(originally appeared in Shindig! issue #103)
‘Picture Me Gone’ is a sassy, bold ‘60s tune, on the timeless theme of “you’re thinking about dumping me? Yeah? Well, think about me dumping you first”. The most recent version of it appears to have been released in ’92, which is a shame; this gem is just waiting to be rediscovered.
‘Picture Me Gone’ was written by Chip Taylor and Al Gorgoni in the early ‘60s, when they were working at a New York music publishing company based across the street from the renowed Brill Building. The first artist to record the song was Continue reading
[originally appeared in Shindig! issue #86]
The late ‘60s and early ‘70s were a time of social unrest in the United States, and black Americans were a major part of the uprisings against systemic discrimination and inequality. While many black activists were challenging the societal norms that perpetuated racial oppression, they were also reclaiming pride in their own heritage – and producer and songwriter Teddy Vann was one of those activists. His ’73 single ‘Santa Claus Is A Black Man’, featuring his five-year-old daughter Akim, has been rightly described as “merging African-American empowerment with the spirit of the holiday”.
Vann was astoundingly prolific and multi-talented; although largely self-educated, he was Continue reading
(originally appeared in Shindig! issue #77)
Ask a Canadian to describe the city of Edmonton, Alberta, and the two words you are likely to hear are “cold” and “boring”. Edmonton is the northernmost large city in North America, sitting on roughly the same latitude as Moscow – and, as your correspondent discovered while living there, Edmonton can indeed be cold. Very cold. Like “outdoor temperature of -35C and windchill” cold.
However, despite its nickname of “Deadmonton”, Edmonton is not boring. Its winters are long and dark, but many of its residents grew up in small Prairie towns where, if you were bored, you made your own fun. So when Edmontonians get an idea, instead of thinking of reasons why it won’t work, they figure out how to make it happen. That adventurous attitude of “hey, this could be fun” led to the ’72 album Procol Harum Live: In Concert with the Edmonton Symphony Orchestra – a significant milestone in Procol Harum’s career, and a huge influence on the city where it was recorded.
By the late ‘60s, the potential for crossovers between classical music and rock music had already been demonstrated by Continue reading
(originally appeared in Shindig! issue 75)
To understand “women in music” in ’68 – and to understand why that’s even a thing worth talking about – we have to look at what was going on during that time with women in society. In ’68, women in music and women in society were second-class citizens, and they were angry. That anger laid the groundwork for change that would happen in subsequent years.
But before we go there: why “women in music”? Why not “everybody in music”? Men were, and are, the majority in the music business, so looking at women in music does have the effect of making them the outsiders, the oddities, the exceptions. But that separation is necessary to fully understand those women’s experiences, and to assess their impact on music then and now.
So roll back, Father Time, roll back, to the early ‘60s – when father knew best, when mother was at home, and when women only stayed in higher education or the workplace until they found a husband. In ’63, Betty Friedan’s book The Feminine Mystique started turning all that on its head. For many women, the book was Continue reading
[This article has been updated and expanded in the book Song Book; it originally appeared in Shindig! issue 75]
1968 was a time of upheaval and change at Motown Records. The company had moved its Detroit headquarters into a soulless commercial building, and founder and president Berry Gordy was spending much of his time in Los Angeles. Gordy was also being criticized for his relative silence on racial inequality – which was not an abstract issue for the company; among other things, many Motown artists were regularly subjected to racist threats or attacks while on tour. Other Motown acts were expressing frustration at the company’s focus on entertainment rather than on social commentary.
But amongst that uncertainty came ‘A Place in the Sun’, a song that spoke profoundly both of struggle and of hope for a better world. Although it was first recorded in ’66, more than a dozen artists –including, jointly, The Supremes and The Temptations – covered it in ’68, which indicates its relevance to those troubled times.
Ron Miller and Bryan Wells, the song’s co-authors, both came to Motown through quirks of serendipity. Miller, delivering pizzas to pay the bills, happened to bring Continue reading
[This article has been updated and expanded in the book Song Book; it originally appeared in Shindig! issue 73]
Hearing that your true love has married someone else is a devastating experience that you wouldn’t wish on your worst enemy. (Unless you are a nasty, miserable excuse for a human being, in which case you should probably be reading a different magazine.) As music fans, we tend to want our favourite artists to be happy – but we also recognize that an artist’s personal misery often results in great art. And so it is with Jimmy Webb’s ‘The Worst That Could Happen’: a song that draws on Webb’s own life events to brilliantly encapsulate the torment of someone else’s happiness becoming your sadness.
By the time Webb wrote ‘The Worst That Could Happen’ in the mid-60s, he had already Continue reading
[This article has been updated and expanded in the book Song Book; it originally appeared in Shindig! issue #67]
It seems that music fans either adore or despise the Bee Gees. The adorers believe the Gibb brothers have been unjustly ignored even though they might have been as musically adventurous as the Beatles. The despisers have heard enough of the Bee Gees during the disco era to last a lifetime and then some. Having lived through the aforementioned era – at its peak, allegedly, at any given moment there was at least one radio station somewhere in North America playing a Bee Gees song – this writer has some sympathy for the “enough” argument. But unfortunately the falsetto vocals and nasty polyester trousers have distracted attention from some of the Bee Gees’ other, truly lovely music.
‘Morning of My Life’– also known as ‘In the Morning’ – was never a hit, but Continue reading
[This article has been updated and expanded in the book Song Book; it originally appeared in Shindig! issue #65]
“He can communicate complex human emotions with just a few perfectly chosen words.” That’s how record producer and music industry executive Lenny Waronker, Randy Newman’s friend since childhood, explains the brilliance of Newman’s songwriting. And there is no better demonstration of Newman’s evocative ability than his songs about romantic heartbreak – such as ‘Living Without You’, from his ’68 debut album.
Newman started Continue reading
[This article has been updated and expanded in the book Song Book; it originally appeared in Shindig! issue #64]
‘Think of Rain’ by Margo Guryan is one of those songs that, upon hearing it, you think “Why on earth wasn’t this a massive hit?” It’s charming, it’s catchy, it’s exquisitely produced and arranged, and Guryan’s dreamy vocals perfectly match its mood of whimsical romance. But even though it was covered several times in the mid-‘60s, ‘Think of Rain’ remained largely overlooked for many years. Thankfully, subsequent re-releases of Guryan’s work have resulted in this sunshine-pop gem getting the appreciation it deserves. Continue reading
(originally appeared in Shindig! issue #63)
Fred Neil’s ‘The Dolphins’ grabs the listener from its first notes, just because it sounds so very different. The echoing acoustic and electric guitars shimmer like light reflecting off rolling ocean waves, and Neil’s dynamic, resonant baritone voice ebbs and flows like the tide. ‘The Dolphins’ doesn’t sound like the other songs on the same album; it doesn’t even sound like what other artists were doing in the same era. More than one commentator has described ‘The Dolphins’ as a perfect song, or something very close to it.
With that level of critical esteem, it’s more than surprising that Neil’s music, so well-regarded in its time, is now not widely known. That might be because his recording career was relatively short. He made only five albums between ’65 and ‘71, and then essentially walked away from the music industry; he may be most familiar to contemporary audiences as the writer of Harry Nilsson’s ’69 hit ‘Everybody’s Talkin’’. Neil also kept a deliberately low profile during and after his musical career, right up until he passed away in 2001. He was generous, he was kind to his acquaintances, he was humble, but he was also very private. Ric O’Barry, his friend for nearly 40 years, says, “I probably knew him better than anybody, and he was still a mystery to me. I didn’t know much about him and he didn’t talk much.”
But those who had the privilege of being his friend agree that ‘The Dolphins’ may be the song that is Fred Neil. Peter Childs, who played guitar on the song, describes ‘The Dolphins’ as “one of the purest expressions of who he really was.” O’Barry says, “It’s a beautiful song, it’s from the heart, and if you really want to know who Fred was, you just have to listen to his songs.”
Neil’s life and musical career Continue reading