The lyrics for that track were originally supposed to have been taken from T. S. Eliot’s poem “The Hollow Men,” but they couldn’t get the rights, so songwriter Terry Taylor had to make up some Eliot-sounding lyrics.
Annie-Xmas, are you referring to the “In the Still of the Nite” made famous by the Five Satins? If so, every source I have ever seen on this states it was written by lead singer Fred Parris. Cuba Gooding Sr would have been about 12 years old when it was first released.
Cuba Gooding Sr. was the lead singer of the group "The Main Ingredient, " who had a couple of hits in the very early '70s.
When “In The Still Of The Night” was recorded, Cuba would have been 14 or 15, and not have developed any compositional skills yet.
Here’s what I was thinking of :smack:
Here’s what?
Arthur Alexander is the only songwriter to have a song covered by the Beatles (“Anna”), The Rolling Stones (“You better move on”) and Bob Dylan (“Sally Sue Brown”).
John Lennon recorded “Twist and Shout” shirtless.
mm
Written (of course) by Mozart
'Tain’t so. They diverge after the fifth note, and also, TTLS has to fit a six-line verse and BBBS only a four-line verse. They’re similar to the point of being derivative, but by no means identical. Thus:
C-C-G-G-A-A-G; F-F-E-E-D-D-C; G-G-F-F-E-E-D; G-G-F-F-E-E-D; repeat opening two phrases; for TTLS and ABC;
C-C-G-G-A-B-C’-A-G; F-F-E-E-D-D-C; G-G-G-F-F-F-E-E-E-D; G-G-G-FG-A-F-E-D-D-C for BBBS
Also, TTLS has to fit a six-line verse and BBBS only a four-line verse. They’re similar to the point of being derivative, but by no means identical.
Arturo Toscanini was once approached by his second bassoonist who said apologetically “Maestro, I have broken the bottom key on my instrument”. Art looked thoughtful for a few moments and then said “No matter. There isn’t a bottom D flat in the second bassoon part in tonight’s programme” - having instantly recalled both what the key was for and the range of everything that particular instrumentalist had to play that night.
I think this is incorrect, as John Lennon (IIRC) played backing on David Bowie’s cover of ‘Across the Universe’ (which appears on the album Young Americans)
Cool, now, see, I didn’t know that John was running around and doing this stuff, I just remember everyone talking on the radio what a big deal it was that Lennon worked with him (Elton) on it.
When did Bowie do that cover?
Are there other examples? Is John the only one to work with others recording Beatle songs (I can’t remember word of Paul or George doing it)?
I also don’t think we can count Paul or John’s subsequent non-Beatle work as them “covering” Beatle songs, YMMV.
Paul redid some Beatles songs with Wings and other famous musicians in “Give My Regards To Broad Street”, George has only played his own Beatles songs in concert, most notably with Eric Clapton’s Band on the “Live In Japan” album. Ringo got together with some other celebrities to cut a version of “I Call Your Name” for a charity. They made a video of that one, too. Paul actually covered himself, under the pseudonym of Percy “Thrills” Thrillington, when he and studio musicans recut an instrumental version of the “Ram” album, called “Thrillington.”
Have to take minor exception to your exception. I disagree, for one, with your assessment of the number of stanzas in each song, as there is considerable repetition in each one. TTLS and ABC can not end as you describe, as they have not yet resolved to the tonic at that point.
Also, I myself have never heard Baa Baa Black Sheep sung to the tune you describe for it, although it is certainly a reasonable variation, and may in fact be a difference in tradition as far as how it is sung on either side of The Pond.
I have always heard it sung to the same “melodic template”, if you will as the other two. Now, when two songs have the same note on the same beat of music, but differ in the number of times that note is repeated during that beat, does it constitute a different melody? That may simply be a matter of opinion, and an argument you could have until the cows (or sheep) come home.
George plays on Bob Dylan’s cover of “Yesterday,” but it was never released.
Another interesting factoid: Only two songs (that I know of) were recorded (though not necessarily released) by Bob Dylan, the Beatles, and Elvis Presley: “Yesterday” and “That’s Alright (Mama).”
George played “In My Life” on his 1974 tour, though with slightly altered lyrics.
What do The Lion Sleeps Tonight, Sloop John B, and Seasons in the Sun have in common?
They were all recorded and released by the Kingston Trio before they became hits for other artists.
I think what fishbicycle was saying was that the only way George ever revisited Beatles songs was in concert, as opposed to the studio remakes that the other three have been involved with. A sorta-kinda exception to this would be the charity version of “Nobody’s Child” from around 1989. Not a true Beatles song, of course, but still a studio remake of a song previously released by the Beatles (from the early recordings they made with Tony Sheridan).
Not true - he re-recorded “Not Guilty” for his 1979 “George Harrison” album. (For those who don’t know, “Not Guilty” was recorded for the White Album, after 117 takes, but bumped in the final sequence for that masterpiece of musical wisdom, wit and insight “Why Don’t We Do It In The Road”.)
mm
Similar to the Jethro Tull story, the Butthole Surfers came by their name partially by accident, having previously performed under the names Ashtray Can Baby Heads, Nine Foot Worm Makes Home Food, Vodka Family Winstons, and The Inalienable Right to Suck Don Knott’s Ass. Someone at a club mistook the name of one of their songs for the name of the band and, as it was the first time they got paid, they decided to keep it.
The Flaming Lips (who credit their name to either the title of a porno they saw a poster for, or a dream Wayne Coyne had involving sitting in the back of a taxi with the Virgin Mary speaking to him as fire rolled out of her mouth–depending on which day you ask them) used to steal the Butthole Surfer’s trick of pouring rubber cement on their cymbals and lighting it, so that a flame would erupt every time you hit it. They stopped after the trick resulted in Michael Ivins’ haystack-sized afro catching on fire. Apparently no one in the band, including Michael, noticed that this had happened and thought they were being attacked when fans jumped on stage to put him out.
Toni Tennille appears as a back-up singer on Pink Floyd’s The Wall.
Also, I have been utterly unable to find a cite for this, but I remember reading in a magazine that one of the roadies pictured on the back of Ummagumma is the father of some relatively famous current singer, although I can’t remember who.