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The Songfactor's Choice Top Ten #35

This week two of our top ten have no facts on Songfacts. Those songs are:

Boogie On Reggae Woman - Stevie Wonder (1974)

Bend Me, Shape Me - The American Breed (1967)

If you have any info on any of the songs mentioned anywhere in this thread, please feel free to post your knowledge in this thread. Submissions on songs will be collated and sent to the main site and you will receive credit for your contribution.

The Songfish thanks you :grin:

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From Wikipedia: The American Breed was an American interracial rock group formed in 1966 and disbanded in 1969. The group was originally formed in Cicero, Illinois as Gary & The Nite Lites. The group's greatest success was the single Bend Me, Shape Me, which reached number five on the American pop music charts in 1968. The song was a remake of a recording by The Outsiders released the year before, written by Scott English and Larry Weiss. The group also appeared on the December 16, 1967 episode of the television show American Bandstand with Pink Floyd.

The original members of the group were Gary Loizzo on vocals, Chuck Gilbert on bass, Al Ciner on guitar, and Lee Graziano on drums. All members were from the greater Chicago area. As Gary & The Nite Lites they were somewhat successful in Chicago and even put out one single. Soon afterwards the group underwent several changes. They moved to the Acta record label and renamed themselves The American Breed. Two new members were also added by 1968: Kevin Murphy on keyboards and Andre Fischer on drums.

The band enjoyed its greatest success in 1967 and 1968. They put five singles on the charts including Step Out Of Your Mind, Green Light and Bend Me, Shape Me. The group disbanded the following year, and Fischer went on to form Rufus (with Chaka Khan) as well as later marry Natalie Cole. A compilation album, Bend Me, Shape Me: The Best of the American Breed, was released in 1994. Bend Me, Shape Me continues to receive occasional airplay on oldies radio.

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"Boogie on, reggae woman" -Stevie Wonder

From allmusic:

By the mid-'70s, Stevie Wonder was enjoying a new kind of creative freedom that was brought about a new renegotiated contract with Motown. The follow-up to his number one R&B/ pop hit "You Haven't Done Nothin'" was "Boogie on Reggae Woman." While the former was a scathing political indictment which some believe was aimed at President Nixon, "Boogie on Reggae Woman" was light and bouncy, strutting along on a funky, percolating pulse. Johnny Nash's 1972 number one pop gold single "I Can See Clearly Now" had primed the mainstream audience for the reggae sound that Wonder employed on the cut. "Boogie on Reggae Woman" held the number one spot on the R&B charts for two weeks and peaked at number three pop in late 1974. It was included on the number one R&B/ pop LP Fulfillingness First Finale, which won five Grammys including Album of the Year. Another reggae-influenced big hit for Wonder was the number one R&B/number five pop hit "Master Blaster Jammer" from his 1980 platinum, number one R&B/number three pop album Hotter Than July.

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Thanks to Dappled and edna! Any more info on ANY song mentioned in this thread is most, most welcome!!

The Songfactor's Choice Top Ten #36

ONE song from our top ten is in need of a home here on songfacts. That song is:

Down By The River - Neil Young and Crazy Horse (1969)

If you have any info on any of the songs mentioned anywhere in this thread, please feel free to post your knowledge in this thread. Submissions on songs will be collated and sent to the main site and you will receive credit for your contribution.

The Songfish is thanking you! :grin:

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Down by the River

From Wikipedia:

One of Neil Young's most lasting compositions, "Down By the River" was written by Young during his Buffalo Springfield period, while suffering from a 103-degree temperature. Whether this had anything to do with the song's construction is unknown. Young uses some excellent, Western-inspired imagery to illustrate the disintegration of a relationship. Musically, it's based on what was to become a Neil Young trademark series of chords. The verses are built on a simple, E minor seventh to A major progression, which works perfectly for not only weaving the loose melody around, but, equally important, gives room for Young's splendidly barbed electric guitar workouts. The song still rightfully graces Crazy Horse and CSN&Y concert repertoires.

It was released on "Strawberry Statement", a compilation of songs by Crosby, Stills, Nash & Young, Neil Young, Crosby, Stills & Nash and other artists.

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Thanks to edna and S2V for your contributions!!

The Songfactor's Choice Top Ten #37

Don't worry, be happy - there is only one song from oue top ten without facts on this glorious site. That song is:

You Are The Sunshine Of My Life - Stevie Wonder (1973)

If you have any info on any of the songs mentioned anywhere in this thread, please feel free to post your knowledge in this thread. Submissions on songs will be collated and sent to the main site and you will receive credit for your contribution.

The Songfish, he be thanking ye!

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Wikipedia said:

You Are the Sunshine of My Life" is a 1973 pop single released by Motown music great Stevie Wonder. The song became Wonder's third number-one pop single and won Wonder a Grammy for Best Pop Male Vocal Performance.

Rolling Stone ranked the song #281 on their list of the 500 Greatest Songs of All Time.

...and according allmusic.com

In 1970, Stevie Wonder came up with a chord progression on the electric piano that appealed to him. It was a peculiar riff that revolved around the A flat/B flat scales. Shaping it into the classic ballad "You Are the Sunshine of My Life," the singer/songwriter/producer saved it until he began recording tracks that would become his Talking Book LP. It's unusual in that the first vocals heard are not those of Wonder, but those of singers Jim Gilstrap ( "Swing Your Daddy") and Gloria Barley. "You Are the Sunshine of My Life" went to number one pop, number three R&B, and number one adult contemporary in the spring of 1973. Nominated for both Record of the Year and Song of the Year, it won a Grammy for Best Male Pop Vocal Performance. The Talking Book album stayed at number one R&B for three weeks, going to number one pop, and also yielded "Superstition," "Maybe Your Baby," and "You and I."

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Many thanks to edna, my most faithful submitter! :bow: :bow:

The Songfactor's Choice Top Ten #38

TWO songs from this week's top ten need to find a place on Songfacts. Those songs are:

I Guess That's Why They Call It The Blues - Elton John (1983)

Raspberry Beret - Prince (1985)

If you have any info on any of the songs mentioned anywhere in this thread, please feel free to post your knowledge here. Submissions on songs will be collated and sent to the main site and you will receive credit for your contribution.

The Songfish thanks you!

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"I Guess That's Why They Call It the Blues"

Elton John

From his album "Too Low for Zero", 1983

quoting allmusic.com:

When Elton John is at his best, as on "I Guess That's Why They Call It the Blues," he makes as good a case as any contemporary songwriter — including critical favorites like Elvis Costello — for status as one of the late-20th century's classic pop music composers. A nostalgic song that finds John teaming back up with his longtime collaborator, Bernie Taupin, after a few years' break (on and off), "I Guess That's Why They Call It the Blues" is likely to stand the test of time as a standard.

John is a master of mood; the song is a warm, nostalgic, comforting, and highly emotional bit of melancholy. Reaching the heart-wrenching climax in the song's chorus multiple times — "Wait on me girl/Cry in the night if it helps" — the melody alone tugs at the heartstrings. Taupin is in top form here as well, with a lyric that takes its cue from Tin Pan Alley songs of the '40s and '50s, particularly World War II-era songs of separation like "Till Then": "Just stare into space/Picture my face in your hands/Live for each second without hesitation/And never forget I'm your man." Taupin shows an enormous amount of growth from his greener early-'70s days when his ambition often exceeded his ability, resulting in often fumbling, forced verbiage. With lines like, "And while I'm away/Dust out the demons inside/And it won't be long before you and me run/To the place in our hearts where we hide," the lyricist finds compelling and fresh means of expressing a universal emotion.

As with the lyric, the music has more than a tinge of nostalgia, with a '50s-like R&B shuffle, a jazzy piano theme, and an inspired, Toots Thielemans-like harmonica solo from Stevie Wonder. The soaring solo takes the song to new heights, the ache of the sentiment palpable in every note.

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Wikipedia knows this about "Raspberry Beret", PRINCE

"Raspberry Beret"

U.S 7" single

from the album Around the World in a Day

B-side(s) "She's Always In My Hair" (U.S.)

"Hello" (UK)

Released 15 May 1985

Format 7" single

12" single

Recorded The Warehouse, St. Louis Park; 1984

Genre Pop, Funk

Length 7"/album: 3:31

12" single: 7:28

Label Paisley Park Records

Writer(s) Prince

Producer(s) Prince

Chart positions

* #3 R&B

* #2 U.S.

* #25 UK

"Raspberry Beret" is the first U.S. (and second UK) single off of Prince and The Revolution's 1985 album, Around the World in a Day. The sound was completely different from any previous Prince track, incorporating Middle-Eastern finger-cymbals, stringed instruments and even a harmonica on the extended version. The song was also more in the pop vein than ever before, though the 12" single and video of the song feature a funky intro. Although the song was originally recorded in 1982, Prince drastically reworked it with The Revolution to give it more of an international sound. The string section was: Novi Novog on violin, Suzi Katayama and David Coleman on Cello. Wendy and Lisa provided backing vocals and the rest of the song was performed by Prince. The music video for the song was also significant, displaying Prince's new short haircut and The Revolution vaguely resembling Gypsies or hippies. The song quickly became a fan-favorite and a staple in nearly every Prince tour. The extended version was included on Ultimate in 2006.

An alternative rock cover version of the "Raspberry Beret" was recorded and released in 1990 by the Hindu Love Gods and achieved moderate popularity.

In 2006, Scottish glam rock band El Presidente covered "Raspberry Beret" and released it as a B-side for their 2006 single "Turn This Thing Around".

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  • 2 weeks later...

Thanks so much edna, you're a doll!! :bow:

The Songfactor's Choice Top Ten #39

Checking the main site, there are TWO songs from this week's top ten that haven't got a spot on Songfacts. Those songs are:

Imaginary Lover - Atlanta Rhythm Section (1976)

Treat Her Like A Lady - Cornelius Brothers & Sister Rose (1972)

If you have any info on any of the songs mentioned anywhere in this thread, please feel free to post your knowledge here. Submissions on songs will be collated and sent to the main site and you will receive credit for your contribution.

The Songfish thanks you (and especially thanks edna!) :grin:

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I cannot find any info about those songs... :P

I just know that

"Imaginary Lover"

(Buddy Buie/Dean Daughtry/Robe)

Atlanta Rhythm Section scored the highest charting album of their career in 1978, the Top Ten Champagne Jam, which spawned two hit singles — "I'm Not Gonna Let It Bother Me Tonight" and "Imaginary Lover."
from allmusic.com

Nancy Sinatra made a cover of this song.

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  • 2 weeks later...

Sorry for the delay folks, the main site doesn't want to work with me and I've only been able to access it now.

Without further ado....

The Songfactor's Choice Top Ten #40

THREE songs from this Top Ten are not presently part of the Songfacts database. They are:

Dixie Chicken - Little Feat

Rescue Me - Fontella Bass

Cry Like A Baby - The Box Tops

Also, we are still seeking any info on:

Treat Her Like A Lady - Cornelius Brothers & Sister Rose

If you have any info on any of the songs mentioned anywhere in this thread, please feel free to post your knowledge here. Submissions on songs will be collated and sent to the main site and you will receive credit for your contribution.

The Songfish thanks you.

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Thanks CeeCee!! :bow:

Now to the current top ten...

The Songfactor's Choice Top Ten Facts #41

Just the two songs without a home this time around:

Our House - Madness

Conquistador - Procol Harum

If you have any info on any of the songs mentioned anywhere in this thread, please feel free to post your knowledge here. Submissions on songs will be collated and sent to the main site and you will receive credit for your contribution.

The Songfish thanks you.

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Dixie Chicken is a superb introduction to Little Feat's smart, high-spirited rock stew, boasting delicious melodies and hip-shaking grooves. An instant party. * * * *

- Simon Glickman, Musichound Rock: The Essential Album Guide, 1996.

***********************************************

Dixie Chicken

Little Feat

Warner Bros. 2686

Released: February 1973

Like their much more famous cousins, the Rolling Stones and Van Morrison, Little Feat are eclectic in a vertical rather than a horizontal way. They are past the point of wanting to make stylistic distinctions in their music. And if they had come along two or three years earlier, when radio programmers and record buyers alike were still willing to take chances, I'm sure they would have gotten plenty of recognition by now.

Little Feat don't do things like other bands. While other slide players, for example, tend to slide up the guitar neck, Lowell George, Little Feat's guitarist (among other things) has developed a distinctive style out of sliding down. The group's music has always been pervaded by that throaty, plaintive, downshifting squeal. George also avoids the obvious, and in the process comes up with titles like "Kiss It Off," "Dixie Chicken" and "Fat Man in the Bathtub" that one doesn't expect to see on any album this side of Captain Beefheart's. He makes these seemingly dadaistic elements work for him in much the same way Van Morrison uses the guttural vocal sound -- to scrape the preconceptions and the standard expectations from the listener's mind, to force him to take the song on its own terms.

I keep wanting to compare the group to the Stones, because the music of each is so thoroughly black and white at the same time, and because you have to become aware of and accept the peculiar universe of each group before you can settle down and enjoy what's going on. There's even a rumor, possibly dreamed up by some lonely Little Feat fanatic, that as soon as Mick Jagger got to Los Angeles last year to put together Exile on Main Street, he requested a set of Little Feat LPs for which he expressed a particular fondness. There are, in fact, several tracks on Exile, such as "Shine A Light," "Loving Cup," "Let It Loose," and "Soul Survivor," that have that dense, careening, nearly out-of-control feeling that distinguishes much of Little Feat's music.

On Dixie Chicken, the group seems to have returned the favor, using a number of elements also found on the last Stones LP. They've thickened their sound further, for example, with a female chorus fronted by Bonnie Bramlett, and it works as well as the voices on Exile did. Both groups understand that in order for a device like this to add to rather than detract from their basic music, they have to involve the singers in the sense of the music (Bonnie in particular is great) and assimilate them into the overall sound. This Little Feat do dramatically on the album's first two tracks, "Dixie Chicken" (in which the boys and girls join forces on the chorus -- "If you'll be my dixie chicken, I'll be your Tennessee lamb/And we can walk together down in dixie land"

Dixie Chicken has a peculiarity not shared by the two earlier albums: Each side starts with the throttle wide open, then gradually winds down to a quiet, moody ending. So instead of the anticipated big finish, the album practically tiptoes away on a slide-dominated instrumental, "Lafayette Railroad." Little Feat never fail to turn the chances they've taken into smooth successes. We don't really need any more audacious, ingenious bands like Little Feat; we just have to support the ones that exist. I hope this band gets the support they need to stay together for a long time.

- Bud Scoppa, Rolling Stone, 4/12/73.

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"Conquistador"

Procol Harum

written by Gary Brokker/Keith Reid.

Released in 1967 in their first album "Procol Harum". By then the band was formed by:

Matthew Fisher ( organ), Gary Brooker (piano, vocals), Robin Trower (guitar), B.J.Wilson (drums) Dave Knights (bass guitar) and Keith Reid (lyrics)

according accousticstorm.com and quoting Gary Brooker,

It’s one of the only Procol Harum songs which Keith wrote the words to the music. I found this word, "conquistador", and thought, this is an interesting word and I had this musical idea, and Keith wrote it.

Not much, I know...

according allmusic.com:

Procol Harum's self-titled, debut album bombed in England,(...) and was reissued with a sticker emphasizing the presence of the original "Conquistador," a re-recording which became a hit in 1972.

-------------

from wikipedia:

"the album Procol Harum Live with the Edmonton Symphony Orchestra was a #5 gold album in the US in 1972... From this, a dynamic performance of Conquistador (a song from their first album) was a hit as a single, getting to #16 in the US with considerable additional FM radio airplay ..."

I guess we have a mix of information here... I don´t know which is the version we voted, mine was taken from the first album, just as Farin.

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"Cry like a baby" -

The Box Tops: Alex Chilton (guitar, lead vocals), Bill Cunningham (bass, vocals), Gary Talley (lead guitar, vocals), John Evans (vocals/keyboards) and Danny Smythe (drums, vocals)

1968

according allmusic.com

"The Letter" is destined to be the Box Tops' best-known track by a huge margin. But actually the slightly later single "Cry Like a Baby" was almost as successful on the charts, reaching #2 in 1968. Penned by the songwriting team of Dan Penn and Spooner Oldham, "Cry Like a Baby" was, like "The Letter," a successful fusion of soul music with a Whiter brand of pop-rock. "Cry Like a Baby" wasn't nearly as moody as "The Letter," however, coming off as far more of a conventional late-1960s upbeat soul song, even if the sentiments expressed by the title were sad. The song starts with a simmering, subdued yet slow-burning organ, a quirky touch that dissipates as the more good-natured verse starts. The big hook of the verse isn't so much the easygoing melody as the responsive twang of the Coral electric sitar, which at the time was still a novel sound on a rock record. Alex Chilton's vocal isn't quite as deep and gravelly as it was on "The Letter," but it's a very credible gritty soul sound for a teenager. It's ably backed by soulful woman backup singers and some judicious touches of soaring strings, peppy Southern soul brass, a brief stretch of burbling bass, and an extended twangy electric sitar solo. "Cry Like a Baby" is more amiable than it is exciting, but it's decent late-'60s blue-eyed soul. For some reason, it found favor with several British woman pop-rock singers, as it was covered by Lulu, Petula Clark, and Kim Carnes.

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"Our House"

Madness

wikipedia said:

from the album The Rise & Fall, released November 12, 1982

Format vinyl record 7", 12"

"Our House" is a single by British ska/pop band Madness from their album The Rise & Fall. It peaked at number 5 on the UK singles chart in November 1982 and was also their biggest hit in the United States, reaching number 7 on the Billboard chart in 1983. The track went on to win Best Song at the Ivor Novello awards of May 1983.[1] . The video depicts the band acting out the song's lyrics in old English style country house.

Recently, the song was used in Maxwell House commercials. It has also been featured in a montage for an episode of the BBC comedy, My Family.

A musical of the songs of Madness ran in London's West End under the name "Our House - The Musical" between October 2002 and August 2003, and a recording of the show was broadcast on BBC Three.[2]

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Cornelius Borthers & Sister Rose

A native of Dania Beach, Florida, Cornelius was part of the musical group Cornelius Brothers & Sister Rose. A family-oriented musical group, the band was formed in 1971, in Dania, Florida, with Carter, his brothers, Eddie and Billie Jo, and his sister, Rose.
(from Wikipedia)

It was relased in 1971, being a major hit and then in 1972, in their debut album, "Cornelius Borthers & Sister Rose". Features Eddie on lead vocal.

I know very little about this... :P

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