Yesterday’s post featured one form of “mismatch” we often find around here and enjoy sharing, that of performers with the same or similar names.
For today’s post we have a song with the same title as a more famous recording. This record by Paul Cunningham and the Country Stringmasters was released in 1970, long before the Barenaked Ladies song of the same name became a fan favorite, but it has a similar sentiment.
As a side note, we read on Wikipedia that fans of the Canadian pop group would bring Kraft macaroni and cheese and throw it on stage during performances of the song. The cheese packets would sometimes be opened and, under the stage lights, would become stinky. Some fans would prepare the food before throwing it, causing the band to request the practice be put to rest (“Those in the know don’t throw”) and donate the boxes of Kraft dinner to a food shelf instead. The whole story proves you can have too much of a good thing.
Mistaken identities are a favorite find around here.
This keyboardist is not to be mistaken for the Grammy-winning jazz performer frequently heard sampled in classic hip hop albums — Bob Kames is not as famous as Bob James, but he did have an extraordinary and successful career. Kames is credited with helping to popularize “The Chicken Dance” in the United States. He also ran a Wisconsin chain of record shops called Bob Kames Wonderful World of Music, where one could almost certainly have found a copy of Touchdown.
Kames recorded over seventy albums during his long career. His first single, “You Are My One True Love” was reissued by London Records and became a hit in 1949. He also briefly performed with the Lawrence Welk Orchestra and produced a number of television specials based in Milwaukee.
A funny song recorded by Jean Shepard and Ray Pillow. These two recorded an album together from which the hit single, “I’ll Take the Dog” acts out how the dog saved a couple’s marriage. Shepard had one of her biggest hits later the same year with “Many Happy Hangovers to You.” The duo never recorded together again, and Pillow never found the same level of commercial success.
“Mr. Do It Yourself” is about a handyman who can’t get things right, and features some fun sound effects.
Jean Shepard passed away two years ago, at which time she was the longest-living member of the Grand Ole Opry. Her legendary career in country music was recounted in her 2015 biography Down Through the Years.
Ray Pillow is eighty years old and still singing. He released a CD on his own label last year which is available through his website but we couldn’t get it to load this morning (here).
“Superstition” may be one of the most universally beloved songs on record – few and far between are the freaks who won’t freely admit Stevie’s mastery of funkiness
Remarkably, Stevie Wonder – strangely inured to his own genius – nearly gave the song away to instrumental rocker Jeff Beck. The well-known guitarist is credited with creating the drum part which opens and propels “Superstition”, although it is of course Stevie who pl
The question is why do we love “Superstition” so much? In a larger sense what is it about Stevie’s seminal 1970-1972 albums (Signed, Sealed & Delivered, Where I’m Coming From, Music of my Mind, and the boy wonder’s magnum opuses Talking Book, Innervisions and Fulfillingness’ First Finale)? Believe it or not the answer to our questions is first found in the music of the Baroque period…
Although the clavichord was invented in the fourteenth century, it was during the Baroque period that it achieved it’s greatest popularity, especially in Bohemia, the Iberian Peninsula, and Scandinavia. It’s assumed that many of the leading composers of Baroque music enjoyed performing on the clavichord in their homes, even if little music was specifically composed for the instrument.
Clavichords are too quiet for the concert hall, unfortunately. They are also among the most expressive keyboard instruments because the player has so much control over the duration and volume of each note. Pressing a key on a clavichord causes a hammer to strike the string in a way more similar to a guitarist’s “hammering” technique than a similar action inside a piano. The hammer remains in contact with the string, and as the player’s finger releases the key the string is dampened and thereby silenced. This allows the performer to create a punchy, percussive – potentially funky – sound on the instrument. See where this is headed?
In the 1960s Baroque music experienced somewhat of a short-lived revival, both in the classical world and in pop music. One of my favorite composers of the era, Burt Bacharach, began writing elaborate, narrative melodies often orchestrated with traditionally Baroque instrumentation. Bacharach’s orchestrations from this period frequently rely on flugelhorns for accent and color.
The Beach Boys’ Pet Sounds is often identified as the high point of “Baroque pop”, fitting as Brian Wilson had been one of the first to explore the high-falutin’ sub-genre with his elaborate work on the second side of the 1965 album The Beach Boys Today! The era’s other leading acts followed suit: The Rolling Stones with “Lady Jane” and the Beatles with “Eleanor Rigby”, a track on which their voices were backed only by a string quartet arranged by George Martin. As with many of the Beatles’ passing fancies, Baroque music was by and by the subject of ridicule, this time via George Harrison’s parody “Piggies” on the White Album.
Sophisticated baroque arrangements became commonplace in pop music, often occupying the upper echelon of the charts (Although remarkably many of the perennial favorite to come out of this era – the Moody Blues’ Days of Future Passed, the Bee Gees’ Odessa or the Zombies’ Odyssey and Oracle, for instance – would top Billboard’s US albums chart). Although it was enormously popular for a short time, inspiring not one but two Bacharach Baroque albums, the sub-genre faded rapidly as pop music took a turns towards rootsy-er, more basic influences like blues and classic country.
In this brief Baroque flourishing, Hohner introduced the Calvinet, an electronically amplified keyboard instrument based on the clavichord. It used electronic pick-ups in the same way as a guitar, although it was initially marketed at enthusiasts of Baroque and Renaissance music, not rock and soul performers. The Clavinet retained the intimate action of the clavichord as well as it’s percussive potential, and as an electronic instrument could be run through pedals the same as a guitar. It was only a matter of time before this modest, wood-paneled 60-key Baroque instrument would change popular music.
The earliest appearance of this instrument, first introduced by the German manufacturer in 1968, may have literally dropped out of the sky. Sun Ra’s 1969 album Atlantis is of greatest interest to his fans for establishing the framework in which he would work for the following decade with its side-long title track, but two songs on the flip of the disc feature “the solar sound instrument”, something that sounds distinctly like the Clavinet.
With some irony, it is an American-roots band (from Canada) who next fold the new instrument into the rock tableau – The Band’s keyboardist Garth Hudson played the instrument through a wah wah pedal on the group’s hit single “Up on Cripple Creek” the same year Sun Ra was exploring the distant expanses of the deep sea.
With Hudson’s innovative performance in “Up on Cripple Creek” (credited on the back of The Band as the “clavinette”) the potential of this mysterious new machine was revealed. Stevie Wonder was an early innovator, presaging “Superstition” with his reworking of the Beatles’ “We Can Work It Out”.
Sly Stone tapped into the Clavinet’s potential for subtlety with “Family Affair”, a song also remarkable as an early drum machine experiment.
On the flip side to his hit single “I Wrote A Simple Song” Billy Preston took the instrument to new funky heights in his first piece written for it, an instrumental called “Outta-Space”.
And then there was “Superstition” – All hell broke loose because everybody wanted to use the Clavinet, yet few could engineer and perform at the level of Stevie Wonder. A year later, his own “Higher Ground” was the closest anyone came to the total awesome-ness of “Superstition”. Our choice for a close second? Dr. John’s “Right Place, Wrong Time”:
Oftentimes in this period the Clavinet was used to establish a funky backing track, as with several tracks Bob Marley and the Wailer would record in the early 70s. Their first to feature a Clavinet, “Concrete Jungle”, remains one of the best, with the keyboards bubbling with lively energy underneath a searing guitar solo.
The Clavinet never played a central role in jazz fusion, despite the coincidental appearance of each in the late 60s and the instrument’s feature on what we imagine must be the genre’s most popular album, Herbie Hancock’s Headhunters. The fifteen minute “Chameleon”, not surprisingly a dancefloor favorite then and now, is entirely unimaginable without the Clavinet.
In fact, Hancock is pictured on both sides of the jacket seated at a Hohner D6 Clavinet, the most popular model.
So there you have it: Strange connections, unimagined consequences, and technological innovation driving new creations. We’d be surprised if you didn’t have several of these records on your shelves, or at least several of these songs saved in the computer through which you’re reading these words. Although very different from one another (you can’t get much further apart than Sun Ra and Garth Hudson, can you?) each owes it’s unique sound to an instrument that has not been made for years. In fact, more often than not the only appearances of a Clavinet in pop music are in the form of samples from songs recorded between 1969-1973.
Available this weekend after a long wait are two new songs by Black Market Brass, Minneapolis’ irrepressibly awesome afrobeat ensemble. The tracks were recorded last year at Colemine Records’ famous Plaid Room in Loveland, Ohio and are available on a new 45rpm single.