Archive for February, 2013
Thanks For Thinking Of Me But It’s Alright is the closing track of Side 1 from the self-titled Pulse album from 1969. After it was written and we arranged it in late 1968, it was also almost always Pulse’s opening tune in concert.
The group Pulse was based in New Haven, Connecticut, more specifically Wallingford at Syncron Studios soon to become Trod Nossel, which is still operating, and managed and produced by Doc Cavalier. The first version of the band was a six-piece. We started rehearsing in January, 1968 and were together until almost mid-1970. There was a four-piece group for the remainder of 1970.
The personnel: Carl Donnell (Augusto), vocals, guitar; Peter Neri, lead guitar, vocals; Beau Segal, drums; Paul Rosano, bass, background vocals; Jeff Potter, harp, percussion; Rich Bednarzcyk, keyboards.
The album was recorded in 1968 and early 1969, this track as stated probably late ’68. It was written by our drummer Beau Segal. We were huge fans of the Butterfield Blues Band, one of our main influences at the time, and we had seen them a number of times at the Cafe Au Go Go in New York and the Psychedelic Supermarket in Boston as well as the Oakdale Theatre in Wallingford.
Beau has said he took the lead line from a Butterfield tune he heard live. I know the one. Actually he embellished it a bit. If you listen to a live version of the tune by Butter it doesn’t have the chromatic ascent or the closing phrase that bounces off a minor third. And in fact, it’s not a Butterfield composition.
Butter was covering a Little Walter tune. Everything’s Gonna To Be Alright (1959). Butter’s version changed several times over the years. The only studio track I’ve heard is from an early session on the Original Lost Elecktra Sessions, which pre-dates the first Butterfield Band album.
It didn’t start with Little Walter either. The line was used by Elmore James in his Dust My Blues from 1955 as his closing solo. There are probably other examples from that time frame.
If you dig deeper you’ll hear the line as a part of the vocal melody on the bridge of Robert Johnson’s Kind Hearted Woman Blues, and the line is the basis for the main melody in Johnson’s Sweet Home Chicago. Wonder where he heard it if he didn’t originate it himself.
This stuff is fascinating, the Blues tradition. It’s reminiscent of the folk tradition in which entire chord structures and melodies of existing tunes were continually updated with new lyrics, particularly in the ’50s and early ’60s.
Going forward, it pops up in a number of other unusual places. In 1970, Atco Records released Live Cream, which included a studio outtake Lawdy Mama. The original Cream version of this song was a shuffle and included the same lead line. The outtake on Live Cream sees the track changed to a straight rock feel with the line still used but stretched out a bit.
However, many of us have heard this line hundreds of times on a slightly different track. The group ditched the Lawdy Mama version of the song when Felix Pappalardi was brought in to produce and his wife, Gail Evans, wrote new lyrics creating the tune Strange Brew. I never recognized the similarity until I heard the shuffle version of Lawdy Mama by Cream on a grey market item.
Eric Clapton would use the line again to good effect in his outstanding version of Sweet Home Chicago on the Sessions For Robert J album (2004). And so it goes.
The Butterfield Band was and remains one of my favorite groups of all-time and is sorely underappreciated. Thanks For Thinking Of Me was our tip of the hat to them, one of our major influences.
There’s so much good new music out there. The best music of 2012:
1. Radio Music Society, Esperanza Spalding: Invigorating blend of R&B, funk and jazz infused with top-shelf musicianship and an enticing lyrical quality. This is perhaps her best yet. Spalding sports a fluid, proficient and pleasing voice that delivers her poignant lyricism over the engaging compositions. Get the Deluxe Edition with a Making of DVD.
2. Locked Down, Dr. John: Black Keys guitarist Dan Auerbach gets an inspiration to record with the N’Awlins legend and they whip up a spooky, funky, voodoo dose of swamp funk mixed with hard rock sensibilities. Some of the best from recent vintage of the good Doctor.
3. Tramp, Sharon Van Etten: One of the truly remarkable and original sounding records from a singer/songwriter whose dense, penetrating lyrics are revealed through inventive arrangements that complement her songwriting.
4. Sunken Condos, Donald Fagen: At his wry, funky, satirical and stinging best. Glossed with a Steely Dan sheen but it still swings like mad.
5. Everybody’s Talkin’, Tedeschi-Trucks Band: Live outing from one of the best ensembles around today. A beautiful combination of blues, rock and pop whipped together with Derek Trucks’ slide lacing through it and the marvelous Susan Tedeschi’s soulful, blazing voice on top. Not to be missed live.
6. Sun, Cat Power: Return of the elusive, mercurial and magnetic singer/songwriter. Her best since The Greatest.
7. Election Special, Ry Cooder: Venerable American music stylist gives his biting political take on the present state of affairs with his usual entertaining, insightful views served with a helping of exquisite string playing.
8. Driving Towards The Daylight, Joe Bonamassa: Another edition in the evolving style and development of one of our best modern-day blues guitarists, who happens to have a soulful voice as well.
9. The Lion, The Beast, The Beat, Grace Potter & The Nocturnals: From the opening strains of the remarkable title track through another set of inspired rock and pop, a step forward and upward from this New England-based group. Their roots are firmly planted in the fertile ground of the 1960s and early ’70s. All framing Potter’s gloriously wild and unrestrained voice.
10. Blues Funeral, Mark Lanegan: Love him for his various collaborations over the years, not the least with Isobel Campbell, but there is something dark and compelling about this bluesy and funereal outing that is addicting. (continue reading…)