Single of the week

You Always Hurt The One You Love (Clarence ‘Frogman’ Henry)

This week’s choice is an old standard made famous by a rockabilly singer who earned his nickname from the way he sang. That man is Clarence Frogman Henry.

Clarence was born in New Orleans, Louisiana in March 1937 and when he was 11 his family moved west to the Algiers area of the city when they were unable to afford the rent. He was one of six children and he recalled when he was growing up, “My daddy played all kinds of string instruments, as well as the harmonica and piano – I don’t care what, my daddy played it. My mamma kept us in the church, so we had to go to Sunday School.” He listened to a lot of Fats Domino and Professor Longhair – so much so that he used to imitate them at school – and came to love the piano. “When I was 8 years old I asked my mama to send me to piano lessons because she’s sent my sister and she didn’t like it. So I started going and learned the fundamentals. My style I taught myself.” His mamma was keen for him to learn the blues, so to please her he did, but when she left the house for work he then played the boogie-woogie that he loved.

His school teacher put a band together with a local r&b singer called Bobby Mitchell, they were called The Toppers and Clarence was with them for about three years. He also learned the trombone and alternated between that and the piano. He graduated in 1955 and the following year got a job in the Fatman club working four hours a night for $5. He was making a name for himself because he then went to work at Bill’s Chicken Shack for a little more money and moved onto the Old Joy piano lounge where he earned over $50 a week. Next he got a job in a club called the Brass Rail where Paul Gayten, the A&R man for Leonard Chess (of Chess records) was also playing. “I started singing a song called Ain’t Got No Home and I played it for Paul who sent it up to Leonard Chess. Leonard then came down to hear it,” Henry said, the song was a novelty song and was the first occasion that he showcased his frog-croaking voice which thus earned him his nickname. He also sang part of it in a high voice which sounded female. Henry explained why, “Shirley and Lee were from New Orleans and were hot during that time. I didn’t have a female singer in the band, so I had to switch my voice like a girl.” And why the frog sound? “How I do the frog sound I don’t know. On the West Bank, Algiers, you had the alligators and frogs which I used to imitate in school, to scare the girls!” He had written a song called Lonely Tramp before Ain’t Got No Home and used to perform frog and female parts on that too. “When Leonard heard it he told Paul to break it up into different parts with the girl and the frog. Henry spent 1957 touring the US, especially New York, Washington DC and Baltimore where he shared a stage with the likes of former Drifters lead singer Clyde McPhatter and Roy Hamilton.

Gayten, along with Bobby Charles, the man who wrote and recorded the original version of See You Later Alligator, wrote But I Do, or sometimes credited as (I Don’t Know Why I Love) But I Do for Henry and he rewarded them with a top five hit on both sides of the Atlantic. Then came the follow-up; “Back in those days you had to get a follow-up to your hit,” Henry recalled, “they sent me a dub and I was supposed to record I’m A Fool to Care but some kinda way, Joe Barry came out with it before I did. So we went to Chicago and Allen Toussaint, who was the arranger for my session, and I were going through a lot of songs and we came up with this Ink Spots song called You Always Hurt the One You Love and cut it.” The song was written by both Allan Roberts and Doris Fisher in 1944 and originally recorded by the Mills Brothers the same year. Many people covered it including a parody version by Spike Jones in 1946 and then Connie Francis, who had the first UK hit in December 1958, Maureen Evens in 1959 and Fats Domino in 1960. The Ink Spots version, that Henry heard, was from 1957. Ringo Starr had a go at it in 1970, Willie Nelson in 1994 and Michael Buble in 2002.

Allan Roberts was a New York-born musician and songwriter who had originally trained as an accountant. He then started playing piano in clubs around Broadway and began writing songs for the likes of Benny Goodman and Billie Holiday. In 1944 he met an aspiring songwriter called Doris Fisher, whose father was the Tin Pan Alley songwriter and music publisher Fred Fisher, and began working on songs together and You Always Hurt the One You Love their first big success. Together they wrote many songs that were recorded by Perry Como, The Andrew Sisters, Ella Fitzgerald and Marilyn Monroe. Their most successful UK hit was That Ole Devil Called Love which was first recorded by Billie Holiday in 1944 and a number two hit in 1985 for Alison Moyet.

Henry’s follow-up was the double A-sided hit Lonely Street and Why Can’t You – the latter being written by Bobby Charles. “He (Charles) was from Abbeville and he was doing most of the writing for me,” Henry reiterated, “I loved his style. Bobby wrote songs that appealed to me, I could feel them. I liked Country & Western the way Bobby wrote it. Allen Toussaint changed it into a pop music feel but Bobby was a great, great writer. I’ll never forget him for what he did for my career. I admire him.” The song just missed the top 40 and was Henry’s last hit.

So what happened next? “When the bookings went down, I worked on Bourbon St and then a disc jockey on a radio talk show called me saying he would use Ain’t Got No Home for his homeless show and everything started happening for me again.  There was over 29 years of royalties I didn’t get, so I got a lawyer who contacted MCA and they gave me five years of back royalties and from then on I started getting the royalties.” In 2005 Henry was inducted in the Delta Music and Rockabilly Halls of Fame and two years later inducted into the Louisiana Music Hall of Fame.

As for the songwriters; Roberts died in Los Angeles in 1966, at the age of 60 and Fisher married a real estate developer in 1947 and then retired from the entertainment world. After raising two children she became an interior designer as well as an antique furniture collector. The couple divorced in the late sixties and she moved back to California to set up a kitchenware retail business. She died in January 2003 aged 87.

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The Ballad of Bonnie And Clyde (Georgie Fame)

Many songs have been inspired by a film, for example, John Hartford wrote Gentle on my Mind after seeing the 1965 film Doctor Zhivago, Breakfast at Tiffany’s was written after Deep Blue Something singer and songwriter, Todd Pipes, saw Audrey Hepburn in Roman Holiday, but decided that Breakfast at Tiffany’s would make a better song title and this week’s choice, The Ballad of Bonnie And Clyde was another.

The songwriters, Mitch Murray and Peter Callender, went to see the film, Bonnie and Clyde, about two 1930s gangsters, Bonnie Parker played by Faye Dunaway and Clyde Barrow portrayed by Warren Beatty. “We both decided that they had blown the music,” says Mitch, “They should have had a hit song and so we thought we would write one. At first we considered giving it to Joe Brown or Lonnie Donegan, but they didn’t seem quite right for the song. Then the managing director of CBS told Peter that they had signed Georgie Fame and were looking for a big hit. We added a special jazzy bit for Georgie – ‘Bonnie and Clyde got to be Public Enemy Number One’ – as we thought that would sell it to him, but he wasn’t very keen on the song. We did a demo with machine guns and skidding cars and we were asked to go to the session with our sound effects.”

The film’s music interludes included Deep Night by Rudy Vallee and Foggy Mountain Breakdown by Lester Flatt and Earl Scruggs, to name a couple, but no actual theme. It tells the story of how Clyde, who had recently been released from prison, returns to crime as a bank robber. He meets a waitress, Bonnie, who is bored of her job and life, and together the two form the basis of a gang of bank robbers who terrorise the American southwest in the 1920s.

Georgie Fame said, “I was working up north and I had to fly down to London, do the track, and go back up north for that night’s show. I was working pretty hard at the time and I hadn’t even seen the film when I recorded the song.” Once the track was recorded, the producer, Mike Smith, took it to a studio at Marble Arch to spend the night mixing it. But then came a problem; “The sound effects were wonderful,” Smith explained, “but we discovered an electrical fault and we had clicks all through the drum track. I had to call up (session drummer) Clem Cattini to help.” Clem told me, “I received this call from Mike late one night to go to the studio as he need my help. He told me to get a taxi and he would pay for it, so I went up to London, listened to the track that needed to be re-recorded, did it in two takes and then got a taxi home.” Smith continued, “It was not easy, but I managed to use Georgie’s vocal and the front line from the brass and eventually got it together. To this day, Georgie doesn’t quite believe they did it, but we ended up with an outstanding record.” Mitch Murray, the song’s co-writer, remembered, “We didn’t feel that we get Georgie to do it again because he hadn’t wanted to sing it in the first place! Clem Cattini came in and put the drums back on the track and that is not easy as he was doing it the wrong way round. He did a brilliant job.”

The song went to number one in January 1968 and although the Blue Flames backed Georgie on most of the early singles, they weren’t always credited. Sunny, Sitting in the Park, Because I Love You, Try My World and The Ballad of Bonnie and Clyde all failed to credit the Blue Flames on the label. It was Georgie’s third and final UK number one following Yeh Yeh in 1965 and Get Away in 1966. The song did manage to upset some movies goers because they claim it gave away the ending of the film.

Fame, whose real name is Clive Powell, continues to record and tour both on his own and as a member of Bill Wyman’s Rhythm Kings. He was also been an on and off member of Van Morrison’s group too. He has two sons, Tristan and James, who are both musicians and in 2010 they all performed together at Twickenham Stadium to celebrate the 10th-birthday celebrations of The Eel Pie Club.

With their husky voices, and fellow Geordies, Georgie Fame and Alan Price are often confused and they increased the confusion by making the album, Fame and Price Together, which included their hit Rosetta. Georgie told Spencer Leigh, “We both play the piano and sing, but I don’t see a lot of similarity. Still, people genuinely come up to me and ask for Simon Smith and His Amazing Dancing Bear and Alan gets requests for The Ballad of Bonnie and Clyde.”

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We’re Gonna Change The World (Matt Monro)

The true definition of a ‘turntable hit’ is a song that received substantial radio airplay but failed to make the chart. Two good examples of this would be Van Morrison’s Brown Eyed Girl and The Eagles’ Life in the Fast Lane. This week’s subject was heavily championed by Capital Radio in the seventies – particularly Kenny Everett, and now receives a fair amount of play on Radio Two and one of two classic Matt Monro songs that never had a chart life. Who could believe that Born Free never graced the chart? And likewise for this week’s track, We’re Gonna Change the World.

Matt Monro was born Terence Parsons in Shoreditch, London in December 1930 and had a tough upbringing because his father, Fred, died from tuberculosis when Terence was just three. His mother, Alice, struggled to cope with Terence and his five older brothers and in 1935 suffered a mental breakdown and went to a sanatorium. Terence was taken to a foster home where his behaviour let him down and eventually his mother came back to look after him. When he was 17 he volunteered for early enrolment and a couple of years later was posted to Hong Kong as a mechanic with the Royal Electrical and Mechanical Engineers.

He got a taste for singing and entered himself into a radio talent show called Radio Rediffusion’s Talent Time show. He kept on winning and hence became a regular guest. The show’s host invited him to perform in a one-off show of his own on the condition he stepped down from the show to make room for other contestants, he agreed. Soon after, he returned to the UK to get a proper job, but his taste for singing had got the better of him. He met a girl and she became pregnant so Matt needed a job to support her and got a job as a lorry driver before switching to buses. He also began singing in various clubs in the evening.

One guest who saw him perform was the Trinidadian-born chart-topping pianist Winifred Atwell who took Terence under her wing and persuaded her record company, Decca, to give Terence an audition. They were impressed and signed him. Terence changed his name taking the name Matt from Matt Black the first journalist who wrote a review about him and Monro from Winifred Atwell’s father Monro Atwell.

Matt’s life changed when he was asked by George Martin to sing for a Peter Sellers album called Songs for Swinging Sellers. The first track was supposed to be Peter Sellers singing in the style of Frank Sinatra and because George had heard Matt he invited him in to singing the song so Peter Sellers had someone to imitate. The version was so good that George kept it on the album and in-turn gave Matt a contract with Parlophone. Matt signed a similar contract with Capitol records in America and they threw a party for him. As his then-manager, Don Black said, “What a party it was, Matt and I met two of our heroes that day, Gordon McCrae and Bobby Darin – both were in awe of Matt’s voice and that was one of the proudest moments in Matt’s career.”

The hits came thick and fast, Portrait of my Love reached number three in 1960, followed by My Kind of Girl in 1961 and Softly as I Leave You the year after. In 1963 he was asked to record the James Bond theme song From Russia with Love and, one of his finest songs, Walk Away, got to number four in 1964. Frank Sinatra once cited Matt Monro as irreplaceable and listed him as one of his favourite singers. Matt’s last UK hit was a vocal version of the chart-topping instrumental, Eye-Level which was re-titled And You Smiled in 1973.

We’re Gonna Change the World was the follow-up which didn’t chart. It’s popularly believed that it was featured in a Kellogg’s corn flakes commercial but it wasn’t although you can see how the sentiment fits. The story tells of Annie Harris living in a London street in the sixties, but was it fact or fiction? The songwriter credits are Tim Harris and David Matthews and I had the pleasure of an email interview with David who told me, “The verse part of the lyric was written by my friend Tim Harris who had never written lyrics before. He used the names of two ex-fiancés and his wife as the three characters in the song.  The idea was to take a whimsical look at what was happening in the streets in the mid-sixties in the way of protest marches. The storyline was fictitious. So the names are real, but the story isn’t. “I received the lyric in the post from him one morning and went straight to the piano,” David continued, “the music was composed in about 20 minutes but it took the rest of the day for me to write the lyrical ‘hook’ i.e. Come with us, run with us etc.”

One of Matt’s last performances was in 1984 at the Barbican theatre in London, a sell-out night and one that was enjoyed and highly praised by all who attended and concluded with a seven minute standing ovation. It was later revealed by Matt’s daughter, Michele Monro that Matt was overcome with emotion and was one of his proudest moments. Later that year Matt became ill and died shortly after at the age of 54 from liver cancer.

David, who learned piano at the age of five, is a professional pianist. He said in an interview with Economia in 2016, “As I developed I became aware of the great songwriters and thought I’d have a go. I took my songs to Denmark Street (London’s equivalent of Tin Pan Alley) and people liked them.” His songs have been recorded by The Troggs, Alan Price and the New Seekers. In 1976 he set up his own accountancy business. For many years he’s entertained guests at weddings and parties with his piano playing. Last year he said, “I’m 78 now and it’s a nice pension, it’s still on the radio at least once a day somewhere, so it’s worth having.”

He said to me, “The song has been exceptionally good to me and has opened many doors. We were fortunate to be nominated for an Ivor Novello Award in the category Best Song musically and lyrically in 1970 but were beaten to the statuette by George Harrison with Something.

So far as I’m aware I’m the only chartered accountant ever to be nominated for an Ivor!

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Poing (Rotterdam Termination Source)

When I saw this week’s suggestion, I thought, really? Why? Then I looked to see who had such a suggestion and noticed it was Larry Foster, a man with far too much time on his hands, so just to make an old man even sadder, let’s delve into the limited story of a techno track with no lyrics. Ok here goes, it shouldn’t take long!

The track in question reached the dizzy heights of number 27 in November 1992 and is by the Rotterdam Termination Source. The title is called Poing. When it starts, the first couple of seconds sound like it could be going into Saturday Night by Whigfield, then when beat comes in and the relentless ‘poing’ noise sounds like Zebedee had invited his family round for an orgy. Three minutes and 10 seconds later that same continuous noise starts to fade and that’s when you realise that it’s the end of the track and it never really went anywhere.

The Rotterdam Termination Source were the Dutch duo Maurice Steenbergen & Danny Scholte who both hail from Rotterdam and Steenbergen explained in a 2011 interview with Mojo what inspired him, “A friend took me to a rave in 1991, that was it. I saw the first acid house as it evolved into techno. I was intrigued by how people were dancing by bouncing on their feet. Three months later I came across the poing sample, this bouncy sound. I hooked up six months of my Roland 909 drum machine programming underneath. I started as a DJ,” he continued, “and was really into mega-mixes. Back in the eighties it was really hard to find a good mix and I was intrigued by the technique of synching up two turntables. From the age of 15, I spent my night making beats.”

Since the late eighties, there have been so many genres and sub genres of music and this track is known, in the Netherlands, as gabber, a loud and rather aggressive style of techno music that originated in Rotterdam. For the technically minded, one, apparent, important element of gabber is a distorted Roland 909 bass drum, overdriven so hard to the point where it creates a square wave and makes a recognisable melodic tone.

Maurice remembered the first time he heard his track played in a Dutch nightclub, he said, “The dance floor began exploding. It was picked up by the Mid-Tempo record label, an inappropriate name given the sound, and released across Europe where it topped the charts in both The Netherlands and Denmark.

There was actually a follow-up single called Merry X-Mess which with all the festivities of 1993, it got a bit lost and ground to a halt at number 73 which really saw the end of RTS’ chart career. “I wasn’t able to do what I wanted,” Maurice recalled, “I never considered myself a raver. I had a bird’s eye view and it was a track that f***ed with that.”

I learned that there was a 12″ version of Poing that went on for five minutes and 20 seconds. I did wonder if it was just an extended version of the 7″, so I braced myself and sourced a copy. I sat down and put the needle on the record only to learn that, apart from a few poings in different places, it was exactly the same, except, just moments before it finished, there was a break in the music and a sound effect of glass smashing. How innovative I thought, only to learn that even those three seconds of glass noises was a sample of a song called He’s A Burglar which was hoisted from Amii Stewart’s 1979 album Paradise Bird. At last, the middle word in their name applied.

These days Maurice directs videos and works on sound designs for films. In 2011, he reflected by saying, “As you get older, you need an overview of what you’ve done.” I’d say!

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That’s Not My Name (Ting Tings)

For the very determined, if someone says you can’t do something or something will never happen, they will go out of their way to make every effort to make sure it does. That applies very much to this week’s song. That’s Not My Name by the Ting Ting’s is a terrific catchy pop song, but as Katie White, the group’s singer and guitarist said, “Everybody told us That’s Not My Name would not get played on the radio because it wasn’t pop enough or indie enough, but sometimes it takes touring our butts off to get the songs heard.” It worked.

The Tings Tings are a duo from Salford, Greater Manchester with the other member being drummer Jules De Martino. De Martino was born in 1969 and White was born in 1983. The former was originally from London and formed his first band, Mojo Pin in the early nineties. Katie was born in Lowton in Cheshire and made her debut as a member of an all-girl punk called Technical Knock Out often shortened to TKO. The pair met in Manchester and discovered they both had a mutual respect for the Bristol band Portishead and so the two of them, along with De Martino’s friend Simon Templeman formed a band called Dear Eskimo. They signed a deal with Mercury records, but changes within the label curtailed the band’s activity and they disbanded. They were not happy as Katie recalled in an interview with Q magazine, “You feel like your career is over at 22 and you haven’t even got a record out. It was like, you really are that forgettable unless you put your stamp on something.” The pair briefly took other jobs, but decided to try again and reform, this time as a duo and called themselves the Ting Tings which was the name of a colleague of White’s when she worked in a shop.

They signed to a small indie label Switchflicker and played a number of gigs which, thanks to social media, brought them to the attention of various bloggers which, in-turn, reached people in the music industry and so they eventually signed with Columbia. Both members wrote That’s Not My Name and White, in an interview with The Guardian, explained the way the music industry treated her, “The first marketing meeting we had with our last label, I’d gone to all the effort of making a look book of all my favourite art and photographs, just to show them what I’m about. And I took it in and they said, ‘Oh, yeah, great…’ They didn’t even look at it, just pushed it to one side and asked if I was prepared to take my kit off for men’s magazines. And I was like, Aaargh! There’s plenty of girls who can do that, and they’ve got bigger boobs and better faces, and I’ve got no idea why they thought I might do that. I would feel terrible doing that – I could never do it in a million years.”

De Martino explained the sentiment behind the song, “We were really frustrated because we had been in a band before and been dumped by our label. Back at the time, we weren’t specifically trying to write the song about anything. We were just trying to have fun with it. But when we look back at the lyrics we realise they’re all about frustration. In a way, she’s saying she wants to be heard. She wants people to know her name.” In an interview with Pop Justice, White explained what she thought of the song once it was recorded, “I loved it straight away but I felt like my judgment had been screwed because we went through our old band and it all went wrong, so I thought ‘what the hell do I know – I obviously don’t have good ears’. But when we started playing it live it became quite electric and the hairs on my arms were standing up, and it felt like it had a lot of power behind it.”

That’s Not My Name entered the chart at number one on week ending 24th May 2008, White recalled the moment she found out in an interview with The Guardian, “We were sorting our laundry when we first heard the news, we were playing Manchester that night, but we had to do a load of washing first, and the Radio 1 chart show were ringing us – you have to do this fake thing where they ring you during the day and you have to pretend it’s the evening, and I’m a really bad actress. I was like, ‘Yeah, it’s good!’ We played the Academy that night and the whole audience was really hyped up. I didn’t want to mention being number one till we got to play That’s Not My Name, so I could thank them, but the audience kept shouting, ‘You’ve knocked Madonna off number one!'”

The vibe was so strong that the following week, two more tracks, Great DJ and Shut Up and Let Me Go both entered the chart, the latter reaching number 13. In the digital era, anyone can download a handful of album tracks and they all go in the singles chart. They were downloading in their droves because the same week, the parent album, We Started Nothing, went to number one. In an interview with Seventeen magazine, White said, “It’s my favourite track off the album. It was the second song we wrote and the first time I felt like I had something to say. I felt like I was really empowering myself, which is a good feeling. Writing was so easy on this album. I think it’s because we didn’t care what people thought. We weren’t writing a song thinking ‘Oh it’ll get played on pop radio,’ we just kept doing what we were doing.”

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