Posts Tagged ‘Sergio Mendes’

CHART ATTACK!: Beatles Edition

Well, Beatles covers, anyway.

As if you haven’t noticed, it’s Beatles Week here on Popdose. Hell, it’s Beatles Week all over the world. Well, far be it from me to stay away from any bandwagon, but as you know, I gotta give things a little bit of a twist. See, I could talk for days about the Beatles’ appearances on the Billboard Top 10. They hold a million records, too — “Hey Jude,” for example, was the first single in the history of the Hot 100 to enter the charts at #10, and stayed at the top for nine weeks, longer than any other Beatles single. But what can I really say about these songs that hasn’t been said before? So instead, I thought I’d present you with ten Beatles covers that appeared in (or at least hovered around) the Top 10. Okay, I’ll be stretching it a little: two of these songs were never recorded by the Beatles but were written by Paul and/or John. Still, I think it provides for a fun week. And as a little treat — every single song is available for download! (You can thank/curse me later.) Off we go with CHART ATTACK!: Beatles Edition!

10. Here Comes the Sun — Richie Havens Amazon iTunes
9. Goodbye — Mary Hopkin Amazon iTunes
8. We Can Work It Out — Stevie Wonder Amazon iTunes
7. You’ve Got to Hide Your Love Away — The Silkie Amazon
6. Got to Get You into My Life — Earth, Wind & Fire Amazon iTunes
5. I Saw Him Standing There — Tiffany Amazon iTunes
4. The Fool On The Hill — Sérgio Mendes & Brasil ‘66 Amazon iTunes
3. A World Without Love — Peter and Gordon Amazon iTunes
2. Lucy In the Sky With Diamonds — Elton John Amazon iTunes
1. Medley — Stars on 45 Amazon iTunes

10. Here Comes the Sun — Richie Havens (download)
Peaked at #16 on 5/22/71

Okay, I have to admit that I’m cheating a bit here: a spot in this Top 10 legitimately belongs to Anne Murray and her cover of “You Won’t See Me,” which peaked at #8 in July of 1974. But we covered that song back in July, and I honestly couldn’t bear to talk about it again. So instead, we’ll talk about Richie Havens’ song, which is a live version taken from his album Alarm Clock and remains his only single to reach the Top 40. Havens’ version features his trademark bordering-on-frenetic rhythmic guitar work, and definitely takes the song in a different direction; sadly, the lead guitar riff that is featured so prominently in the original (both in the introduction and the chorus) is gone, but Havens’ gentle, assured voice gives this version its own kind of peace.

9. Goodbye — Mary Hopkin (download)
Peaked at #13 on 5/31/69

In 1968, an 18-year-old Welsh singer named Mary Hopkin appeared on the British talent television show Opportunity Knocks. She sang “Turn, Turn, Turn” and won the competition. Twiggy happened to be watching the show that night, and called Paul McCartney to tell him about this fabulous new singer. The next Monday, Hopkin was in the studio with McCartney, recorded eight songs in a day and ended up with a contract offer at Apple Records. Her first single “Those Were the Days” (produced by Macca and recorded in English, French, German, and Italian) reached #1 in the UK and #2 in the US. Its catalog number was APPLE 2, behind APPLE 1, “Hey Jude.”

It was her follow-up single, “Goodbye,” that gives us a somewhat more direct Beatles connection — in addition to production, Paul also wrote the song (though, as with all songs at that point in time, it was credited to Lennon/McCartney). The 10th single released on Apple, it only reached #13 here but made it to #2 in the UK — held back from the #1 spot by “Get Back.”

I think “Goodbye” is a simple, sweet and charming little ditty. Hopkin’s vocal is pure and clean, and the percussion is quite charming. Paul’s demo, however, has a charm all its own, and in many ways, I prefer it to Hopkin’s version.

Paul McCartney — Goodbye (Demo) (download)

Here’s a promotional video for “Goodbye,” featuring Hopkin and McCartney in the studio. And if all that wasn’t enough, I found an absolutely stunning cover on YouTube. Check it out!

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Bottom Feeders: The Ass End of the ’80s, Part 58

feeders52

This is it — the Holy Grail of ‘80s music finally makes its appearance at Bottom Feeders. Enjoy another week of artists whose names begin with the letter M, as we continue looking at the bottom three-fifths of the Billboard Hot 100 chart during the Reagan years.

Peter McIan
“Solitaire” — 1980, #52 (download)

This is Peter McIan’s only hit song, off his album Playing Near the Edge. He’s better known as a producer for bands like Mr. Mister and Men at Work and has written a couple books about home recording.

Don McLean
“It’s Just the Sun” — 1981, #83 (download)

This was the last of three singles from McLean’s 1978 album Chain Lightning. The album actually wasn’t released in the U.S. until 1981 after it had experienced some success oversees. Oh, and I hate “American Pie.” Just had to mention that.

Gerard McMahon
“Count on Me” — 1983, #85 (download)

mcmahonThis was the only charting single from McMahon, off his excellent album No Looking Back. A few weeks ago we had the king of soundtracks, Kenny Loggins. This guy has to be the lost, long-distance fifth cousin of Loggins. He didn’t have any hits from soundtracks, but actually enjoyed making music for movies more than making full albums. He wrote and/or performed songs for Fast Times at Ridgemont High, Spring Break, All the Right Moves, and many more movies and TV shows throughout the years. His most well-known song, though, is probably “Cry Little Sister,” from The Lost Boys (where he’s credited as “Gerard McMann”).

Larry John McNally
“Just Like Paradise” — 1981, #86 (download)

This was Larry John McNally’s only charting single, the first song off his debut album. I think he’s more of a songwriter than a performer anyway, having written songs for artists like Rod Stewart and Bonnie Raitt. His crowning moment, though, has to be when Bruce Willis covered his song “Lose Myself” on the Return of Bruno album (1987). What a proud day that had to be.

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CD Review: Vanessa Williams, “The Real Thing”

It’s been more than 25 years since Vanessa Williams was crowned the first black Miss America. But once nude pictures of the former photographer’s assistant were published without her consent in Penthouse magazine in the summer of ‘84, she was forced to relinquish the title. After all this time, the question remains: whatever happened to Bob Guccione?

Williams, of course, bounced back quickly from the scandal, scoring first as a singer with pop-R&B albums like The Right Stuff (1988) and The Comfort Zone (1991), and the hit ballads “Save the Best for Last” and “Colors of the Wind.” She then transitioned into acting, starring on the big screen in Eraser (1996) and Soul Food (1997) and earning a Tony nomination for Into the Woods. Since 2006 she’s played over-the-top villain Wilhelmina Slater on TV’s Ugly Betty, but if the Ritalin-deficient rhythms of that sitcom have you reaching for the remote, you may appreciate the subtler approach of her latest record, The Real Thing (Concord).

It’s Williams’s first album of (mostly) original, non-holiday material since 1997’s Next, and as she says in the liner notes, “My initial musical direction for this Concord CD kept morphing from Brazilian … to torch songs, big band and R&B.” All four styles show up on The Real Thing, along with four different producers, but Williams has the confidence and soft touch necessary to pull it off, not to mention that the album’s overall adult-contemporary sheen smooths out any and all bumps in the road connecting the various genres.

The track that best sums up the LP is a cover of Barbra Streisand’s “Lazy Afternoon” (1975) — The Real Thing is “grown folks’ music” for a do-nothing summer afternoon, something to put on in the background as the clouds drift past and you relax before hosting a dinner party. And guess what? The Real Thing is perfect background music for that occasion too! Ask for it by name at your local Starbucks, hotel bar, and/or smooth-jazz station, but ask gently — Vanessa’s trying to set a mood here, after all.

That’s meant as a compliment. At this point in her career, Williams has nothing left to prove; she can handle being the last thing on your mind as you coordinate table settings or order a latte. So even if the tempo rarely rises above mid- and the temperature remains a safe 98 degrees throughout, she made the album she wanted to make. The restraint pays off with the breezy charm of songs like “Loving You,” a jazzy slow-burner written by Kenny “Babyface” Edmonds and Carole Bayer Sager; the soft-rock track “Just Friends,” another ‘Face composition that also features his backing vocals; and “The Real Thing,” a Latin-flavored Stevie Wonder tune first recorded by Sergio Mendes in 1977. Wonder’s presence is also felt on “October Sky,” a duet with Javier Colon, who invokes the Motown legend’s effortless charisma.

Confidence and charm can’t rescue “I Fell In,” which sounds like it was discovered in a pile of rejected soundtrack ballads from the ’80s, and there’s nothing here that comes close to Williams’s smokin’ 1991 cover of the Isley Brothers’ “Work to Do” — which turned the original’s sexism on its ear — but her creamy vocals elevate even the weakest tracks on The Real Thing. A quarter-century after it looked like she’d become a footnote to pop-culture history, Vanessa Williams has proven she’s the real thing too.

Just Friends
Lazy Afternoon

The Real Thing is available at Amazon.com.