Johnny Rivers' "Memphis"

I'm currently listening to a two-disc compilation album of Ricky Nelson.  The guitar part (doubled on harmonica) that's at the very beginning (and repeated in a few other sections) of his version of the Gershwins' "Summertime" sounded familiar to me.  I eventually placed it; I also know it from Johnny Rivers' version of Chuck Berry's "Memphis" (sometimes called "Memphis, Tennessee").

For the record, the part I'm talking about is E D B A G E.  I'm unsure, but Rivers might slide into that initial E from a D note (that's the way I've always played it, at least).

Nelson's version of "Summertime" is from 1962; Rivers' version of "Memphis" was released in May 1964, so it's possible that Rivers took the guitar part from Nelson's "Summertime."  That riff isn't in Chuck Berry's original, and I'd been wondering where it came from.  However, while the chronology works out, I'm not sure if this was the case; I don't know much about Johnny Rivers.

I feel it worth pointing out that the bass part from Nelson's "Summertime" was copied by Blues Magoos for their "(We Ain't Got) Nothin' Yet," so there's a precedent of copying from it.

Sam Cooke's "You Send Me" and "Summertime"

For each of the past three days, I listened to a disc of a three-CD compilation of Sam Cooke titled You Send Me.  I found some interesting things in two of the songs.

"You Send Me" has some interesting articulation.  The "in-" in "infatuation" is stressed instead of the "fa," but I think that's just to make the meter of the line work.  In the same part, the "so" in the line "But, ooh, it’s lasted so long" is drawn out to three syllables, to sort of show how long it's lasted.  And when Cooke sings "marry you," the rest of the instrumentation drops out so that he sings the line almost a cappella, which could represent the seriousness or finality of marriage.

I also found some interesting stuff in his version of Gershwin's "Summertime."  Apparently Cooke recorded more than one version; "Summertime" is included on an-other Sam Cooke compilation album I have, but it's a different recording (the You Send Me set also contains a different take of "Win Your Love for Me," which is distinct in that there are no backing vocals and the bass is more prominent in the mix).  In any case, in the version of "Summertime" in the You Send Me set, Cooke takes some of the phrases from the first two verses and combines them in some phrases that he sticks between the second and third verses.  He takes "don't cry" from the end of the first verse and combines it with "they're standin' by" from the end of the second to get:

They’re standin’ by so don’t cry
They’re standin’ by; don’t cry

Not only does it tie the song together by strengthening the connection between those two verses, but it also points out the rhyme scheme used in the song.

Booker T. and the MGs' "Summertime"

I’m staying up too late listening to The Best of Booker T. and the MGs.  (Also, I’ve ventured into the territory of the “the best of” albums.)

I just wrote a post about the Zombies’ version of Gershwin’s “Summertime,” which is probably my favorite version, but I also like the version by Booker T. and the MGs.  And I like it because they’ve changed it to the degree that, while it is recognizable, it’s not immediately recognizable.  I was listening to this album (for only the second time) a few months ago, and it took me a minute or so even to realize that this was “Summertime.”

But what I really want to mention is the tone of both the Hammond organ and the guitar.  At one point, the guitar is (or at least sounds like it is) going through a tremolo pedal, and it works so well with the Hammond organ’s going through a Leslie speaker.  Both instruments have that sort of hazy quality, but they’re achieving that effect in different ways.  They’re complementary, but not because they’re treated with the same effect.

The Zombies' "Summertime"

I’m currently listening to the Zombies’ Begin Here.  I’m a big Zombies fan, so I’ve probably heard their stuff a lot, but it feels like I’m always finding new things.

Just now, I discovered that Hugh Grundy uses a lot of rim knocks in the Zombies’ version of Gershwin’s “Summertime.”  I think that, combined with Paul Atkinson’s esoteric-sounding guitar work is what really makes the song unique.  Rod Argent’s introductory keyboard part certainly sets that up, but I think the drumming really sustains it.