My parents are gone and have joined my ancestors, and there is no one else in an earlier generation in my lineage.
Right after I got back to Albany, after my mother’s funeral in February 2011 in Charlotte, NC, I attended the church service of my current congregation. It was Black History Month, and I had helped organize the events but did not participate much in them. I’m standing in the congregation, rather than singing in the choir when we got to do Lift Every Voice and Sing.
I’m singing it, as I’ve done dozens of times in the past. We get to the lyrics: Out from the gloomy past,
Till now we stand at last
And I start sobbing uncontrollably. Don’t know if anyone, except The Wife, noticed, but I was unable to sing anymore.
I’m reminded of this because it’s always the last song we perform at my church in Black History Month, and I am still unable to get through the song without crying at some point, and that had not been an issue before 2011. I think it’s that “adult orphan” thing, that my parents are gone and have joined my ancestors, that there is no one else in an earlier generation in my lineage – my parents were both only children – and somehow I’ve become the eldest member of my tiny little tribe on earth, the children and grandchildren of Les and Trudy Green, who were married March 12, 1950, in Binghamton, NY.
You may not think you know the Isley Brothers, siblings out of Cincinnati, but it’s likely that you’ve heard at least some of their music, even if it was performed by someone else.
O’Kelly Jr., Rudolph, Ronald, and Vernon started out in gospel until Vernon’s early death from a bike accident. The remaining trio moved to the New York City area in the late 1950s. Their first significant song was Shout [LISTEN] in 1959, written by the brothers, which only went to #47, but eventually sold a million copies, and was heavily covered.
The trio spent three or four years with Motown, but like other groups that weren’t developed in-house, such as the Spinners, they would fare better elsewhere. They did have one Top 40 hit, This Old Heart of Mine (Is Weak for You) [LISTEN], which went to #12 in 1966, but which would become a bigger hit for Rod Stewart, featuring Ronald Isley when it went to #10 in 1990. Their biggest hit was It’s Your Thing [LISTEN] which soared to #2 in 1969. “By 1971, the Isleys’ younger brothers Ernie Isley and Marvin Isley and brother-in-law Chris Jasper started to add musical input to the band’s music.”
The big hit for them in 1975 was Fight the Power [LISTEN] which does, I should note, have an eight-letter word starting with bull contained therein.
After this, the brothers continued to perform in different combinations. Kelly succumbed to a heart attack in 1986, and Marvin died from diabetes in 2010.
Maybe the choreography, with the STOP hand gestures, was corny, but I loved it.
Also used for Round 15 of ABC Wednesday, S is for Supremes.
Flo, Mary, Diana
They were the Primettes, a sister group of the pre-Temptations Primes. Shortly after they became the Supremes in 1961, Barbara Martin left the quartet, and they became a trio: Mary Wilson, Florence Ballard, and Diana Ross. The nickname around Motown, unfortunately, was the “No-Hit Supremes” in 1962 and 1963 with A Breath Taking Guy their biggest hit (#75 in 1963). Their fate seemed to be backup singers. (LISTEN to Can I Get A Witness by Marvin Gaye from 1963.)
Suddenly, starting in mid-1964, a string of #1 hits, including five in a row, and eventually an even dozen.
I loved the Supremes, and I bought even their oddball albums that Berry Gordy had them do to show their range, such as A Bit of Liverpool; The Supremes Sing Country, Western, and Pop; We Remember Sam Cooke; and The Supremes Sing Rodgers and Hart. Among other things, it allowed Mary and Flo to take an occasional lead vocal.
Around the time the powerhouse songwriting team of Holland-Dozier-Holland left Motown c. 1967, the Supremes became Diana Ross and the Supremes, with Cindy Birdsong replacing Florence, who would die less than a decade later of cardiac arrest. The hits slowed, though they did some interesting work with the Temps, and Diana became a solo act by 1970.
22. Baby Love, from WDOLG. Loved “been missin’ ya, miss kissin’ ya.” Another #1 in 1964.
21. Am I Asking Too Much (from The Never-Before-Released Masters, 1987). This is one of those compilation CDs I got that has a bunch of songs from 1961 to 1969, including a bunch of Disney songs from an abortive album. This song was written by R. Dean Taylor and the late Deke Richards; the latter co-wrote Love Child and the early Jackson 5 hits, so this probably was recorded c. 1968.
20. Nathan Jones (from Touch, 1971) – this post-Ross song I didn’t really get into until it appeared on the soundtrack for the 1988 film Rain Man. Went to #16 in ’71.
19. I’ll Try Something New (from Diana Ross & the Supremes Join the Temptations, 1968). This song only went to #25 in 1969 (I’m Gonna Make You Love Me was the big hit), but I love how the voices trade-off here.
18. It Makes No Difference Now (from The Supremes Sing Country, Western and Pop, 1965). I like how the lead vocals are traded.
17. My World Is Empty Without You (from I Hear A Symphony, 1966). This song is so flexible, it was re-recorded as a tribute to Berry Gordy. The hit was #5 in ’66.
16. Going Down For The Third Time (from The Supremes Sing Holland-Dozier-Holland, 1967). My favorite album, almost certainly, and this album cut has that wonderful “Praise be!” from Mary and Flo.
15. Up the Ladder to the Roof (from Right On, 1970). At some level, I REALLY wanted the post-Ross Supremes to succeed, and this first single, #10 in 1970, seemed like a good start.
14. Try It Baby (from DR&SJT). This cover of a Marvin Gaye song starts with the wonderful bass voice of Melvin Franklin, reason enough to like it.
13. Some Day We’ll Be Together (from Cream of the Crop, 1969). The group was already readying for the next transition. The song is Diana with anonymous backup singers, though Diana, Mary and Cyndi do eventually sing it live on the Farewell album months later.
12. Honey Bee (from Love Child, 1968). I’m a sucker for songs featuring the pollinators. Tom Petty has a similarly named song.
11. Love Child (LC). A #1 song from 1968, I appreciated the fact that Mary and Cindi got to sing “scorned by”, instead of merely echoing everything Diana sang.
10. I Want A Guy (Meet the Supremes, 1962). Their first single as The Supremes in 1961, it went nowhere, but I loved the organ especially.
9. You Keep Me Hangin’ On (from SSH-D-H). A #1 single in late 1966, weird stereo of the time threw the sound from one speaker to the other. It was such a compelling storyline, Vanilla Fudge covered it on its eponymous first album.
8. Reflections (from Reflections, 1968). Their first single after Cindi replaced Flo, the single came out in 1967, going to #2, months before the album was released. On some Motown album, Mary described it as a “weird, weird song,” referring to the intro. I fell in love with it again when it was used as the theme for the TV show China Beach.
7. Where Did Our Love Go (from Where Did Our Love Go, 1964). The first hit single (#1 for two weeks in 1964) from the first hit album (#2, probably blocked by some Beatles LP). There is a wonderful purity of sound that’s so attractive.
6. Keep An Eye (from LC). “There used to be three of us seen all over town…” Great song of warranted paranoia.
5. Remove This Doubt (from SSH-D-H). Elvis Costello covered this, but I prefer the original. Breaks my heart.
4. Stop! In the Name of Love (from More Hits by the Supremes, 1965). Maybe the choreography, with the STOP hand gestures, was corny, but I loved it. Also that ascending organ line before the vocals. #1 for two weeks in 1965.
3. I Hear A Symphony (from I Hear A Symphony, 1966). While I love the songs that depend on the bass line, and the Supremes have a bunch of those, I also love this change-of-pace tune, which hit #1 for two weeks in 1965.
2. Buttered Popcorn (from MTS). Another non-hit single from 1961, with Florence Ballard on the wonderful lead vocals.
1. Love Is Like an Itching in My Heart (from SAGG). A massively successful album (#1 for two weeks), though the single only went to #9 in 1966. But I’m a sucker for its bottom sound.
There are several Harold Ramis films I haven’t seen yet, but the ones I DID view – Animal House, Ghostbusters, Analyze This – I really enjoyed. Groundhog Day was among the first movies I ever purchased on VHS. And his SCTV stuff was fine, too.
My niece, Rebecca Jade appears as a singer (typecasting, that) in a film called 5 Hour Friends, starring Tom Sizemore, a 97 minute comedy/drama/romance. “A lifelong womanizer gets a taste of his own medicine.” It was made in 2013, but not widely released, if at all. It will be in theatrical release in San Diego March 28-April 4th. Here’s the trailer, in which Rebecca can briefly be both seen and heard singing.
Frog still torturing himself with 50 Shades of Smartass: Chapter 13 and Chapter 14 and Chapter 15 and Chapter 16. When I typed the title, I accidentally wrote “50 Years…”; read into that what you will.
I saw a video of Michael Feinstein, who tended to Ira Gershwin’s papers the last six years of the lyricist’s life. Feinstein was asked who is missing from the discussion of the Great American Songbook, musical standards written by Gershwins, Cole Porter, Irving Berlin, Duke Ellington, and the like in the first half of the 20th Century. Feinstein suggested Woody Guthrie, whose This Land Is Your Land is at least as beloved as Someone To Watch Over Me.
The Guthrie family is musical. Arlo’s “sister is record producer Nora Guthrie.” Arlo’s children “have also become musicians. Annie Guthrie writes songs and performs, and also takes care of family touring details. Sarah Lee performs and records with her husband Johnny Irion. Cathy plays ukulele in Folk Uke, a group she formed with Amy Nelson, the daughter of Willie Nelson. Abe Guthrie was formerly in a folk-rock band called Xavier and now tours with his father. Abe Guthrie’s son, Krishna, is a drummer and toured with Arlo Guthrie on his European tour…”
