for Turntable Talk. All in all he only recorded about 50 or so songs, and I could have picked one that may not be so …. controversial, however, of all his songs, it was THE one that stuck out to me. More on that in a minute, but first, here’s a bit about him.

According to Wiki, Tom is “an American musician, singer-songwriter, satirist and mathematician, who later taught mathematics and musical theater. He recorded pithy and humorous songs that became popular in the 1950s and 1960s. His songs often parodied popular musical forms, though they usually had original melodies.” His early stuff featured songs that were kind of dark like “Poisoning Pigeons in the Park” and “I Hold Your Hand In Mine.” His later material was a little more topical.

So what led Tom to record this dark and humorous songs? The story goes that Tom had been playing some of these songs for friends and was convinced to record them. According to Wiki, “he paid $15 (equivalent to $171 in 2023) for some studio time in 1953 to record Songs by Tom Lehrer. The initial pressing was 400 copies. Radio stations would not air his songs because of his controversial subjects, so he sold the album on campus at Harvard for $3 (equivalent to $34 in 2023) while “several stores near the Harvard campus sold it for $3.50, taking only a minimal markup as a kind of community service. Newsstands on campus sold it for the same price.”

This was followed by “More by Tom Lehrer” and a live concert version of those songs on a album called “An Evening Wasted with Tom Lehrer.

In 1960, he basically retired from touring in the US, but he was employed as the resident songwriter for the U.S. edition of That Was The Week That Was. TWTWTW was a satirical TV show and he was responsible for a song per show.

For the show (and the album of the same name), he wrote songs about political and topical events. There were songs about education (New Math), race relations (National Brotherhood Week), the ecology (Pollution), and the military (Send the Marines). What are the two things people aren’t supposed to talk about – politics and religion, right? Naturally, Tom had a funny take on a religious news event.

The Second Vatican Council took place in the early to mid-1960’s. A spoken introduction describes The Vatican Rag as a response to the “Vatican II” council—which, among other things, broadened the range of music that could be used in services. Tom humorously proposes this “rag” as a more accessible alternative to traditional liturgical music of the mass.

Before I go on, I want to say that I was born and raised Catholic. I am a Christian who no longer practices Catholicism (my choice). I did not pick this particular song as one to offend, but it may very well do so. Humor, they say, is subjective. That being said, while the song mocks some of the Catholic rituals (confession, the rosary, and more), it is the fact that it is a rag that makes it so ridiculous. You can imagine, howeverm that many people of that faith considered it blasphemous at the time.

Lehrer never submitted the song to the show That Was the Week That Was, as he felt they would edit all the satire out of the song. Instead, he debuted the song at a California nightclub called the Hungry I. At one performance, actor Ricardo Montalban was in the audience and it is said that he approached Lehrer and told him “I love my religion. I would die for my religion.” Lehrer reportedly responded, “Hey, no problem, as long as you don’t fight for your religion.”

At this point there are a couple of Tom Lehrer quotes I want to share with you before you listen to the song:

“You can’t be satirical and not be offensive to somebody.”

“The people who came to hear me perform or to buy my records were not the type who would be offended (by the song The Vatican Rag). But I gather that there were other people who were offended.”

About the song, he says, “Well, I wasn’t really attacking the religious beliefs, I was attacking the formality of the rituals of the Catholic church; however, people took it wrongly.”

With all of that being said, I hope this one song I picked doesn’t stop you from checking out some of his other stuff. For example, The Elements is a fantastic song that literally just lists all the elements. It is a fan favorite. Lehrer fan Daniel Ratcliff (Harry Potter) actually sang it on The Graham Norton talk show from memory (this is what led Weird Al Yankovic to pursue Ratcliff to play him in his recent movie).

Tom Lehrer’s fans consider The Vatican Rag to be one of his best compositions. So without any further ado, pull up a pew and give it a listen.

Lehrer has said, jokingly, of his musical career: “If, after hearing my songs, just one human being is inspired to say something nasty to a friend, or perhaps to strike a loved one, it will all have been worth the while.” In October 2020, Lehrer transferred the music and lyrics for all songs he had ever written into the public domain. In November 2022, he formally relinquished the copyright and performing/recording rights on his songs, making all music and lyrics composed by him free for anyone to use, and established a website (https://tomlehrersongs.com) from which all of his recordings and printable copies of all of his songs could be downloaded. His statement releasing all his works into the public domain concludes with this note: “This website will be shut down at some date in the not too distant future, so if you want to download anything, don’t wait too long.”

Thanks again to Dave from A Sound Day for a great Turntable Talk Topic. Hopefully, after my choice, he will invite me back next month. Maybe I should have just went with The Curly Shuffle, instead?

Turntable Talk #24 – This Woman’s Work

For two solid years Dave Ruch from A Sound Day has been hosting a monthly feature called “Turntable Talk.” Each month he provides a topic to me and other musical bloggers to write about. I have been honored to have participated in every one of them. Each of the participants look forward to not only writing our piece, but anxiously await reading the other contributions.

As I stated in a previous blog, this month is International Women’s Month. Dave offered us an easy topic to write about this month. His instructions state “we’re going to turn our tables and sights to the women of music. Pick one you like and write about her. Whoever you want (that might sound creepier than I intended it), singer, songwriter, band member, the lady on the ‘Breakfast in America’ cover, whoever.”

I wrote a blog that teased this topic earlier in the week. In that post, I said, “I really struggled to pick one (female singer). I even posted on Facebook asking my friends to offer up their three favorite singers. I guess I hoped that they would offer up someone that I hadn’t considered (and they did). The results surprised me. The singers that came up the most were (1) Stevie Nicks, (2) Etta James, and (3 – tie) Pink and Karen Carpenter. Etta was the only one that was in my list of considerations. After looking at the list (and the suggestions) I finally chose who I am writing about and NO ONE mentioned her.“

Along with Etta James, I featured a song from my other considerations: Ella Fitzgerald, Alison Krauss, Aretha Franklin, Billie Holiday, Dusty Springfield, Sarah Vaughn, Diana Krall, Norah Jones, Linda Ronstandt, Pat Benatar, Peggy Lee, Jewel, and Keely Smith in that blog. So how did I finally come up with my choice?

My friend, Dawn, from high school actually helped me make my decision. She said, “There are so many talented vocalists, I’d have a hard time picking. if you’re going to write an impactful piece, I think you have to go with somebody you admire because they knocked down boundaries or overcame obstacles. That’s how I’d pick my vocalist.” That really struck me. Now, I am not saying that the ladies I mentioned already did not knock down boundaries or overcome obstacles – heck, Jewel was living in her van before she made it big!

My featured female singer is a talented woman named Diane Schuur.

I was introduced to Diane Schuur back in the late 80’s. I was talking about music with a gal I was dating at the time. We started talking about jazz singers and she asked if I had ever heard of Schuur. I hadn’t. If memory serves me correct, she loaned me a cassette (or maybe a CD) with some songs on it and I really enjoyed it.

One of her biographies online says this: “Diane Schuur is as eclectic as she is brilliant.” In my opinion, this statement could not be more true. While many of her songs would fall into the jazz category, she could easily be filed in the blues or pop categories, too. While preparing to write this, I picked a playlist on YouTube and it was fun to hear the different sounds of each of the songs.

My friend Dawn said to pick someone who “overcame obstacles.” Diane certainly has done that! She was born prematurely in 1953. She has been blind since birth because of Retinopathy of Prematurity. This disorder affected premature newborns who received high-oxygen therapy during neonatal intensive care. This was a standard practice until 1954.

She learned to play piano by ear. She would listen to Dinah Washington songs and began to pound out the melodies at age 3. Dinah was a big influence to Diane as she began singing her songs as a toddler and worked on her own vocal style. She once stated, “As far back as I can remember, singing was in my blood. My parents loved music, and I loved to sing. I was scatting at an early age.” She scats right up there with Ella and Mel Torme’! She also has perfect pitch!

Blindness was not her only obstacle. When she was a young adult, she began drinking and struggled with alcoholism. She also battled an eating disorder. Those obstacles were so much that she actually contemplated and attempted suicide. Thankfully, her brother-in-law stopped her from jumping out a third-story window. She got help and has been sober for several decades.

Diane got her big break when she was 22 years old. She auditioned for drummer/bandleader Ed Shaughnessy (of the Tonight Show Band) after he finished a concert with Doc Severinsen. Ed said, “this young blind girl comes in and sits down at the Fender Rhodes keyboard and starts singing the blues. Well, my hair stood on end!”

He hired her to be the vocalist in his orchestra. This led many other musicians to hear her. Those included Dizzy Gillespie and the great Stan Getz. Stan was so impressed that he became an advisor and coach to her. She stated that it was Stan who taught her that “less is more.” This was important because she had many critics that said she often “oversang” when she first started out. Stan once said, “She’s just like Sarah (Vaughn) or Ella (Fitzgerald) to me. She’s taking from the tradition, and what comes out is her own conception and advancement of the tradition.”

In 1985, she met B.B. King at a music festival in Tokyo. The two really hit it off and later made an album together entitled “Heart to Heart.” It was released in 1994 and it entered the Billboard Jazz Charts at number one!

In 1988, Frank Sinatra asked her to sing with him at a benefit concert when Liza Minnelli was unable to perform. She was a guest at Sinatra’s home and also performed at a concert with him and Quincy Jones. Frank gave her an abstract oil painting that he had created for her afterwards. When Frank passed away, Schuur recorded a tribute album for her late friends (Frank and Stan).

Other inspirations to Schuur include George Shearing, Stevie Wonder and Ray Charles who are all blind as well. She has said that one of her fondest memories was performing with Ray Charles in 1998 for a PBS concert (some of which is available on YouTube).

Her career has brought her two Grammy awards – both for Best Jazz Vocal Performance (1986 & 1987). She is still recording and touring today. She says, “For the future I plan to continue my reading of American song, paying respect to celebrated writers and polishing the gems in the jazz tradition.”

I’ve never had the chance to see her in person, but there are some fantastic live albums available.

All About Jazz says, “Ms. Schuur surely is among the very best jazz vocalists, and she exemplifies, if not redefines the “diva” category with her warm, often humorous and relaxed interactions with the audience and the musicians. Her mere presence is enough to make for a memorable evening.” I hope to be able to see her perform one day.

I will include just a couple of my favorite cuts at the end of this blog, but before I do, I want to again thank Dave for hosting this monthly feature. I hope that you enjoy reading this as much as I did writing it. I love that with each topic, I am not only enjoying old favorites, but I am introduced to new songs and singers. Perhaps this blog is your introduction to Diane Schuur?

Here is a classic – Come Rain or Come Shine

Another favorite – All Right, OK, You Win!

I just love her take on Moonlight and Shadows

One more – Her swinging version of I Can’t Believe That You’re in Love With Me

Thanks for reading!

Tune Tuesday: Hallelujah I Love Her So

Yesterday, my Turntable Talk was about the Blues Brothers Soundtrack. Ray Charles is featured on there with his version of Shake a Tailfeather. Also yesterday, my buddy Max from the Power Pop Blog (powerpop.blog) posted about Ray’s version of What’d I Say. That got me in a Ray Charles mood and I was surprised that I’d never posted this song before.

Hallelujah, I Love Her So was written and released by Ray Charles in 1956. I remember playing it on rare occasions when I worked at WHND, Honey Radio in Detroit. It was usually when we were featuring songs from 1956. It didn’t do much on the pop charts, but it was a Top 5 hit on the R&B charts.

As the title insinuates, it has a gospel feel to it. The opening piano lick sounds like something you’d hear before jumping into a happy hymn. One source says the song “is a testament to the joyous release of love, featuring a sophisticated horn arrangement and memorable tenor sax solo by Don Wilkerson.”

My buddy Randy from http://www.mostlymusiccovers.com no doubt knows that there have been plenty of covers of this song. Ray must have been thrilled to have his song covered by folks like Ella Fitzgerald, Peggy Lee, Brenda Lee, Jerry Lee Lewis, Stevie Wonder, Eddie Cochran, Gerry and the Pacemakers, and Frank Sinatra! Oh, and a band called the Quarrymen (who went on to become the Beatles) also covered it!

To start with, here is the original by Ray:

Ella Fitzgerald’s version sounds a bit more church-like to start, but really swings.

From the Beatles Anthology, here are the Quarrymen

Eddie Cochran’s version was released in 1959

I had no idea that Jerry Reed covered it, but it’s neat to hear his take

Sinatra always makes a song his own and he does that with this one. Very bluesy

Hugh Laurie’s version was on the deluxe version of his debut album

Of all the covers, one of my favorite versions is by an Australian singer named Guy Sebastian. From his Memphis Album he a great version.

I hope you love this one as much as I do!

Hallelujah, I Love Her SO

Let me tell you ’bout a girl I know
She is my baby and she lives next door
Every mornin’ ‘fore the sun comes up
She brings me coffee in my favorite cup
That’s why I know, yes, I know
Hallelujah, I just love her so

When I’m in trouble and I have no friend
I know she’ll go with me until the end
Everybody asks me how I know
I smile at them and say, “She told me so”
That’s why I know, oh, I know
Hallelujah, I just love her so

Now, if I call her on the telephone
And tell her that I’m all alone
By the time I count from one to four
I hear her (KNOCK) on my door
In the evening when the sun goes down
When there is nobody else around
She kisses me and she holds me tight

And tells me, “Ray Charles everything’s all right”
That’s why I know, whoa, I know
Hallelujah, I just love her so

Now, if I call her on the telephone
And tell her that I’m all alone
By the time I count from one to four
I hear her (KNOCK) on my door

In the evening when the sun goes down
When there is nobody else around
She kisses me and she holds me tight
And tells me, “Daddy, everything’s all right”
That’s why I know, yes, I know
Hallelujah, I just love her so

Oh, hallelujah
Don’t you know, I just love her so
She’s my little woman, waitin’ all this time
Babe, I’m a little fool for you, little girl…

Turntable Talk #23 – The Soundtrack of Our Lives

Once again, Dave Ruch from A Sound Day has offered up a gem of a topic for his monthly Turntable Talk feature! This month it is a topic that I have been hoping he’d get around to. Per his instructions:

“This time around, let’s look for THE SOUNDTRACK OF OUR LIVES ! Pick a great movie soundtrack and talk a bit about it. It can be from a great movie or a dog of one (or anything in between), one made specifically for the film or one assembled from existing tunes as long as it’s one that works for you!“

There are certainly many fantastic soundtracks to choose from. Movies that are known for being a great film and also their great soundtracks include American Graffiti, Smokey and the Bandit, The Wedding Singer, The Sting, and Forrest Gump. Those aren’t even considered “musicals!” When I think about musicals, wow, that list is a long one.

Plenty of movie (and TV) soundtracks can be found in my collection. When I worked in radio, I would often buy soundtracks so I could uses some instrumental tracks as voiceover beds (music that plays underneath your voice as you are doing a bit or talking to a listener). I used a variety of cuts from Napoleon Dynamite, Stripes, The Three Amigos, Dragnet, and movies that were box office bombs! My pick comes from a movie that was far from a bomb. It was one of the biggest films of the 1980’s.

The one soundtrack that has always been a favorite for me (and it doesn’t even contain all the songs featured in the film) is The Blues Brothers. It has some fantastic cuts from Belushi and Aykroyd as well as musical legends like Ray Charles, Aretha Franklin, and Cab Calloway.

I had this soundtrack on vinyl and I played the heck out of it. Many of the songs were featured on my “driving mix tapes” when I had my first car! While the album contains 11 great tracks, the film included many other classics that I wound up searching for to add to my collection. The music doesn’t follow their chronological appearance in the film for some reason.

She Caught the Katy

The album opens with this Taj Mahal song. The Blues Brothers version has a lot more sound to it. It is so much fuller with the horns and guitars of the band. It is the song that the starring credits roll under. The opening guitar lick leads to the first big horn stab (and we see Belushi) then you have another horn stab (and we see Aykroyd) and the third big horn stab hits as we see the movie’s title card.

Belushi’s vocal on this is perfect. I like his vocal on this cut more than any other song on the album.

Peter Gunn Theme

This is the first of two TV themes on the album. This instrumental plays as the Blues Brothers are driving back to Elwood’s place. There are some really great shots of the city of Chicago in this scene. As you listen to this one, you can hear the talents of Tom “Bones” Malone, “Blue” Lou Marini, and “Mr. Fabulous” Alan Rubin. If I had a dollar for every time I used this as background music to introduce a wedding party I could fly to Italy!

Gimme Some Lovin’

Best known for being a hit for the Spencer Davis Group (and a young Steve Winwood), the soundtrack features the full song. In the film, the band begins to play this song at Bob’s Country Bunker (a country bar) and the owner shuts the lights off on them. If I had to choose between the two, I’d pick the Spencer Davis version over this one, but it is still a great jam.

Shake a Tail Feather

Originally done by the Five Du-Tones of Chicago in 1963, James and Bobby Purify had a bigger hit with it in 1967. This version tops them because of one man – the great Ray Charles. In the film, he owns a music shop and the band is buying new instruments. Ray is asked about a keyboard and Murphy Dunn tells him that the “action” of the keys is not that great. Ray sits down and says, “I don’t see anything wrong with the action on this piano” and launches into this song.

As Ray plays, a crowd gathers outside the store and dances along with the song doing all the dances mentioned in it (the monkey, the jerk, the boogaloo, etc…). This song is fantastic.

Everybody Needs Somebody To Love

The song was written by Solomon Burke and recorded by him in 1964. Wilson Pickett’s 1966 cover is probably the best known version. This song is featured at the Blues Brothers’ big concert toward the end of the film. Over the intro, Elwood (Aykroyd) speaks to the audience and thanks “the members of Illinois law enforcement” who are present and waiting to arrest them. We get to hear a big more of Aykroyd on this track.

The Old Landmark

When you mention the Blues Brothers to someone, they will often quote “We’re on a mission from God.” This song is performed by the Godfather of Soul, James Brown who plays a preacher. Jake and Elwood are attending this church service and it is a pivotal moment in the film (and what sets them off on their “mission from God.”

The Old Landmark is a gospel song written by Dr. William Herbert Brewster Sr. back in 1949. It has been recorded by the Staple Singers, Aretha Franklin, Dionne Warwick and many others. James Brown takes this to a whole new level. It’s hard to imagine anyone performing this. He performed/recorded this one live on set.

Think

The Queen of Soul, Aretha Franklin, performs this one as she is telling off her husband Matt “Guitar” Murphy. The song was a hit for Aretha in 1968. For the film, they bump up the tempo and add some dancers. This track is SO good! ”Blue” Lou Marini grabs his sax midway through the number and really jams through the end.

This was one of the harder songs to do in the film. Aretha had recorded the song and found it difficult to lip synch to her vocals as they filmed. It was a scene that needed many takes to do. This version is far superior to her original version.

Theme From Rawhide

The second TV theme on the album takes place in that country bar. After the lights go out they band has to figure out something that the audience will like. They wind up performing this one. Aykroyd’s vocal is just awesome here not to mention the “call and answer” between him and Belushi. Add in a whip and you have a real country hit on your hands!

This scene always makes me laugh because they perform on a stage surrounded by chicken wire. Why? Because the crowd gets so excited they throw beer bottles at them!

Minnie The Moocher

This was a song that Cab Calloway had been singing for decades! He was the “Hi-De-Ho Man.” I just love this version of the song. The rumor is that Cab wanted to do the disco version of the song that he had recorded in the past. They insisted that it needed to be the jazz/big band sound.

The song itself send you right back to the 1940’s. The full sound of the band, the horn section, and the amazing trumpet solos by Alan Rubin. Without a visual, it is still fantastic. Watching it in the film only enhances the experience.

They band is on stage waiting for Jake and Elwood to arrive. The crowd is getting antsy. The band is dressed in street clothes and look sort of shabby. Cab asks if they know the song and the band says they do. He yells, “Hit it!” and the curtain opens. Out struts Cab in a white tuxedo backed by the band, wearing black tuxes and looking sharp. The stage now has an backdrop of famous 40’s places with neon signs and a sweet looking band stand.

As a trumpet player, I can’t NOT mention the spectacular trumpet playing of Alan Rubin on this one!

Cab was a scat singer and his call and answer with the audience is just priceless. I’m not sure how old he was here, but his vocals are right on! He was a legend!

Sweet Home Chicago

This is the longest track on the soundtrack. The original version was done by Robert Johnson in 1936. This is the second song the band plays at their big concert (and the one where they make their escape, hence the long instrumental ending). As they intro it, they dedicate it to the late, great Magic Sam (who was from Chicago) who recorded it in 1967.

This is such a fun song to listen to and to watch in the film. The looks that they give John Candy’s character and the other folks who have been chasing them always make me smile. The song serves as the background music as we transition from night to day and the ultimate finale of the movie.

Jailhouse Rock

Movie Spoiler: The entire Blues Brothers Band gets arrested at the end of the movie. Naturally, the final song of the movie is Jailhouse Rock, originally done by Elvis Presley. Trivia: In the film, the first “prisoner” to jump up on the tables and dance is Joe Walsh!

On the soundtrack, the song is a bit different than in the film. You have a complete cut on the album, while in the movie each band member has a little solo as their name appears in the credits. In the film version you also get a line or two sung by James Brown, Cab Calloway, Aretha Franklin, Ray Charles and more. It’s a perfect capstone to wrap the soundtrack.

I have played the songs on this album over and over again on vinyl, cassette, on my iPod, and YouTube. It remains one of my favorite soundtracks of all time! What disappoints me is the many songs that were featured in the film that didn’t make the soundtrack. They are worth finding and checking out!

Of course, I can’t tease those without listing them, so here goes:

Somebody Loan Me a Dime – Fenton Robinson (Plays while Jake is escorted from his prison cell)
Shake Your Moneymaker – Elmore James (Plays while Jake and Elwood visit with Curtis at the orphanage)
Soothe Me/Hold On, I’m Comin’ – Sam and Dave (Plays on the 8 track in the Bluesmobile while Jake and Elwood are driving and get pulled over)
I Can’t Turn You Loose – The Blues Brothers – Originally done by Otis Redding (Plays while they drive through the mall and as they take the stage at the Palace Hotel Ballroom concert)
Let the Good Times Roll – Louis Jordan (Plays on the record player in Elwood’s place)
Anema e core (Until) – Ezio Pinza (The piece is playing the apartment that Tom Malone and Lou Marini used to stay – the “Are you the police?” scene)
Quando, Quando, Quando – Murph and the Magictones (Plays in the Holiday Inn scene)
Just the Way You Are – Muzak version of the Billy Joel song. (Plays in the Holiday Inn scene)
Die Romantiker (The waltz that plays at the Chez Paul restaurant)
Boom Boom – John Lee Hooker (Plays as the Blues Brothers are going to meet Matt “Guitar” Murphy)
Mama Lawdy/Boogie Chillen – John Lee Hooker (Plays when Jake calls Maury Sline and on the way to Bob’s Country Bunker)
Your Cheatin’ Heart – Kitty Wells (Plays as the Blues Brothers enter Bob’s Country Bunker)
Stand By Your Man – The Blues Brothers (Plays at Bob’s Country Bunker)
I’m Walkin’ – Fat’s Domino (Plays as Jake and Elwood and the orphans promote the concert)
Ride of the Valkyries – Richard Wagner (Plays as the Nazis are chasing the Blues Brothers toward the end of the movie)
The Girl from Impanema – Muzak version (Plays, naturally, in an elevator as the Blues Brothers go up the 11th floor with the tax money)

The Blues Brothers may or may not have been the first movie of “mine” that I made my wife watch with me. I’m sure that she made me watch one of her tear jerking chick flicks to get back at me afterward. To me, this movie remains a classic. As far as the sequel – not so much. It did have a decent soundtrack, but that is about it.

I have been wanting to write about this album for a long time and am glad that Dave finally gave me a reason to indulge myself with this blog. I am also excited to see what the rest of the bloggers have chosen for their soundtrack.

I’m already looking forward to next month’s topic! Thanks for reading!

Finally! The Weekend.

It is Groundhog Day. The above critter is not a groundhog, I realize. Perhaps, I should have posted an appropriate groundhog picture? Hold on a sec ….

…. Ok, I’m back. I have one.

You’re welcome.

The kids each got to enjoy a special day today. Andrew got to spend the day at Nana’s house and Ella got to go shopping with mommy. They both had lots to tell me about their day when they called me tonight. Both Sam and her mom said that each kid is very different when they are alone. They obviously missed each other. Tonight at bedtime, Sam sent me this:

I don’t know what is funnier – the sunglasses, the fact that Ella is reading my Columbo book, or that Andrew is staring at a blank page! LOL

Our pup is growing so much. She is like a Moose! I turned on the TV the other day and was laying on the couch. She was laying on the floor next to me. I was scrolling my phone when all of a sudden she jumped up on the couch and on me. She obviously needed attention.

I am not a tattoo guy. I’ve never really felt the need to get one. I have heard that once you get one, you tend to get more. There are plenty of tattoo horror stories. People get one with a name of a lover and then they break up and stuff like that. I saw something online the other day that just made me shake my head.

I have posted about the excitement I had over the Detroit Lions season this year. I had hoped that they would win the Championship game and go on to the Super Bowl. Some people chose them to win it all. I really can’t imagine being so confident that I would go and get the following tattoo:

One can only hope that they can change that year to 2025!

Coming Soon:

I’m excited for the next round of Turntable Talk, which is going to be about great movie soundtracks. Which movie soundtrack would you pick as your favorite?

I’m also taking part in the 10th Annual Favorite TV Show Episode in March. It is hosted again by Terry of A Shroud of Thoughts. I’m going with one from a show I have written about before, but worth being featured again.

Turntable Talk 22 – Instrumental In Their Success

They say “out with the old and in with the new,” but I’m glad that an old feature continues! I am, of course, talking about Turntable Talk hosted by Dave Ruch from A Sound Day. For 22 months, he has proposed various musical topics for our group of music lovers to write about. Not only do I love writing for it, but I love reading the other submissions.

This month we go “wordless.” Dave says, “…let’s look at INSTRUMENTAL IN THEIR SUCCESS. Share with us all an instrumental tune you like a lot, and a few words about why.”

I write this, knowing that I am one of the last contributors, so I have no idea what has already been featured by other writers. As far as the topic, there was no shortage of songs to choose from. I began a list of instrumentals on a post it note pad. Each song made me think of another. About 20 post it notes later, I knew I had to stop and pick one. The problem was, which one to choose.

I LOVE instrumentals. I have countless CD collections featuring instrumental hits. One of the best was a series from Rhino Records called “Rock Instrumental Classics.” It was a 5 CD series that featured instrumental hits from the 50’s, the 60’s, the 70’s, surf hits, and soul hits.

Time Life Records had a series called “Your Hit Parade,” which featured music from the 1940’s all the way through the early 1960’s. That collection featured many instrumentals, too. There are SO many to pick from. My list included:

Green Onions – Booker T & the MG’s
Bumble Boogie – B. Bumble and the Stingers
One Mint Julep – Ray Charles
Kokomo – Asia Minor
Topsy Part 2 – Cozy Cole
Classical Gas – Mason Williams
Java – Al Hirt
Yakety Sax – Boots Randolph
Popcorn – Hot Butter
Axel F – Harold Faltermeyer
No Matter What Shape Your Stomach’s In – The T-Bones
The Theme From Sanford and Son – Quincy Jones.

That last one led me on a rabbit trail of TV Theme songs. There were plenty that were hits: Peter Gunn, Bonanza, Mission: Impossible, Theme from SWAT, Miami Vice, Route 66, Dragnet, The X-Files, The Rockford Files …. and finally, my pick for this month’s topic.

Hawaii Five-O was a long-running police procedural drama (1968-1980) about detectives Steve McGarrett (played by Jack Lord) and Dan “Danno” Williams (played by James MacArthur) who worked the Hawaiian islands beat. The theme was composed by Morton Stevens, who started out as an arranger/conductor for Sammy Davis Jr. and became director of music for CBS on the West Coast. The theme song won Stevens two Emmy Awards (in 1970 and 1974).

The song was recorded by the Ventures, who were instrumental (pun intended) in popularizing the electric guitar throughout the 1960’s. Their first hit was Walk, Don’t Run in 1960. The quartet charted 14 singles on the Billboard Hot 100 Chart and have sold over 100 million records making them the greatest instrumental band of all time.

The Venture’s version of the song was a Top 5 record, peaking at #4 spending 14 weeks on the chart. There were many session musicians who played along with the group including guitar player Tommy Tedesco of the famous Wrecking Crew.

I read somewhere that the Hawaii Five-O theme is the unofficial fight song for the University of Hawaii. This is one of those songs I wish we had played when I was in band. As a matter of fact, being a former band geek is probably why I love this song so much. I can listen to it 4 or 5 times in a row and focus on different things in the song. There are so many cool musical things in it. Allow me to illustrate with words and then listen to see if my wordy description makes sense.

Right from the get-go that drum crescendo into the tympany grabs me. (In one of my many listens to this song, I actually thought about making a list of great “tympany songs!”). Then you have the guitar and trumpets come in with the main theme doing a call and answer type thing with that flute-y instrument for the first verse. Another drum/horn crescendo to take you to the second verse with more guitar and now the flute answer is more of a counter melody.

A minute in and you get another drum/horn crescendo and a repeat of the melody. This time, you have some horns and trumpets on the answer. At 1:15, you get that fantastic staccato trumpet stings that take you to the final 30 seconds of the song. Now we’re at the big build to the grand finale. Here, you begin to hear what our band director used to call “pyramids.” You have one instrument, then another, and another and another building on each other until that final bit. There is a fast short pyramid from 1:27 to 1:30 between the horns and trumpets. Then at 1:35 the big build happens, followed by another bigger pyramid until the final trumpet stabs and guitar tympani ending. The song is an almost 2 minute masterpiece that always makes me feel good.

Ok, I know my description was a bit much. However, this is the perfect illustration of what I tend to do when listening to music. One listen I focus on the guitar and the next listen I check out the drum part. I tend to pick it apart and then appreciate how it all comes together.

It is interesting to know that there are actually a couple vocal versions of the song! I won’t post links here because we are focused on instrumentals. It should be no surprise that Don Ho did a vocal version. HIs version starts fast and turns into a ballad (“You Can Come With Me”). Then, Sammy Davis Jr, who composer Morton Stevens worked for at one time, did a version called “You Can Count on Me.” Both versions are on YouTube.

Thanks again to Dave for asking me to take part in this feature and for hosting it. I look forward to the next musical topic.

Thanks for reading.

Turntable Talk 21 – Guess Who’s Coming to Dinner

Once again, Dave Ruch from A Sound Day has offered up an interesting topic for this month’s Turntable Talk. I see it as being a way for each of us writers to offer you a bit of ourselves. I mean, any time I write something, it usually has something that gives the reader a glimpse at who I am. In some blogs I read, there are a lot of facts and not much of the author. I’ve come to “know” many of the participants through their past submissions, but this month I feel we’re going to get a bit more personal.

This month, Dave presented us with the following instructions:

It’s almost time for Christmas dinner (even if you aren’t necessarily prone to celebrating Christmas, play along) and there’s one more seat at the table. Because of the magic that is Christmas, you can invite any one musician (or person from the music world) to be your guest. Even if they’ve passed away, they can be at your table for a meal, and a few stories. So, who would you invite? And any little musical gift you hope they might possibly come with?

As with past topics, one possibility jumped out immediately. I decided to think a bit more before I made that final decision. Oh! The list of names that I came up with! It was a long one that included Elvis Presley, Mel Torme’, Nat King Cole, Bobby Darin, Roy Orbison, Doc Severinsen, Louis Prima, Frank Sinatra, Paul McCartney, Tony Bennett, Reba McEntire, Michael Buble’, and so many more! In the end, I stuck with the first name that came to mind – Dean Martin.

To this day, Dean remains my favorite singer. His laid back, carefree, and effortless approach is part of the charm that makes him so likable to me. So many of his songs hold special memories for me.

I imagine him showing up dressed to the nines in his staple tuxedo, knowing he is the guest of honor. However, I also picture him as a humble man who gets along with everyone.

Naturally, on Christmas I’d make the dish that was always served by my grandma – Ravioli. I’d be sure to make the homemade sauce for him. I’d always seen pictures of him and John Wayne eating pasta together. I’d love to hear those stories.

I feel like we could easily talk about the similarities between his folks and my grandparents (both from the old country). I know he was a fairly private guy, but I would enjoy hearing his stories about growing up in that Italian family.

The conversation would naturally turn to music. I’d have so many questions for him. The recording process has always fascinated me. On some of the newer releases they’d include some of the in between take studio chatter. Dean always seemed to be joking around and I bet he’d have some great stories about that.

Not to mention all the stars he personally knew and hung out with. I bet he could have wrote a book full of Sinatra stories! If you look back on the guests who were on his TV show, on the TV roasts, or actors who were in movies with him – it is truly an amazing group. How could he just pick one or two stories to tell when he knew so many people!?

I certainly wouldn’t want to pressure him, but I think it would be very cool to be sitting around the table and for him to give us a few measures of a Christmas song. I remember watching how people often just sang with each other back in the day. Would Dean duet with me on Marshmallow World? Who knows?

As someone who really stinks up the golf course, I’d probably bug Dean for a few golf tips. He was SO good at it, I’m sure just one little piece of advice on my grip, my stance or my swing would help me tremendously!

I’m not sure what musical gift I would hope for him to bring, but I would certainly love to get my hands on one of two things. He once had his own brand of golf balls! I’d never use them, of course, but I would love to have a box!

I would also like to have a bottle of his spirits. At one time he had a few types of his own booze!

I don’t really drink, but I think it would be awesome to have these sitting on a bar.

I suppose I’d only have one more request – a photo with him. That may be pushing the limits, so I might just have to have the camera lying around so that someone could snap some candids of the the two of us together.

I’m sure he’d be the one to want to cut the evening short. “Look, pallie, I’d love to stay and answer all your questions, but I have a 7 o’clock tee time in the morning ….” I’d totally be ok with that.

Thanks to Dave for a great topic! I cannot wait to read the guests that our other writers come up with!

How about you? Who would you picki?

Wishing you and yours a VERY Merry Christmas and a blessed 2024!

Turntable Talk #19 – A Design For Life

Once again, our friend Dave from A Sound Day has offered up a great topic for his Turntable Talk feature. If you are keeping track, this is the 19th round. The topic for this round came from his post on the Bobby McFerrin song, “Don’t Worry, Be Happy!” Dave says, “the topic for us at hand is – A Design For Life...musical philosophies. Put your thinking caps on and highlight a song that explains how to live better, a sort of personal mantra if you will! Or at least tells others how to live and move through these complicated times.“

As I thought on what song to pick, many came to mind. Let It Be by the Beatles would certainly work. Baz Luhrmann’s Everybody’s Free To Wear Sunscreen is another perfect one. I could even go with You Can’t Always Get What You Want by the Rolling Stones, but I decided against them all.

As I write this, Dave has sent out the schedule to all the bloggers who are participating, so we know when our piece will post. This blog will post second to last. That means that it is very possible that someone will pick the song that I have chosen. I can hope that my gut instincts will show that the other bloggers will continue to steer away from country music and avoid my pick.

My wife listens to music as she gets read for work every day. She usually puts on her Pandora and it shuffles through her favorite pages. This is where I first heard my song choice – Tim McGraw’s Humble and Kind.

The song was written by songwriter Lori McKenna. She told the Tennessean:

“That song is a selfish little poem/lullaby that a mother of five wrote for her kids one day. At that point, my oldest is 25 and my youngest is 10, when I wrote it five or six years ago. I dropped off the kids at school, and I sat at my dining room table with my coffee and started thinking about all the things that Gene and I wanted to make sure we told the kids.

There’s so much information there. A parent can go on and on and on forever about what they want their kids to know. I know there was a lot of information going in. I did worry about getting preachy and I stopped myself really quickly and remembered I wasn’t writing this for anyone else. I was writing this for myself and for my kids. I sort of thought of it that way. If someone gives me trouble, oh well. I literally kept them in my focus.

I sent it to Tim and he had a melodic change in the chorus that he did that took me a long time to figure out what the subtle change is. It was just enough to make it commercial. He brought it to a place I still can’t believe.

When asked about recording the song, Tim McGraw stated that he “cried during every take.”

It really is a powerful song with a simple message, but it is a message that is much needed in today’s society. It is almost a play on the quote that is often thrown around, “In a world where you can be anything – be kind.”

Tim McGraw actually used clips from Oprah’s series, “Belief” for the video of the song. Give it a listen and as you make your way through this crazy world – remember to be humble and kind:

“Humble And Kind”

You know there’s a light that glows by the front door
Don’t forget the key’s under the mat
When childhood stars shine
Always stay humble and kind

Go to church ’cause your mamma says to
Visit grandpa every chance that you can
It won’t be wasted time
Always stay humble and kind

Hold the door, say “please”, say “thank you”
Don’t steal, don’t cheat, and don’t lie
I know you got mountains to climb
But always stay humble and kind
When the dreams you’re dreamin’ come to you
When the work you put in is realized
Let yourself feel the pride
But always stay humble and kind

Don’t expect a free ride from no one
Don’t hold a grudge or a chip and here’s why
Bitterness keeps you from flyin’
Always stay humble and kind

Know the difference between sleeping with someone
And sleeping with someone you love
“I love you” ain’t no pick-up line
So always stay humble and kind

Hold the door, say “please”, say “thank you”
Don’t steal, don’t cheat, and don’t lie
I know you got mountains to climb
But always stay humble and kind
When those dreams you’re dreamin’ come to you
When the work you put in is realized
Let yourself feel the pride
But always stay humble and kind

When it’s hot, eat a root beer popsicle
Shut off the AC and roll the windows down
Let that summer sun shine
Always stay humble and kind

Don’t take for granted the love this life gives you
When you get where you’re going don’t forget turn back around
And help the next one in line
Always stay humble and kind

Turntable Talk #18 – The Man (or Woman) Behind the Curtain

It is time once again for another edition of Turntable Talk. This is a feature created by my friend Dave Ruch from the A Sound Day Blog. This is my 18th submission for this feature and it is something I look forward to writing each month.

This time around, Dave took us to the Land of Oz for inspiration. His instructions:

“Pay No Attention to That Man (Or Woman) Behind The Curtain” . Yep the famous phrase about the Wizard of Oz.

We’ve looked at a number of great artists – singers, groups, musicians – and their records. This time we’re switching it up just a little and are going to salute someone “behind the scenes” that was significant to music. All too often people do pay no attention to the people behind the curtain in music that are so important to the albums and groups we love. There are record producers, the record company bosses and talent scouts, the people on radio who used to make the hits happen, even unsung heroes like concert roadies. Pick one you feel is important and maybe a little un-noticed and tell us why!

As a former radio guy, I immediately thought I should write about a well known DJ. There are many of them who played a big part in the music industry. Dick Clark, Casey Kasem, Wolfman Jack and Alan Freed come to mind. However, I decided that I would feature a man who played on some of the biggest hits on the radio, yet until recently was relatively unknown.

40 years ago, James Jamerson passed away at the young age of 47. At the time he passed away, no one really knew who he was, despite being one of the best (if not THE best) bass player of all time! As a matter of fact, he often tops the list of Best Bass Players of all time by numerous publications. It has been said that he single-handedly revolutionized bass playing. I agree. His creative contributions to music certainly makes him a good pick for a “man behind the curtain.”

James Jamerson was born on January 29, 1936 in Charleston, SC. When his parents divorced, his mother moved to Detroit to find work. He would spend time with his aunt, grandmother and cousin. His aunt sung at church while his grandmother and cousin played piano. He spent time listening to gospel, Jazz, and blues music and that influenced his own musical abilities.

In 1954, his mother sent for him and he attended Northwestern High School. In the music room of the high school, he saw a stand up bass lying on the floor. He picked it up and began to play with it. He had “found” his instrument. He began to play at many of the Detroit area blues and jazz clubs.

He began to get noticed and he began playing for dances, weddings, frat parties, and other events. He was quite a local celebrity. It was hard to miss him driving through town with his bass sticking out the window of his car! Because he was still a minor, the good folks at the Detroit Police Dept. gave him a permit so that he could play in clubs that served alcohol. This allowed him to get more work.

Believe it or not, Wayne State University offered him a full ride music scholarship which he turned down! He was playing so often, he figured he was already in the music field, so why would he need to go to college? Instead, after he graduated high school, he joined up with Washboard Willie and the Super Suds of Rhythm (How’s that for a group name?!). It was during this time that he began to drink alcohol (which would eventually lead to his death).

In 1958, someone from the Northern Records label heard him play and asked him to sit in on the session recordings for the label. The unique way he played caught the ear of other labels. He began to work for Fortune, Tri-Phi, Anna Records, and eventually Motown.

He and the Funk Brothers (pianist Earl Van Dyke, drummer Benny Benjamin, and guitarists Robert White and Joe Messina) spent the days recording in the “Snake Pit” (the Basement of Motown Records) and playing at Jazz clubs in the evenings. Jamerson had switched from an upright bass to a brand new creation – the electric Fender Precision Bass.

The switch really made his work stand out. On some songs, he’d play the stand up bass and then double it with the electric. What made his work on the electric so awesome is that he played the electric just like he played the stand up bass – with one finger (which many folks called “the claw”).

While he is known for playing on many of the Motown songs, he also played on Boom Boom by John Lee Hooker, Whispers Getting Louder and Higher and Higher by Jackie Wilson, Agent Double-O-Soul by Edwin Starr, Cool Jerk by the Capitols, Show and Tell by Al Wilson, Boogie Fever by the Sylvers, and so many other hits! What made the Motown stuff so good was he had some free reign to be “James Jamerson.”

Musician magazine interviewed him in 1983 and he stated that the Motown songwriting and productions teams “would give me the chord sheet, but they couldn’t write for me. When they did, it didn’t sound right. When they gave me that chord sheet, I’d look at it, but then start doing what I thought would fit. I’d hear the melody line from the lyrics and build the bass line around that.”

One of the coolest examples of how he listened and did his thing was on two separate recordings of the same song. To help illustrate this, I found some isolated bass lines on YouTube that are fascinating! Jamerson played on Marvin Gaye’s I Heard It Through the Grapevine – a Motown classic! Check out the soulful line here:

Now check out the same song – and a funkier bass line – on the Gladys Knight Version:

I find it amazing that the same man can take the same song and make them so different.

Speaking of Marvin Gaye, the Funk Brothers shared a story about how Marvin wanted Jamerson to play on What’s Going On. James was out drinking and Marvin went out looking for him. When he found him, he brought him back to the studio. Jamerson was so drunk that he couldn’t even stand up! It was no problem for him, though, he just laid on his back on the floor and played on the track!

Trivia Bit: What’s Going On is the first track that Jamerson is credited on a recording.

It is said that James Jamerson played on almost every Motown song between 1963 and 1968. That would include over 60 songs that hit #15 or better on the charts. He also performed on 23 # 1 songs on the pop charts and 56 #1 songs on the R&B charts! Berry Gordy called him an “incredible improvisor” and said “I, like the other producers, would not do a session unless at least two of the Funk Brothers were present, namely Benny Benjamin and James Jamerson.”

Some of the other Motown songs that feature Jamerson:

Ain’t No Mountain High Enough – Diana Ross and the Supremes
Ain’t That Peculiar – Marvin Gaye
Ain’t to Proud to Beg – The Temptations
Baby, I Need Your Loving – The Four Tops
Baby Love – The Supremes
Bernadette _ The Four Tops
Can I Get a Witness – Marvin Gaye
Dancing in the Streets – Martha and the Vandellas
Don’t Mess With Bill – The Marvelettes
Going to a Go Go – Smokey Robinson and the Miracles
Home Cooking – Jr. Walker and the All Stars
It Takes Two – Marvin Gaye and Tammy Terrell
My Cherie Amour – Stevie Wonder
My Girl – The Temptations
Pride and Joy – Marvin Gaye
Reach Out, I’ll Be There – The Four Tops
Shotgun – Jr. Walker and the All Stars
This Old Heart of Mine – The Isley Brothers
Two Lovers – Mary Wells
What Becomes of the Broken Hearted – Jimmy Ruffin

You can also hear him on :

The Theme from S.W.A.T. – Rhythm Heritage
The Theme from Starsky and Hutch
Just Like Romeo and Juliet – The Reflections
Rock the Boat – Hues Corporation

The list of people who were influenced by Jamerson’s playing is almost as long as the list of songs he played on! Saxophone and bass player Wilton Felder called him “The Godfather of the electric bass.”

Suzi Quatro says, “I grew up in Detroit, so I was weaned on James Jamerson and Motown music. It’s in my DNA. He is still the best and I took my style from him. It’s hard to improve on what he did, because you are talking perfection.”

Sir Paul McCartney says, “Jamerson was where I picked up a lot of my bass style. Because bass players normally have to follow: we follow chords, follow the drummer, follow the vocalist, we have a following role. Suddenly the bass had power! We could dictate the direction of the music and add excitement. James Jamerson became just my hero, really.”

James Jamerson Jr. says, “As for his sense of syncopation, that was his God-given gift. I couldn’t even explain that one. I put it like this: My dad liked to dance, so he just danced on the bass. He would occasionally polish his bass, but he’d never touch the gunk that built up on that fingerboard. he told me the ‘dirt keeps the funk’.”

Years of drinking finally caught up with Jamerson. On August 2, 1983, he died of complications from cirrhosis of the liver, heart failure and pneumonia.

He was buried in Detroit’s Woodlawn Cemetery. A few years ago, Jamerson’s cousin saw a picture of his grave site. There was no headstone, only a grass marker. Eventually, the funds were raised and a proper headstone was set in place on August 27, 2021.

In 1989, Jamerson was the subject of a book loaded with great stuff – Standing in the Shadows of Motown. I think you can still get this on Amazon. A documentary of the same name was produced in 2002

He was posthumously inducted into the Rock and Roll Hall of Fame in 2000, received a Grammy Lifetime Achievement Award in 2004, and inducted into the Musicians Hall of Fame in 2007. Last month, in South Carolina, he was honored when a street was named for him.

It is a shame that it took so long for Jamerson and the Funk Brothers to get the recognition that they deserve.

As I prepared for this piece I found myself on YouTube listening to track after track of Motown stuff and listening with different ears. I focused on that bass line and really was blown away. These are songs I have heard countless times, yet focusing on that bass made them so fresh! As I said, the isolated tracks are an entirely different thing – it is so awesome to hear Jamerson “feel” and “drive” the tunes. It is no wonder that he is ranked the #1 bass player in the business by so many different sources, including Rolling Stone magazine.

Thanks again to Dave for allowing me to be a part of such a cool feature. I have already been impressed by the other blogger’s submissions. I am sure that they love taking part in this feature as much as I do.

Thanks for reading! Stay funky!