The promotion campaign for “Double Take” features some of the artists involved (Rod Stewart, Paul Carrack and Huey Lewis) talking about the first time they saw Frankie Miller. Now, that’s a great idea.
Freshers’ Week, Dundee University, 1976 and the first gig of the year was Frankie Miller’s Full House. I went to the gig with my new mate Steve (still a mate and writing great reviews for MusicRiot). The band were superb and we left the gig raving about Ray Minhinnet’s guitar work, Chrissy Stewart’s bass playing, but most of all about Frankie’s stunning soul voice. He started the ballad “With You in Mind” a cappella, and with perfect pitch, before the band dropped in underneath the vocal; I was completely hooked from that moment. I’ve seen an awful lot of gigs since then, but I’ve never heard a band that nailed it so completely, song after song.
So let me put “Double Take” into some kind of personal and historical context. As Frankie slowly fought back from the brink after a brain haemorrhage in 1994, you would hear occasionally from friends on the Scottish music scene about his progress; not frequently, but often enough to know that things were gradually improving, and it carried on like that until 2012 when word started to leak out that a project with Frankie’s old demo tapes was in progress. It’s taken over four years and probably a few unexpected twists and turns, but the final result is “Double Take”, nineteen unreleased Frankie Miller originals reconstructed from demo vocals, and all but one reimagined as duets with singers that wanted to be involved with the project. Although Frankie’s biggest chart hits (“When I’m Away From You” aside) were interpretations of other people’s songs, he also wrote a shedload of great songs for himself and other artists.
The nineteen songs on “Double Take” are pretty representative of Frankie’s songwriting output, covering soul, blues, rock, country and ballads. And that’s the staple diet of Scotland, right there; forget your deep fried Mars Bars. All of the songs have been arranged around the original demo vocals (with Frankie involved in quality control), but the quality of the voice is so good that almost everything sounds like a full-scale production. To be honest, given the choice, I’d rather listen to Frankie Miller demos than most singers’ finished product.
The guests on “Double Take” are a mix of megastars and people that Frankie knew and worked with in the past. Without listing the whole lot, how about Joe Walsh, Elton John, Kid Rock, Delbert McClinton, Kim Carnes and Willie Nelson. Add those to the ones listed at the top of the article and you’ve got a huge amount of respect across musical styles for Frankie’s work. Great news for fans of Frankie from the mid-seventies is that Full House appear on three songs in the middle of the album. “When It’s Rockin’” (with Steve Dickinson) is a horn-driven rocker, “Beginner at the Blues” (with Delbert McClinton) is a slow blues and “To Be With you Again” (with Kim Carnes) is a mid-tempo ballad. For a while there, I was back in that night in1976.
With so many songs and such a variety of arrangements, it’s difficult to pick standouts, but the gospel choir of “Where Do the Guilty Go” (with Elton John) and the country ballad “I Want to Spend My Life with You” (with Willie Nelson) are hard to beat, while the hauntingly simple “I Do”, with only Frankie’s vocal over a sparse arrangement is the perfect closer for the album.
This has been a long journey for some very dedicated people, culminating in an album that can only add to Frankie Miller’s legacy by bringing those powerful vocal performances to a wider audience and unearthing so many unreleased songs. This is a classic.
“Double Take” is out on September 30th on Universal.
Here’s a sneaky little peek for you:
Our next contributor plays saxophone with Southside Johnny and The Asbury Jukes but also released a strikingly good album this year as part of the New York Horns which is one of Allan’s albums of the year. When we asked him for a High Fives piece, here’s what he came up with. We think you’ll like this.
5 Horn Sections That Changed My Life
As a saxophone player, one of my absolute favorite ways to make music is with other horn players. Give me a trumpet or two, a couple of other saxophone players and a trombone to add some love, and you’ve got a recipe for a whole lotta fun. If the rhythm section is the meat and potatoes, and the vocalist is dessert, then the horn section is the salt. We bring out all the other flavors and make everything oh so much sweeter.
In thinking about the subject matter for this best-of list, it quickly dawned on me that I had MANY more than five examples that I could draw upon to make my point. So many that I almost gave up! After some careful consideration though, here’s five of the horn sections that have changed my life through their contributions to the music:
THE swingin-est band in the history of jazz. Count Basie’s band emerged in the 1930’s in Kansas City, and became the de facto definition of foot-stomping swing with their penchant for shouting blues, riffing head arrangements, and an infectious groove that just made you want to dance. The jazz traditions of “riffing” and “head arrangements”, while not originating with the Basie band, were certainly developed and forwarded onward by the band. Many of the riffs, licks and phrases that you will hear modern horn sections play can trace some or part of their lineage back to the Basie band. Check out “The Atomic Mr. Basie” (1957) and “Count Basie Swings, Joe Williams Sings” (1956). Two of my all time favorite Basie albums.
James Brown redefined popular music. He also redefined the role of the horn section in popular music. Prior to his influence, horns would generally have a more melodic role -- playing melodies and generally being in a “lead” role. The late swing and early jump blues bands often were led by horn players and under the vocals the horns played a large supporting role, remaining a mostly harmonic underpinning. James changed all that. The horn section under James Brown became another rhythmic instrument, driving and propelling the groove. With snapping rhythmic pulses and repeating motifs, the horn section was another texture in the rhythm section, adding propulsion and rhythmic intensity. Check out “Mother Popcorn”, “Super Bad”, “Soul Power” and “Cold Sweat” for classic examples. The JB Horns (Maceo Parker, Fred Wesley, Alfred “Pee Wee” Ellis) also were a fixture of P-Funk and Bootsie’s (Collins) Rubber Band, as the Horny Horns.
Growing up in North Carolina, in the southern United States, it was inevitable that I was exposed to the music coming out of Memphis, Tennessee and especially STAX Records. Wayne Jackson and Andrew Love, aka the Memphis Horns, are one of the most recorded horn sections in history. If you’ve heard “Dock Of The Bay”, “Soul Man”, “Hold On I’m Comin’”, “Suspicious Minds”, “Sweet Caroline”, “Takin’ It To The Streets”, “Let’s Stay Together”, “Born Under A Bad Sign”, “Knock On Wood” (and countless other hits), then you’ve heard the Memphis Horns. They appeared on virtually every STAX recording, backing Otis Redding, Sam & Dave, Eddie Floyd, Carla & Rufus Thomas and an endless list of others. Not only were they a staple of the Memphis scene but could also be found as part of the Muscle Shoals scene, and on recordings with Aretha Franklin and Wilson Pickett.
No modern horn player that plays funk, soul or R&B hasn’t heard of or spent time studying TOP. Bursting onto the scene in Oakland, CA in 1968, Tower saw its peak success from 1973 to 1974. The band continues to tour extensively to this day, playing hundreds of shows every year across the world. The horn section has been featured on countless recordings by artists as diverse as Little Feat, Graham Central Station, The Monkees, Santana, Elton John, John Lee Hooker, Rufus, Rod Stewart, Huey Lewis and the News, and Aerosmith and has come to define a punchy, modern and funky style of writing and performing for horns. Check out “Tower of Power” (1973) and “Back to Oakland” (1974) for the definitive TOP experience.
While not a horn section unto himself, Jerry Hey has probably written more horn arrangements for hit songs and albums than anyone else in the business. As part of the Seawind Horns, Jerry was brought to the attention of Quincy Jones. That relationship led to Jerry’s writing for some of the biggest names in the industry. His credits as an arranger include albums from Michael Jackson, Brothers Johnson, Donna Summer, Rufus, George Benson, Patti Austin, James Ingram, Frank Sinatra, Barbra Streisand, Earth, Wind and Fire , Al Jarreau, Chaka Khan, and the list goes on… Two of my favorite albums that feature Jerry’s writing (and the Jerry Hey Horns) extensively are Al Jarreau’s “Jarreau” and “High Crime” (Check out “Imagination”!) and likely my all time favorite Jerry Hey arrangement (and performance) is from Michael Jackson’s “Workin’ Day And Night” (“Off The Wall”).
I could go on and on… there are so many great horn sections, players and writers out there, making incredible music. Hopefully this list will give you some food for thought and a good place to begin to explore the horn section legacy. Enjoy!
Normally, Closet Classics would feature an album but I think this song deserves its own CC feature. “The Wild Side of Life” is a classic country song, which alienates most of the music snobs instantly. It’s great to see that country has finally become accessible, songwriters in the UK are admitting to being influenced by it and it’s hard to believe now that for decades the genre was seen as a bad joke.
This song played a huge part in my childhood. Country music has always been popular in Scotland. I’ve got a few theories about that, but I’m sure the sociologists and musicologists can give you much better-researched explanations; here’s a personal perspective.
In 60s and 70s Scotland there was a great tradition of families and friends gathering (usually after the pubs closed, which was 10 o’clock in those days) to sing songs and tell jokes, and maybe have a wee dram or two. Most of the songs were country: “Crying Time”, “Please Help Me I’m Falling”, “From a Jack to a King”, “He’ll Have to Go” and the occasional standard like “Summertime”. Everyone had their own song which they performed at every session. I’m guessing that they picked up those songs from American Forces Network (AFN) radio, American military bases and artists playing in working men’s and ex-servicemen’s clubs. However they did it, they learned those songs and passed them on in the age-old oral tradition. A lot of those songs made it on to the club circuit because you didn’t have to be a great guitar player to do passable job of supporting your voice with a few chords on an acoustic guitar to sell a good song; depending on your vocal range, you could get by with C, F and G at a push. Some combinations of those letters might have even helped you with hecklers.
So why “The Wild Side of Life”? Really simple, it was one of my grandad’s songs and he could really sing (and he fought in a world war, got shot, went to New York, and won a Fife Junior Cup football medal as well); when you grow up hearing a great song delivered with feeling by someone with a good voice, then it’s going to stick for life. And you’ve probably guessed that there was a bit of hero-worship in there as well. So the song was stuck in my consciousness and it wasn’t going away and, although the early 70s seemed to be a country-free zone on the surface (apart from the schlock that made the UK charts), my favourite singers and songwriters (Neil Young and Jackson Browne, for example) were heavily influenced by country singers; Neil Young even covered “Oh, Lonesome Me”. Towards the end of the 70s, it became acceptable to like “The Wild Side of Life” when it was covered by such rock tastemakers as Status Quo and Rod Stewart, but I was there way before all of those denim boys and feather cut fancy dans because I loved the original.
The classic version of the song, for me anyway, is the 1952 version by Hank Thompson, whose plaintive vocal perfectly matches the theme of loss in the song, but there are dozens of others by country artists before you even start to look at pop covers. The song even generated one of the earliest answer songs in Kitty Wells’ “Wasn’t God Who Made Honky Tonk Angels”, which was also a No. 1 in 1952. As the 70s morphed into the 80s, more country acts crossed over into the mainstream and artists like Carlene Carter, Rodney Crowell and Rosanne Cash along with the bad boys like Willie Nelson and Merle Haggard. Even angry young man Elvis Costello did an album of country covers and it was ok to admit that you always loved country music.
That should have been the end of the story, but there was still another twist. When I moved to London and worked with people whose parents came to the UK from the Caribbean, I discovered that they grew up listening to the same music that I had listened to as a kid in a Fife mining village. Now, that was a weird sensation; discovering a completely unsuspected common musical heritage with friends from a completely different background and maybe that says something about music being able to break down all sorts of barriers. Of course, the whole idea of country being big in the Caribbean in the 50s is old news now that Trevor Nelson has spoken about it, but it came as quite a shock at the time.
As for the song, well, whenever I pick up a guitar and start playing, it usually manages to poke its head in there and it’s a challenge to try to find a musical style you can’t fit it into. And it’s such a great song that it can make a mediocre player and singer sound reasonable. What more do you want?