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OK, it nearly was. While Young sings as politely as before, the guitars riff and buzz with menace, setting out a whole new stall. Anything that requires a swagger, basically. Provenance aside, this intense brooder sees Page bowing his guitar as Robert Plant simmers with Black Country lust. More Holland Dozier Holland action with a song first earmarked for Motown labelmates The Marvelettes, who turned it down.
They were signed up by Wayne Bickerton — later the svengali behind The Rubettes — and, after some near misses, clocked up a minor hit with this dramatic slice of Northern Soul, a Top 40 entry back in their native States. Some fascinating kitchen sink realism from Paul McCartney. He lays on the lasciviousness, works up some groovy licks and spouts the smut while drummer Mitch Mitchell earns his wage with a clatter of rolling fills and general rabid hastiness.
Covered in by Red Hot Chili Peppers, who could hardly have resisted.
This is the lasting take though, pretty much a solo performance by Bobby Hatfield while the other Brother Bill Medley produced although Phil Spector took the credit. Its power and frankness — as well as it being a splendid song from the supreme pair of Carole King and Gerry Goffin — took it to the top in the US and kickstarted the girl group era.
But the musicianship and full-force funk makes it transcend the throwaway, as Sly Stone, guitarist Freddie Stone, bassist Larry Graham and hornsmith Cynthia Robinson all get a go on lead vocals and sweep the world up in the fun. Is it a half-speed electric piano? In the meantime he hepped up his riff with a fuzzbox to keep it warm until the real players came along.
Listen To Old Music - The Very Best Oldies 1950s thru 1990s
Well, thank goodness they never did. Singer John Fogerty claims he wrote it the day Richard Nixon won the presidency, and that it was designed to reflect the unease in the air. Over here record buyers saw it as a jolly pop tune and sent it to No.
With its gentle jangle and angelic harmonies this track set the template for all future alt-country jams.
Musica & Memoria / Cover anni ’60-’70 - Lista Parte 4
Everyone from Blur to The Libertines owes a reasonable debt to this slice of wistful British storytelling. The result was a Motown classic that pulsated with the knowledge of the depths of desperation and loneliness which found its beating, soulful heart beneath in the broad swells of the music. A cheery bolt of daydream escapism, amongst a background of social upheaval. The innocent, fairy tale romance nature of lyrics that cradled at young love like a Disney movie Spector was helped by Ellie Greenwich and Jeff Barry so touched Brian Wilson that he covered the track with The Beach Boys two years later in Grace Slick perfectly captured the mids hope that narcotics could change perceptions and the world.
Originally written by Richard Berry in , The Kingsmen put the track through the inner garage band grinder and created this walloping jive. As the ultimate stamp of grungy approval it would later be squished into submission by Iggy Pop. Its reflective mood was retrospectively haunting and the whistling solo was a happy accident — Redding meant to finish the lyrics before his fateful plane crash.
A stabbing at their infamous Altamont gig added an extra dimension of bitter twang as the soulful crisis of the track signaled the end of an innocent era. Nice bell work on the cymbals too.
Many musicologists trace them to the red raw chords of this track, the ludicrously heavy third single from The Kinks and the one that sent them stratospheric. An evocative, inventive and timeless masterpiece. Since covered by everyone from Megadeth to Jessica Simpson. Throbbing, pounding, and dripping with latent energy it epitomises the lurid appeal of The Stooges at their very best.
One of the few tracks composed by Nanker — Phelge, which was the collective pseudonym the Stones used when all five of them — Jagger, Jones, Richards, Watts and Wyman — contributed to the writing and more importantly shared the royalties. But this is Led Zep, so of course it does.
Gladys Knight followed him up, while Creedence Clearwater Revival turned it into a brilliant folk rock freakout. The Slits, meanwhile, post-punked the shit out of it. Released initially against the wishes of Motown man Berry Gordy, its lyrics are an embittered document of an infidelity, but its vocals are pure honeyed, Marvin sweetness. Misery never sounded so good. Of course the six minute monster went on to become a worldwide hit and one of the most influential pieces of music of all time.
This sped up live version is one of the all-time great performances. A prosaic and somewhat depressing trip turns irrepressibly chic in their hands, however, and this standout from their eponymous debut would eventually become a signature song. Until he died in massive accident, that is. Tragic storytelling at its succinct best.
Bassist Noel Redding got fed up during the sessions and walked out, and Hendrix redid his guitar parts umpteen times, moving from four track to eight track to 16 track as he went.
His pain, our gain.