Can a song be so perfect, so successful, that it eclipses its creator? It can if it’s Bobbie Gentry’s Grammy-winning 1967 chart-topper Ode to Billie Joe, one of the most elegantly powerful pieces of storytelling ever to travel the airwaves.
~Dorian Lynskey (The Guardian)
The Caledonia Soul Orchestra was the band created by Northern Irish singer-songwriter Van Morrison in 1973. The band is often considered one of the tightest performing backup groups of the 1970s. The band was named after an eighteen minute instrumental outtake on the His Band and the Street Choir album.
In 1973 Van Morrison and the Caledonia Soul Orchestra went on a three-month tour of the United States, and Europe with the result of which was the seminal live double album It’s Too Late to Stop Now. The title is taken from the last line in the lyrics in one of Morrison’s songs: “Into the Mystic” from the 1970 Moondance album. In live performances with The Caledonia Soul Orchestra, he would close the concert with a dynamic, stretched out version of the Astral Weeks song, “Cyprus Avenue” and then shout out “IT’S TOO LATE TO STOP NOW!” as he quickly exited stage.
Van Morrison live at The London’s Rainbow Theatre on 24th July 1973. (Voted by Q Magazine readers as one of the top live performances of all time.)
01 – Warm Love (3:22)
02 – Take your Hands Out Of My Pocket (4:03)
03 – Here Comes The Night (3:17)
04 – I Just Want To Make Love To You (5:36)
05 – Brown Eyed Girl (3:12)
06 – Moonshine Whiskey (7:14)
07 – Moondance (5:19)
08 – Help Me (2:41)
09 – Domino (4:37)
10 – Caravan (8:45)
11 – Cyprus Avenue (9:34)
12 – Wild Night (4:21)
Bonus not in the TV Broadcast:
13 – I Paid The Price (6:43)
14 – Saint Dominic’s Preview (6:18)
15 – Gloria (3:16)
01 Warm Love – Van Morrison & The Caledonia Soul Orchestra:
Tony Joe White (born July 23, 1943, Oak Grove, Louisiana, United States) is best known for his 1969 hit “Polk Salad Annie”; “Rainy Night in Georgia”, which he wrote but was first made popular by Brook Benton in 1970; and “Steamy Windows”, a hit for Tina Turner in 1989. “Polk Salad Annie” was also recorded by Elvis Presley and Tom Jones.
“Elvis’ producer Felton Jervis was a good friend of mine during the early days in Nashville. All of a sudden I released ‘Polk’ and it was a big hit single and then Felton called and invited my wife & me out to Las Vegas to see Elvis perform. He flew us out just to let us see Elvis do it live on stage! He did a good version of it, which of course he recorded for the live album. We hung out with Elvis for 2 or 3 days and just sat back in the dressing room and talked. We played a little guitar together – he really liked music. Elvis said, “Man, I feel like I wrote that song”. I said “You know, the way you do it on stage, it feels like you wrote it”. Elvis always treated me real good.”
– Tony Joe White
Here is another gem from the The Johnny Cash Show, Polk Salad Annie (w/ Johnny Cash):
On My Aim Is True, Elvis’ raw energy comes through in a way that’s never completely recaptured on later records. While the songs range from mellow country twang to full-on, spitting assault, there’s a strange cohesiveness to the album simply by virtue of its rough, rushed feel. Although it’s a studio album, there’s a latent energy to Nick Lowe’s production that grants My Aim Is True all the immediacy of a live show.
~Matt LeMay (pitchfork.com)
Elvis Costello’s debut album brought home to me just how timid Little Criminals really is. Costello’s best songs are anything but timid, but they’re as intelligent as some of Newman’s finest, as endearingly elusive in their meanings, and funny in the same bitter, self-deprecating manner. They are also, like Newman’s signature songs, very weird.
~Greil Marcus (rollingstone.com)
.. it’s that his sensibility is borrowed from the pile-driving rock & roll and folksy introspection of pub rockers like Brinsley Schwarz, adding touches of cult singer/songwriters like Randy Newman and David Ackles. Then, there’s the infusion of pure nastiness and cynical humor, which is pure Costello. That blend of classicist sensibilities and cleverness make this collection of shiny roots rock a punk record — it informs his nervy performances and his prickly songs. Of all classic punk debuts, this remains perhaps the most idiosyncratic because it’s not cathartic in sound, only in spirit.
~Stephen Thomas Erlewine (alldylan.com)
Welcome to the working week
Oh, I know it don’t thrill you, I hope it don’t kill you
Welcome to the working week
You gotta do it till you’re through, so you better get to it
~Elvis Costello (Welcome to the working week)
“It was a funky record – it’s one of my favorite Beatle tracks, or, one of my favourite Lennon tracks, let’s say that. It’s funky, it’s bluesy, and I’m singing it pretty well. I like the sound of the record. You can dance to it. I’d buy it!”
“The thing was created in the studio. It’s gobbledygook, Come Together was an expression that Leary had come up with for his attempt at being president or whatever he wanted to be, and he asked me to write a campaign song. I tried and tried, but I couldn’t come up with one. But I came up with this, Come Together, which would’ve been no good to him, you couldn’t have a campaign song like that, right?”
– John Lennon (Playboy, 1980)
“Come Together” is a song by The Beatles written by John Lennon and credited to Lennon–McCartney. The song is the opening track on the album Abbey Road, and was released as a double A-sided single with “Something”, their twenty-first single in the United Kingdom and twenty-sixth in the United States. The song reached the top of the charts in the US,and peaked at number four in the UK.
I really love the song, one of John’s masterpieces!
John Lennon: vocals, rhythm guitar, handclaps and tambourine
Paul McCartney: harmony vocals,electric piano and bass
George Harrison: lead guitar
Ringo Starr: drums, maracas