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From Which “Grapevine” Did You Hear It?

Which iteration should be considered the original? Surely, one could make a case for the Miracles’ version. But many experts would pick the version first released, and that would be the Pips’.

I love good cover versions of songs. Came across a rather fine list from Popdose. And I so agree with the opening statement: “It’s generally agreed upon that if you don’t have any new flavor to add to the original, you shouldn’t bother doing a cover.”

Certainly can’t argue with the top two, “Respect” by Aretha Franklin, originally performed by Otis Redding; and “All Along the Watchtower” by Jimi Hendrix, originally done by Bob Dylan. Both of the original artists have acknowledged the transformative nature of these covers. A previous list I saw contained songs that I had never heard of in the Top 10, which I discovered were less than six years old; seems to me these songs need to stand the test of time

But I have one nit to pick over this list, and it’s around the song “I Heard It Through the Grapevine.” As noted here and elsewhere, the song by Motown staff writers Norman Whitfield and Barrett Strong was first recorded by Smokey Robinson and the Miracles on August 6, 1966. And Marvin Gaye recorded his version on April 10, 1967. But Berry Gordy, the head of Motown, hated the song & vetoed the releases by both artists.

Gladys Knight and the Pips’ version* was recorded next, and was very reluctantly released by Gordy. It went to #1 on the R&B charts for six weeks, and to #2 on the pop charts for three weeks in the fall of 1967.

It was only after this point that the other two versions were released. The Miracles’ was just an album cut, but Marvin Gaye’s single was #1 for seven weeks on both the R&B and pop charts in the late fall of 1968, a Grammy Hall of Fame winner in 2001. “Gaye’s version has since become a landmark in pop music. In 2004, it ranked No.80 on Rolling Stone’s list of The 500 Greatest Songs of All Time. On the commemorative 50th Anniversary of the Billboard Hot 100 issue of Billboard magazine in June 2008, Gaye’s version was ranked as the 65th biggest song on the chart.”

So two questions exist for me: first, which iteration should be considered the original? Surely, one could make a case for the Miracles’ version. But many experts, such as Brian Ibbott of Coverville, would pick the version first released, and that would be the Pips’.

Also, how could the panel pick the perfectly fine version of this song by Creedence Clearwater Revival* over the Marvin Gaye classic, even if the latter did get overplayed in the 1980s, around the time of the movie the Big Chill? Not so incidentally, I don’t own the Miracles’ version, but I do have CCR, Gaye, and the Pips, which is actually my favorite take.

And while I’m thinking about Marvin, I would definitely find room on that covers list for Wherever I Lay My Hat, originally done by Gaye, but covered by Paul Young.

*Link to the music

NOT SHY question

The title song of Simon and Garfunkel’s Parsley, Sage, Rosemary and Thyme is Scarborough Fair/Canticle.

I happen to catch the song Magnet and Steel by Walter Egan at my bank, which is also a Starbucks You can LISTEN to it HERE. The backstory: Stevie Nicks sang on this track, and provided inspiration for the lyrics.

I’m a sucker for albums that have a title song but isn’t the title of the album. The album title is Not Shy, a reference in the song. “With you, I’m not shy.”

In Kill to Get Crimson by Mark Knopfler, the lyrics of Let It All Go include “I’d kill to get crimson on this palette knife.”

The title song of Simon and Garfunkel’s Parsley, Sage, Rosemary and Thyme is Scarborough Fair/Canticle. Negotiations and Love Songs, and Shining Like A National Guitar are collections of Paul Simon’s songs. The titles are taken from lines in the songs Train in the Distance and Graceland, respectively.

And of course, Nevermind by Nirvana is in reference to a word/words? in Smells Like Teen Spirit. (Oh, speaking of that song, a cover by 2 Cellos.)

Got any other examples of lines of songs that provide the title of an album?

And the “Wichita Lineman” is stuck in my mind

“‘And I need you more than want you/and I want you for all time’ is simply a genius couplet, no doubt about it.”

The song Wichita Lineman, written by Jimmy Webb and performed by Glen Campbell, keeps popping up in my life.

First I was watching a segment of CBS Sunday Morning (aired on July 31, but I watched later), where Webb was interviewed. He indicated that, after he’d given Campbell “By the Time I Get to Phoenix”, Campbell wanted “another ‘Phoenix'”. Webb replied that he didn’t have ANOTHER ‘Phoenix’. He wrote most of “Wichita Lineman”, but he wasn’t finished; nevertheless, Campbell recorded it, using a guitar solo where Webb thought the song was incomplete.

Then Campbell, who had announced that he had Alzheimer’s in June was interviewed by ABC News in August. He shared the fact that the favorite of his songs was Wichita Lineman, as he noted his favorite lyrics. As Johnny Bacardi noted here: “‘And I need you more than want you/and I want you for all time’ is simply a genius couplet, no doubt about it.”

Here’s the studio version and here’s a live version.

What songs are currently stuck in your mind?

Paul Simon: “How terribly strange to be 70”

On March 1, 2007, Simon made headlines again when he was announced as the first recipient of the recently-created Gershwin Prize for Popular Song.

I don’t think I can fully explain how INTEGRAL Paul Simon has been in my life, but I’ll try. In fact, I’ll try twice: once, now, for the albums related to his solo career, and again on November 5, for the earlier stuff with Art Garfunkel; November 5, Artie turns 70 as well.

Paul Simon (1972) – Here’s a video of a young woman playing Duncan at a Paul Simon concert; there’s a song I once could relate to.

There Goes Rhymin’ Simon (1973) – for a time, my favorite Paul Simon/S&G album.
Kodachrome – I used it. Quite a bit, in the day.
One Man’s Ceiling Is Another Man’s Floor – just a few months ago, I noted that some tax break for small struggling businesses was a good thing. Someone took great exception to this. I replied, “Well, as Paul Simon would say, ‘One Man’s Ceiling Is Another Man’s Floor'”. I used to cite it a LOT.

Still Crazy After All These Years (1975) – like Paul, a breakup album for me, big time. I watched the Grammys when, in “Simon’s acceptance speech for the Album of the Year award…he jokingly thanked Stevie Wonder, who had won the award the two previous years…for not releasing an album that year.” I LOL. Probably my favorite album.
I Do It for Your Love – ‘the orange [carpet] bled the blue”; not literally, but a good reflection of an apartment I once shared.
50 Ways to Leave Your Lover – listened to grand debates about whether this song was namechecking comic book icons JACK Kirby, STAN LEE, and ROY Thomas. And if so, who the heck was Gus?
Have a Good Time – I used to play this song every March 8: “Yesterday eve was my birthday…”

Paul Simon appeared in my favorite movie, Annie Hall (1977).
He put out the first of two many greatest hits albums (1977) which featured Slip Slidin’ Away. “You know the nearer your destination…”

After One Trick Pony (1980 movie and soundtrack), featuring Late in the Evening…

Hearts and Bones (1983) – this album sold not at all well. “The album was originally intended to be a Simon & Garfunkel reunion album called Think Too Much, following their Central Park reunion concert in 1981, and the world tour of 1982 – 1983… However, creative tensions appeared between the duo during the sessions…This led to the duo abandoning the project altogether; Simon wiped Garfunkel’s vocals from the completed tracks and reworked the songs for a solo album.” And many people in my circle of friends were LIVID about this, that he didn’t have the right to wipe off Art’s vocals. I defended Paul, but I was clearly in the minority.

It was generally believed that Paul Simon’s commercial appeal as a musician was about over, even by Paul Simon. He did appear on We Are the World single (1985).

But then, Graceland (1986), which was so beloved by the girlfriend at the time, it was wearying. Still, a great album, with Diamonds on the Soles of Her Shoes, You Can Call Me Al, and Homeless.

On The Rhythm of the Saints (1990) tour, I saw Paul Simon for the one and only time, in the Knickerbocker Arena in Albany in March 1991 in the nosebleed seats. And the percussion on The Obvious Child was STILL too loud. (The show was similar to the Central Park show in August of that year.) The girlfriend and I broke up very shortly after this show. Guess I wasn’t “Born at the Right Time.”

I just never warmed up to Songs from The Capeman (1997). That said, I should note that the killer wanted to go to college at my alma mater, New Paltz.

You’re the One (2000) was more to my liking, though there’s no single song that stood out for me.

Surprise (2006) was well-promoted and had songs that moved me. It included the song about narrow-mindedness, How Can You Live in the Northeast?; the unfortunately appropriate Wartime Prayers, and Father and Daughter. A different mix of the latter song appeared way back in the children’s film The Wild Thornberrys Movie (2002). I took great exception to the last line in the chorus: “There could never be a father who loved his daughter more than I love you.” Says YOU, Paul Simon! Of course, at the time it was first released, I didn’t HAVE a daughter, but still…

So Beautiful or So What (2011) – Amazingly still relevant. The Afterlife is a funny song about death.

Here’s what I ended up picking as my Top 10 Paul Simon solo cuts. Except for the top 2, it’s pretty fluid. Any one of about 15 songs, most mentioned here, could have been on the list. (All songs linked to recordings.)

10. Mother And Child Reunion (from the eponymous album) – I love the story how Paul wrote this after seeing it on Chinese restaurant menu; it’s a dish with chicken and egg.
9. Something So Right (There Goes Rhymin’ Simon) – this feeds right into my general pessimism, and surprise.
When something goes wrong, I’m the first to admit it
I’m the first to admit it
But the last one to know when something goes right
Well it’s likely to lose me
It’s apt to confuse me; It’s such an unusual sight
8. Getting Ready for Christmas Day (So Beautiful or So What) – I listened to this single, released in November 2010. Paul doing something new for him, sampling, in this case of a 1941 sermon by the Rev. J.M. Gates, interestingly from the year he was born.
7. The Late Great Johnny Ace (Hearts and Bones) – this is a song about a 1950s singer who died, but also about the death of John Lennon. The Philip Glass ending I always found haunting.
6. American Tune (There Goes Rhymin’ Simon) – the tune is quite similar to the JS Bach hymn O Sacred Head, Now Wounded, and it has a wounded lyric.
Many’s the time I’ve been mistaken, And many times confused
And I’ve often felt forsaken, And certainly misused.
But it’s all right, it’s all right, I’m just weary to my bones
5. Gone at Last (Still Crazy After All These Years) – at some point in the 1970s, I heard the Jessy Dixon Singers perform this sans Simon and the late Phoebe Snow, and it was still great.
4. Graceland (Graceland) – a wonderful story-song traveling with his “child from my first marriage” and a great guitar line.
3. Still Crazy After All These Years (Still Crazy After All These Years) – the first line was literally true, eventually: “I met my old lover on the street last night. She seemed so glad to see me, I just smiled.”
2. The Boy In The Bubble (Graceland) – The first song on the ‘Graceland’ album, and I was so obsessed with the intro of it, that sometimes I’d play it again. An extended version of this was “released on vinyl clocking in at 6:13, including a heavier focus on rhythms between the verses.” My friend Rocco owned it, and my local record store promised to order it for me, but they were unable to restock it. Thanks, YouTube.
1. Loves Me Like a Rock (There Goes Rhymin’ Simon) – growing up to be President. AND the Dixie Hummingbirds on vocals.

“On March 1, 2007, Simon made headlines again when he was announced as the first recipient of the recently-created Gershwin Prize for Popular Song. The Prize, created by the Library of Congress, was awarded to Simon during a Concert Gala featuring his music at the Warner Theatre in Washington, D.C., on the evening of May 23. The event was nationally broadcast on PBS on the evening of June 27, 2007” and of course, I watched. Here’s Love Me Like a Rock, featuring Stevie Wonder.

Paul Simon at the 9/11 anniversary ceremony in 2011, performing The Sound of Silence.

M is for Martha

Mary sat and listened to Jesus as he talked, but Martha objected to the fact that she was left with all the work.

I always liked the name Martha. Partly, it’s because my first girlfriend was named Martha. I used to serenade her with the song Martha My Dear by the Beatles [LISTEN], from the white album. It was only later I discovered that Martha was Paul McCartney’s English sheepdog.

Martha Dandridge Custis Washington (pictured), of course, was the first First Lady of the United States, though she wasn’t so dubbed at the time. Martha is one of those classic girls’ names that, while extremely popular in the US in the 1880s (#14 in 1882), never lost at least a core of support; it didn’t leave the top 100 until 1966 and was still at #709 in 2010.

I’ve heard the slightly derisive term “being a Martha.” This referred to Luke 10:38-42 when Martha of Bethany and her sister Mary “offered hospitality to their friend Jesus…Mary sat and listened to him as he talked, but Martha objected to the fact that she was left with all the work. Jesus told Martha not to worry about small things, but to concentrate on what was important.” This proved to be a key concept in Christian hospitality; don’t NOT invite someone over, just because your home is not immaculate.

My daughter is fond of a PBS TV program called Martha Speaks, which “is an animated children’s television sitcom based on the 1992 children’s book of the same name by Susan Meddaugh about a talking dog named Martha…who is owned by ten-year-old Helen… When Helen feeds Martha some alphabet soup, the soup travels to her brain instead of her stomach, resulting in her ability to speak. The show focuses on synonyms and vocabulary, with each episode featuring an underlying theme illustrated with keywords.” LISTEN to the opening title theme song, which features these lyrics: “Martha Speaks and speaks and speaks and speaks and…Communicates, enumerates, elucidates, exaggerates, indicates, and explicates, bloviates, and overstates and (pant, pant, pant) hyperventilates!” And here is a video guide to the episodes.

ABC Wednesday – Round 9