I’m back with another collection in my “Afro” playlist series — “AfroBeatles.”
Earlier this month the first new Beatles song “Now And Then” dropped with the help of master filmmaker, Peter Jackson, and the surviving members. It is the first new release from the group in 45 years.
The Beatles are rightly known for the unmatched songwriting partnership of John Lennon and Paul McCartney. Towards their later years, George Harrison and Ringo Starr also pitched in with originals. Together, the group created a body of work that inspired no shortage of covers.
Few songwriters have been so thoroughly covered as Lennon/McCartney, and the diversity of Beatles covers is a tribute to their indelible mark on pop music. Here at Good Black News, we are going to focus on the covers by Black artists around the world.
The Beatles (and The Rolling Stones) cut their teeth opening for Little Richard; both bands came away forever altered by his singing style and stage presence.
Paul McCartney and Mick Jagger have made no secret of biting his vocal stylings and dance moves. When it came to doing covers they overt about acknowledging it.
On their first five albums of 1963-1965, almost all of the covers were originally recorded by Black soul artists, including Arthur Alexander’s “Anna (Go To Him)”, The Cookies’ “Chains”, The Shirelles’ “Boys” & “Baby It’s You”, The Top Notes’ “Twist & Shout”, The Marvelettes’ “Please Mr. Postman”, The Miracles’ “You Really Got A Hold On Me”, The Donays’ “Devil In Her Heart”, Barrett Strong’s “Money (That’s What I Want)” and Larry Williams’ “Dizzy Miss Lizzy.”
They are all included here, including their versions of Chuck Berry, Little Richard, and other greats of Soul giants, though the lion’s share of the collection is devoted to R&B, reggae, ska, and jazz covers of Beatles songs.
Here are hours of Beatles music by Stevie Wonder, Bill Withers, Nina Simone, Marica Griffiths, Gary Clark, Jr., and so many others. Please enjoy AfroBeatles!!
In continued celebration of #JazzAppreciationMonth, today we drop in on the underappreciated yet cherished and deeply talented song stylist Nancy Wilson, who was at one time in the 1960s the second most popular act on Capitol Records behind only the Beatles.
To read about Wilson, read on. To hear about her, press PLAY:
[You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or just check it out every day here on the main website. Full transcript below]:
Hey, this is Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Tuesday, April 12, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
Ohio native Nancy Wilson claimed her gift early, knowing by age four she was meant to be a singer. Encouraged by jazz saxophonist and bandleader Julius “Cannonball” Adderley, Wilson moved to New York in 1959 and landed a contract with Capitol Records.
The success of Nancy’s debut single “Guess Who I Saw Today,” led to a rush of album recordings, and to that tune becoming one of the signature songs of her career:
[Excerpt of “Guess Who I Saw Today”]
Wilson’s classic 1962 album recorded with Cannonball Adderley [Nancy Wilson/Cannonball Adderley] contained her first Billboard R&B chart hit, the gorgeous ballad “Save Your Love for Me”:
[Excerpt of “Save Your Love for Me”]
From her 1964 album of the same title, Wilson scored her first pop hit, reaching number 11 on the Hot 100 chart with “How Glad I Am”:
[Excerpt of “How Glad I Am”]
Wilson won her first Grammy for that song and had four top 10 albums on the Billboard charts between 1964 and 1965, becoming during that period Capitol Records’ second-biggest selling act behind only the Beatles.
Wilson released more than 70 albums in her five-decade recording career, and won two more Grammys 40 years after her first win, both for Best Jazz Vocal Album, in 2005 for R.S.V.P. (Rare Songs, Very Personal) and 2007 for Turned to Blue.
[Excerpt of “That’s All” from R.S.V.P.]
In 2004, Nancy Wilson was honored as a Jazz Master by the National Endowment for the Arts, and for her work as an advocate of civil rights, which included participating in the 1965 Selma to Montgomery march in Alabama.
Although Wilson was lauded as a jazz vocalist, she preferred to think of herself a song stylist, as she drew from a variety of influences, which she spoke about in detail during an interview on grammys.com:
“So, consequently, I was exposed to male influences. From early on, I heard Nat Cole I heard [?????] Jackson and Louis Jordan – loved Louis Jordan. I heard Billy Billy, Mr. B. I mean, he was just, I mean, my father thought Billy Eckstine was like, couldn’t – he walked on water. He loved B. And I heard Little Jimmy Scott with Lionel Hampton‘s big band. I would imagine that was when I was around 10. So basically, it was all male. And, and not gospel. I heard Jimmy Cleveland, James Cleveland, and C.L. Franklin, and his choir from my mom used to play that. So, I got to hear it all. And I enjoyed all of it. And then of course, I became a teenager. I mean, I was allowed to go out.
And there was a jukebox where I heard Little Esther, and I heard Little Miss Cornshucks. I heard LaVern Baker. I definitely heard Dinah and I heard Ruth Brown – I used to love Ruth Brown. That was where I got the exposure to R&B females. Was a quite a while – I think I was pretty much almost grown like 15 when I became exposed to – Sarah had some hit pop songs and I heard Sarah Vaughan and that I loved. “I Ran All the Way Home” was my big song. Also one of my big numbers was the Ravens tune called “You Saw Me Crying in the Chapel.”
So I sang these songs in variety shows and I’m like ninth grade, 10th grade, so, these were the things that really made things happen for me. The fact that I did not I had no idea that you were supposed to be afraid, or that you needed to be nervous. Because to me that had no part of what I did. I was not nervous about it at all. Loved to sing – loved the lyrics to songs always. Yeah.”
Links to these sources and more provided in today’s show notes and the episode’s full transcript posted on goodblacknews.org.
This has been a daily drop of Good Black News, based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing.
Intro and outro beats provided by freebeats.io and produced by White Hot.
All excerpts of Nancy Wilson’s music included are permitted under Fair Use.
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Hey, it’s Lori, GBN’s Editor-in-Chief, stepping in with this week’s Music Monday share. As yesterday was what would have been song stylist Nancy Wilson’s 85th birthday, I have crafted an 85-song tribute playlist that spans her six decades-long recording career.
A prolific singer who recorded and released 52 albums, three-time Grammy Award winner Wilson was one of the greats who often is not given her just due in popular music history. For a time in the 1960s, Wilson was the second biggest recording artist at Capitol Records – the biggest being the Beatles.
Born on February 20, 1937 in Chillicothe, Ohio, Nancy Sue Wilson knew by the time she was four years old she would be a singer. By her teen years she won a talent contest and began performing on a local television program called Skyline Melodies, then became its host.
She soon met jazz saxophonist and bandleader Julius “Cannonball” Adderley, who was impressed with her talent and suggested she move to New York City. The move lead to Wilson landing a recording contract with Capitol and releasing her first single and album in 1960.
The first five songs that kick off this compilation are some of Wilson’s best known recordings, some of which charted on Billboard Magazine’s pop and/or R&B charts: “(You Don’t Know) How Glad I Am” – Pop #11; “Save Your Love For Me” – R&B #11; “Tell Me The Truth” – R&B #22 – others which are considered Nancy Wilson standards.
From Wilson’s rendition of “Fly Me To The Moon” off her first album, Like in Love, until the playlist’s conclusion, I’ve ordered the songs to play mostly in chronological order, to offer a sense of how Wilson’s music and voice developed from the 1960s on.
Highlights include her recordings with George Shearing and Cannonball Adderley (The Swingin’s Mutualand Nancy Wilson/Cannonball Adderleyare two classic Nancy Wilson albums that deserve to be purchased and heard in their entirety), and the live tracks from The Nancy Wilson Show recorded live at the Cocoanut Grove in Los Angeles, and the tracks from one of my personal favorite Nancy Wilson albums, 1971’s But Beautiful, where she is backed brilliantly by the Hank Jones Quartet.
I’d also like to point out Wilson’s superlative cover of “Raindrops Keep Fallin’ On My Head” from her 1970 album Can’t Take My Eyes Off You and the utterly surprising and borderline funky “Tell The Truth” from her 1974 All in Love is Fair LP written by Wilson along with Tennyson Stephens. And YES, the first line is “Bitches taking money and they livin’ well.” Seriously, enjoy.
There are more treasures than I can count in this playlist, especially her later recordings towards the end of her career before she stopped recording such as “When October Goes,” “Peel Me A Grape” and “The Golden Years.”
Wilson passed in 2018 but her music deserves and needs to continued to be appreciated and shared for generations to come. To quote GBN music contributor Jeff Meier from his Facebook tribute to Wilson when she passed:
“While she was probably not a jazz purists favorite jazz performer, a pop fan’s favorite pop singer, nor a soul fan’s top soul artist, she was something in the middle, an accurately self-proclaimed ‘song stylist’ who was a true pioneer in African-American ‘supper club’ entertainment, blending the best from the American songbook – pop, jazz, blues, show tunes into one stylish mix.
In the vein of Johnny Mathis and Lena Horne, she was beautiful, elegant, classy – and therefore also the perfect archetype of ‘guest’ to help integrate television in the early ’60s, when she was regularly featured on variety shows like Andy Williams, Hollywood Palace, Danny Kaye, Smothers Brothers, Carol Burnett and many more.
She is undoubtedly what Columbia Records was trying to turn Aretha Franklin into before Aretha broke free for Atlantic to become her true self. Good thing, because just as there was only one Aretha, there was also only one Nancy Wilson.”
I hope you enjoy this playlist, and please know we are still working behind the scenes on re-creating and offering our playlists via Apple Music for those who would like a non-Spotify option. As soon as they are ready, I’ll be sure to post and let you know.
2/22/22 UPDATE:
Good Black News is now officially on Apple Music! Going forward, we will offer all MUSIC MONDAY playlists on both platforms. Slowly but surely, we will add the playlists from past Music Mondays on Apple Music as well. Enjoy!
Happy Monday, you all. This week’s offering is a soulful collection of cover tunes and original versions of songs that went on to become hits for other folks.
The Pointer Sisters‘ version of Bruce Springsteen’s “Fire” and Whitney Houston’s take on Dolly Parton‘s “I Will Always Love You” are examples of covers that are as famous as the originals.
There’s Otis Redding’s live version of “Respect” where he explains how “This girl, she just took this song” to an amused audience. I’ve included Prince’s demos for “Manic Monday” and “Glamorous Life”, each went on to become hits for the Bangles and Sheila E., respectively.
The Isley Brothers, all five of them, started as a gospel group in 1956. Twenty years later, they would create the funk classic Go For Your Guns.
The Isleys began their own record company, T-Neck Records, in 1964, shortly thereafter recruiting budding guitarist Jimi Hendrix for their band. They abandoned T-Neck and signed with Motown in 1965.
The list of Isley hits is long. It includes “It’s Your Thing,” “That Lady (Part 1),” “Fight the Power (Part 1),” and “For the Love of You (Part 1 and 2).”
More than any other band or artist, you can chart the changes in Black music via the Isley Brothers. Don’t take my word for it:
“With the possible exception of the Beatles, no band in the history of popular music, and certainly no African American act, has left a more substantial legacy on popular music than the Isley Brothers.” — Bob Gulla, Icons of R&B and Soul
“They’re the only group in the history of music to have a demonstrable influence on both the Beatles (who covered the Isleys’ take of “Twist And Shout” for one of their biggest early hits) and Ice Cube (who rapped over this album’s “Footsteps In The Dark, Pts. 1 & 2” on “It Was A Good Day”).” — Andrew Winistorfer
The Isleys have charted new music in every decade from the 1950s through the 2000s, without ever truly “crossing over” or betting any of the hyperbolic praise that other acts have received.
They have made the music they wanted to make for more than 50 years, and are arguably the most prolific and successful R&B /Rock group in the nation. Enjoy this playlist of their work.
“I’m thrilled to take part in Good Black News’ monthlong celebration of Stevland Hardaway Morris aka Stevie Wonder’s 70th Birthday.
My first offering is this collection of him performing covers and standards. Stevie Wonder’s songs have provided the soundtrack to our lives. Though he has been able to make so many other songs “his own.”
Starting with his childhood idol, Ray Charles, here’s a collection of songs by a wide-ranging batch of artists including Marvin Gaye, The Beatles, Cher, B.B. King, GlennMiller, The Doors, The Supremes and so many others.
Do enjoy. Stay safe, you all and “see” ya next week! Take care!!”
