Songs You May Have Missed #785

Maddy Prior and Tim Hart: “Dancing at Whitsun” (1971)

Maddy Prior is on a very short list of women who could lay claim to the title of Queen of British Folk.

Mostly notable for her tenure with stalwart lynchpins of the genre Steeleye Span, she’d recorded two, uh, prior albums as half of a duo with Tim Hart.

Folk Songs of Olde England Volumes One and Two were released in 1968 and 1969, just before both Hart and Prior joined up with Ashley Hutchings to form the nascent Steeleye Span lineup in late ’69.

After recording the first three Steeleye Span albums, Hart and Prior returned to the studio to record once more as a duo. While retaining the acoustic contours of the Folk Songs of Olde England LP’s, Summer Solstice was a more polished recording, and featured string arrangements by Robert Kirby, known for his hauntingly beautiful work on Nick Drake’s records.

Hart remained in the Steeleye Span lineup throughout their years of peak creative and commercial success, leaving the band in 1982. He passed away of lung cancer in 2009. Prior remains in the still-active Steeleye Span lineup as its only remaining original member. The band celebrated 55 years in 2024.

Summer Solstice is a quiet triumph, and considered a minor classic of traditional English folk. Some songs feature Maddy on vocals, some feature a solo Hart, and some are sung as duets.

“Dancing at Whitsun” is a beautiful ballad, but one with a message–however understated. If it can be called a protest or anti-war song (you be the judge) it’s surely one of the gentlest and most wistful you’ll ever hear.

It’s fifty long spring-times since she was a bride
But still you may see her at each Whitsuntide
In a dress of white linen and ribbons of green
As green as her memories of loving

The feet that were nimble tread carefully now
As gentle a measure as age do allow
Through groves of white blossom, by fields of young corn
Where once she was pledged to her true love

The fields they stand empty, the hedges grow free
No young men to tend them or pastures go see
They have gone where the forests of oak trees before
Had gone to be wasted in battle

Down from their green farmlands and from their loved ones
Marched husbands and brothers and fathers and sons
There’s a fine roll of honour where the Maypole once stood
And the ladies go dancing at Whitsun

There’s a straight row of houses in these latter days
All covering the downs where the sheep used to graze
There’s a field of red poppies, a wreath from the Queen
But the ladies remember at Whitsun
And the ladies go dancing at Whitsun

See also: https://edcyphers.com/2021/11/28/songs-you-may-have-missed-718/

See also: https://edcyphers.com/2012/10/18/songs-you-may-have-missed-200/

See also: https://edcyphers.com/2013/05/08/recommended-albums-47/

Songs You May Have Missed #784

Sammy Rae & The Friends: “Kick it to Me” (2018)

Describing the music of Sammy Rae & The Friends is difficult. Enjoying it–especially in a live setting–is definitely not.

No single genre title neatly contains the breadth of this band’s sounds, which seem to draw from jazz, pop, soul, funk, classic rock and world music.

Mia Isabella Photography

Not many bands can cover ABBA and the Doobie Brothers with equal dexterity, but that’s just for starters.

Lead vocalist and songwriter Samantha Rae Bowers is clearly a student of great female pop voices. Stratospheric Ella Fitzgerald-style scat and improvised vocals lace her dynamic performances. Themes of queer and female empowerment are central to her songs, but not presented in terms a general audience will likely find to be preachy or off-putting. It all just feels good.

Few bands bring such consistently positive and life-affirming messages to record or performance.

The Friends are a well-honed gigging band, skilled at presenting themselves and their songs to an audience. The bass is funky. Intermingled tenor and alto sax make things pop. The lead guitar is more than adept across a setlist that bounces lightly across styles, rather than settling into a single groove or feel.

Alie Skowronski/Columbus Dispatch

If you’re a band with one sound and a samey setlist, you do not want to open for Sammy Rae and company. (We won’t name names here.)

The seven-piece has a big footprint on the concert stage, and Sammy Rae says Bruce Springsteen was her inspiration for utilizing each member fully and letting each do their thing and share the shine of the spotlight. The camaraderie is not only evident; it’s a band hallmark and a major part of their audience appeal.

The live experience aside, Sammy Rae & The Friends’ studio recordings add a layer of polish and backup harmonies, offering the definitive listening experience.

That said, “Kick it to Me” is an example of a song worth hearing in both the studio version presented here and in concert, where improvised lyrics make for a different song from one show to the next.

Songs You May Have Missed #783

Arif Mardin Chorus: “Evil Companions” (1968)

Little-known and rare in hard-copy form, the Arif Mardin Chorus’ recording of “Evil Companions” is a song with a history in my own family.

Possibly no record in my late father’s collection better exemplified his winking, faux-bawdy sense of humor. This 45 was added to the stack on the spindle for a lighthearted moment, or when Dad’s sister’s family was visiting our Pittsburgh home from Chicago.

Next weekend, on the occasion of my sister’s 50th wedding anniversary dinner, the 45-turned-digital file will be heard by the family once more.

We don’t forget the important stuff–like music.

Arif Mardin

“Evil Companions” had no accompanying album; it was released only as a single, and available information is scant. According to the Atlantic Records discography, it was recorded in NYC on June 17th, 1968.

The song, as the label indicates, is from The Broadway Musical Production Her First Roman, which made its debut the same year.

As for Arif Mardin, who arranged the song, the Turkish-born record producer is a giant of the recording industry, with 12 Grammy awards and 18 nominations to his credit across genres of jazz, rock, soul, disco, country and more.

Among the artists he’s worked with are: the Rascals, Queen, John Prine, Melissa Manchester, the Bee Gees, Hall & Oates, Anita Baker, Aretha Franklin, Dionne Warwick, Donny Hathaway, Roberta Flack, Bette Midler, Michael Crawford, Chaka Khan, Howard Jones, Laura Nyro, Ringo Starr, Carly Simon, Phil Collins, Daniel Rodriguez, and Norah Jones.

Mardin was credited with reviving the Bee Gees’ career in the mid-1970’s as producer of Main Course, a massive comeback album that signaled an R&B-inflected course correction (so to speak) for the band.

Hard to imagine any of the above roster of artists recording anything like “Evil Companions”. I’d like to know more about what compelled this little one-off project, but I’m pretty sure I never will.

The original, Broadway cast version of the song has a couple additional verses. Et tu is amusing.

Songs You May Have Missed #782

Golden Smog: “Until You Came Along” (1998)

From the second full-length outing by the side project supergroup comprised of members of the Jayhawks, Soul Asylum, Big Star and Wilco among others.

The band formed in the Minneapolis area playing mostly covers in local clubs. In its infancy the lineups, setlists and even band name were fluid.

They played mostly Eagles covers as the “Take it To the Limit Band”. They played a Rolling Stones-themed show under the band name “Her Satanic Majesty’s Paycheck”.

But by the time of their first full-length LP in 1995 (following the covers EP On Golden Smog in ’92) they were recording mostly originals, with Wilco’s Jeff Tweedy and Gary Louris of the Jayhawks often contributing the best material.

Golden Smog continued to record in between members’ other projects, hanging around long enough to warrant a Best Of, Stay Golden Smog, in 2008.

The standout track “Until You Came Along” sounds like something straight off a Jayhawks album.

And that’s a good thing.

See also: https://edcyphers.com/2017/12/17/songs-you-may-have-missed-624/

Songs You May Have Missed #781

Rolf Harris: “Two Little Boys” (1969)

From an American perspective, Rolf Harris and his 1960 novelty top ten “Tie Me Kangaroo Down, Sport” were a one-hit wonder and a footnote in pop history. Something akin to Tiny Tim.

But like Tiny Tim, whose extensive catalogue and encyclopedic expertise on early 20th century pop music are overlooked by most, Rolf Harris was–outside the US–much more than a guy with the proverbial 15 minutes of ephemeral fame.

With 30 studio albums, 48 singles and multiple long-running TV shows to his credit, Harris was a bona fide international star.

And his biggest success in terms of record sales was not that kangaroo song, but rather one that never sniffed the top 40–or even cracked the top 100 for that matter–in America.

That would be the American Civil War song “Two Little Boys”.

Originally written in 1902 and recorded in 1903, the song had a special sentimental attachment for Rolf. Its story of two boys who grew up to be soldiers evoked his own father’s World War I experience and the fact that his father’s younger brother Carl died at age 19 due to wounds received in a battle in France.

Harris’s version of “Two Little Boys” spent 6 weeks at the number one spot on the UK chart during the Christmas holidays in 1969. It earned a gold disc and sold a million copies, actually performing better there than in his native Australia, where it peaked at #7.

It was England’s last #1 of the 60’s and first of the 70’s.

As for the song’s origins, according to Wikipedia:

The song appears to have its origins in the fiction of the Victorian children’s writer Juliana Horatia Ewing, whose book Jackanapes was a story about the eponymous hero and his friend Tom, who having ridden wooden horses as two little boys end up together on a battlefield. There Jackanapes rides to the rescue of the wounded and dismounted Tom. Jackanapes nobly replies to Tom’s entreaties to save himself, “Leave you”? “To save my skin”? “No, Tom, not to save my soul”. And unfortunately takes a fatal bullet in the process.

Rolf Harris worked with producer George Martin prior to Martin’s pairing with the Beatles, and Harris and the Beatles performed together during the Fab Four’s 16-night run of Christmas shows in London in 1963.

From the Beatles’ first From Us to You BBC radio show in December of ’63 comes this performance of “Tie Me Kangaroo Down, Sport” with Rolf adjusting the song’s lyrics in tribute to the Beatles, who sing backup vocals. The “whoop-whoop” sound that begins the tune? That’s Rolf providing percussion on an instrument of his own invention, the wobble board.

Songs You May Have Missed #780

Keola Beamer: “He Punahele No ‘Oe” (1995)

Keola Beamer is a fifth-generation musician and master of the Hawaiian slack key guitar style. He’s also the composer of “Honolulu City Lights”, one of Hawaii’s biggest-selling songs of all time.

Moe’uhane Kika: Tales from the Dream Guitar was produced by George Winston and distributed by Windham Hill subsidiary Dancing Cat Records, so it might be mistaken for New Age music.

But the album is mostly comprised of tranquil instrumental versions of familiar Hawaiian songs–or songs that would be familiar to Hawaiians.

This isn’t New Age, but it is World Music. It isn’t wimpy, but it is serene. It isn’t steel guitar and ukulele, but it is music with deep Hawaiian roots.

And it’s gorgeous.

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