This is a terrific dance number and this arrangement is perfect for a break song. The last 16 bars have no vocals and it’s the perfect opportunity to talk over the music and let them know you’re going on a break. You know the spiel: “Ladies and Gentlemen, we’ll be back in 15 for more killer music – don’t go away”! What you really mean is “I have to pee” or “I need a drink”, but they don’t need to know that.
“Boogie On, Reggae Woman” is neither boogie music nor Reggae, but who’s gonna question Stevie Wonder? Actually, I suppose the guitar track is a little bit Reggae, but that’s a stretch. Doesn’t matter. Stevie did what he always does – establishes a “groove” that he likes, then writes lyrics all around that groove. That’s why his lyrics don’t always make a lot of sense, but who cares? Like I always say, it’s all about the music, man.
Mr. Wonder plays all the instruments on this song. That would include lead vocals, acoustic piano, Fender Rhodes piano, guitar, bass, harmonica and drums. It’s easy for me to duplicate all those tracks myself – I just change the keyboard to sound like a guitar (or whatever) and play that track. Then I move on to another instrument voice and track – then put it all together. But Stevie (the man’s a genius) actually can play all those instruments and does so with aplomb. I think that’s amazing…. and quite humbling.
So there you have it boys and girls – a new break song with plenty of room at the end to explain away your frantic scramble off the stage and to the bathroom.
Download Instrumental It’s 1966, and you’re sitting in the back seat of your brand new Ford Falcon with your best girl. You’re trying hard to get to first base (wherever that is), but the Stones “I Can’t Get No Satisfaction” is playing on the radio and it’s not helping…. at all! But then, the silky smooth vocals of Smokey Robinson come across the AM dial and everything changes. She snuggles closer and lets you put your arm around her. Thanks, Smokey!
“Ooh, Baby, Baby” was written by Robinson in 1965 for his group, The Miracles. The song went to number 16 on the Billboard Hot 100 chart, but had its greatest commercial success 13 years later when Linda Ronstadt took it to number 7. It’s a mournful tune, as Smokey laments cheating on his girl and won’t she please take him back. He swears it’s not autobiographical but, really, haven’t we all been there and done that? The tight backup vocals and strings (I love arranging the strings track on any song) make this one a classic and it should definitely be in your set list.
We used this piece a lot as the final song of the night. You want your crowd to be all cuddly and sweet as they go out the door. And, just think…. you helped a few of them get to that mysterious first base (actually, I think I do know where that is).
[Scroll down for another song written by Smokey… then scroll some more]
Download Instrumental Okay, hold on to your hats and “get ready” for a song that’s a combination of rock, Motown, and just plain fun. The first two bars will get people out of their seats – guaranteed. After all, the greatest measure of success is a packed dance floor – right?
“Get Ready” was written and produced by Smokey Robinson for The Temptations to record in 1966. Smokey was The Temptations main songwriter, until this one was released. When “Get Ready” didn’t fare all that well on the charts, a chap named Norman Whitfield became their primary writer when he presented The Temptations with a chart-busting hit called “Ain’t Too Proud To Beg” (Sorry, Smokey, but you’re only as good as your last hit). Then, three years later, a band called Rare Earth released a 21 minute live version of “Get Ready” that featured a solo by every member of the band. They were one of the few white groups signed by Motown, which led some radio stations to refuse to play it because they weren’t black. Personally, I think they weren’t playing it because it was too long. Motown eventually released a 3-minute version and it went straight to the top – far outpacing the original “Temptations” rendition. Ain’t life funny?
Even the lyrics are kinda fun: “Fee fi fo fum/ Look out, baby, here I come” and “Fiddleleedee, Fiddlelee dum/ Look out, baby, here I come” are just a riot to sing. I do believe Smokey may have been “smoking” a little something funny when he wrote these lyrics, but they work. So if you want your crowd to dance and the club manager to give you a smile (and you do), trot out this “Temptations” arrangement – then go into “Ain’t Too Proud To Beg”. Smokin”!
Download I never really liked playing an organ. It seems like if you hold a chord for just a hair too long the sound becomes dissonant and downright unpleasant. I never got the hang of it. Besides, they’re too heavy to haul around. But I do like songs that feature the instrument, and this is one of the best.
“A Whiter Shade of Pale” was recorded by the British group “Procol Harum” (yes, that’s how it’s spelled) in 1967. It’s considered one of the best rock ballads ever put to vinyl and has sold over 10 million copies. A chap named Keith Reid wrote the lyrics and claims he overheard the phrase “whiter shade of pale” at a party. He thought it had potential to be a song, but ol’ Keith thought almost everything could be a song. He was strictly a lyricist – couldn’t play an instrument or sing – so he scrambled around and put together a band to record the many compositions he had written. Even though he was not a musician per se, he was considered an official member of “Procol Harum” – as well he should have been. He was the brains behind the whole operation.
The words are a little convoluted and many insane interpretations of their meaning have been offered up over the years. But, trust me, they don’t refer to drug use or UFO’s or even the Holocaust – they’re about getting drunk and trying to score. It’s just that simple. Besides, it’s not the lyrics that are the beauty of this masterpiece – it’s the music itself and how it flows. Our Mr. Reid listened primarily to classical and jazz music, and this one has definite Bach overtones. In fact, if you listen closely, you can pick out a few bars of Johann Sebastian Bach’s Air on the G String composition. And, if memory serves, I believe Bach played the organ every now and then. Pretty sure of it.
Some people can play an organ like nobody’s business – the intro to “Light My Fire” by The Doors comes to mind. Then there’s Booker T and the MG’s with “Green Onions”. I don’t play the organ very well, but maybe you do. Put “Whiter Shade of Pale” in your repertoire, if it’s not already there. The lyrics are not relevant or even particularly poetic. It’s the music, man… it’s almost always about the music.
Check out this YouTube video. It’s the band playing live in Denmark in 2006 with a full orchestra. Freakin’ beautiful!
Download Instrumental Ricky Nelson never sounded better. However, some of you out there may not have a clue who Ricky Nelson is. You’ll have to go back to the late 1950’s and early 60’s (best time ever for music) and get acquainted with a TV program called The Adventures of Ozzie and Harriet. Go ahead – google it. I’ll wait…
The program ran for 14 straight seasons with 30 episodes per season – all written by the dad, Ozzie Nelson. It has the distinction of being the longest-running live American sitcom and served as the springboard for the youngest son’s music career – that would be Ricky. Ozzie knew his boy had talent, so he began writing situations into the show that highlighted Ricky’s singing. He first performed on an episode in 1957 – covering Fats Domino’s hit, “I’m Walkin”. That’s all it took to make him a bona fide teen idol…. much like me. Yeah… right.
“Hello, Mary Lou” was written by Gene Pitney (of “Town Without Pity” fame) and first recorded in 1960 by Johnny Duncan (don’t know who he is). Our boy Ricky recorded it the following year and had a pretty decent hit with it. In the United States, this song was on the B-side of the record with a little tune called “Travellin’ Man” as the main feature. However, in the United Kingdom, “Mary Lou” was released on the A-side, with “Travellin’ Man” taking a back seat. I always knew the Brits were smarter than us, except for the way they spell “traveling”. You’ll notice my arrangement is a bit on the “country” side, but it still works, I think.
My only problem with Ricky Nelson is I always thought he was gonna nod off at any minute. Oh, I know… that “sleepy-eyed” look is supposed to be really sexy, but a little energy couldn’t hurt. Wake up, Rick! And say hello to Mary Lou…
I think he’s shaking his right leg on the link below to stay awake:
Download Instrumental Christmas is a joyous time of the year, is it not? Celebrating the birth of our Savior – gatherings of friends and family – decorating trees and wrapping gifts – children screaming in delight ’cause they got just what they wanted under the tree… all contribute to the joy of the season.
But the holidays can also be a bit sorrowful for some folks. Perhaps it brings back memories of a Christmas spent entirely alone without friends or family, or the loss of a loved one around this time of year – or just disappointment with that ugly sweater Aunt Clara gave you in 1967. Christmas can be a sad time for some of us – maybe even depressing. We all have our crosses to bear but, somehow, when these holidays roll around, it all seems worth it – even if bittersweet.
This song,”Christmas Time is Here”, falls into that melancholy category, I think. Oh, it’s not the lyrics. They’re all happy and full of cheer. It’s the melody and general aura of the music itself. The notes take you back to past holidays that maybe weren’t quite so good. The tune was written by Vince Guaraldi and was supposed to be an instrumental introduction to the animated Christmas special A Charlie Brown Christmas (that’s Charlie above with that slightly crooked smile on his face – he was never a very happy character – the boy had a lot on his mind). Just before it aired, the producer of the special decided that it would work better with words, so he sat down and penned the entire song in 10 minutes. He had the Peanuts characters all sing it together while Charlie wonders why he’s not feelin’ the buzz. Can you say “neurotic”?
It’s good to feel just a little sad this time of year. It counters the hysteria of department stores and Santa Claus wannabes and some really bad holiday tunes (Grandma and an errant reindeer come to mind). A little tug at the heart gives one pause to reflect on what the true meaning of Christmas is – it’s good for your soul, you know.
Click the link below to experience Charlie’s neurosis:
Download Instrumental I walked into a convenience store the other day and there was a young lady behind the counter with a tatoo around her neck. Upon closer investigation (I had to lean in), I realized it read “Que Sera Sera”. That made me remember a song I hadn’t heard in years and I told her so. Her reply was, “It’s a song?” After assuring her that, indeed, it was a very nice song, she told me she also had a tatoo on her back and did I want to see it? “Uh…. no, thank you – I’ll take your word for it.” Sheesh!
Anyway, “Que Sera Sera” IS a song and quite a good one at that. Some may consider it a bit “hokey” (me included), but it has a nice set of lyrics that tell a little story. The entire life of the narrator is portrayed in just three verses – no, it’s not you’re born, you live, you die (well, maybe). First there’s childhood – “When I was just a little girl, I asked my mother, what will I be?” Then there’s the young adulthood stage – “When I was young I fell in love, I asked my sweetheart, what lies ahead?” Finally, parenthood – “Now I have children of my own, they ask their mother, what will I be?” Of course the answer to all three questions is – “whatever”. That’s my convenience store clerk’s interpretation. Rather blunt, I think.
The translation is actually a much sweeter “whatever will be, will be” and is of French origin, or Italian, depending on how it’s spelled. Doris Day introduced the song in the film The Man Who Knew Too Much in 1956, and also used it as the theme song for her TV series. It’s a wholesome tune – innocent and not of this time, but sometimes a little nostalgia does us all some good. Try it onstage, but choose your audience carefully – not everyone will like this one. I used an Italian accordion for the lead because I thought it fit the style of the song and I happen to like everything Italian. You, of course, will sing it – beautifully, I hope. Arriverderci…
Download Instrumental You remember the Bee Gees, right? And who can forget the movie Saturday Night Fever? Well, you might not have been born yet, but surely you youngsters have seen it. In that iconic motion picture, the brothers Gibb introduced us to the driving bass and drum arrangements that came to be known as “disco”. We all had big fun with the disco craze, back in the day. I still have a big disco ball buried deep in my closet.
But, believe it or not, there was life before disco for the Bee Gees. There was a time in the late 60’s when they were writing and recording actual love ballads – “To Love Somebody” was one of the best. But I’m about to upset all you females out there who swooned over Barry Gibb. Handsome lad, that one. It seems their manager, Robert Stigwood, was an integral part of the gay show business crowd in London (you can see where this is going, can’t you?). He asked Barry Gibb to write a song just for him. Gibb said in an interview much later, “Personally, the song was for Robert. I don’t think it was a homosexual thing”. Well, take from that what you will, it’s still a great love song. Sorry ladies… this Bud’s not for you.
As is the case with so many tunes, the Bee Gees let this one fade out at the end. I hate that! And it certainly doesn’t work on stage. The ending on this arrangement is a bit unorthodox, but I think it works. Might make you smile… wait for it.
Download Instrumental Hank Williams was asleep and slightly inebriated in the back seat of his car. It was 1947 and he was returning to Montgomery from a show in Fort Deposit, Alabama. His mother, Lily, was at the wheel, driving Hank and his band back home as she did quite frequently. She had put a guitar in her son’s hand at the tender age of 8 and acted as his manager until he married Audrey Shepard – who took over as his manager with a vengeance (that’s her in the picture above).
But back to the car. It was the middle of the night and Mom spied the lights of the airport outside Montgomery in the distance. She roused ol’ Hank and told him, “I saw the light”. Bam! Inspiration strikes! Hank wrote this song and had it ready to record in less than a month. It has since become a standard country gospel tune and has been recorded by zillions of artists.
Audrey Shepard married Hank in a gas station – how romantic – and insisted on taking charge of his career. She was also the bass player in his band. Quite a lady, this one. After Hank recorded “I Saw the Light”, she decided it would be better if she sang it with him. Trouble was, she couldn’t sing a lick. But like all bad singers, she thought she was just the best ever. Williams reluctantly recorded another version with her, but sent a note to his producer letting him know he did NOT want that version released. It never was, and I think we’re all the better for it.
Download Instrumental I was in what I’m pretty sure was an awful rock band in high school. Then helping pay for college playing restaurants and Holiday Inns. The Air Force found me playing dinner music on a white grand piano in the Officer’s Club. Then it was a wedding band for eight years – next a jazz band for seven more. South Florida next – cruise ships and fancy country clubs. Finally the Gulf Coast in beach bars and honky-tonks for nearly ten years. Not once during all that time did I ever play a Johnny Cash song – not once! Why? I honestly don’t know. Just never occurred to me.
So what’s wrong with Johnny Cash? Nothing really, other than he couldn’t sing. Neither can I, so that’s no excuse for ignoring Johnny for 40 years. I think it had something to do with every song sounding alike. Except this one. “Ring of Fire” has trumpets – I love trumpets. So, in order to make things right, I’ve arranged this one to suit me and, hopefully, you other singers out there. This one belongs in your set list. And when you perform it, apologize to Johnny for me.