The 1960s. Flower-power. The counterculture. The Mamas and he Papas 1966 debut “If You Can Believe Your Eyes and Ears” captured it all better than any pop album at the time. Bohemian folk rock, Beatlesque R&B, and a touch of soul that could replace the worst case of the Monday Monday doldrums with harmonious California Dreamin’.
This is the second album cover for “If You Can Believe Your Eyes and Ears”. Like this one, the original cover showed the band members all sitting in a bathtub, but instead of a box listing the singles from the album in the lower right corner, it showed the bathroom’s toilet. That cover was banned shortly after the album was released because some people felt showing a toilet on the cover was obscene. Some record stores even refused to carry it. The original cover is such a rarity that today it can often sell for well over $100. I hope to one day run across it at a more reasonable price. Until then, at least I have the music.
Rock and roll was going through some significant changes going into the 1980s. Many bands that had cut their teeth in the ’70s either couldn’t adapt to the newer sound and fell by the wayside or overcompensated and were labeled as sell-outs by their long time fans. For The J. Geils Band the transition was easy. Their style of r&b party rock didn’t need to change much at all to propel them to the top of their popularity and the top of the record charts without alienating any of their fans.
The conversation within the band may very well have gone something like this:
Peter Wolf: “Seth, we need you to start playing more synthesizers instead of just piano and organ.”
Seth Justman: “Okay.”
I don’t know if that’s the way it all went down, but it could’ve been. That’s really all Geils did for “Love Stinks” to become their second most successful album shortly after it was released. Their next album, “Freeze Frame”, would do even better.
Sam Cooke was a pioneer of soul music, bringing it to the forefront of popular music. Once dubbed the King of Soul, without his groundbreaking songs, popular music may never have come to see the rise of Marvin Gaye, Stevie Wonder, and Aretha Franklin (later dubbed the Queen of Soul); all followed in Cooke’s soulful footsteps.
I guess it should be expected that every song on a greatest hits album is great. So I’ll avoid that particular and predictable redundancy to describe Sam Cooke’s 1965 Greatest Hits album. The description I will use instead is timeless.
Unfortunately, the music world lost Sam Cooke much too soon when in 1964, he was shot and killed by the manager of a motel he was staying at. His death was ruled justifiable homicide in self-defense but that ruling was immediately brought into question. The actual circumstances surrounding Sam Cooke’s death has forever been shrouded in controversy. He was only 33 years old.
There’s a reason “Diamond Life” by Sade (pronounced shah-DAY) was one of the best-selling debut albums in the ’80s. It’s musical combination of jazz, soul, and pop made the songs infectious and irresistible. And then there’s Sade Adu’s sultry and seductive voice. This is the perfect album to start off the day or relax to at the end of it.
Born in Nigeria, Helen Folasade Adu eventually moved to England where her creativity and beautifully exotic looks landed her careers in both modeling and fashion design. But it was while singing background vocals for a local band, Pride, that she found music to be her true calling. Changing her performing name to Sade Adu, she convinced three members of Pride to form a band with her. My guess is it didn’t take much convincing.
“Diamond Life” went on to sell over 4 million copies worldwide and topped the charts in numerous European countries. It hit number 2 in the U.K. and number 5 in the U.S. In the following years, Sade released many more successful albums earning them 9 Grammy nominations, taking home four. Their most recent album, “Soldier of Love” was released in 2010. It hit number 4 in the U.K. and topped the U.S charts.
Not every artist achieves their true masterpiece. In 1971, Janis Joplin released her true masterpiece. Sadly, she died three months before it came out. She was only 27.
Janis had one of the most soulful and passionate voices in rock and roll. I wouldn’t say it was a good voice, at least not by traditional standards, but Janis knew how to use it to wring every ounce of emotion out of any song.
Two of the most memorable songs on “Pearl” are “Me and Bobby McGee”, a song penned by Kris Kristofferson, and the a capella “Mercedes Benz”. The latter is the last song Janis recorded; she died three days later from a drug overdose.
1953 to 1972. If it’s 20 years into the history of rock and roll and you want to chronicle the music year by year on a double album, you better have a recognized rock and roll authority on the cover. Maybe someone like Dick Clark.
From the fifties into the eighties, Dick Clark, a former rock and roll DJ from WFIL in Philadelphia was the host of American Bandstand. In its 37 years on the air, Bandstand helped launch or excel the careers of more rock and roll bands than probably any other single show – over 8 thousand different acts.
I picked this album up at an estate sale not too long ago. Besides being excited about finding this great compilation of early rock and roll, I was really excited find it still had the 24 page yearbook and bonus record still with it. A lot of times, the extras like these get separated from the album. The yearbook was very insightful, talking about significant events of each year and how popular music both affected and was affected by them.
The bonus record is a picture disk that has Dick Clark’s brief recollections of the numerous bands that made their first appearance on one of his shows. It’s a great insight to just how influential Dick Clark and American Bandstand were during the first 20 Years of Rock n’ Roll.
There are singers, and there are interpreters.
Interpreters are a rare breed of singers. Interpreters don’t need to write their own songs, although they do on occasion; they make any song they sing their own. Interpreters can choose a song that you think could never be done by anyone except the band that first wrote, performed, and made it popular, and turn it into something totally original. They make it unforgettably their own.
Joe Cocker is an interpreter.
So what do you do when it’s a humid 95 degees and the air conditioning decides it’s taking the week off?
Put on some reggae, pour some margaritas and start Jamming.
“Don’t worry ’bout a thing
‘Cause every little thing gonna be alright”
It may not bring the temperature down, but it will help you chill, mon.
So what do you do when you signed a contract with a new record label but still owe your current label one more album? If you’re The J. Geils Band, you make a record that departs from what you’ve done before and try something new. What have you got to lose?
Even though it still sounded like The J. Geils Band, “Monkey Island” deviated heavily from the influences the band drew from on their six previous records. Perhaps to mark the departure in style, the band chose to shorten their name to simply “Geils” for “Monkey Island”. It is the only record of theirs to use this abbreviated name. It’s also the only album that they used a horn section, a group of background singers, and a string section.
Departing from the sound of their previous albums, “Monkey Island” plays more heavily on funk and soul than any other album Geils ever did before or after. They even try their hand (rather successfully) at a little doo-wop, with the song “I Do”. Although never released as a single, that song became a radio mainstay in the Detroit area, where Geils had their strongest following outside of their hometown of Boston. A live single of “I Do” would later be released from The J. Geils Band’s third and final live album, “Showtime”. Appropriately, that version was recorded at Pine Knob Music Theater near Detroit.
Although “Monkey Island” remains one of the least commercially successful albums by the J. Geils Band, probably because of it straying from what was expected from them at the time, it remains one of my favorite albums by them, for that very same reason.
If you’re ever in the moon for rock and roll mixed with Celtic music – heavy on the Celtic – may I recommend Kevin Rowland and Dexy’s Midnight Runners’ 1982 album “Too-Rye-Ay”.
If you’re from the US, you probably think of Dexy’s Midnight Runners as one hit wonders, their hit being “Come On Eileen”. Although that song hit number one on the US charts, Dexy’s failed to have any other song that did more than make a dent in them. If you’re from the UK however, when “Too-Rye-Ay” came out, you probably already knew of Kevin Rowland and his band from “Geno”, their previous number one on the UK charts. You probably also remember their two other hits from this album, “Jackie Wilson Said (I’m in Heaven When You Smile)” and “The Celtic Soul Brothers”.
I have to admit, my musical tastes seem to gel better with the more diverse sounds that become popular in Britain and Europe. The American charts tend to be less adventurous. “Too-Rye-Ay” is the only record in my collection by Kevin Rowland and Dexy’s Midnight Runners. I have a feeling I’d have one or two more had I lived overseas. I’ll have to keep my eyes open for some of their other records when I visit the used record stores around here.